Taylor Swift Midnights Review

December 9, 2022

Released on October 21, Midnights is Taylor Swift’s newest album since 2020’s evermore and folklore. The album is a collection of 13 sleepless nights during Swift’s life. Announced during her speech for winning the Video of the Year award at the MTV VMAs, the album is an amalgamation of Swift’s previous work rolled into one 13 track piece. It is a mix of style and sound, recalling her previous work to mind while remaining new.   

The Album

The songs are catchy. It isn’t hard to imagine nearly all of these songs catching on, if they haven’t already. They bounce around in memory bubbling up without warning as you find yourself singing the lyrics while washing dishes, surprised that you even remember the words. 

The Beginning

Lavender Haze, Maroon, and Anti-Hero open Midnights with a strange rotation of revelry, regret, and realization. The union of backing tracks on Lavender Haze makes it especially satisfying as you bop to the music. Maroon reminiscences on a former relationship’s development; it is slower, subtly darker, and a whole lot different to the previous track. And then there’s Anti-Hero, arguably one of the most played songs from the album, a discussion on Swift’s own issues as she turns the camera on to her own issues. 

Photo by: Beth Garrabrant

Each song tells a different story, alternating themes of love and various stages of loss. Snow On The Beach details cold beauty. You’re On Your Own, Kid, another popular song off the album, speaks on independence through synth echoes. And, Midnight Rain is a short retelling of old stories. 

The Middle

The center of the album droops a little with the catchiness of Question?, Vigilante Shit, and Bejewelled but returns back to the beginning’s strength with Labyrinth, a sharp digression from the last three more energetic songs. Labyrinth contrasts that with a tired whisper as Swift talks about falling in love again. Karma counters back with something similar to Bejewelled with a constant chorus and faster pace. 

The Album Cover

The End

The last two songs, the best of the album in my opinion, Sweet Nothings and Mastermind, combine the catchiness of the center and the significance of the openers. Swift surrenders to the comfort of her relationship with the hums of a soothing piano, and then, she cascades into one of my favorite choruses of the album.

The album is far from perfect, but it is what we needed. See y’all at one of the Texas shows!