Review: Taylor Swift’s much anTicipated ‘mIDNIGHTS’ ALBUM

Taylor Swift has once again proven herself an unstoppable force in the music industry, with her new album Midnights smashing streaming records within its first 24 hours. However, it has been polarising amongst fans and critics alike, with the people who dislike having fun finally being honest, to us and more importantly to themselves, about who they truly are. 

This, I will admit, may be an unfair assessment. Midnights is undeniably a huge departure from the folk-indie sounds of Folklore and Evermore. These albums were adored by fans but also seemingly changed Swift’s public image to that of a genius songwriter- this essentially just means that middle aged men finally saw in her music what we’ve been talking about for a decade and a half, but I digress. With their poetry and storytelling, combined with the nostalgia for their eras, it is easy to see why some fans might be disappointed to see her return to her upbeat pop music. 

However, it is not the middle of a pandemic anymore, and Taylor Swift is seemingly no longer interested in wallowing- at least not until 3am. The main Midnights album contains 13 tracks, each inspired by a ‘sleepless night’, according to Swift herself. The opening track, Lavender Haze, is a swirling synth-pop track, centering longtime creative partner Jack Antonoff’s production. It is a song I would likely add to a study playlist, nice but perhaps not the most memorable of the bunch. 

We move into Maroon, featuring some electro-pop, and lyrics, reminiscent of previous pop album Lover, followed by Anti-Hero, the album’s lead single. It’s a catchy song about Swift’s deepest insecurities, such as not being a, ‘sexy baby.’ Naturally, many people were slightly confused by this line, which does seem to come from nowhere, and is a strange image. The lyric creates the discomfort that it intends to- criticising the beauty industry’s obsession with youth to an almost pedophilic extent- preferring women completely shaven, poreless, and wrinkle-free- which is undoubtedly an industry that should cause discomfort when discussed. The song itself is fine, but asserts that Swift is still interested in feminist themes, which have become a key part of her writing as she ages. 

Snow on the Beach features Lana Del Rey – kind of. Its lyrics certainly read more like a song by Del Rey, but she can only be heard as a faint voice in the background of the chorus. Maybe she had plans the day they recorded.

Track 5 has become code between fans and Swift as the emotional centre of each album, and You’re on Your Own, Kid doesn’t disappoint. It’s probably the closest we get to a return to Folklore, with intimate lyrics and a strong story being told throughout. Swift’s voice stands out against a subtle backing track, building to one of her famous bridges, every fan’s favourite part of Taylor Swift’s songs. It’s a tender look at growing up under the spotlight. 

Midnight Rain and Question…? are similar in tone and sound. Both are catchy, with lyrics that are interesting but not typical Taylor standard. Vigilante Shit is a noticeable change in tone, straight out of Reputation, being composed mostly of Swift talk-speaking about revenge over a heavy bass. The track is an interesting break from the rest of the album, but doesn’t sound out of place. Bejewelled brings us back to the fun, glittery sound that defines midnights. It’s one to dance to with your friends while you get ready, and it does it’s job wonderfully. 

Similarly, Karma is another singalong. Its lyrics are campy and not to be taken too seriously, although very fun. It is also very Taylor Swift- ‘karma is my boyfriend.. karma is a cat’ are just about her most on brand lyrics ever. 

The album closes with two odes to Swift’s current boyfriend, who she has been seeing since 2016. Sweet Nothing is gentle and pretty, with signature simple but effective lyrics. Mastermind is for all the girls who knew his primary school, mum’s maiden name, and that he came eighth in a race he did in 2017 before the first date. Taylor sees you, and so do I. Respect. 

The standout didn’t even make it onto the main album. Would’ve, Could’ve, Should’ve is a bonus track on the 3am edition, and likely a complete godsend for Jake Gyllenhaal. The track, referencing a relationship with John Mayer in 2009, sees Swift use allusions to religion and faith to explain feelings of regret and anger that linger even thirteen years later; anger at being exploited and taken advantage of as a teenager. This emotion is expressed in the heartbreaking climax- ‘give me back my girlhood, it was mine first.’ The intensity of stolen innocence contrasted with the juvenile plea ‘it was mine first’ confirms that no musical genre can limit Swift’s lyrical prowess. 

Midnights is an album that will either prove itself with time, or fall into irrelevance when the next album comes out. For now though, I’m enjoying dancing to Karma, and preparing for the Ticketmaster battlefields.

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