Meet Her at Midnight — A Track by Track Review of Taylor Swift’s Newest Album, Midnights


Taylor Swift’s Midnights on Spotify

Molly Feldman

Taylor Swift is known for her genre-hopping lyrical masterpieces, and her 10th studio album, Midnights is no exception. Midnights, according to Swift, is a collection of songs about late-night, “midnight” thoughts she’s had over the years about situations she’s been in. Swift’s very first lyric in track one, titled Lavender Haze, is “meet me at midnight”. The song seems to be a de-facto sequel to New Year’s Day from Reputation.

Track two, Maroon, sounds like something out of 1989. While listening to this album, I noticed that many of the songs sound like they’d easily fit into one of Taylor’s other albums. Track three, Anti-Hero is the most streamed of the album thus far. There’s some synthesizer in this song, which could be Taylor’s way of referencing both 1989 the album and the year itself. She is a mad woman, so I wouldn’t put it past her.

Track four is a collaboration with 2014 Tumblr-era icon Lana Del Rey. The song, called Snow On The Beach, somehow makes you feel as if you are literally on a beach while it’s snowing. The next song, You’re On Your Own, Kid has a Red era sound to it, and tells the story of Taylor’s early career and its effect on her. Midnight Rain sounds a whole lot like the song Wonderland from 1989. However, its dark undertones are evident. The song has been speculated to be about Tom Hiddleston of Loki fame, or Taylor Lautner.

My personal favorite song, Question…?, is speculated to be about Harry Styles and their brief relationship in 2012. The song makes the scene it describes seem very real, almost as if you were there. Vigilante Shit is a vastly different style from Swift’s other music, which lends itself quite well to mainstream pop music of today.

Bejeweled, is a fun girl’s night out anthem, again with synthesizers utilized in the background. Labyrinth, the tenth song on the album, is best experienced with headphones, as it uses both speakers to create an immersive audio experience. The long-awaited track 11, Karma, does not disappoint. It details Taylor’s experience with her former manager, Scooter Braun, who infamously sold the rights to the masters of Taylor’s first six studio albums for over $300 million to Big Machine Records. Karma is a relaxing thought, indeed.

The penultimate track on the regular version of the album, Sweet Nothing, was written by Swift and her longtime boyfriend, Joe Alwyn. Alwyn’s writing credits are under his pen name, William Bowery. Sweet Nothing is a beautiful tribute to the relationship between Swift and the actor, which began in 2016. The final (and notably 13th) track, Mastermind, has a “grand-finale” vibe, which I presume will be Taylor’s closing song on a potential tour of the album. Despite this, there are seven more tracks on the 3 AM Edition of Midnights, which is a reference to the fact it was released at 3 AM locally as opposed to the traditional midnight hour.

What did you think of the album? Let us know in the comments!