Ultimate Taylor Swift Song Ranking Smackdown (Pt 1)

Okay, so… let’s just say I’m a little excited for the impending release of Taylor Swift’s 11th studio album THE TORTURED POETS DEPARTMENT.

Let’s just say I also happen to be in the midst of writing my master’s thesis, and thus, am in a bit of a manic mental state.

Let’s just say that I decided to put that manic energy into a fun little activity to get excited for the next entry in Taylor Swift’s discography by going through all of her ten current albums and ranking the songs on them.

Hypothetically, since there’s so many songs, this project would probably take me two posts. But hey, I’ve been focused on making better blog posts come out at a slightly slower pace, so this is absolutely perfect, right?

So yeah, that’s what I’m going to do! These posts absolutely would not be possible without the excellent work of two Tumblr users – jessepinkman and jobazzle – who created special song sorters for all of Taylor Swift’s albums. These handy tools make it far more possible for me to organize my thoughts and actually sort each of these albums into a logical order.

I’d also like to state for the record that this was a very difficult project. I love the vast majority of Taylor’s music, so just because a song ranks low within the album does not by any means mean I think the song is bad. This is all in good fun, so if you vehemently disagree with the way I’ve ranked one of these albums, feel free to let me know in the comments. I love to hear what other Swifties think about these songs.

I also plan on using all of these rankings to re-solidify my Top 100 Taylor Swift song playlist. I’ve linked my current one now, but it hasn’t been updated for some time. Still, check it out if you’re interested in catching a sneak peek of my feelings on some of the songs I’ll be covering this week and next week in Part 2. (And, next week, stay tuned for an update to that playlist to fully reflect all of these rankings!)

Taylor Swift (2006)

14. A Place in this World

Taylor’s debut album is the one I most expect to grow in my heart when she releases the Taylor’s Version. So, I fully expect to eat my words – but as it currently stands, I think this song suffers for shallow lyrics and a somewhat shrill delivery.

13. Invisible

The wailing country strings on this song are certainly really fun, and I love the lilting beauty of the melody, but again, we’re dealing with a much more inexperienced Taylor. I don’t love the tone of her voice on the chorus – I look forward to hearing it rerecorded.

12. Tied Together with a Smile

I definitely get the sense that this is a fan favorite from the album for its meaning. Taylor wrote it inspired by a friend of hers who was secretly dealing with an eating disorder. I definitely see the beauty in these heartfelt lyrics and these mournful strings, I just want a little more strength in the delivery, I think.

11. Cold As You

This is another overlooked heartbreak track that absolutely signaled Taylor’s future ability to really pinpoint how it feels to be betrayed by someone you really love. If the beauty of Taylor’s recent surprise song performance is anything to go by, I’m really excited to hear it updated. Plus, this is the very first “Track 5” (quite a bit before the intentional track 5 pattern was even established).

10. The Outside

This song has a really clever and catchy hook that absolutely signals the future of pop writing Taylor had ahead of her. I also really like the sound of the strings. I had written this song off a bit before giving the album another listen for this review, and I’m happy to report it’s a really underrated standout.

9. A Perfectly Good Heart

This is the closing track of her debut album, and it’s probably one of my favorite track placements (though I suspect the track placements on this album weren’t… super intentional). It summarizes into a perfect little gem the kind of songwriter Taylor was at the time. A simple, catchy, beautifully written little song about wondering why someone could be so cruel as to hurt you.

8. Stay Beautiful

People sometimes roast this song for its opening lines and, okay, they are a little silly. But the silliness, to me, is a lovely choice for a song about feeling a ton of admiration for someone. Love the warm strings and quintessential country twang.

7. Teardrops On My Guitar

The perennial classic, the Taylor Swift ballad that preceded every other Taylor Swift ballad. There’s something lovely and poetic about the central image of this song, an excellent example of Taylor’s early knack for fixating on specific but very telling images. “He’s the reason for the teardrops on my guitar” says so much with so little. It’s no wonder people still remember this song.

6. Should’ve Said No

It’s always fun in country to get a little mad and righteous, and while this isn’t the best song on this album with that vibe, it’s still one of my favorites. A really successful hook with all the repeated “Should’ve”s and a rollicking sound that brings you right into Taylor’s anger and betrayal. Love the bridge, too. “I can’t resist, before you go, tell me this: / Was it worth it? Was she worth this? No!” Fantastic use of conversational lyrics to really drive home the scene of Taylor confronting the asshole who cheated on her.

5. Mary’s Song (Oh My My My)

There’s an in-fandom joke about how Taylor has never played this song before and will never play this song (although, as far as I know, she has). Because of this, every time there’s a fake rumor going around of Taylor “sound-checking” a surprise song, it’s always this one. But it’s not hard to see why so many fans would die to hear this song performed live – it’s a sweet life-long love story based on the real story of some of Taylor’s neighbors. Plus, the “Oh my, my, my” chorus is sweet and silly in the best way.

4. Our Song

If you know any song from Taylor Swift’s debut album, it’s likely to be this one. Especially since it enjoyed a brief period of TikTok virality as recently as a few years ago. Based on the way I’ve ranked it, you’ll find me agreeing with this song’s classic status – it’s an absolutely adorable concept for a song that is filled with a ton of charming little details. I love the way it ends, too – there’s something so poignant about Taylor bringing her own songwriting into one of her earliest and most beloved hits.

3. Picture To Burn

My favorite angry girl song from this album, hands-down, is this sneering, sarcastic, revenge-minded track. This is a song I totally remember when it came out at the time, before I was even really aware of who Taylor was, and I remember loving the chorus. Again, this is a track that is strong in the little details it reveals – the “stupid old pickup truck” her ex wouldn’t let her drive is my favorite.

2. Tim McGraw

Sometimes I think about the fact that Taylor Swift started her career with a line as incredible as “You said the way my blue eyes shined put those Georgia stars to shame that night / I said, ‘That’s a lie” and I feel a chill go down my spine. This song is so incredibly well-written. I’ve brought up her knack for detail several times while discussing this album, and it’s just so obvious here as well. All those little moments help bring the listener into the feeling and the situation with efficiency.

1. I’m Only Me When I’m With You

This song has always been dear to me even before I knew it was a Taylor Swift song. I remember hearing it on Radio Disney back when I used to listen to it as a kid, and back then as now I admire this sweet and joyful celebration of the people who make us feel at our best. My love for it could only grow when Taylor played it when I attended the Eras Tour on June 30th in Cincinnati. It makes me smile and sing and jump for joy.

Fearless (2008, 2021)

25. That’s When (Ft. Keith Urban)

I hate this song, I’m so sorry. The story goes that this was originally a song with one narrator, but was re-written so that it could work as a duet for the Fearless vault, and I’m so sorry, but it is clumsy. The chorus makes absolutely no sense. I don’t like Keith Urban, either. It’s a miss for me.

24. Superstar

One of my stock reasons for not liking Taylor’s music back when I hadn’t given her much of a shot was that I didn’t like her tendency to mold melodies around her wordy lyrics. I don’t think that problem is as pervasive as I used to, but when I hear this song I feel it. I feel like this song just needs more of a melodic line to hold onto and a bit more of a direction.

23. Today Was a Fairytale

Written for the movie “Valentine’s Day”, this song absolutely feels like a generic love song for a movie. I much prefer Taylor’s more specific songwriting, so this song feels a bit hollow by comparison, but it’s cute enough I suppose.

22. Jump Then Fall

I always feel bad when I see this fall so low on my rankings, because it really is a sweet little song. I think its biggest problem is that I tend to forget it exists. The hook is just not anything too clever when compared to the rest of her discography, and there’s no big moment. I do love her delivery on the Taylor’s Version, though.

21. Breathe (Ft. Colbie Calliat)

Taylor’s vocals sound really beautiful with Colbie Calliat. I love the way they meld and harmonize on the chorus’s repetition of the word “breathe.” Plus, I love the way the pre-chorus builds up the intensity with a bit more speed, and the lovely bridge. I just wish I loved the verses a little more – I think it gives the song a bit of a weak beginning that hurts it in the long run.

20. Come In With The Rain

Now this is a song I tend to forget about but I always really enjoy when I do remember it. I love the longing melody in the verses and the way they build into the chorus. If anything, I wish there was a bit more of an obvious connection between the two melodies – but I’m mostly nitpicking. It’s a lovely song.

19. We Were Happy

Though Taylor Swift heartbreak ballads were absolutely nothing new at the time of Fearless‘s original release, there’s something shockingly dark and mature about this song. Maybe it’s the way the chorus ruminates on the future plans of its central couple. It’s really shocking to imagine a teenager writing a song like this – but then, maybe that’s why it wasn’t on the original album. I’m glad to get to hear it now.

18. Tell Me Why

If the raucous and fun anger songs from Taylor’s debut albums were standouts, they get even better on Fearless. Even as this one is the lowest on my list, it’s mostly because it feels the most like it could have been on the album before it. Still, I love the fighting imagery.

17. Fifteen

This is a song that has only gotten better with age. At the time of its release, Taylor was just a few years removed from the age she was singing about. While that didn’t lessen the wisdom of what she had to say, there’s just something more poignant and beautiful hearing 32-year-old Taylor’s affectionate tone as she gently chides her past self. This song also has an underrated line in the final verse – “Abigail gave everything she had to a boy who changed his mind / We both cried.” That beautiful illustration of empathy between friends reminds me a lot of the friendships I had at that age.

16. Change

It’s strange to look back on it now, but when Taylor was just starting out, she was the one major act for a label that was also just starting out. “Change” is her war cry for both herself and her label breaking through the noise of the Nashville scene and making their mark. It’s a shame how it was that same label that would later sell Fearless and the rest of Taylor’s early work behind her back, but perhaps Taylor had the last laugh when she rerecorded it, perhaps thinking of her own new fight to reclaim her art.

15. Bye Bye Baby

Continuing a thread I first really felt on “We Were Happy” is a real wealth of maturity in Fearless‘s vault that I’m not entirely sure was present on the original album. I love the way the melody of this song builds from something soft and subtle into its chorus.

14. You All Over Me (Ft. Maren Morris)

So… this is another song that really rose in my rankings after I got it as a surprise song in Chicago. Maren Morris came out to sing it with her and everything, and the moment was just gorgeous. I find that the recorded version doesn’t quite capture that magic, but I still do love the way the chorus resolves into the title. It’s a song that takes it time to build and unravel, and I’m glad I’ve gotten a chance to really admire it the way it deserves.

13. The Way I Loved You

Another song that was a minor TikTok meme, oddly enough, and a song I really love as a strong early example of the way Taylor captures so many complex emotions in her music. The straightforward and sweet sound of the verses versus the hurried chaos of the chorus might be a bit of an on the nose way to tell the story of a narrator missing her chaotic previous relationship in the midst of her squeaky-clean new one, but it works! I love the way the hook is sung too with such emotion. Fantastic bridge, as well.

12. You’re Not Sorry

“You’re Not Sorry” really takes advantage of changes of dynamics between the verses and chorus to really achieve a powerful effect. It certainly helps that I absolutely love the chorus in this song. It’s got such a great swing to the lyrics that really makes you feel the bitterness in Taylor’s perspective on her ex.

11. Untouchable

I wrote this song off for a long time because it’s a cover of a much lesser-known rock song by a band called Luna Halo. I mostly love Taylor for her songwriting, so it was hard for me to really find something to love in a song she definitely did not write. But upon listening to it a few times for this ranking, I realized that I was being unfair. It’s a really different take on the original, but even if it wasn’t, it’s an absolutely gorgeous song with a beautiful melody in the chorus.

10. Love Story

A classic. This song is so precious and fun and so quintessential to understanding Taylor’s mindset at this time. It’s a retelling of Romeo and Juliet where they inexplicably get a happy ending. It’s a statement of Taylor’s early and consistent belief in the power of love to bring about happiness. Is it naive? Of course. But it’s sure fun to sing along and feel that belief for just a few short minutes.

9. White Horse

This is another song I feel I didn’t give its proper due when I first started out as a fan. It’s another “Track 5 Before there were Track 5s”, but it nonetheless really feels like it deserves to stand with even some of her modern track 5s for devastating lyrics. It’s not my favorite, but I do love the way it contrasts with the ideas I just discussed on “Love Story”, tangling with the idea that fairytales don’t always happen the way you might want to. It’s also another really strong central image that totally tells the story of the relationship with such poignancy.

8. Mr. Perfectly Fine

Like just about everyone, I totally fell in love with this vault track when I first heard it. This was during a brief period pre-Sophie Turner divorce that most Swifties felt pretty positively about Mr. Joe Jonas, but it was fun to pretend and go back to that time when Taylor was a feisty little teenager openly beefing with her stupid teenage ex for being a stupid teenager. It’s a real cutting track, too, but it was obviously all in good fun. (Considering Taylor clearly took Sophie’s side in the divorce, though, I wonder if Taylor still feels like this song is all in good fun.)

7. The Best Day

I will never shut up about how beautiful this song is. You might come to find on some of my other rankings that I have a real soft spot for songs Taylor writes about her family. Taylor is very open about how close she is with her mother, and this song is, I think, the most beautiful song she has ever written about that bond. Again, this song is teeming with beautiful images of childhood innocence, using that specific detail to nonetheless make the song resonate so widely with so many people. Next to that nostalgic guitar, this song always makes me break down and cry if I listen to the lyrics too hard.

6. You Belong With Me

As much as people might like to argue that this song is cringe or bad because it’s about being a “pick me” or whatever, I would like to challenge that idea. I mean, not totally, because yes this song does have a little of that 2000s cool-girl misogyny, sure, but it’s also so painfully relatable to so many people to feel like a dork who could never possibly catch the eye of the person you love. I mean, I felt that way in high school, and I’d wager to bet that the classic and iconic status of this song is a reflection of just how many people have also experienced the same thing.

5. The Other Side of the Door

I think one of the greatest strengths of Fearless as an album is its wealth of songs that make you want to roll your windows down and scream the lyrics along with Taylor. I feel like “The Other Side of the Door” is one of the best examples. It’s got a great energy to the verses that deposits you right into one of her most underrated choruses. But, of course, the best part of this song is its whirlwind bridge, a style Taylor would come to perfect later in her career. The tumble of lyrics perfectly encapsulates the urgency Taylor feels as she tries to win back her love, with a perfect delivery.

4. Forever & Always

I think the best part about this track is how absolutely bitter it is. It’s in the delivery, the sarcastic, eye-rolling feel with which Taylor spits “Was I out of line? Did I say something way too honest? / Made you run and hide like a scared little boy.” It’s in the country-rock sound that makes you want to jump and toss your long golden curls like you’ve also just been dumped over the phone by a teenage boy. And of course it’s in the song’s title – parading the broken promises of a relationship that is over now.

3. Don’t You

I’ve seen some divisive takes on what is, in my opinion, the best song on the Fearless vault. Yadda yadda, Jack Antonoff left too much of his Antonoffian producing vibes on the song, making it sound like it doesn’t belong on this album, yadda yadda. Maybe that’s true to some extent, but honestly? This song is too good for me to care. The tension and beauty established by the synths in the background, the softness that builds throughout into a wail of accusation. It’s perfect for a song like this, and when I heard it it was exactly what I wanted Taylor to sound like in any new stuff she made going forward. And then, lo and behold, came exactly that in Midnights. Called it!

2. Fearless

For whatever reason, despite this song literally being the title track of one of Taylor’s most successful albums of all time, I really feel like people do not give it the credit it deserves. Before the Eras Tour, I saw almost nobody guessing that it could grace the setlist, with most people opting for the more popular singles and vaults. But when Taylor ran out on stage, guitar in hand, twirly golden dress swinging, to that distinctive opening snare… it was perfect. “Fearless” is a perfect condensation of this album’s feeling of youthful hope, all tied up with a glittery golden bow. It’s fearless!

1. Hey Stephen

But, through it all, absolutely nothing and no one could break my love of the best song on Fearless, “Hey Stephen”. This sweet as sugar love song is just so beautifully performed, the purity and maturity of Taylor’s rerecorded voice only adding to the exuberant sunshine and joy of the original track. The “Mm mms” in between the chorus and verses absolutely contributes of this feeling of fondness and warmth. This is a sorely underrated love song in Taylor’s discography, and nothing brightens my day like it.

Speak Now (2010, 2023)

23. Innocent

I’ve seen some staunch defenders of this song, and I get it. No matter how badly views of Kanye West have soured since Taylor originally extended him her forgiveness back through this track in 2010, this is still a beautiful track about the difficulties of growing up and having to contend with your mistakes. I do see that, but the song itself is just not strong enough for me to get totally over that particular ickiness. I just don’t connect with the melody in the verses, and while some of the lyrics are really beautiful, I don’t know if they totally save the song for me.

22. Never Grow Up

Don’t let the low placement of this song fool you – Speak Now is one of my favorite Taylor albums, and there isn’t a single song on it that I would say is bad. If anything, the reason I don’t care for this one is I think it retreads some of the ground of “The Best Day” but doesn’t quite reach its emotional heights. Still, there’s some really smart storytelling here as the song turns from a sort of lullaby to a child into an exploration of lost childhood and discomfort with maturity and independence.

21. Superman

Before the Taylor’s Version, I really let this song slip by my attention unnoticed. Maybe I’ll chalk it up to the weaker delivery of Taylor’s vocals on the original. But this is one song that I really feel has opened up and become so much more appealing with Taylor’s mature new approach. It makes me feel some of the darker undertones that were always present in the song a bit more starkly – as Taylor wrings her hands over her lack of power when compared to the man she loves, you can’t help but notice the unreliability of this narrator.

20. Speak Now

I see a lot of people speak ill of this title track, and I guess I get it. It is a little less emotionally deep or interesting than some of the other tracks – but it’s one of those songs that doesn’t really need to be introspective to be fun. It’s strong in its storytelling, setting the scene and the situation with a ton of efficiency and playing around in the fiction in such a distinctive way. I also love the 50s swing of the song, which totally matches the role Taylor plays as an observer warning her love of impending danger in the sign of his bride-to-be. It totally reminds me of girl group songs of that era, telling stories in this omniscient-yet-involved way.

19. Timeless

Speaking of storytelling, we have this sweet little vault song that sets the scene of Taylor exploring through antique photos and speculating on the love stories of the couples she finds depicted there. It’s the kind of song that works so perfectly with Speak Now as a whole, an album that is just as shockingly mature as it is sweetly naive. I love that sweetness and nostalgia and the way it all comes together in this lovely little slow-dance.

18. Castles Crumbling (Ft. Hayley Williams)

One of my favorite things about the Speak Now Taylor’s Version vault (my favorite of her vaults so far, by the way) is how perfectly she chose her features. I can’t think of an artist more perfect than Hayley Williams to back Taylor up as she sang about the terrifying guilt and pressure experienced by a young woman in the music industry. Both Taylor and Hayley were just that in 2010, young women just trying to grow and make normal teenage mistakes under the harsh eye of a misogynist and uncaring public eye. Their voices sound hauntingly beautiful together, and it’s the perfect added context to this era.

17. Mean

I think people often overreact when they try and argue that Taylor is some sort of cruel abuser to the real people who inspire her music. People have been writing music about other real people for hundreds of years, and I think punishing someone for taking inspiration from real life is just never going to work. That being said… I will admit that she was being a bit feisty when she called music critic Bob Lefsetz “a liar, and pathetic, and alone in life” to his face, in song. However… it is also just a little bit funny. Sorry, I can’t help but love it, even if I can admit it’s probably a little bit too much. I love this song. It’s a serve. It’s fun.

16. If This Was a Movie

Despite the fact that Taylor has apparently canonically removed this song from Speak Now and reassigned it to Fearless, I have kept it with Speak Now for organization’s sake. Likely because it is the only track on the original Speak Now that wasn’t solely written by her (to be fair, though, it was a bonus track for the deluxe version), Taylor didn’t want it on the Taylor’s Version for her self-written album, and despite other fans outcry, I do kind of get it. However, when Taylor dropped the Taylor’s version several months before she even announced Speak Now Taylor’s Version, it made me pay attention to it far more than I ever had before, and I realized I really do love it. It’s got great build into that huge bridge, and it really ascended my favorites list as a result.

15. Long Live

You know, I really wish I loved this song a little more as a song. As it stands, “Long Live” is certainly beautiful, with sweet and very poignant lyrics. As far as a song I’d put on and listen to for fun, though, I just don’t love it for some reason. However, this song still gets to be higher on the list just for how iconic it is as a performance. It’s a celebration of all the people who made Taylor’s career a success, and it’s incredibly beautiful to see her perform during her record-breaking tour with many of the very same musicians who have worked with her since this song originally came out and before. So, it sits here right in the middle of the list, where I feel very comfortable putting it.

14. When Emma Falls In Love

For some reason, people pay this song dust, and I absolutely will not stand for it. Inspired by Emma Stone (yes, that one), who Taylor was and is close friends with, this song is so fascinating for me not for what it says about the titular Emma, but for what it says about Taylor. All the things Taylor admires about her friend – her grace and beauty and ability to stay composed when in love – obviously is meant to contrast how Taylor views her own emotions as messy and out of control. I love the humble sound of the strings, and the fondness in the performance and tone, and those layers of complex meaning. It’s a fantastic song, perfect for this album.

13. Back to December

One of the reasons I continuously come back to Speak Now, as I’ve said a bunch of times, is the really unique mix of maturity and immaturity on display. It feels like a beautiful encapsulation of what it is to be in that 19-20ish age range when you’re technically an adult – but only technically.

12. Haunted

Big theatrics are a huge part of Speak Now, and “Haunted” is the song that probably best exemplifies it. With huge strings, big guitar lines, and a melodramatic look at the end of a relationship, it’s a song that drips in huge emotion. I’ve always felt like this song paid homage to emo bands like Evanescence, who showed every bit of their emotion without a hint of irony. It would seem like overkill, except when you come to realize just how horrifying and truly dramatic the scenario in this song is. It’s downright… haunting.

11. I Can See You

This song was a bit of a shock when I first pressed play on my first listen of Speak Now Taylor’s Version. Admittedly, it’s a pretty far cry from the sound of the original album. But I’d like to push back on the narrative that this song’s sultry and sexy lyrics aren’t “of the time.” I believe entirely that the Taylor who wrote “Haunted” about the end of her relationships would absolutely write a song like this one for the flirty beginnings of one. The bouncy guitar line and the way she slips through each line of the song is so fun and so interesting a direction for this album. I love it.

10. Last Kiss

As far as truly raw breakup songs go, Taylor Swift has a ton. But there’s something so distinctive and standout about “Last Kiss”. Starting at a soft twinkle, you get the feeling you’re hearing someone recount the memories of a relationship on the brink of tears. Plus, that bridge is just rip-at-your-hair heartbreaking. Some of Taylor’s best songwriting ever. True poetry.

9. Ours

There’s often a discussion to be had about how much knowledge of Taylor’s muses and inspirations is too much. And in the case of this song, I simply choose to ignore exactly why Taylor was interested in writing about being in a relationship her friends and family didn’t approve of. Instead, as someone in a queer relationship myself, I choose to see the beauty of a chorus like “Don’t you worry your pretty little mind / People throw rocks at things that shine, and life makes love look hard / The stakes are high, the water’s rough, but this love is ours.” So simple. It literally still makes me cry to think about.

8. Electric Touch (Ft. Fall Out Boy)

The other totally brilliant collaboration in the vault is here! I absolutely adore how much the Speak Now Taylor’s Version vault emphasized the emo and pop punk roots at the heart of this decidedly country pop album. Fall Out Boy was a defining act of those genres, and Patrick Stump’s distinctive vocal stylings add so much color. It ties so well into the themes of the rest of the album, too, hoping despite a slightly more jaded view on romance that this new chance at love might work out. I love the soaring chorus and the HUGE bridge. Rock album, when?

7. Better Than Revenge

Okay, but speaking of rock album… I don’t care if it’s a little problematic, I will always love this blisteringly sassy track. From the big snares to the even bigger guitars, to my favorite part of the song, the distorted vocalizations adding the sense that someone is gasping and egging on the shit-talking going on. I respect Taylor’s decision to change the most misogynistic line in the original, but I also respect her decision to keep most of the original meaning of the song intact – we’ve grown past tearing women down for the crime of dating a man. But, if we can still headbang to “Misery Business”, surely we can get down to this song, too?

6. Mine

Taylor opens the album with one of her warmest, most beautifully-written songs of all time. I see a decent amount of appreciation for this song, and still it doesn’t feel like enough. I mean, come on, who can beat the brilliance of a line like “You made a rebel of a careless man’s careful daughter”? This track is a masterclass in efficient yet meaningful storytelling, recounting the entire history of a couple – falling in love, getting into arguments, making up, etc – in one track. It’s innocent, maybe even a bit naive, but it’s the perfect tone setting for an album that will tackle the tricky balance between wild love and grim maturity.

5. Foolish One

Hands down, my favorite vault track is the extremely underrated “Foolish One” (I sure do say this a lot about my Speak Now faves, huh?) It’s a beautiful encapsulation of all of the interesting thematic ideas conflicting across this album. Taylor fully acknowledges her own habit of getting swept away by romance, despite her numerous previous experiences and current red flags screaming at her that this romance isn’t the fairytale it seems. Still, the song is light and acoustic, making the listener feel this painful conflict themselves. It’s really smart writing, and I’m so happy to hear it.

4. Sparks Fly

The next four songs have all, at one time or another, been my favorite song from Speak Now. It’s basically impossible for me to definitively say which one is the #1, because they’re all my favorites for one reason or another. “Sparks Fly” is a classic country-pop track about the excitement of falling in love with someone new, filled to the brim with beautiful imagery and one of her best bridges. Taylor’s vocal performance pushes the breathless excitement of the situation forward, making this song an absolute wallop of energy.

3. Dear John

This is the breakup song that is, in my mind, Taylor’s most scathing, clear-eyed, and brilliant to date. Against pointedly Mayer-esque strings, she lays out exactly how taken advantage of she was by the 32-year-old she truly loved. It’s not only in how she describes her feelings and actions, it’s in how she describes his – “I lived in your chess game / But you changed the rules every day.” And it’s in that soaring bridge – perhaps a bit painfully simple in hindsight – but nevertheless powerful as she takes back her power and declares him meaningless compared to her own sparkling potential. I am always taken aback at how mature and forward-thinking this song was, despite basically all odds. This song is a wonder.

2. Enchanted

Several songs on this list so far and to come rose in my rankings thanks to their appearances in the Eras Tour. What’s funny about “Enchanted” is that it was already one of my absolute favorites before I got to watch the gorgeous staging and dancing it received on tour. Now, I’m even more convinced of this song’s iconic status – a perfect snapshot of how it feels to meet someone special for the first time. That includes the ups and downs – the joy of appreciation but also the knee-shaking anxiety of wondering if this person might feel the same way, too. It really makes you feel right along with Taylor, and has so many moments that make you want to scream the lyrics at the top of your lungs.

1. The Story of Us

As I mentioned, all of the top four have spent some time in my #1 spot of Speak Now. So why have I currently chosen “The Story of Us”? To me, it comes once again to Taylor’s shockingly mature songwriting, but this time with the added edge of emotional instrumentation that evokes the breathless anxiety of seeing an ex in public and wondering what to do. In that scene is fear and sadness, yes, but also a note of humor and frustration that makes the situation described feel all the more real. This is a song that is relatively light on specific detail of the relationship, but the pinpoint specificity of just how this situation makes you feel is so potent that it doesn’t matter. The tension, the conflict, it’s just palpable, and makes the song fly by in such a perfect way.

Red (2012, 2021)

29. Run (Ft. Ed Sheeran)

Contrary to popular beliefs I’ve seen about this song being “hated for the wrong reasons”, I actually don’t dislike this song because of Ed Sheeran. He’s fine – I even like some of his music (“Nancy Mulligan” goes hard.) It’s more that, one, that there’s a far better Ed/Taylor collab on this album and this feels a bit like the scrapped and lesser-developed outtakes of that song. Two, I just think the song is a bit too formless for my tastes.

28. We Are Never Ever Getting Back Together

I sometimes think of “Blank Space” as the first time Taylor played with her own popular image in a song, but really, now that I think about it, this song was. It really didn’t take much time at all for Taylor to gain her weird reputation for being a serial dater, and this song feels like an attempt to have a little bit of fun with that idea. I’ve always appreciated this streak of Taylor’s. Unfortunately, I really don’t like the re-record of this song. The backing vocals just sound so weird and shrill and it’s not my favorite sonic experience.

27. Starlight

Red is another album that has very few songs I actually dislike. Case in point – I really do like “Starlight.” It’s very cute and an early example of Taylor dabbling with telling others’ stories. I even like the oft-made fun of line “Have ten kids and teach ’em how to dream” (I’d like to point out that before saying this, she mentions that her beau is “talkin’ crazy”, which leads me to believe that this line is supposed to be ridiculous, because he’s talking crazy.) The chorus is fun, it’s a fun song!

26. I Almost Do

Despite my feeling that Red is a really solid album, I often don’t consider it among my top albums. And the reason is… it’s a super bloated album. Like, okay, take this song for an example. It’s a very solid ballad, with nice strings and a emotional message that feels resonant and interesting. However. On an album with 19 tracks, does it really differentiate itself from the rest? There are far more interesting ballads here, far more interesting examples of songwriting… and so on. So while I like this song while it’s on, I just can’t say it’s enough to really stand out.

25. Red

There’s a lot to love about the title track of this album. Great tension building, and a wonderful little thesis statement about what the album’s title is meant to evoke – the mixed up emotions that come from a passionate love ending. However… compared to a lot of the songwriting on this album, I don’t find the hook all that complex. So while I do like the feel of this song, the push and pull created by the guitar, there’s not much more to dig into but that, in my opinion.

24. 22

(Oof, just barely missed being a hilariously ironic placement, huh?) I’m 25 now, so I’m not exactly removed enough from my early 20s to really feel confident to say this but… like, geez. Being in your early 20s sucks. It’s terrible. If you’re in your early 20s right now, I’m holding your hand. What I love about this song is it really captures this strange dual nature of being in your early 20s, during a time when you’re supposed to be in the prime of your youth, having a ton of fun constantly, but on the inside you’re constantly screaming. Happy, free, confused, and lonely, miserable and magical indeed. Taylor knew exactly what she was talking about, and she put it into such a fun pop track.

23. Come Back… Be Here

I’ll be honest, I don’t think this song actually deserves to be this high on the list. As far as beautiful lyrics go, it’s not nearly as strong as a lot of other songs on this album. However, it arrived in my life during a time where my partner of almost 7 years was overseas for six weeks, and I really leaned on it. I do love the bridge, and the way the song slowly opens up and grows more mournful as the song continues, really mirroring the sound of someone begging.

22. Treacherous

Red is an interesting milestone album for Taylor, because it feels right at the cusp of her transition into presenting herself as an adult. Speak Now definitely still feels like an album that keeps a childlike perspective in mind, but Red is really starting to feel like a mature and adult album. “Treacherous” is a fantastic example of the new topical possibilities this opened for Taylor, as she got to explore sensuality and sexuality for the first time. I really like the build in this track, and the way the lyrics seem constantly reaching for something. It’s a great example of music that makes you feel its meaning. Plus, fantastic bridge.

21. Sad Beautiful Tragic

In a lovely little waltz, this song ruminates on the sense of loss experienced by both parties at the end of a relationship. Again, this is well-tred ground for this album, but I really like the way this song approaches the subject with a dual focus on both parties. There’s a lot of beautiful lyrics here, too, I love “In dreams I meet you in warm conversation / But we both wake in lonely beds in different cities” in particular. As simple as the refrain is, it feels correct for a song like this, that seems like it’s a tearful smile at an ex lover, an acknowledgment of mutual pain.

20. Eyes Open

I think this is the first time this has happened on the list so far, so let me explain – “Eyes Open” isn’t technically on Red, but it was released as a Taylor’s Version with a Red album cover and was released during this era, and I want to rank it and talk about it, so here it is. The second of Taylor’s two-song “Hunger Games” suite, I like this one a little less, but there’s still a ton to love here. I love the subtle way this song slides in, only to be brought to a dramatic start with that big meaty guitar. The lyrics are really something, too, alluding both to the themes of the movie but also feeling quite personal to an artist who began so young and is just beginning to struggle with the limelight.

19. Nothing New (Ft. Phoebe Bridgers)

An element at play with the vault songs is the way they can show a new perspective on the era that may have not been apparent (or had been relatively subtle) at the time. I do think the original Red had some themes of anxiety over time spent in the spotlight – but never in such a stark and sad way as with “Nothing New.” Phoebe Bridgers was an excellent choice to add to this tired, introspective track about feeling too old far too young. The echo she adds to Taylor’s voice evokes an empty room, the loneliness of a young star at the top.

18. Everything Has Changed (Ft. Ed Sheeran)

See? I like Ed Sheeran just fine when he’s used right. I think the strength of the collaboration here is the lovely harmonies between these two friends, particularly in the pre-chorus and chorus. It’s nothing too complex, but it is a pleasant, well-constructed pop song with a hopeful and inspiring feel.

17. Message in a Bottle

I can’t fully explain it, but this track is so 2012 it hurts. In a good way, mostly, though flashbacks to the year I turned 14 can be bittersweet in a lot of ways. I can totally imagine this song playing over the credits of some non-Pixar animated movie. In fact, I’m almost a little jealous of the alternate timeline where that was a thing. But jokes aside, I love the pining feel of the chorus and the sing-songy touches throughout that make it such a pop song.

16. Babe

Originally, “Babe” was a song Taylor wrote and performed with the band Sugarland. I wasn’t previously familiar with the original, so I experienced this song backwards from than how many others did. I like the soft, almost gentle approach to the instrumentation, which provides an interesting sort of contrast between the meaning of the song – a callout to a cheater – and the almost loving sound. It really emphasizes the sarcasm inherent to a track where you call the man who betrayed you “babe.” This softness also gives the track a ton of space to build into that big accusatory bridge.

15. Forever Winter

Sometimes there’s a track that doesn’t click with you at first, but after really absorbing the meaning and direction, you’re suddenly aware that it’s one of the most beautiful pieces of art you’ve ever experienced. This song is absolutely devastating, chronicling the singer’s perspective on a friend going through a dark time. The chorus involves her begging the friend to hang on, and the bridge absolutely always makes me cry. “If I was standing there in your apartment, I’d take that bomb in your head and disarm it / I’d say ‘I love you even at your darkest, and please don’t go.” Absolutely devastating.

14. Girl at Home

Hot take time! I think Taylor’s decision to turn the weirdly noncommittal-country original version of this song into an absolutely bangin’ dance track was brilliant. Now, I have absolutely no loyalty to the original Red at all – I became a fan in 2021, after all. But come on, this take on the song is so much more fun than the original. With that “ah-ah” in the chorus, it was begging for a pure pop take and I’m so glad Taylor did it.

13. I Knew You Were Trouble

Here I will admit something vulnerable – I’ve never actually been through a breakup before. This means that sometimes the “relatability” of Taylor’s classic breakup songs is a little lost on me. But there is something so universal about the anguish present in this track. It’s a strange relic of its era, a dubstep-inspired Taylor Swift song, but that big bass-boosted chorus is the perfect backing to the anguished cry of “Oh! Oh! Trouble, trouble, trouble!” that is so fun to join in on. Screaming this song out in a crowd of other Swifties is a truly incredible experience unlike any other.

12. The Lucky One

As I implied when talking about “Nothing New”, themes of tiredness with the spotlight is not totally new to Red, as this track shows. This was a really clever early example of Taylor’s fantastic knack for writing songs about other people that nonetheless say so much about herself, as she recounts the tale of an old Hollywood starlet who decides to give it all up at the height of her fame for a simpler life. Taylor wouldn’t end up going the same way, but it’s fascinating that she seemed to artistically consider it so early in her career, before even the 1989 era would make her a bit of an infamous figure. It’s also just another excellent bit of storytelling, and I love the cyclical nature implied by the ending.

11. Safe & Sound

God, this song was such a moment. I, like any self-respecting tween girl worth her salt in 2012 was obsessed with The Hunger Games, meaning even I, a certified Taylor Swift disliker, couldn’t miss enjoying this beautiful ballad. It hits that perfect balance of meaningful to the story of the book series but also a beautiful sentiment on its own, focusing inward on a beauty of a love that persists despite terrible outside tragedy. The lilting, lullaby-like melody and soft harmonizing vocals from Joy Williams and John Paul White are so mesmerizing and beautiful, even over a decade later.

10. The Moment I Knew

It was an event that would live in infamy amongst Swifties… Taylor’s 21st birthday. No matter how you feel about Jake Gyllenhaal, it’s impossible not to feel angry with him after this song sinks in. You missed your girlfriend’s 21st birthday? Without telling her? Dude. Not cool. Jokes aside, though, this song is just beautiful at capturing the tragedy of a single moment, as Taylor describes trying to keep up smiles while she fruitlessly waits for the person she wants most to show up to her special day. It’s in all the little details – the way her friends react, the dialogue, the party dress and red lipstick, it’s all so vivid and real. It’s an image in song form!

9. The Very First Night

I’m not sure what Taylor put in this song, but it’s a real earworm. Maybe the lyrics are a little… abstract, but it doesn’t matter to me. This song captures the giddy and manic energy of meeting someone for the first time, but with the added element of looking back on that moment and wishing it could come back. Regardless, this is an interesting song in how it stays firmly positive, despite the darker undertones in the meaning. Totally catchy, interesting meaning, and an underrated part of the vault, for sure.

8. The Last Time ft. Gary Lightbody

While I wasn’t a Taylor fan in 2012, I was definitely a Snow Patrol fan, and it’s a real shame that I didn’t have the presence of mine to pay attention to this collaboration at the time. It’s a song about a relationship that’s as good as gone, but both parties aren’t ready to let it go. It’s bitter and heartbreaking, and such a fascinating dialogue between the two vocalists. I also will always love Lightbody’s voice – so nostalgic to me.

7. Stay Stay Stay

Okay, here’s my hottest take. “Stay Stay Stay” is a great song, you’re just mean. Whimsical, silly, and fun, this is a song that totally earns its seemingly shallow vibe by just being so sugary and sweet in its meaning. Sure, the couple in this song seem more than a little dysfunctional, but ultimately I find the song really loving and such a cute sentiment. Maybe don’t take this as #couplegoals, but I absolutely love it as an exploration of this kind of relationship.

6. I Bet You Think About Me ft. Chris Stapleton

An absolutely brutal takedown of her ex’s smarmy behavior and a bop to boot? Yep. What I find kind of interesting about this vault track is it feels a lot like it could have been an alternate single if, in 2012, Taylor was more interested in continuing along a country path. My sense of the original Red is that it’s country by record company meddling only, and Taylor was far more creatively interested in exploring pop. This totally reflects in the singles, which are all entirely pop. But anyway, that’s just speculation, and it doesn’t change the fact that this is such a fun song, with some really gorgeous layering added by Chris Stapleton’s beautiful low register.

5. Begin Again

Taylor has always been really great at picking opening and closing songs for her albums, and Red is no different (as you’ll note by the fact that they both appear in my top 5 of the album). “Begin Again” deliberately takes into account all the pain and heartbreak present on this album, but also looks forward as Taylor recounts a wonderful date she goes on and how different it is when compared to the sadness she has experienced with her last relationship. It allows the album itself to look forward, too. This song is so beautiful and soothing, with such gorgeous lyrics.

4. Better Man

Another track Taylor wrote for someone else during this period, this time for the country band Little Big Town, she gave us her own rendition on the vault tracks and… I’m obsessed. The chorus for this track lives in my brain rent-free – it’s big, mournful, and packs an emotional punch. The emotion is present throughout, though, with all those mournful and dynamic changes that really make you feel like you’re being spoken to. Sorry to Little Big Town, but Taylor’s performance of this track is one of my absolute favorites ever.

3. State of Grace

And here we have the opening track. As I mentioned, there’s a lot of mixed emotional messaging on Red, an intentional aspect of the themes of heartbreak and confusion. I sometimes feel like this is both a weakness and a strength of the album, as it can sometimes make listening to it a bit of a jarring experience. However, none of that is present in its opening track, which gracefully accounts for every extreme with – what else? – grace. The song is wide and grand, acknowledging the pain and the joy of her relationship with a ton of maturity. This is a gorgeous track that has so much to say about the album to come.

2. Holy Ground

Fast-paced and fun, “Holy Ground” is maybe the only track on the album that better captures the joy and sadness present in this album than “State of Grace”. The unrelenting pace of the verses recounts a relationship that is gone now with all of the joy and shared experiences, but stops in the chorus for a gentle recollection of how, despite being over now, the relationship continues to mean a lot to Taylor. I love the way the bridge captures how lovely and how sad it is to reflect on these memories: “Tonight I’m gonna dance for all that we’ve been through / But I don’t wanna dance if I’m not dancing with you.”

1. All Too Well

I mean like. Yeah. Come on. Like, of course. How could I not have “All Too Well” at number 1? It kind of reminds me of this quote I saw once about how some popular things make you feel like they would be overrated if they weren’t so good. And yeah, “All Too Well” has really been given its flowers by Swifties, and, now, by Taylor and the public at large as well. It has a short film and an equally brilliant extended version. All this hubbub and praise sometimes makes me forget this song’s brilliance. But then I turn it on, and I hear those gorgeous lyrics, that building guitar, that iconic bridge, and I’m like “Yeah, this is a masterpiece.” It’s that good.

1989 (2014, 2023)

22. Bad Blood

Since becoming a full-on Swiftie, I’ve reevaluated a lot of the Taylor hits I used to dislike. In most cases, I’ve grown a bit softer on them, as you’ve likely noticed in my rankings so far. Unfortunately, this song and the next haven’t really had that much growth for me. I just find this song really sonically boring – it’s essentially a chant about some niche industry beef Taylor had with Katy Perry. I’m just not that gagged. I do like the Eras tour performance, though – the pyrotechnics and the choreo does make it fun, but I’m never going to turn this song on in a listening session.

21. Shake It Off

I’ve always hated this song. I’m sorry. I know that it makes me a killjoy and a fun hater or whatever, but I just cannot forgive how horribly overplayed it was back in the day. I do think the re-recording of this song is a lot more tolerable – it’s less shrill, less honky, less strained, and generally a bit more relaxed in a way that makes me understand how someone might have some fun with it. And, again, like “Bad Blood”, I like the performance of this song on the Eras Tour.

20. Sweeter Than Fiction

This is the one song on the countdown still unavailable on any streaming platform, and I will admit that that’s probably one reason it’s so low on my ranking. I don’t really listen to it because it’s not on my music services. I do like the chorus, though – it has a nice melody and hook – but I just don’t really jive with the verses. They’re just a little formless in a way I don’t love.

19. Wonderland

Okay, time for me to admit another unfair reason why I don’t love this song much. I am a huge Alice in Wonderland hater. I find most media derived from it super tiresome and annoying, mostly because the nonsensical nature of the original material tends to excuse “lol so random” story choices in anything based on it. That’s not really the case for this song, though, which is why it’s totally not fair at all that I used to skip this song so much. Let me admit that the re-recorded version is quite enjoyable. I think the only thing I don’t love about it is the way the chorus feels disjointed from the verses, halting a lot of the good build and tension they create.

18. Say Don’t Go

Of the 1989 vault tracks, this is the song that feels most derived from the original album. Unfortunately for me, that’s not an unabashed positive for me, since I’ve always felt like 1989 was a bit too polished for my personal tastes. I do like the shouting interjections in the chorus, but I just don’t think this song goes anywhere. It’s not bad, it just, to me, doesn’t really add anything to the original album.

17. This Love

While it’s a lovely song, with some truly beautiful lyrics, I’ve always had a bit of a hard time connecting to “This Love”. I suppose it feels similar to “State of Grace” in the way it attempts to encompass the positives and negatives of a love, but this song feels just a bit too vague to really pull it off. I do love the bridge, though, with its thundering instrumentation and sense of action and tragedy. I only wish the rest of the song had that tangibility.

16. Wildest Dreams

Built on a backbeat of Taylor’s own heartbeat (cool as hell), this has always been such a strong combination of her ability both to write beautiful songs about heartbreak and her ability to write a good pop song. It’s got such a strong structure that invites the listener in even as it also features a lot of the traits of a more artistic ballad. A solid song all around.

15. Suburban Legends

This song is super funky and weird, and I mean that in the best possible way. One of the reasons I really love the 1989 vault is the way it introduces a bit of messiness and confession to an album that I’ve always felt lacked these two key Taylor traits. The original 1989 is clean as a whistle, with a very strong narrative throughout, and I think it makes the album way too sterile (in my humble opinion). By contrast, this song is so messy and seemingly aware of how messed up Taylor’s own desire to show off her fancy celebrity boyfriend to everyone is. It’s almost like Taylor is begging her ex to come back not because she actually loves him but because she loves what he represents to her. Totally fun stuff.

14. I Know Places

“I Know Places” opens and closes with the sound of a tape recorder click, a sound that turns the entire meaning of this song upside down. With a minor, almost “spy-like” sound in the verses, it chronicles the way Taylor attempts to keep her relationships a secret from the ever-present and watchful media that surrounds her. However, that sound effect at the beginning and end ultimately show that her efforts are fruitless – even this is being recorded and put on display for all to hear. It’s really interesting and smart writing, all included in this absolutely powerful and well-constructed song.

13. Welcome To New York

For a while, I sort of discounted this opening track. It is, after all, a pretty in-your-face synthesized track with some silly lyrics. But then I visited New York for the first time. I entered the city on a bus (I was chaperoning a school trip), and as I watched the city skyline come into view, I pressed play. And, yeah, she captured the feeling of entering the city better than I’ve ever heard before. That would be impressive enough on its own, but I also really appreciate how the song symbolizes the sonic change Taylor was going through on this album. In the same way she beckons listeners into the setting of the album, New York City, she also beckons them into the new pop sound.

12. All You Had To Do Was Stay

“All You Had To Do Was Stay” is a really unconventional track 5. Swiftie lore states that every track 5 is the emotional lowpoint of the album, a moment of despair and sadness, and that pattern tracks for just about every album except this one… maybe. Sure, it’s up tempo, and that squeaky clean synth is bouncing along, but I do sort of feel the despair on this track that maybe isn’t as present over the rest of the album. The scream of “Stay!” over the chorus betrays a rare moment of pure emotional expression on this album that mostly stays in narrative. The frustration of this song is so apparent the moment you hear that bridge, when Taylor spits out “Let me remind you this is what you wanted / You were all I wanted, but not like this.”

11. I Wish You Would

This song has such an incredible energy to it. I think it’s a huge dynamic contrast built by the frequent dips in and out of the big synthy instrumentals in the background. It gives this track a lot of momentum going into and coming out of the chorus, and a drama to the admission that you want someone back that works so well for the song. I love the bridge and the way it returns at the end as well – “You always knew how to push my buttons” is my favorite line, I think, because it says quite a bit about the relationship it centers on.

10. How You Get The Girl

One of my favorite things about Taylor’s writing is her ability to make a song be a lot of things at once. Case in point: This is a song that is literally giving instruction on how to win back a girl. It is also a pretty pointed read on an ex, Taylor essentially saying, “Hey, look how easy it would be for you to win me back. I’m literally telling you how.” It’s such a unique concept for a song and has such a fun and catchy sound.

9. New Romantics

One strength of 1989 is its unflinching yet fun take on youth. In a similar way that “22” captured the fun and horror of being in your early 20s, Taylor got even more tongue-in-cheek and self aware with her send-up of modern romance. The breathtaking pace of this song, the big processed instrumentals, and the sarcastic tone Taylor approaches the vocals with all combine to create something that is simultaneously humorous but also shockingly pointed. It’s almost a critique of the attitude of emotional flippancy Taylor found herself employing during this era of her life, and it’s a bop to boot.

8. “Slut!”

I get the sense that people were disappointed with this song when it came out. Honestly, I suppose I can see why – when people saw the distinctive punctuation and, well, the title itself, I think most people assumed this would be a takedown of media narratives about women’s sex lives. Instead, what we got was a soft, sensual ballad. But what I think a lot of people miss is the subtle critique – the chorus of “If they call me a slut / you know it might be worth it for once” is a line that packs so much meaning. It’s deeply tragic to see the perspective of someone who sees no possible outcome where she isn’t demonized by popular perspective, but seemingly assuades herself with the idea that, well, this romance is worth it. If that’s not a critique, what is?

7. Blank Space

Even before I had really contended with the cleverness of Taylor’s writing, I totally remember this song getting huge and me being impressed with the comment it made on Taylor’s image. I’ve always considered this song a turning point in Taylor’s songwriting – she had before written self-aware songs about her own fame, but never this type of track that took on the negative stereotypes created about her and explored the emotional complexity of such a character. It’s a pretty smart way to address just how absurd the image of the “jet-setting, crazy serial dater” was, and make something truly fun and iconic out of it in the meantime.

6. Clean

One of the most distinctive-sounding tracks from the original album thanks in part to producing work by Imogen Heap, who lends her trademark ethereal sound to the instrumental and the backing vocals. It works so perfectly for this song about finally feeling healed from something terrible and painful in your past – this song is atmospheric, filled with the imagery of water that washes you clean. In a similar way, the song flows and fills the space so beautifully.

5. Is It Over Now?

I’ve mentioned this numerous times now, but I really, really do appreciate how much messier 1989‘s vault is than its original tracklist, and this song is probably the messiest. Before the Taylor’s Version came out, I remember seeing people joking about how Harry was going to get spared from the brunt of Taylor’s vengeance since he’s obviously friendly with her. How wrong we were. This song is so scathing while at the same time being so self-disparaging, openly bitter about an ex moving on while at the same time admitting to moving on. Speaking of self harming behaviors engaged in just for the attention… there’s just a ton here that is a ton to process, and it all paints this era in such a different light. I love Taylor’s ability to do this.

4. Out of the Woods

I’m obsessed with the way Taylor captures anxiety in her music. I think she’s one of the consistently best songwriters when it comes to this topic, with a number of fascinating tricks for evoking the emotion. “Out of the Woods” feels like the quintessential song that springs to my mind when I think of Taylor’s talent for this topic, with the unrelenting pace of the chorus’s questions characterizing the uncertainty surrounding this relationship. The bridge is probably the best part, though, with its rapid series of images, all resolving into one scene – “When the sun came up, you were looking at me.” Looking with what? Love? Pain? It’s all left uncertain, a perfect choice for a song like this.

3. Style

Another song I couldn’t help but love even before I had fully admitted to loving Taylor, this song is just so addicting. The sensual, smooth bassline, the slick and fashionable lyrics, everything about this song comes together in such a beautiful package. Listening to this song makes you feel like you’re sneaking out with some beautiful lover, unable to share your relationship with the public for fear of scrutiny. Her storytelling pervades every part of the song, lyrics, melody, instrumentals, to make you see the images here so vividly.

2. You Are In Love

I find this song so wildly brilliant. A rare song about love that isn’t in first-person, it seems more ambitious than simply exploring what makes one relationship special. Instead, this song seems to interrogate what love stories mean, and why Taylor is so obsessed with trying to tell them. Focused on little moments of intimacy, it’s clear that Taylor comes to the conclusion that she tells these stories in an ultimately futile attempt to create something that feels as momentous as these seemingly normal moments of intimacy can. I love the way it uses silence to tell the story at a few points. This song is insanely underrated, and was long my favorite song on the album, until…

1. Now That We Don’t Talk

Yeah, a vault song became my favorite on the album. Pretty fun, right? I think what I love so much about this track is that it really fits the vibes of 1989, a big, fun, produced pop number that nonetheless tangles with some extremely difficult emotions. Rather than the birds-eye, already knowing the end vibes of the rest of the album, this song is simultaneously heartbroken about the end of the relationship and also celebratory of being free. It’s a tough balance to strike, but you feel the absence of intimacy and the frustration with the ex in equal measure, all in one addictingly catchy song. I only wish it was longer. Come on, one more verse, please?