Taylor Swift - Midnights

1989 finally executed right? Oh dear...

I think the album is fine. I don't necessarily think its a regression but I don't think its exciting territory for her either. I don't dislike her work with Jack, but I do think it is time to find new collaborators.

Right? 1989 is a fantastic pop album

It's giving the energy of those (very few thankfully) people who dismissed Break My Soul when it first came out because it was 'basic' compared to the meaningful messages rooted in Lemonade.

Not a regression, still excellent, just different.
I like you @xOJakeXo I'm just giving you a hard time. I do think it's a ludicrous thing to say, mind you. But I'll let you have your release week high.

Ope I didn't even register that directed at me! But now I feel like I should clarify because I think 1989 is bulletproof and remains my 2nd favorite album of hers. I more so meant that styles she began exploring there have found further refinement here, not necessarily that they're better (although, I like some of these songs more than I Wish You Would...).
I'm so in love that I might stop breathing
Drew a map on your bedroom ceiling
No, I didn't see the news
'Cause we were somewhere else
Stumble down pretend alleyways
Cheap wine, make believe it's champagne

I like this. I'm mostly a casual fan, one of those that had heard and mildly appreciated most of her stuff but got fully on board once she released folklore and evermore, which is when everything clicked for me. I admit now that I've heard it, I'm bit confused by the "return to big pop" claims I've seen, not necessarily on here, because most of it still feels very dreamy and understated for synthpop, which is what I love about Taylor's take on the genre. Parts of it remind me of the more night-time-y, mellow side of reputation, one that houses some of my faves from her, mixed with the dreaminess of her more recent work.

I can get how it sounds safe and like she's retreading old grounds. There are many moments that feel very been there done that and so, outside of the standouts I'm going to mention below, not much excites me in the way folklore and evermore did, on the main tracklisting at least. That said, I'm hearing slight alt R&B elements here and there that, unless I'm missing anything in the hundreds of songs she has amassed, sound new for her? For that reason, Lavender Haze and Karma were immediate favorites. I already know I'm going to get obsessed with those like I was with august, gold rush or willow back in 2020.

Other standouts include Mastermind and Maroon. I swear there's a 80s new wave / jangle pop hit that has a similar hook to the former, and it's killing me that I can't recall the name right now fff. Hits Different is also a standout but I can see why it was left off because it has a bit of a different vibe... and by that I mean it reminds me of Michelle Branch and I really need it on streaming services now!!

Time to dive into the 3am tracks.
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The old Drew can't come to the phone right now. Why? Because he's retroactively stanning Reputation and her white girl rapping over Max Martin beats. I'm sorry for mocking you and criticizing your childish tantrums, Bad Gal Tay Tay. Please come back!


Staff member
Hits Different is the one......she will not be seeing heaven for making it a retailer-specific bonus. This is what I was expecting the vibe of the album to sound like with the art direction for this era, and honestly, this song should've been the blueprint for the album, not some forgotten bonus track. For me, it's the best thing here along with Would've, Could've, Should've and Snow on the Beach. I know it's only been one day, but the album just feels like a missed opportunity to really do something DIFFERENT.
I’ve only listened to the standard edition so far, and it was a nice enough listen but I don’t think I’ll take much from this. Very little jumped out to me as particularly memorable.

I do really like Mastermind though, and Karma is pretty fun (the stupid lyrics elevate it, if anything).
As anticipated, I’m enjoying this much more on repeated listens. It has a lot of interesting flourishes in its production that I look forward to discovering even more. Lyrically, there are actually quite a lot of tracks where her writing reminds me of folklore and evermore, just more so from her perspective vs. the storytelling she dabbled with on those records.

Karma is Bad Gal TayTay done right, something outside of Look What You Made Me Do she was unable to do on Reputation. So I actually hear a lot of growth in her songwriting compared to that time on this. Labyrinth and Would’ve, Could’ve, Should’ve are stunning.

In short, she got me again girls!