Track by Track: Midnights [Part 1]

I am unashamedly part of the niche group of late millennials and early gen z netizens that refer to Taylor Swift as their mother. I pay loyal attention to every award show dress and cryptic post, connecting dots like I’m paid to do it. 

Swift’s second album, Fearless, was my first CD. Speak Now taught me that I liked to sing. The Red tour was my first concert. 1989 made me fall in love with pop music. Reputation marked my second concert with Swift, then an angsty middle schooler who desperately needed an escape through black glitter and loud music. Lover brought my best friend and I even closer, as it was our first album release since we bonded over her music. Folklore and Evermore got me through the pandemic and the new year. 

My experience is not unique, and I love that. Taylor Swift has the music industry in the palm of her hand and half the internet lined up to defend her. My tragically parasocial relationship with Swift is a complicated one. There were times where I was obsessed with every song she put out. But I’ve grown with her and learned so much about music by just listening to hers. I have so much respect for her as an artist, I’ve observantly watched her grace numerous genres, but ironically, I often find myself tearing her music apart. I can’t help but approach her music critically, as I do with any artist I’ve spent enough time with. 

Swift released her tenth studio album October 21st, 2022, garnering notably mixed reviews from both fans and music journalists. Midnights is a concept album, as Swift recounts 13 late-night stories in 13 songs, the album running just under 45 minutes. 

Midnights is tragically drenched in Jack Antonoff’s signature production style. I’m not particularly a fan. His heavy synth and persistent, uninteresting use of bass is distracting from Swift’s clever lyrics and vocal performance. With the wide range of feelings and experiences behind each of the midnights Swift talks about, I wish we could’ve seen a wider range of sounds. It seems like every song has the same bass line, the same synth, the same percussion, and the same underwhelming chorus. 

All that said, I really enjoyed a lot of the songs on Midnights. Her lyrics in tracks like “Maroon” and “Midnight Rain” are beautiful. I’m definitely more sound-oriented when it comes to how I enjoy music, but I can appreciate Swift’s lyricism, which once again shines in this album. 

I took a hefty six pages of notes listening to Midnights for the very first time, but I’ve combined those initial reactions with my current opinions below. I’ve been listening to the album on and off since it’s release, and despite some of my criticisms remaining firm, I’ve had a lot of songs grow on me.

Lavender haze

I like this song. The warpy production is some of the more interesting on the album, but it got old quickly. The start and stop is a bit boring: I want more drama, more contrast. Nevertheless, I really love the lyrics and Swift’s vocal styling, and the heavy bass makes sense for this song. 

Maroon

This song kind of bored me upon the first listen and it still kind of does. The hi-hats are so loud and overused. I really like her vocals and the lyrics, but the production is too loud. 

Anti-hero

Sure, the chorus is cheesy, and there are a few questionable lyrics, but I actually like this song. It’s catchy, dramatic and the production is just the right amount of loud. Swift knows how to make a good pop song and we love to see it.

Snow on the beach

I’m not necessarily a Lana Del Ray fan, but like most of the internet, I had high expectations when I heard about this collaboration. And like most of the internet, I was severely disappointed to discover that her feature would be some backing vocals and a single line to herself. I really like the melody of this song though, and the lyrics are pretty. The bass is a bit too loud and the bridge is underwhelming, but this song is dynamic and interesting, despite being slow.

You’re on your own kid

I was excited to hear some guitar on “You’re on your own kid,” but this production seems to overcompensate. The melody is fun, but repetitive in the verses. 

Midnight rain

“Midnight Rain” doesn’t stick out to me. It’s objectively pretty, but it’s nothing new. I like the lyrics, but they are once again drowned out by the production. 

Question…?

Swift showcases her talent of storytelling in “Question…?”, which quickly became one of my favorites on the album. I wish the production was a little bit more in-your-face, but overall the sound of the song is dynamic and the lyrics keep it interesting.

Vigilante sh*t

Despite this being probably the only song moody enough to deserve such heavy bass, this is my least favorite on the album. The pacing is awkward, the melody is not very interesting, and the lyrics are a bit cringey. I like how the bridge incorporates some chromatic scales though.

Bejeweled

“Bejeweled” brings the girly charm I love about Swift’s work in pop. Swift’s vocal performance is so cute and glittery, you can tell she’s having fun with it! The production is fitting, featuring glittering effects and a steady synth loop over low buzzing chords.

Labyrinth

I like the long intro on this song, but it sometimes makes me skip it: I’m impatient like that. This kind of vocal styling is not my favorite, but it portrays the emotion behind the lyrics very well.

Karma

I absolutely love this song. I am obsessed with this melody and the vocal styling. It’s timeless and bright and alluring. This is a strut-down-the-street-like-you-own-it song, stylized with this sparkly, easy-on-the-ears production. I love the lyrics, even if they might seem cheesy. I love the chant-worthy chorus, but my favorite part is when she sings “Spider-boy, king of thieves, weave your little webs of opacity.” Her inflection is so flirty I can’t help but giggle. 

Sweet nothing

At first, I thought this song was boring, but as I’ve paid more attention to the lyrics, it’s grown on me. Though it’s repetitive, the lyrics and melody are gorgeous. 

Mastermind

Midnights closes with some unresolved tension. “Mastermind” builds up throughout the verses and pre chorus just to barely drop in an underwhelming chorus. I like the song though; it sounds good. It’s pretty. I just want more. 

I wish I could say half the original 13 tracks of Midnights don’t sound the same, but despite every nit-picky issue I have with the songs individually, I like this album. Swift manages to show us new sounds despite her already sonically diverse discography. I’ve had “Karma,” “Lavender Haze,” and “Question…?” on repeat, and I expect other songs to grow on me as I keep listening.