Taylor Swift Midnight Review: Is Midnights a Good Album?

Taylor Swift Midnight Review: Taylor Swift’s promise to soon allow us a room to really dive into our thoughts was something we grabbed onto amid an era of ghosting, situationships, and several phone chats with my buddies about dating in 2022.

I pressed play on Friday morning, ready to let my thoughts out and make oblique references to my date in the songs. I wasn’t shocked to learn that Midnights was a combination of these prior endeavors after nine studio albums, the most recent of which was a genre-flirtationship (I say genre-flirtationship since the success rate here was inconsistent).

The Songs

However, were not written in Swift’s signature style. Her unfiltered emotions in timeless albums like Fearless and Red were able to conjure the feelings you instinctively felt, whether they were positive or negative. It makes sense, given that Swift’s album Midnights is advertised as being like her late-night stream of consciousness, during which emotions like love, heartbreak, rage, misery, and self-loathing sneak in.

Lavender Haze and Maroon give the album a promising start; the former features a synth-pop foundation with beautiful lyrics that capture the rumors that circulate (actually, about all of her relationships), but in this case, about her six-year romance with actor Joe Alwyn.

The track is thrilling and seamlessly transitions into Maroon, which echoes her Red era with more synth and sensuality, although that may also have to do with the song’s title. It contains well-known themes and lyrics like “The only kinda girl they see is a one-night or a wife,” and “I’m damned if I do give a damn what people say.”

Taylor Swift Midnight Review

What Is Anticipated to Be the Album’s Lead Single

Anti-Hero, an honest and unfiltered lyrical list of all the things that Swift dislikes about herself, should have been strengthened by the build-up of the first two tracks.

The song has the potential to provide a novel perspective on her struggle with herself in an era when self-love and positive advice is being rammed down our throats. Instead, it’s extremely difficult to support the “Anti-Hero” due to the uncomfortable coupling of peppy pop and even more awful lyrics (“Sometimes I feel like everybody is a gorgeous baby”).

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One of the most anticipated songs from the album Snow on the Beach, starring one of music’s original sad ladies, Lana Del Rey, hopes for a better and dosage of the piercing agony of grief. Instead, a Taylor Swift song with backing vocals by Del Rey that echo like a shadow is what we hear. The song had so much unrealized promise that it was ripe for the “love spiral” she alludes to in Lavender Haze. Instead, the most simple description of what snow on a beach might look like is, “Weird, but fucking lovely.”

Midnight Rain Picks up The Pace Once More

Adding a touch of maturity to Swift’s typical sorrow anthems and demonstrating that, sure, she was “creating [her] own name” while “He wanted a bride… he stayed the same.”

The second half of the record is also launched into a revenge playlist by Midnight Rain, but it doesn’t imply everything makes sense. Swift, for instance, asks in Question…?,

“Did you ever had someone kiss you in a large place; And every single one of your pals was making fun of you; But fifteen seconds later, they were clapping too? What did you do after that? Why were this man’s pals laughing? I want to know the answers to all of these questions. Is it the reason he dumped her?

Taylor Swift Midnight Review

Swift may have been inspired to compose Vigilante Shit by the laughter. Think Better Than Revenge with a lot of great lady energy, as in the Speak Now period (and more feminist). The song’s hard-hitting words are performed with a raspy, funny-enough Lana Del Reey-Esque flare, which is a welcome change. Before returning to the positive vibe that will undoubtedly be present in Instagram captions for the remainder of the year, it’s a palate cleanser.

With obvious influences from 1989 and Reputation as well as Midnights since the lyrics are “Spiderboy, king of thieves,” Karma, another fan favorite that may have served as the album’s first single, brings out the Swift we all adore.

I don’t discover Swift’s sorrowful ballad that I required or anticipated until the 12th song. On Sweet Nothing, she sweetly murmurs, “All that you ever wanted from me was sweet nothing,” over a pitter-patter, electric keyboard-like beat that gives the song the feel of a gloomy lullaby.

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Her soothing voice and (finally) heartfelt lyrics successfully tug at the emotions that come with the bewilderment and then clarity that accompanies a relationship’s demise.

Mastermind, a rousing track that reveals who has been in charge throughout (hint: it’s Taylor), closes the album. As the beats intensify and echo around her voice, it leaves you feeling uplifted and with a hint of a smile on your face.

For ardent Taylor Swift fans, the album contains enough to make them laugh, cry, light a candle, and gaze up at the night sky. Even though it lacks cohesion and effortless mastery of some of her earlier albums, it still demonstrates her artistic growth.

However, it is becoming more and more clear that she will soon need to decide which audience she is writing lyrics for—those who are falling in love for the first time, or those who are trying to hang on to some semblance of love in 2022.


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