Like peanut butter and jelly, Taylor Swift and Jack Antonoff are a classic and reliable pairing. The 11-time Grammy winner began working with the Bleachers creators in 2013, and what began as a soundtrack collaboration has grown into one of pop music's most fruitful partnerships. As of 2022, Antonoff has co-written and/or co-produced 56 songs with Swift. While this is only a small portion of their individual catalogues, they remain among each other's most influential collaborators.
Arguably, the success of early songs from Swift's 2014 album 1989 made Antonoff the go-to superproducer for several of today's artists, leading to him churning out pop masterpieces like Lorde's Melodrama and La Na Del Rey’s Norman F*cking Rockwell! , both received Grammy nominations for Album of the Year. However, he has always found a return to Swift on every one of her albums since 1989 , and he shared two Grammy Awards for Album of the Year with her, in 1989 and Folklore of 2020. Despite this, Swift had never recorded with him exclusively until the release of her tenth studio album, Midnights, on October 21, which broke global sales and streaming records and set her first-ever record in 2017. The album’s biggest first-week sales since Swift’s “Reputation.”
Continue reading: What to expect from Taylor Swift’s 2023 Eras Tour
Clearly, they're not done yet, as evidenced by the fact that Swift and Antonoff released a remix of "Anti-Hero," a collaboration with Bleachers, on Nov. 7. To celebrate their ever-evolving creative partnership, here's a highly subjective ranking of Swift and Antonoff's 56 collaborative songs, based on her iconic lyrics, his versatile production skills, and Swift's collaborations with The emotional connection of every song.
56. “This is why we can’t have nice things”
this The kiss-off track was a fun finale to her Reputation Stadium Tour. That's it.
55. “Goodbye Baby”
Antonoff added a wistful feel to the track "From the Vault" on Fearless (Taylor's version) , but Swift's 19-year-old instinct to cut the song from the proper 2008 album was correct.
54. “I Don’t Want to Live Forever” with ZAYN
Like Swift and Antonoff's first acoustic single, her 2016 collaboration with ZAYN, " Fifty Shades of Grey," ultimately led to her next studio album, 2017's Reputation sound. But just like that song, there are better songs on this album.
53. “That’s when” feat. Keith Urban
Swift elevated a catchy ditty with Urban's features, making it the perfect "Vault" track on "Fearless" (Taylor's version) , but it still couldn't compete with the towering anthem of the main album.
52. “Sweeter than fiction”
This is where it all begins. "Sweeter Than Fiction," a song written for the long-forgotten film "One Chance," marked Swift and Antonoff's first collaboration. They laid out a solid blueprint, with Antonoff amping up his classic '80s synth-pop production to suit Swift's sweet lyrics, but little did we know how much more there would be.
51. "Vigilante Shit"
This tale of deception and reward from Swift's latest album Midnight may be one of the strangest tracks in her catalog, but it could be even stranger. If she wanted a creepy Billie Eilish-esque revenge fantasy, she should go to the source.
50. “London Boys”
Everyone said "Thank you Taylor" for your generosity in planning our next trip to London.
49. "Lake"
Instead of shouting about "London Boys," one region of England has its own song. Swift envisioned a future in which she (and possibly Joe Alwyn) left the public eye and spent her life in the Lake District, like the poet she admired. It features some of her poetic and complex lyrics, as well as some of her most clumsy melodies.
48. “Question…?”
In true Swift style, she asked if she could ask a question at the beginning of the chorus, then asked several questions in quick succession. Since Swift speculated that she was asking her ex-boyfriend Harry Styles, he should have responded with a song called "Answer..." or something like that.
47. “You’re in love”
Never forget that one of Swift's most poignant and concise ballads is about Antonoff's love story with Lena Dunham. Like their relationship, the song didn't stand the test of time.
46. "Paris"
This bonus track from the "3AM Edition" of Midnights sounds like 1989 's "From the Vault" track. But unlike "Welcome to New York," "Paris" isn't a romanticized homage to a real city, but instead focuses on a whimsical, pointlessly cute encounter that will make anyone feel like they're in the city of love. (Or in Swift's case, City of Lovers ).
45. "Baby"
Swift originally gave the song "From the Vault" to Sugarland (and sang backing vocals) in 2018, and later re-included it on Red (Tyler's version) . Antonoff keeps things surprisingly light with minimal instrumentation, giving the song a unique pop flair but lacking the emotional impact of Jennifer Nettles' gut-wrenching plea.
44. “I wish you would”
This 1989 deep cut was one of the first examples of Swift and Antonoff combining the power of synth-pop with her late-night obsession, two things that would become hallmarks of her next few albums. She always knows how to push our buttons (in a good way).
43. "Lavender Mist"
Swift opened the show with "Midnight," a track co-written by Zoë Kravitz, effortlessly fueling speculation about her marital status while recalling her and Antonoff tracks some of its most striking moments. In fact, its melody is so similar to "I Think He Knows" that Swift has hinted at a mashup of the two songs on her upcoming Eras tour.
42. "Daytime"
The closing track of "Lover" is almost surprisingly calm and certain for an album that contains some of Swift's most epic love stories and brutal loss stories, as she connects her present to her past ("I Once believed love was red”), walked into the daylight. , and let everything pass.
41. “Nothing sweet”
"Sweet Nothing," co-written with her boyfriend Alvin (under the pseudonym William Bowery), is perhaps Swift's simplest ode to romance, focusing on the cobblestones, kitchen buzz and other details of their relationship. That nursery rhyme melody means this song will never leave your head. once.
40. “Call it whatever you want”
Speaking of nursery rhymes, the bridge of "Call It What You Want" could be rewritten as a lullaby for Swift's future child. This atmospheric song could also double as the story of how she fell in love with the father of that child, if she doesn't want to explain it herself.
39. "Dear Reader"
Shockingly, it took Swift 10 albums and 14 years to write a song that spoke this directly to her audience. What's even more shocking is that she only included it as a bonus track on the "Three O'Clock Midnight Edition" rather than letting it end an official album of hers.
38. “Glitch”
One of Swift's most experimental works, "Glitch" is filled with glitches, like fuzzy synths that sound like TV static, loops of what could be Slack notifications, and anachronisms that somehow fit together seamlessly of interruption. Swift and Antonoff should go further down this road.
37. “Paper Ring”
The Lover Deep Cut is basically "Shake It Off," but for people who listen to "indie records that are way cooler than mine," as Swift sang in 2012. They're probably too cool to play "Shake It Off" in their room. wedding reception, but it will be the first song on their playlist – and rightfully so.
36. "Bejeweled"
Admit it: "Bejeweled" is Chanel's reputation song "Gorgeous," which is Walmart. Five years later, she still makes a room sparkle.
35. “Karma”
"Karma is a cat that purrs in my lap 'cause she loves me" is one of Swift's best lyrics, and that alone should help Swift score her No. 1 hit with "Karma" Grammy Award for Song of the Year.
34. “Betty”
Who knew the combination of Antonoff, Alvin, and Aaron Dessner would create Swift's most country-flavored song since "Fearless" ? Most songs on country radio wish their lyrics could tell a story as epic as "Betty," however, this still isn't the pinnacle of their collective power.
33. "Midnight Rain"
Swift and Antonoff prove they're great when they veer into sexy pop-R&B mode. It opens with such a deep voice that fans might mistake it for a mystery collaborator, but once you realize that Antonoff simply reverberated Swift's vocals into oblivion, it only makes her Memories of often-forgotten breakups hit even harder.
32. "Eternal Winter"
Reportedly a song about a late friend of hers, "Forever Winter" was probably too devastating to be included on Red , but it later found its way onto Red (Taylor's version) as a "Vault" track A home of your own, and it’s not too early. With mental health awareness becoming more and more important to our lives, "Forever Winter" is the warm and comforting hug many people may need to get through the day, and Antonov gives it a try by keeping things as optimistic as possible. This song brings some levity.
31. "Ivy"
Antonoff only contributed to two songs on Evermore, Swift's second surprise album in 2020, but he made them work. On "Ivy," he adds a whimsical pop twist to Desner's more traditional folk instrumentals, somehow twisting Swift's tale of infidelity into a magical fairy tale worthy of a Disney movie.
30. "Lover"
The song is the reason why many people believe Swift and Alwyn were engaged or even secretly married. It's also her most sweeping and romantic love song, destined to be the first dance at many Swift weddings. If she does get married, the public may never know, but fans can imagine they're attending a wedding just by listening to the epic sequence.
29. “A different blow”
Swift left this "Midnight Stone" as a Target-exclusive bonus track, and this is my villain origin story. "Hits Different" combines the jaded outsider energy of "New Romanticism" with the carefree country-pop spirit of "Speak Now," making it a perfect match for top-down car rides and comb-over karaoke parties Perfect choice.
28. “Aren’t you?”
This remaining track from Fearless was enough to make a main album, but 19-year-old Swift wouldn't be ready to abandon her country roots in favor of Antonoff's shimmering synths, as she would wisely do 12 years later on Fearless That's (Taylor's version) . "Don't You" resurfaces as a long-lost '80s slow-dance dance song, and that's exactly what it should be.
27. "Maroon"
Who knew breaking up sounded so sexy? On "Maroon," Swift recalls a past relationship that still haunts her in blushing detail, right down to the rust marks on her phone. In Swift's words, he leaves behind "a real legacy," but the droning synth that ends the song is the only thing you need to know that their story doesn't end well.
26. "Clothes"
As with all great people, "Maroon" wouldn't exist without "The Dress." Swift's first desperately wistful and effortlessly sexy synth-pop song remains her best, with those twinkling synths perfectly matching her unapologetic obsession. When Bowen Yang commented that "The Dress" planted the seeds for "Midnight ," Antonoff even acknowledged the song's influence, simply replying: "That's right."
25. "My Tears Beat"
Of Swift's infamous fifth tracks, "My Tears Ricochet" may be the most dramatic — which is saying something considering the existence of "All Too Well." First, Followre 's Track 5 serves as Swift's own funeral, with her haunting harmonies and Antonoff's stark production making it seem like she's singing from beyond the grave. Nothing makes her sadder than when she yells, "I can go anywhere I want, just not home."
24. “I think he knows”
This is one of Swift's most underrated pop gems, and it won't go unnoticed anymore. It was never released as a single, nor was it considered a cult fan favorite like other Lover deep cuts, but its finger-snapping hooks, churning synths and endless hooks went on to inspire Lavender Haze and the inspiration for songs like “Karma.” Its impact is limitless.
23. "Death by a Thousand Cuts"
The best parts of Netflix's 2019 romantic comedy Someone Great .
22. "Illegal Affairs"
In contrast to its innocent sister "Ivy," this folklore gem focuses on the darker side of infidelity and how it can evolve from a beautiful hotel room to a "meeting in the parking lot," hurting everyone in the process . Swift has never sounded more angry and frustrated than she does when she passionately says, "Don't call me baby, don't call me baby."
21. “Look what you made me do”
Perhaps no song on Swift's album has stirred up as much controversy as "Look What You Made Me Do." She had no business writing an electronic clash song that mimicked Right Said Fred's "I'm Too sexy" and recalled the Peaches song from Mean Girls' Halloween party soundtrack — but she did, and the world is a better place for it. good. The lead single from "Reputation " is Swift's most indulgent, relentless, and pure camp song, and the amount of buzz it generated only cemented its place in her catalog.
20. "Anti-Hero"
Swift originally described the song as the most brutal examination of her insecurities, and it's now become the world's go-to method for analyzing one's own flaws. Swift and Antonoff are mostly in '80s power-pop mode, but they switch from the decade's euphoria to downplaying self-doubt as she imagines being killed by her daughter-in-law and everyone but her is " Sexy baby”. "Anti-Hero" is filled with some of Swift's strangest lyrics, but no matter how raw she gets, the tune is tailor-made to be a conquering pop anthem. Even Antonoff had to get in on the action (more than he already did), giving Swift comfort with a Bleachers remix and swapping out "Sexy Baby" for "Arty Bro."
19. "Archer"
"Archer" can walk, "anti-hero" can run. "Lover 's Track 5" is the beginning of Swift's search inward for inspiration, as she analyzes her self-sabotaging tendencies and comes to a startling realization: "I see right through myself." She begins by expressing how much she hates being in the spotlight. Seeing one’s own reflection here, and then this being the turning point for the “antihero,” shows that these insecurities aren’t going away anytime soon. Antonoff's steady, pulsating synths build to a payoff that never quite materializes, like Swift hasn't yet received her own resolution.
18. "Maze"
The viral TikTok theory that the synths on "Labyrinth" were accidentally created by Swift's cat may be accurate, but it just adds to one of Swift's most ethereal tracks. Her and Antonoff's dream-pop journey is their sweet spot, and "Labyrinth" proves that all she needs is some heavenly verses and a simple yet hypnotic hook to transport us beyond us into a new dimension .
17. "Sir. Perfect."
Can you imagine how popular this song would have been if Swift had released it as part of Fearless in 2008? "Mr. Perfectly Fine" fits perfectly with country-pop catnip's "Love Story" and "You Belong With Me" as well as Joe Jonas's reaction to being called "Mr." "Random cruelty" may become a part of pop culture history (like she knew to save that phrase for later). Antonoff's production on "Fearless" (Taylor's Version) is surprisingly consistent with the original album, meaning she had no reason to abandon one of her greatest crossover hits ever.
16. "New Year's Day"
"New Year's Day" may seem like a simple piano ballad at first glance, but upon closer inspection it feels like a turning point in Swift's career. That's how she began to recover from the tiredness and hard edges of her reputation , taking stock of the sparkle, warmth, and community around her. This is where her love of midnight began, and as Swift honed in on the little things in a love relationship, she realized it wasn't just enough to keep a song going, but to create some of the most impactful Powerful songs.
15. "Child, you can only rely on yourself."
Swift's journey to re-examine her shortcomings reaches a turning point on the fifth track of "Midnights ." "You're On Your Own, Kid" uses vivid metaphors to recall the singer's journey from schoolgirl outcast to music star, falling for the same emotions each time. major life events and realizing that she would not be satisfied with the approval of others. She somehow manages to make the line, "You've always been on your own, kid," sound both shocking and reassuring.
14. "Soon you'll get better" feat. chicks
"Soon You'll Get Better" is one of those songs that's so good you have a hard time listening to it. Writing about her mother's battle with cancer, Swift had a hard time remembering the fluorescent hospital room without tearing up. Antonoff pairs her perfectly with The Chicks (reportedly her mom's favorite band), whose signature harmonies take the song to the next level. Swift has only sung it once and I would be shocked to hear her perform this song again.
13. “False Gods”
False God breaks new ground for the duo, who both perform extremely well. Swift has never sounded more confident yet melancholy, unafraid to go off the rails melodically if it helps make her point, and the way Antonoff weaves her jazzy melodies into the saxophone is masterful. If "The Dress" was the genesis of "Midnight ," they would be wise to sow the seeds of "False Gods" for their next installment.
12. “This is my attempt”
While Swift may be one of the most prolific lyricists of our generation, it's even rarer for her to have every line in one of her songs cut like glass, and she's in That's accomplished here. “I was so ahead that the curve turned into a sphere” is true for overachievers everywhere, and “I was like all my potential was wasted” is true for those who never feel like they are doing enough explain. "This Is Me Trying" may be the most evocative song Swift has ever written, and Antonoff elevates those emotions in a haunting soundscape of folklore .
11. “Gold Rush”
Swift's early work may have been defined by enchanting fairy tales and Romeo and Juliet -esque love stories, but her most magical Disney songs actually came 15 years into her career. "Gold Rush" isn't so much a song as it is a majestic whirlwind that actually lacks a proper chorus, bridge, or any conventional song structure. Instead, Swift riffs on fear, beauty, jealousy, and purity in her relationship in rapid succession, to a soundtrack of whimsical piano and gorgeous strings that could be played on Bridgerton , and featuring Swift's vocals. Bookmarks, forming a heavenly choir.
10. "Get Out of the Dilemma"
"Out of the Woods" is where Swift and Antonoff's relationship really begins to flourish. It was the first sparkling evidence that Swift's knack for detailed storytelling could carry over into a full-blown pop song, and Antonoff's '80s synth craze proved to be as relevant as her take on Polaroids, Paper airplanes are a perfect match for the crazy story of 20 Pins. A hospital room that has sparked countless conspiracy theories in Swiftie fandom. The repetitive refrain was shockingly simple for Swift at the time, but surprisingly effective in proving her pop prowess.
9. "Snow on the Beach" feat. Lana Del Rey
Yes, the TikTok videos joking about Lana Del Rey's barely there appearance in "Snow on the Beach" are hilarious, but they also question how important she made the song. Del Rey’s heavenly background vocals add a ghostly presence to Swift’s recollection of this too-good -to-be- true love story, almost as if we’re left to question whether she’s real too. The idea of Swift collaborating with Del Rey felt like a dream at one point, fitting the song's narrative. Of course, none of this would have happened without Antonoff, a loyal Del Rey collaborator who knew how to blend their worlds seamlessly.
8. “Cornelia Street”
"Cornelia Street" was never released as a single, but it became so important that the New York apartment that inspired it is now a landmark on Apple Maps, which says it all.
7. “Planner”
The closing song of "Midnights" comes closest of any artist to the bittersweet euphoria of Lorde's "Supercut," another perfect Antonov composition. But lyrically, it has its own merits. Swift once again brilliantly subverts her public image of being calculating and deceitful, applying it to her own relationships and meticulously outlining how she found the lover of her dreams. A little scared? Maybe. But once Swift yells, "No one wanted to play with me when I was a kid," and the twist ending is revealed, you become her biggest cheerleader.
6. “Everything Is Fine (10 Minute Version)”
In most worlds, this song would be number one. Swift succeeds in adding more emotional pathos (pun intended) to a story her fans know well without making any of the devastating details feel superfluous, and Antonoff's rendition of the piece manages to do so without compromising The circumstances of her words elevate the level of melodrama. But it's still Swift's magnum opus through and through, and on a list celebrating the work of the duo Swift and Antonoff, naming "All Too Well" as their crowning glory feels out of place, because frankly Said she could have made a 10-minute version without him if necessary.
5. "Cruel Summer"
Don't say the word "Cruel Summer" to Swiftie unless you're in the mood to complain for an hour about how it should have been released as a single instead of "ME!" and got a dramatic music video and epic awards show performance. That said, they make a good point. "Cruel Summer" is Swift's ultimate '80s soundtrack song, a surge of surging synth-pop, electric guitar courtesy of St. Vincent, and lyrics so vivid you could have directed the music video yourself. That towering bridge alone should be studied in music theory class.
4. “Bigger than the entire sky”
It's rare that Swift is left speechless, but on this track from Midnight 's "3AM Edition," that's exactly what happened. “There were no words before me after the fact,” she begins, setting the stage for a song so hollow, written about a loss so monumental that she doesn’t sing the entire part, forcing Antonov to sing in a slow, gentle way. musical instrument to lead the performance. Luckily, what they do best is dream pop, making lyrics that pierce our hearts like no other. The song resonates with many fans who have suffered immediate pregnancy loss, and for that reason alone, it marks one of the duo's most important works.
3. "Getaway Car"
As far as epic power pop goes, "Getaway Car" is Swift and Antonoff's masterpiece. The lyrics have sparked countless stories and conspiracies that have actually led to Swift running away from her exes (many of them related to the 2016 Met Gala), which only proves the song's impact. Other than that, this is an original-sounding song that deserves investigation. With fast verses, masterful synth lines and subtle yet epic key changes that have never been replicated, "Getaway Car" is the definition of a perfect pop song and a truly winning combination of both their talents.
2. "Mirror Ball"
As mentioned before, Mazzy Star-esque dream pop is the perfect fit for Swift and Antonoff, and that's never more evident than on "Mirrorball." Like Antonov's best work, it can be disguised as a dance party slow dance, a Christmas song (those jingle bells!), or something played on the jukebox as you contemplate your life in a slowly emptying bar a song. But in true Swift style, it's both an analysis of her own life and a reassuring promise that you're heard, seen and valued. "I'm going to show you every version of yourself tonight," she promises at the beginning and end of the song.
1. "August"
It feels like Swift and Antonoff's entire careers have been preparing for "August." Narratively speaking, this is the second part of an epic trilogy about the fictional love triangle between James, Inez, and Betty, which together elevates Swift's storytelling to a larger, more More imaginative heights. Sonically, it combines everything she and Antonoff excel at—dramatic instrumentation, dreamy pop, dazzling strings—and distills them into a seamless, swirling, A vast blur. It's no surprise that August has amassed a cult following, as it's truly a world of its own that we'll only be lucky enough to live in forever.
