Like peanut butter and jelly, Taylor Swift and Jack Antonoff are a classic duo. The 11-time Grammy winner began working with the Bleachers frontman in 2013, and what began as a soundtrack collaboration has grown into one of pop music's most fruitful partnerships.
As of 2024, Antonoff has co-written and/or co-produced 80 songs with Swift, buoyed by her latest album , The Tortured Poets Department . While this is only a small portion of their individual catalogues, they remain each other's most influential collaborators.
It could be argued that the success of early songs from Swift's 2014 album 1989 helped Antonoff develop into a super producer, leading him to collaborate with Lorde on Melodrama and co-produce with Lana Del Rey "Norman F*cking Rockwell"! He has continued to work with Swift on each of her albums since 2014, winning his first two Grammy Awards for Album of the Year for the ballad in 1989 and 2020.
Despite this, Swift never recorded exclusively with Antonoff until her tenth studio album, Midnights , which won the pair their third Grammy Award for Album of the Year.
Clearly, they weren't done yet, as evidenced by the many songs they collaborated on on Tortured Poets. To celebrate their ever-evolving creative partnership, here's a highly subjective ranking of Swift and Antonoff's 80 collaborations.
80. “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.
79. “Goodbye Baby”
Antonoff added a wistful feel to the track "From the Vault" from Fearless (Taylor's version) , but the 19-year-old Swift's instinct was to leave the song off her 2008 album correct.
78. “I don’t want to live forever” (feat. ZAYN)
Like Swift and Antonoff's first acoustic single "Sweeter Than Fiction," her 2016 ZAYN collaboration "Fifty Shades of Grey" ultimately marked her next studio album , Reputation the sound of. But like that song, there are better songs on the album.
77. “That’s When” (feat. Keith Urban)
Swift elevated a catchy ditty with Urban's features, making it a perfect "Vault" track on "Fearless" (Taylor's version) , but it couldn't stand up to the soaring anthem of the main album.
76. “My boy only breaks his favorite toys”
The "Tortured Poets" track is the first (and so far only) time that Swift and Antonoff's signature melodic, twinkling synth-pop style is brought to life rather than refined.
75. “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.
74. “Vigilante shit”
This tale of deception and reward from Swift's 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.
73. “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 respond with a song called "Answer..." or something like that.
72. “London Boys”
Everyone said "Thank you Taylor" for your generosity in planning our next trip to London.
71. "Lake"
Instead of shouting about "London Boys," one region of England has its own song. Swift envisions a future in which she leaves the public eye and travels across the Lake District, just like the poets she admires. It contains some of her poetic and complex lyrics—as well as her most clumsy melodies.
70. “I want you to come back”
Swift's inability to decide whether she wants to rekindle romance or seek revenge makes for an interesting addition to her catalog, but it's not worthy of a standard-issue version of " The Tortured Poet."
69. “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.
68. "Baby"
Swift originally gave the song "From the Vault" to Sugarland (and sang backup) in 2018, and later re-included it on Red (Tyler's version) . Antonoff keeps things surprisingly light, giving the song a unique pop flair but lacking the emotional impact of Jennifer Nettles' gut-wrenching plea.
67. "Suburban Legend"
"Suburban Legends" may be the most Antonov-esque song Antonov ever wrote. Swift helped write the lyrics about star-crossed lovers who find success but can't make it work, but if she hadn't done so, Antonoff might have written and recorded it as a Bleachers song.
66. “Castle Down” (feat. Hayley Williams)
The "Vault" track from "Speak Now" (Tyler's version) proves that Swift has been contemplating the negative effects of fame for much of her career. Antonov's simple yet melancholic production and the Paramore singer being one of the few women who can relate to it only help drive this message home.
65. "Daylight"
The closing track of "Lover" is almost eerily calm and certain for an album that contains some of Swift's most epic tales of love and brutal loss. Instead of focusing on the highs and lows, she connects the present to the past ("I once believed love was red") and lets it go.
64. "Paris"
This Midnights 3am version of the track sounds like the 1989 "Vault" track. But unlike "Welcome to New York," "Paris" isn't a romantic homage to the city, instead focusing on a whimsically adorable encounter that transports you to the City of Love (or in Swift's case (City of Lovers ).
63. "Alchemy"
Swift somehow found a way to make football jargon, corny jokes, and scientific references sound sweet and romantic instead of embarrassing. You can thank Travis Kelce for that.
62. “Nothing sweet”
"Sweet Nothing," co-written with ex-boyfriend Joe Alwyn (under the pseudonym William Bowery), is Swift's most uncomplicated ode to romance, focusing on cobblestones, kitchen buzz and the minutiae of relationships. That nursery rhyme melody means this song will never leave your head. once.
61. “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. Had she and Alvin not broken up, the atmospheric song might as well have served as the story of how she fell in love with the father of her child.
60. "The Ministry of Tortured Poets"
The title track from Swift's 11th album features some of her most confusing lyrics, like "We declare Charlie Puth should be a bigger artist" and "You sleep like a tattooed golden retriever" On." She makes dreamy sounds over Antonov's signature synths, somehow making them sound normal.
59. "Lavender Mist"
Swift opened 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, it's so similar to the melody of "I Think He Knows" that Swift hinted at a mashup of the two songs during the Eras tour. (Sadly, this didn't happen.)
58. “Thank you, Amy”
Yes, if you couldn't guess from the capital letters, this song is probably about Kim Kardashian. But more importantly, it's equally catchy and clever, and continues the storied tradition of pop stars hiding their song subjects through people named Amy, or Amy. Poor them.
57. “I look through people’s windows”
"I Look In People's Windows" is Swift and Antonoff's shortest track, lasting just over two minutes. But between the story of her traveling between houses and his experimental, guitar-led work, it packs a huge punch.
56. “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).
55. “Slut!”
It's a wonder that Swift manages to make her slut-shaming commentary sound as scintillating and romantic as her and Antonoff's most dreamy work. Imagine the headlines “Slut!” If it had been made in 2014 1989 would have been made.
54. “In a bad mood”
“Now I’m in the gym crying my heart out” may be the most resonant lyric Swift has ever written. Sure, most people cry in the gym because the workout probably sucked, but it's also okay to get hung up on by a stupid person.
53. “Glitch”
One of Swift's most experimental works, "Glitch" is filled with glitches, like fuzzy synths that sound like TV static, loops that could be Slack notifications, and anachronisms that somehow fit together seamlessly of interruption. Swift and Antonoff should go further down this road.
52. "Bejeweled"
Let's admit it: "Bejeweled" is Chanel 's song "Gorgeous" and it's also a Walmart song. Five years later, she still makes a room sparkle.
51. “We won’t talk now”
"Now That We Don't Talk" may be Swift and Antonoff's most concise and cool song yet, full of disco beats, fast-changing melodies and clever lyrical quips. Thank god she doesn't have to pretend to like acid rock anymore.
50. "Black Dog"
Swift was so powerful that the Black Dog single-handedly increased business in the British pub that bears his name. This song is great and helpful. Antonoff helps Swift channel her post-breakup frustrations over epic guitar, almost like folklore turned punk rock.
49. “You are losing me”
Swift's heartbeat is featured on the lead instrumental on the "Midnight" bonus track, one of her most minimal yet heartbreaking songs. The epic bridge is a story in itself, and her breathless speech is as much a source of frustration as it is catharsis.
48. “Paper Ring”
This Lover Deep Cut is basically "Shake It Off," but for those 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.
47. “Who’s afraid of little old me?”
Swift has spoken to the media several times, but since they didn't get the message, she once again had to scare them with "Who's Afraid of Little Old Me?" Drawing inspiration from "Florida!!!" collaborator Florence + the Machine, the sinister orchestral backdrop matches her fierce warning.
46. “Karma”
"Karma is a cat that purrs in my lap 'cause she loves me" is one of Swift's best lyrics, and for that alone, Swift should have earned her No. 1 hit with "Karma." Grammy Award for Song of the Year. (Spoiler alert: Midnight single "Anti-Hero" was nominated, but lost to Billie Eilish's "What Was I Made For?")
45. “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.
44. "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.
43. “Two Weeks” (feat. Post Malone)
Swift makes Antonoff's signature toot sound haunting in "Fortnight," telling a chilling, devastating, and hilarious story of infidelity. Post Malone's background vocals add to the eerie atmosphere, but when he gets to the bridge, he sounds equally vulnerable and tired.
42. "Midnight Rain"
Swift and Antonoff prove they're great when they veer into sexy pop-R&B mode. It opens with a voice so deep 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.
41. "Eternal Winter"
Reportedly a song about one of her late friends, "Forever Winter" may have been too devastating to be included on Red , but it found its home on Red (Taylor's version) as a A “Vault” track, and it’s not too early. "Forever Winter" is the warm and comforting hug you need to get through the day, and Antonoff brings some levity to the song by keeping things as upbeat as possible.
40. "Dear Reader"
Shockingly, it took Swift 14 years and 10 albums to write a song that spoke directly to her audience. What's even more surprising is that she just left the song as a bonus track on Midnights' "3am Edition" rather than letting it properly end one of her albums.
39. “I can do this with a broken heart”
This proves that Swift needs to make a club album. "I Can Do It With a Broken Heart" retains her signature storytelling but pairs her most relatable and hysterical lines with a wild beat that proves she's ready for the dance floor. Make it happen, Antonov.
38. "Ivy"
Antonoff only contributed to two songs on Swift's 2020 sophomore album Evermore , but he made them count. 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.
37. “Aren’t you?”
There were enough tracks left on " Fearless " to make a main album, but 19-year-old Swift wouldn't be ready to abandon her country strings in favor of Antonoff's shimmering synths, as she would 12 years later on " Fearless" (TV) , where "Don't You" sounds like a long-lost '80s dance party song.
36. “Florida!!!” (feat. Florence + The Machine)
Swift and Florence Welch succeeded in the impossible: making Florida sound attractive.
35. “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.
34. "Maroon"
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. Somehow, she still makes breaking up sound sexy.
33. "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."
32. “Say don’t leave”
The chorus of "Say Don't Go" is designed for screaming into a hairbrush while jumping into bed, but the more contemplative lyrics will perfectly soundtrack those moments when you need a good cry. The growing experience anthem.
31. "Eternal"
It might be a cliché to call "eternity" eternity, but it's a cliché for a reason. Swift's ode to a timeless love that transcends time will also be remembered for generations to come, and Antonoff's rich country instrumentals ensure it'll age well.
30. “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.
29. “Is it over now?”
Swift chose "Get Out of the Woods" instead of "Is It Over Now?" 》 is understandable. 1989, given their similarities, but she should have made room. The song "Vault" features two soaring choruses, a soaring '80s power-pop melody, and storytelling as epic as its sister.
28. “I can cure him (no, I really can)”
If Swift ever decides to go country again, Antonoff would still be a great collaborator (if his "Vault" track hasn't proven that already). When she attempts a deeper Western accent to sing about her troubled man, he flirts with indie country, which works wonders, especially the last-second twist.
27. “I can see you”
The fact that Swift created such an alluring song in the "Speak Now" era is the biggest shocker of any "Taylor Edition" album to date. But keeping it was a wise decision, as her more mature voice and Antonoff's hypnotic guitar riffs fit the song better than the Speak Now -era production.
26. "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." Folklore 's fifth track is set against the backdrop of Swift's own funeral, her haunting harmonies making it feel like she's singing from beyond the grave. Nothing is sadder than when she yells "I can go anywhere I want, just not home."
25. "Death by a Thousand Cuts"
The best parts of Netflix's 2019 romantic comedy Someone Great .
24. “Look what you made me do.”
Swift didn't have the right to write an electro-rock song that parodies Right Said Fred's "I'm Too sexy" and recalls the Peaches song on the Halloween party soundtrack from Mean Girls — but she did, The world is a better place because of it. 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.
23. "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. "Anti-Hero" is filled with some of Swift's weirdest lyrics, like imagining being killed by her daughter-in-law and everyone being a "sexy baby," but this song is destined for pop stardom. Even Antonoff got in on the action (more than he already did), giving Swift comfort with his remix of "Bleachers" and swapping "sexy baby" for "arty bro" ".
22. "Archer"
"Archer" can walk, "anti-hero" can run. "Lover 's Track 5" is the beginning of Swift tapping into her insecurities for inspiration, analyzing her self-sabotaging tendencies and coming to a startling realization: "I see through myself." Antono The husband's steady, pulsating synths build to a payoff that never quite lands, like Swift hasn't yet received her own resolution.
21. "New Year's Day"
At first glance, "New Year's Day" is a simple piano ballad, and now it feels like a turning point in Swift's career. That's how she began to recover from her reputation , taking stock of the community (and shine) around her. This is where her love affair with Midnight began, as Swift honed in on the little things in love relationships, realizing it could become some of her most impactful songwriting.
20. "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 was their sweet spot, and "Labyrinth" proves that all she needs to transcend us is two heavenly verses and a hypnotic hook.
19. "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).
18. “Illegal affairs”
As opposed to the innocent sister "Ivy," this folklore gem focuses on the darker side of infidelity and how it evolves from a beautiful hotel room to a "meeting in the parking lot." When Swift enthuses, "Don't call me baby, don't call me baby," she's never sounded more angry and frustrated, as her performance on the Eras tour highlighted.
17. “Sinful?”
In this deep cut from Tormented Poet , Swift and Antonoff delve into the majestic pop-rock sound that fans (i.e. me) have long wanted them to deliver. It's equally sensual, sweeping and vulnerable, and if there's any justice, this would be a full-on Eras Tour performance.
16. “Child, you can only rely on yourself”
Swift's journey to re-examine her shortcomings reaches a turning point on the fifth track of "Midnight." "You're On Your Own, Kid" recounts her journey from ostracized schoolgirl to music star with vivid metaphors. She somehow made "You're on your own, kid, you've always been this way" sound both shocking and reassuring.
15. “Soon you’ll get better” (feat. Chicks)
In "Soon You'll Be Well," Swift has a hard time recalling the fluorescent hospital room without crying as she writes about her mother's battle with cancer. Antonoff perfectly paired her with the Chicks (reportedly her mother's favorite band), whose signature harmonies were a soothing effect on Swift's vibrato. She has only sung it once and I would be shocked to hear her sing it again.
14. “False Gods”
False God breaks new ground for the duo, who both perform extremely well. Swift has never sounded more confident yet melancholic, she's not afraid of melodies going off the rails, and the way Antonoff weaves her jazzy melodies with the saxophone is masterful. If "Dress" was the genesis of "Midnights ," they would be wise to sow the seeds of "False God" for future albums.
13. “This is my attempt”
It's even rare for Swift to have every line in her songs cut like glass, which she accomplishes here. “I was so ahead that the curve turned into a sphere” hits home for those who overachieve, while “I was wasted like all my potential” hits home for those who never feel like they’ve done enough. explain. "This Is Me Trying" may be the most resonant song Swift has ever written, and Antonoff elevates those emotions in a haunting soundscape of folklore .
12. “Gold Rush”
"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 the fear, beauty, jealousy, and purity of her relationship in rapid succession, to a score of Antonoff's whimsical piano and lush strings that could be played on Bridgerton , and ends with Swift's vocals bookmark the song, forming a heavenly chorus.
11. “Freshly Baked”
Swift and Antonoff live up to their name by telling the story of her freedom through cinematic Western strings, hazy synths and layered harmonies. Lana Del Rey's influence is vast and this song is all the better for it.
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 evidence that her detailed storytelling skills could carry over to a full-blown pop song, and it turns out his '80s synths matched her madness about Polaroid cameras, paper airplanes and 20-stitch stitches in the hospital room. The story matches perfectly. . (It launched countless Swiftie conspiracy theories.)
9. “Snow on the Beach” (feat. Lana Del Rey)
Yes, the TikTok videos joking about Del Rey barely appearing in Snow on the Beach are funny, but they question her importance. Her heavenly background vocals add a ghostly presence to Swift's recollections of the love story. incredible. None of this would have happened without Antonov, as he knows how to blend their worlds together 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.
7. “Planner”
The closing song of "Midnights" is the song by any artist that comes closest to the bittersweet euphoria of Lorde's other Antonov composition, "Supercut." Swift brilliantly subverts her calculating, deceitful public persona, outlining how she found the lover of her dreams. A little scared? Maybe. But once Swift yells, "Nobody wanted to play with me when I was little," and the twist is revealed, you become her biggest cheerleader.
6. “Everything Is Fine (10 Minute Version)”
In most worlds, this song would be number one. Swift adds more emotional pathos (pun intended) to the story her fans know well, making every devastating detail feel crucial. Antonov's performance elevates the melodrama without compromising her lines. But it's still Swift's magnum opus, so naming "All Too Well" the pair's crowning glory feels out of place when, frankly, she could have made 10 minutes of it without him if she had to Version.
5. "Cruel Summer"
"Cruel Summer" is Swift's ultimate '80s acoustic anthem, a surge of synth-pop, electric guitar courtesy of St. Vincent, and lyrics so vivid you could probably direct the music video yourself. That towering bridge alone should be studied in a music theory class.
4. “Bigger than the entire sky”
It's rare that Swift is left speechless, but that's exactly what happens on this midnight "3AM Edition" track. “Afterwards, I had no words in front of me,” she begins, setting the stage for a song so hollow, written about a loss so overwhelming that she doesn’t sing the entire part, leaving Antonov to sing the slow, Gentle instruments to guide.
3. "Getaway Car"
As epic power pop goes, "Getaway Car" is Swift and Antonoff's magnum opus, sparking countless conspiracies as to what exactly made Swift run away from her ex (many of which were linked to the 2016 Met Gala related). With fast verses, masterful synth lines and subtle key changes, “Getaway Car” is the definition of a perfect pop song and a winning combination of both of their talents.
2. "Mirror Ball"
Mazzy Star-esque dream pop is the perfect fit for Swift and Antonoff, and nowhere is that 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 to play on the jukebox as you contemplate your life in a slowly emptying bar . But in true Swift style, it's an analysis of her own life and a reassuring promise that you'll be heard, seen, and valued.
1. "August"
It feels like Swift and Antonoff's entire careers have been preparing for "August." Narratively speaking, this is the second installment in an epic trilogy about a high school love triangle that together elevates Swift's storytelling to imaginative new heights. In terms of sound, it combines everything she and Antonov are good at — dramatic musical instrument performance, dreamy popular music, dazzling string -and refine them into a rotating, vast vague vague Create a world of its own.
