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All 274 of Taylor Swift’s Songs, Ranked

From teen country tracks to synth-pop anthems and rare covers, a comprehensive assessment of her one-of-a-kind songbook

Taylor Swift

Taylor Swift the celebrity is such a magnet for attention, she can distract from Taylor Swift the artist. But Swift was a songwriter before she was a star, and she’ll be a songwriter long after she graduates from that racket. It’s in her music where she’s made her mark on history — as a performer, record-crafter, guitar hero and all-around pop mastermind, with songs that can leave you breathless or with a nasty scar. She was soaring on the level of the all-time greats before she was old enough to rent a car, with the crafty guile of a Carole King and the reckless heart of a Paul Westerberg — and she hasn’t exactly slowed down since then.

So with all due respect to Taylor the myth, the icon, the red-carpet tabloid staple, let’s celebrate the real Taylor — the songwriter she was born to be. Let’s break it down: all 243 tunes, counted from the bottom to the top. The hits, the flops, the deep  cuts, the covers, from her raw 2006 debut as a teen country ingenue right up to Midnights and The Tortured Poets Department. 

Every fan would compile a different list—that’s the beauty of it. She’s got at least 5 or 6 dozen songs that seem to belong in her Top Ten. But they’re not ranked by popularity, sales or supposed celebrity quotient — just the level of Taylor genius on display, from the perspective of a fan who generally does not give a rat’s nads who the songs are “really” about. All that matters is whether they’re about you and me. (I guarantee you are a more fascinating human than the Twilight guy, though I’m probably not.)

Since Taylor loves nothing more than causing chaos in our lives, she’s re-recording her albums, including the outtakes she left in the vault before. So far, she’s up to Fearless, Red, Speak Now, and 1989 For the Taylor’s Version remakes, both versions count as the same song. It’s a tribute to her fierce creative energy — in the past couple years she’s released an avalanche of new music, with more on the way. God help us all.

Sister Tay may be the last true rock star on the planet, making brilliant moves (or catastrophic gaffes, because that’s what rock stars do). These are the songs that sum up her wit, her empathy, her flair for emotional excess, her girls-to-the-front bravado, her urge to ransack every corner of pop history, her determination to turn any chorus into a ridiculous spectacle. So let’s step back from the image and pay homage to her one-of-a-kind songbook — because the weirdest and most fascinating thing about Taylor Swift will always be her music.

From Rolling Stone US


‘Who’s Afraid of Little Old Me’ (2024)

You wouldn’t last an hour in the asylum where they raised her. Taylor makes a luridly comic goth-horror melodrama of girlhood in America, in case you never noticed she’s been singing about this on every album she’s ever made. “Who’s Afraid Of Little Old Me?” is a fabulously hostile highlight of an album where she’s constantly dissecting the “circus life” of gender, with all her Monster on the Hill energy ablaze. It’s the evil twin of “Mirrorball,” filtered through Mary Shelley’s Frankenstein. (“I am what I am because you trained me,” the ultimate curse.)Best line: “You don’t get to tell me about sad.”


“Cardigan” (2020)

The sweater left behind under someone’s bed, like the lost scarf in “All Too Well” or the lost glove in “It’s Nice To Have a Friend.” (Or the ex-wife’s dress left in the closet in Fiona Apple’s “Ladies”?) Swift sorts through the memories that go with breathing in the scent of a remembered lover, over brooding piano. “I knew you, leaving like a father, running like water” sure jumps out of the song, as startling as the “careless man’s careful daughter” in “Mine.” The day she wrote this song with the National’s Aaron Dessner, she posted a photo with the caption, “Not a lot going on at the moment.” Why do we ever believe a word she says?Best line: “Chase two girls, lose the one / When you are young they assume you know nothing.”


“Our Song” (2006)

The hit that made me a Swift fan, the first moment I heard it in 2007 – it knocked me sideways in the middle of lunch. (The CW played it as interstitial music between afternoon reruns of the Clueless sitcom and What I Like About You.) “Our song is a slamming screen door,” what a genius hook. I Googled to see who wrote this; it turned out the songwriter was also the singer and – how strange – she was just starting out. I hoped she might have at least another great tune or two in her. This song and that voice have kept slamming those screen doors ever since.Best line: “We’re on the phone, and you talk reeeeeal slow/’Cause it’s late and your mama don’t know.” Listen here.


“Evermore” (2020)

Taylor’s title tracks are usually bangers, but “Evermore” is a pensive piano meditation where she sits alone by the fireside, trying to figure out how it all went so wrong. We know Tay grew up a hardcore Def Leppard fan, so it’s no surprise the piano here echoes “Hysteria,” their saddest and most proto-Swiftian hit. (She sang a fantastic “Hysteria” with them on CMT in 2008.) Bon Iver’s Justin Vernon joins for the call-and-response bridge. Love the half-chuckle in the line “it was real enough to get me through”: the closest she comes to one of her Taylor Laughs in the Folklore/Evermore era.Best line: “I rewind the tape, but all it does is pause.”


“Red” (2012)

The mission statement for Red, this century’s most ridiculously masterful megapop manifesto. Eurodisco plus banjos – the glitter-cowgirl totality Shania Twain spent years trying to perfect, with a color-tripping lyric worthy of Prince Himself, faster than the wind, passionate as sin. Plus, her all-time gnarliest pileup of Swiftian metaphors. (Nitpick: What kind of crossword puzzle has no right answer? What self-respecting puzzlemaster would sign off on that?)Best line: “Lovin’ him is like driving a new Maserati down a dead-end street.” Listen here.


“Is It Over Now?” (2023)

These 1989 (Taylor’s Version) vault songs are a revelation—4 of the 5 would have been highlights on the original album. But “Is It Over Now?” looms over them all—her greatest vault stunner yet. It sounds like it’s part of a trilogy with “The Archer” and “Labyrinth,” as that spooky synth-drone intro leads into a brooding powerhouse mediation on love and loss. (If we’d heard this song in 2014, it might have been less shocking to hear “The Archer” 5 years later.) Taylor travels back and forth in time, finding different angles to look back at a youthful romance that crashed like a snowmobile. The story is full of blue eyes, blue dresses, red blood, blouses, couches, boats, the jet-set distance of “Come Back…Be Here” and the scarlet letter of “New Romantics” and the NYC coffee of “Holy Ground.” This guy turns on the charm for “unsuspecting waiters,” just like the guy in “All Too Well” charms her dad like a talk-show guest. But it all comes down to a heartbreak that these four blue eyes didn’t want to see coming. What a massive song.Best line: “Let’s fast-forward to 300 takeout coffees later.”


“New Year’s Day” (2017)

What a twist: the one-time poet laureate of teen crushdom turns out to be even sharper at adult love songs. “New Year’s Day” is her hushed piano-and-guitar ballad about two people waking up the morning after the party and getting back to the reality they share together. It captures the romance of mundane domestic details – sweeping up the glitter, rinsing out bottles, realizing this total nothing of a day is a memory you will cherish long after you’ve both forgotten the party. This is the kind of song she could keep writing into her forties and fifties.Best line: “Please don’t ever become a stranger whose laugh I could recognize anywhere.” Listen here.


‘Loml’ (2024)

The quiet heartbreaker on Tortured Poets, a piano ballad that hits home because it comes on so ordinary and unmelodramatic. Swift and Dessner don’t go for any fireworks here, just mourning a love that should have lasted years, with that “Evermore”-style piano. It peaks in the hushed moment where she gives the perfectly simple epitaph: “It was legendary/It was momentary.” Best line: “A con man sells a fool a get-love-quick scheme.”


“Last Kiss” (2010)

Toward the end ofSpeak Now, when you’re already wrung out from sad songs and begging for mercy, this six-minute quasi-doo-wop ballad creeps up on you to inflict more punishment.So sparse, so delicate, flattering every tremor of her voice. The original “Last Kiss” seemed too perfect to be improved—but she hits it even harder onTaylor’s Version, with thirteen extra July 9ths worth of heartache in her voice, suffering through every detail of the story.Best line: “I’m not much for dancing, but for you I did.” Listen here.


“‘Tis the Damn Season” (2020)

A Hollywood girl who’s too shiny for her tiny hometown — the loudest woman this town has ever seen — comes back for the holidays, staying with her parents, and falls right back into the arms of the boy she left behind. Dorothea realizes she doesn’t really fit in either place, but she’ll soon be heading back to her bitch-pack of fair-weather friends in L.A. The best U2-style guitar on a Swift song since “State of Grace.” On the Eras Tour, “’Tis the Damn Season” kicks off the Evermore block, and it’s an astoundingly great stadium-quaker.Best line: “The road not taken looks real good now/Time flies, messy as the mud on your truck tires.”


<strong>“Snow On The Beach” feat. Lana Del Rey</strong> (2022)

“Weird but fucking beautiful,” indeed. “Snow On The Beach” is a duet with Lana Del Rey, although it sounds all the way Swiftian vocally, lyrically, and (especially) melodically. The most beguiling tune on Midnights, with pizzicato strings and lines about falling for a lover bright enough to burn out your periphery. That melody is damn near impossible to dislodge from the skull, especially that soft “it’s coming down, it’s coming down” at the end. Best line: “Life is emotionally abusive.”


“Ours” (2010)

Like so many of her songs, “Ours” sounds like it could be channeling the 16-blue mojo of the Replacements’ punk-rock bard Paul Westerberg. (Melodically, it evokes “When It Began,” though it feels more like “I Will Dare.”) Especially the best line, which is possibly the best-est “best line” on this list, and which I sing to myself a mere dozen times a day.Best line: “Don’t you worry your pretty little mind/People throw rocks at things that shine.” Listen here.


“Seven” (2020)

Two little girls in the Pennsylvania woods, trying and failing to understand each other. It’s a lost childhood bond (maybe same one from “It’s Nice to Have a Friend”?), from the perspective of a kid too young to recognize that her friend’s angry dad is the ghost in their family’s haunted house. (The traumatizing fathers on Folklore are a plotline in themselves.) The little girls dream of escaping, running away to be pirate twins, but there’s no resolution — just a mystery that gets more confusing she tries to live with it.Best line: “Please picture me in the weeds, before I learned civility.”


“We Are Never Ever Getting Back Together” (2012)

Like, ever. Her funniest breakup jam, because it’s her most self-mocking. She could have made the guy in this song a shady creep—a cheater, a liar, a scarf-stealer, etc. But, no, he’s just a needy little run-of-the-mill basket case, exactly like her, making the same complaints about her to his own bored friends, though his complaints can’t be as catchy as this chorus. And the video is a gem, especially when she’s wearing the Tay Is Seriously Mad Now glasses. Where is that indie-rock bar that still has a pay phone?Best line: “And I’m like, I mean, this is exhausting, OK?” Listen here.


“Coney Island” (2020)

Twelve miles from Cornelia Street, but it feels a lifetime away. “Coney Island” is her duet with the National, trading verses with singer Matt Berninger, for an Evermore highlight that picks up the story from Folklore. “Coney Island” sounds like the “August” girl left her small town, forgot about James and Betty, moved to New York, found a hipster boy, figured everything would be different in the big old city, then found herself stuck in the same old story all over again. When you’re a grown-up, they assume you know nothing.Best line: “We were like the mall before the Internet/It was the one place to be/The mischief, the gift-wrapped suburban dream.”


“<strong>Maroon”</strong> (2022)

A New York romance where all the heartache she feared in “Cornelia Street” comes true, leaving her haunted by a love that was burning red. At first, she’s dancing barefoot, drinking on the roof, asking, “How’d we end up on the floor anyway? / You say, ‘Your roommate’s cheap-ass screw-top rosé, that’s how.’” The lovers celebrate having this big wide city all to themselves. But after it falls apart (in the usual way), she’s surrounded by the wreckage. All the different shades of maroon appear in her dreams—the wine stain on her t-shirt, the sunset, the funeral carnations, the lips she used to call home. “Maroon” has some of Taylor’s most pained singing on Midnights, especially when she sighs, “I awake with your memory over me / That’s a real fucking legacy.”Best line: “When the morning came/We were cleaning incense off your vinyl shelf.”