All 286 of Taylor Swift’s Songs, Ranked

A dramatic piano-and-strings ballad from Fearless, showing off how much her voice has deepened between her first two albums.Best line: “It’s taken me this long, baby, but I figured you out.”

This song clearly comes from Taylor doing Fearless songs every night on the Eras Tour and asking the crowd, “Are you ready to go back to high school with me?” She must have kept thinking, “Damn, these teen crush songs are getting it done. Why stop writing these?” Even Aristotle would play air guitar to this hook, hitting that power-pop jangle in the sweet spot between “Hits Different” and “Paper Rings.” Best line: “I wanna find you in a crowd just to hide from you.”

“My mind turns your life into folklore” is a clever way to connect Evermore to Folklore, although “Gold Rush” might have sounded more at home on Lover. “Gold Rush” could be a different view of the same torpor as “Happiness” and “Tolerate It,” trying to remember why this relationship once seemed worth the pain.Best line: “My Eagles t-shirt hanging from the door.”

“She’s the kind of book that you can’t put down / Like if Cleopatra grew up in a small town”—now there’s a quintessential Swift heroine. A gorgeous Speak Now vault ballad that shows how great she’s always been at observing other girls. She envies the way everyone gazes at Emma, but she sees Emma clearer than anyone else does, wishing she could be her. In so many ways, she’s singing about her future self. (Emma’s not the only one who can make the bad guys good for a weekend.) “When Emma Falls In Love” has a strong “Drops of Jupiter” vibe, which makes sense since she did a groovy cover version on the Speak Now tour. All songs about women named “Emma” rule (it’s the law) and so do all songs about Cleopatra, so this is a flawless combo.Best line: “She’s so New York when she’s in L.A.”

She leaves her window open overnight, just in case her ex falls out of a cloud. There’s a great “oooh” in the second chorus — one of those moments you can tell she’s an Oasis fan. (This song makes you suspect “Don’t Look Back In Anger” is a fave.) One of the Fearless-era tunes that gets a drastic glow-up on Taylor’s Version — it sounds infinitely better when she gets to belt it in her adult voice.Best line: “I could stand up and sing you a song/But I don’t wanna have to go that far.”

Love how this American queen pronounces “Jag-yew-waaar” – has she been listening to Hall & Oates, or has she just reached the English-accent point in her fame arc?Best line: “Up on the roof with a schoolgirl crush / Drinking beer out of plastic cups.”

“The moon was high like your friends were the night that we first met” is quite an opening line, and she lives up to it. Especially since those might be the same stupid friends who showed up later at Betty’s party. “Paper Rings” is a girl-group tribute with a pop-punk surge — a song Joey Ramone should have lived long enough to sing. “I wake up in the night and watch you breathe” is a bone tossed to all of us who still fall apart at the bridge of “Last Kiss.”Best line: “I hate accidents, except when we went from friends to this.”

An ode to making up after a fight that was all your fault: “Tell me that I’m all you want / Even when I break your heart.” In a good old-fashioned Taylor metaphor party, she compares herself to an arsonist, a wrestler, an island, a prison warden and an ambulance siren.Best line: “Fighting with a true love is boxing with no gloves.”

She falls under the hypnotic spell of a magician, who gets her heart trip-trip-tripping and skip-skip-skipping. For a magic trick of her own, she stops the music cold to whisper “one-two-three.” A great moment that lets you know Swift — like the rest of us — has been listening to Lorde.Best line: “I’m so chill but you make me jealous.”

She’s so lucky, she’s a star. For the record, T.S. did cover “Lucky” live once (and damn well, too), as a Britney tribute in Louisiana back in 2011. This song got the ultimate real-life twist years later: the Red (Taylor’s Version) remake came out the same day Britney finally got free.Best line: “Everybody loves pretty, everybody loves cool/So overnight you look like a Sixties queen.”

Again with the slamming doors. Tay, Tay — even the great songwriters can get away with exactly one slamming door per career. And just to be on the safe side, she throws in pouring rain, photo albums, a little black dress (which rhymes with “mess” and “confess”), a guy throwing pebbles at her window… In other words, this would be the ultimate Swift song — except there are over a hundred better ones. But “The Other Side of the Door” gets a boost from the Taylor’s Version remake — of all the Fearless tunes, this one improves most drastically on the original. Her mature voice tackles the melody in ways her teen voice couldn’t, sprucing up a dud into a keeper. This is the biggest sonic upgrade in the Taylor’s Version project. So far.Best line: “Me and my stupid pride, sitting here alone/Going through the photographs, staring at the phone.”

One of the most understated and least hyperdramatic moments on Tortured Poets, so easy to overlook at first, but it’s a sneakily durable gauze-rocker with heist-flick guitar twang. Taylor never can resist her Great Gatsby imagery, and she never should.Best line: “To the house where you still wait up and that porch light gleams/To the one who says I’m the girl of his American dreams.”

Taylor has wept in so many bathrooms, across so many songs, but there’s something tres “New Romantics” about the way she sings, “Crying in the bathroom for some dude whose name I cannot remember now.” This Lover outtake is the flip side of Ariana’s “Thank U, Next”: she’s so grateful for this guy’s ex-girlfriends, and all the women in his past, because they taught him how to treat her. Even his mom gets high praise—“your mother brought you up loyal and kind”—which is a first in her songbook.Best line: “A heart is drawn around your name / In someone’s handwriting, not mine.”

Could this be a hidden sequel to the Romantic poetry fetish of “The Lakes”? Dorothy was Wordsworth’s sister, muse and closest companion, just as Augusta was Lord Byron’s sister. “Dorothea” is the flip side to “’Tis the Damn Season,” sending a long-distance dedication to an old flame who moved on to a shinier life in Hollywood.Best line: “The stars in your eyes shined brighter in Tupelo.”

Baby, let the games begin. Her island-breeze bass blast was a major rebound from her previous hit, one week earlier. (If by “it” she meant “literally any song that’s not ‘Look What You Made Me Do,’” the answer was “extremely ready.”) It stands up to heavy rotation, too, with clever details like the way Ms. I’m Not Much For Dancin’ clears her throat before the first line. The chorus has a little air in the mix, giving the room she needs to pull off her intricate breathy effects; Max Martin really knows how to shape a production around her voice. “He can be my jailor / Burton to this Taylor” – Liz and Dick got married and divorced twice, so those are some hardcore relationship goals.Best line: “I keep him forever like a vendetta.”

She and Ed Sheeran wrote this duet together in her backyard while bouncing on a trampoline, because of course they did. Why is Ed such a great duet partner? Because you can hear that he’s really listening to her.Best line: “All I’ve seen since 18 hours ago is green eyes and freckles and your smile.”

The most stripped-down confession on Folklore, just her solo voice and a few guarded hopes for the future. She tries to scale her dreams down to a graspable size, asking, “Would it be enough if I could never give you peace?”Best line: “Our coming-of-age has come and gone.

The saddest break-up song ever inspired by a movie where Gina Rodriguez plays a Rolling Stone music critic, in Jenn Kaytin Robinson’s Oscar-worthy Netflix comedy, Someone Great. It really soars in the live acoustic version from her Paris concert special, especially the hyperventilating bridge. Good question: “If the story’s over, why am I still writing pages?” Taylor, have you met yourself?Best line: “I asked the traffic lights if it’ll be all right / They say ‘I don’t know.’”

Finally, her long-overdue metal move, from The Hunger Games: Songs from District 12 and Beyond.Best line: “Every lesson forms a new scar.”

“Oh my, what a marvelous tune” sounds like a quaint chorus, yet she makes it stick, in an F. Scott Fitzgerald-themed whirlwind romance. This Red deep cut just sat there waiting for its moment to shine, until it blew up into her de facto sequel “The Last Great American Dynasty,” with a nastier perspective on the same ritzy social scene. Nobody knows how to play the long game like Taylor.Best line: “We snuck into a yacht-club party / Pretending to be a duchess and a prince.”

A wistful ballad on Tortured Poets, with understated production from Jack Antonoff and Patrik Berger, as she sings about spying on other people’s lives from afar. Swift has revealed she’s obsessed with the classic 1937 Old Hollywood film Stella Dallas, where Barbara Stanwyck has to stand on the sidewalk outside her estranged daughter’s wedding, watching through the window. Taylor turned that image into the final shot of the “All Too Well” film—but here, she turns it into “I attend Christmas parties from outside.”Best line: “I’m addicted to the ‘if only.’”

“I broke my own heart because you were too polite to do it”—now there’s a line that sums up a lot of chaotic Swiftian love stories. “Suburban Legends” is a witty yet regretful tune with more of her 1950s fantasies, with Taylor fantasizing about a happy ending to a long-gone high-school romance. Like other 1989 vault tracks, “Suburban Legends” sounds like it would have fit right into Midnights—so many invisible strings between those two albums, in terms of her songwriting. Best line: “You kiss me in a way that’s gonna screw me up forever.”

In real-life weddings, the preacher hardly ever invites the groom’s ex up to interrupt the ceremony. But if you’re a fan of Tay in stalker mode, this is priceless – crouching behind the curtains in the back of the church, waiting to pounce. “Horrified looks from everyone in the room” – you don’t say.Best line: “It seems I was uninvited by your lovely bride-to-be.”

The saltiest break-up song she’s ever written—it makes “Dear John” sound like “Stay Beautiful.” After a couple minutes of overly muted prologue, it really kicks into high gear, with an awesome nasty one-chord rock clang as she spits out her bad-cop interrogation.Best line: “Were you sent by someone who wanted me dead? Did you sleep with a gun underneath our bed?”

Taylor has never once in her life made a long story short, and who would want her to? This synth-pop bop adds a dash of Reputation energy to the stark autumnal vibe of Evermore. I love how if she could go back in time, she’d tell her younger self all the things she actually did say a decade ago. “Your nemeses will defeat themselves before you get the chance to swing” is basically the same sentiment as “people throw rocks at things that shine.”Best line: “If the shoe fits, walk in it till your high heels break.”

In “Father Figure” she sticks approximately 13 shivs into Scott Borchetta, her former Big Machine label boss. He was the mentor who discovered her as a kid singing at Nashville’s Bluebird Cafe, but then betrayed her. The song is full of Godfather-coded mobster imagery, like “I protect the family,” “all I ask for is your loyalty,” and most brazenly, “You’ll be sleeping with the fishes.” “Father Figure” sounds nothing at all like the George Michael song, except the title, which was enough to snag a cut of the royalties. (Not George’s first writing credit on a Swift album—she crooned “Last Christmas” on her 2008 Holiday Collection.) Best line: “I’ll be your father figure, I drink that brown liquor, I can make deals with the devil because my dick’s bigger.”

Like so many of the peaks on Tortured Poets, “The Bolter” hits home with the story of a woman who doesn’t quite fit into other people’s lives, but isn’t sure she wants to change that. “The Bolter” is a dangerous woman who makes sure she never gets pinned down, running at the first sign of trouble. It’s a showcase for Swift’s nimble vocals, hopping through the chorus until she slides into that massively surly hook, “All her fucking liiiiives flashed before her eyes.” Best line: “Splendidly selfish, charmingly helpless, excellent fun till you get to know her.”

An unsung highlight of the debut – a teen pep talk about self-esteem.Best line: “Seems the only one who doesn’t see your beauty/Is the face in the mirror looking back at you.”

“Florida is one hell of a drug,” indeed. A outlaw of love flees down south to escape her past, her memories, and her bad reputation, burying her secrets in the swamp, chanting “Fuck me up, Florida!” Florence Welch makes a surprisingly well-matched co-narrator. It’s in the proud pantheon of hiding-out-in-Florida songs, alongside Bob Dylan’s “Key West (Philosopher Pirate),” Steely Dan’s “Doctor Wu,” and Neil Young’s “Fontainebleau.” Welcome to Destin—everything is cheaper than it looks. Best line: “Is that a bad thing to say in a song?”

“Bejeweled” is full of late-night disco jitters, as Taylor sings about the the fear of stepping out onto the floor and putting her heart on display, until she takes the plunge because it’s scarier to think about *not* doing it. It sounds like this could be the neglected wife of “Tolerate It,” finally breaking free. (She boasts, “I polish up real nice,” as opposed to “I polish plates until they gleam and glisten.”) It’s got that “tears on the dance floor” vibe of “New Romantics,” except “New Romantics” was sung by a “we,” yet the singer of “Bejeweled” is feeling very alone indeed.Best line: “Sapphire tears on my face/Sadness became my whole sky/Some guy said my aura’s moonstone just ‘cause he was high.”

She added this to Fearless at the last minute – just what the album needed. It’s a blast of high-energy JoBro-baiting aggro on her most anomalously shade-free album. “It rains in your bedroom” is a very on-brand Tay predicament.Best line: “Did I say something way too honest? Made you run and hide like a scared little boy?”

Taylor gave this one away to Little Big Town, who turned it into a massive 2016 country hit. “Better Man” came to loom large in her legend as a writer, so it was worth the wait to finally get her own proper version. “Better Man” hits even harder with Taylor wailing her tale of adult regret, confessing to the mirror, “The bravest thing I ever did was run.”Best line: “I gave to you my best/And we both know you can’t say that.”

Joni Mitchell once summed up her view of men falling out of love with their idealized dream women: “‘My toy is broken!’ And that’s basically the mentality of all the men of my generation that I met, just narcissistic, fair-weather types.” “My Boy Only Breaks His Favorite Toys” looks at the same syndrome, with a woman in the hands of a lover who sees her only as a disposable doll. As Swift said, it’s about “being somebody’s favorite toy, until they break you, and then don’t want to play with you anymore.” Best line: “Pull the string and I’ll tell you that he runs because he loves me.”

A clever transitional single – great verses, grabby chorus, pithy lyrics with a shout-out to her obvious inspiration, Robyn’s “Dancing on My Own.” As a lead single, “Shake It Off” might have seemed meager after 1989 came out – she was holding back “Blank Space” and “Style” and (Lord have mercy) “New Romantics” for this? But “Shake It Off” got the job done, serving as a trailer to announce her daring Eighties synth-pop makeover.Best line: “It’s like I got this music in my mind, saying it’s gonna be all right.”

One of the top-notch Fearless (Taylor’s Version) vault tracks. Like so many of her songs from this era, it has a giant Oasis-style hook: “You took me home, but you just couldn’t keep me.” Plus a bonus one in the bridge when she sings, “I’m so scaaared of how this ends!” What does it mean that the best Oasis songs of the past 20 years are Taylor songs?Best line: “You’re all I want, but it’s not enough.”

Don’t let the title scare you away – it’s a plainspoken and genuinely touching play-by-play recap of a worthwhile date. In fact, “Today Was a Fairytale” and “If This Was a Movie” should trade titles, since this one feels realer and would make a better movie. It could rank higher, except she hugely improved it when she rewrote it as “Begin Again.” (Docked a couple notches for coming from the soundtrack of Valentine’s Day, which is the most dog-vomit flick Jessica Alba has ever made, and I say that as someone who paid money to see The Love Guru.)Best line: “I wore a dress/You wore a dark gray T-shirt.”

A highlight of the Midnights 3 A.M. Edition. “High Infidelity” goes deep into the perils of musicians dating musicians, from “Put on your records and regret me” to “Put on your headphones and burn my city.” Taylor uses audio distortion as a metaphor for a bad romantic connection, a la Elvis Costello’s “High Fidelity,” though Midnights collaborator Zoë Kravitz also starred in the reboot of the classic High Fidelity. As for the question of what she was doing on April 29, 2016…listening to Lemonade and crying over Prince, like the rest of us?Best line: “There’s many different ways that you can kill the one you love/The slowest way is never loving them enough.”

Five years after “London Boy,” the Tennessee Stella McCartney goes home, a Daisy Miller who makes it out of her English affair alive to tell the tale. The craftiest production on Tortured Poets, with a synth-pop pulse that adds a discreet percussive boost.Best line: “I founded the club she’s heard great things about.”

One of the rare ballads where she goes crawling back to an ex she treated like dirt – and she’s surprisingly effective in the role. Although breaking into the guy’s house is a little extreme. (If she’s blocked by the chain on his door, that means she already picked the lock, right?) And sorry, but you’re seriously dreaming if you think I’m bothering to Google the name of that Twilight guy, don’t @ me.Best line: “It turns out freedom ain’t nothing but missing you.”

We’re already at the zone on this list where every song seems like it should be ranked even higher, except it’s just so crowded at the top. For almost any other artist, “I Almost Do” would have been a career peak. A Red slow jam that could have worked even better sped up into a punked-out rocker — though it’s plenty affecting as is.Best line: “Every time I don’t, I almost do.”

People sure do love to complain about this song – in fact, the most authentically New York thing about it is how it sends people into spasms of mouth-foaming outrage. An explicitly queer-positive disco ode to arrivistes stepping out in the city that invented disco – “You can want who you want, boys and boys and girls and girls” – that will be bugging the crap out of you in rom-coms for years to come. (It made me throw a napkin at my in-flight screen during How to Be Single, when Dakota Johnson’s cab is going the wrong way on the Brooklyn Bridge – and I love this song.) Bumped up a few bonus notches for pissing everyone off, since that’s one of this girl’s superpowers.Best line: “Searching for a sound we haven’t heard before/And it said welcome to New York.”

This Fearless outtake would have made quite a highlight on the album. How did she let this one get away? Was it just too damn sad, even by *her* standards? To think of all the years we missed out on being traumatized by “You threw your arms around my neck/Back when I deserved it.” “We Were Happy” has both Liz Rose *and* Aaron Dessner in the credits, making this the perfect storm of Taylor weepers.Best line: “Oh, I hate those voices telling me I’m not in love any more.”

Swift returns to the story of Peter Pan and Wendy, the girl who kept waiting for him to grow up. This couple already appeared in “Cardigan” on Folklore, where Taylor sings, “Trying to change the ending, Peter losing Wendy.” But in this song, Wendy’s not trying to change him at all—she’s just moving on, the lost girl ready to find herself.Best line: “You said you’d come and get me, but you were 25/The shelf life of those fantasies has expired / Lost to the ‘Lost Boys’ chapter of your life.”