Here's What Milk Crate 'Swifties' Thought About Every Track on Taylor Swift's Midnights

Graphic by Isa Luzarraga

Dear Reader, On October 20th at exactly Midnight, Taylor Swift released her long awaited tenth studio album, Midnights. The Swifties of Milk Crate banded together to pay homage to our Mastermind, Taylor. Below are our thoughts and Questions…? about the Labyrinth of album that has left us Bejeweled all week.

Midnights

Lavender Haze

Julia Norkus

As the opener to this long-awaited concept album, “Lavender Haze” announces itself with a delicious beat loop that makes me feel like I’m in a smoky night club in New York City with cheap eyeliner sweating off of my face. The song itself stirred up quite the controversy prior to release, with audiences referencing the importance of lavender to the LGBTQ+ community and its history, feeding into the theories of the “Gaylor” fandom. Lavender was seen as a color of empowerment, but also the “Lavender Scare,” the period where former President Dwight D. Eisenhower in 1953 declared, “...gay men and lesbians to be a threat…and therefore unfit for government service.” Despite the speculation, the song itself refers to the ‘50s term lavender haze, being another way of saying someone is in the early stages of love, which Swift references directly in the line, “The 1950s shit they want from me / I just wanna stay in that lavender haze.” The song overall references meeting someone new while being constantly reminded of tumultuous relationships of the past. But this someone new only sees Swift for who she is/was at that moment and not for her past, creating a new layer of intrigue for Swift. A drum pattern that sounds like the drums in Phil Collins’ “In the Air Tonight” also makes an appearance which feels like a subtle reference to the hazy and smoky energy of the song—mirrored in “Lavender Haze.” This sultry opener sets the tone for the rest of the album, immediately putting the listener into the story of Taylor’s sleepless nights.

Maroon

Karenna Umscheid

I simply cannot get enough of “Maroon,” the color a recurring motif tracing a New York City love story, a whirlwind romance with love that prolongs past the relationship. It reminds me so much of “Out of the Woods,” a favorite track of mine from 1989, in scenes of a couple lying on a couch, of flashes of infatuation marked with clashes and heartbreak. But the love detailed in “Maroon” is not destined to crash so horrifically, nor is it over so quickly. It is a sleepless night fluctuating between a lovesick and untiring daze, and sobs of passion. Swift’s signature red has aged like a fine wine and cascaded into a rich, beautiful maroon. 

Anti-hero

Sarah Fournell

After years of the media telling Swift she should stop writing about her exes and admit that she’s a problem, she did exactly that! Crowning herself the “Anti-Hero,” and “the problem” Swift dissects her insecurities with brutally relatable lyrics. She delves deep into her perceived narcissism, scheming, and nightmares about her future daughter in law murdering her in between a catchy back in forth between her and the worst parts of herself. The line “Sometimes I feel like everybody is a sexy baby/And I’m a monster on the hill” contains arguably the most controversial lyrics on the album, and understandably so. The 30 Rock reference doesn’t resonate with everyone because, well, “sexy baby.” The beat is strikingly similar to her song from Miss Americana “Only the Young,” with its mellow pop intro and 1989 undertones. Swift has once again created the perfect punchy sound byte with “It’s me, Hi, I’m the problem, it’s me!”

Snow on the Beach

Karenna Umscheid

Finally, the highly anticipated collaboration between the two loves of my life, Taylor Swift and Lana Del Rey, has arrived. And it seems Lana must have gotten lost on the way to the studio! Not to fret, her sad girl essence and background vocals still compliment the song nicely, though it is a bit of a letdown. The beginnings sound like a holiday melody, soft string instrumentals that accompany a sweet and unexpected love story. Del Rey’s incredible soprano traces the chorus in the background, a smaller role than I had hoped but still a gorgeous haunting. And though the lyricism of the chorus is remarkably Swift’s, there are moments so special  that I feel Del Rey’s presence so strongly. When Swift sings “But your eyes are flying saucers/From another planet/Now I’m all for you like Janet/Can this be a real thing, can it?” I know that Del Rey was behind such fun, strange, and romantic music.

You’re on your own kid

Isa Luzarraga

An upbeat piano melody paired with a lively beat sharply contrasts the woeful lyrics in “You’re On Your Own, Kid.” This juxtaposition hits hard, urging the listener to reflect on their childhood, feelings of melancholy slowly blurring the edges of our most painful memories. As Swift alludes to her combatting of anxiety and depression, she comes to terms with her past and current isolation, “From sprinkler ashes to fireplace ashes/I waited ages to see you there/I search the party of better bodies/Just to learn that you never cared/You’re on your own, kid, You always have been.” The track evokes moments when we are suddenly thrust back into the awkwardness of our adolescence, and sometimes this involves realizing that not much has changed. “You’re On Your Own, Kid” is heartbreakingly relatable, embodying the fragility of first loves and childhood dreams.

Midnight Rain

Farah Rincon

The very first seconds of “Midnight Rain” truly surprised me with the unfamiliar, modified version of Taylor’s vocals. Having the song open with catchy, rhythmic lyrics, Taylor adjusts from the nostalgic and coming-of-age vibes of the previous track, “You’re On Your Own, Kid” to an upbeat and easygoing tone through the laid back beats and quiet, sporadic synths. As seen in songs such as “Vigilante Shit” and “Karma”, Taylor creates a repeating theme of  her “bad girl” image through her lyrics in this song, and is seen through her lyricism when singing “I broke his heart ‘cause he was nice” and “He wanted it comfortable, I wanted that pain”. Regardless, Taylor always gives us a snippet of vulnerability and truth within her story telling, and we see that when she finally confesses she sometimes misses the man she left, even though he didn’t necessarily had the best intentions: “And I never think of him/Except on midnights like this.” Taylor compares herself to midnight rain, implying she’s somewhat darker, more emotional, and chaotic than the man she speaks of in this song. I found this comparison interesting, since midnight rain is often associated with a more romanticized calmness in the quiet night, not a raging storm that prevents you from sleeping. Nevertheless, Taylor always aims for specific metaphors in her songs that will challenge her fans, which is why her fanbase (including myself) is often looked at as hyper-analytical detectives when it comes to her songwriting. “Midnight Rain” blends really well with the accompanying songs of the album, and makes sure to reference the main idea of midnight through its title and lyrics. 

Question…?

Adri Pray

As a journalist, I was immediately hooked by the song title—“can I ask you a question?” is my number one phrase. I had fallen off the Taylor Swift train before coming to Emerson, but was familiar, and obsessed with, her older work (Taylor Swift, Fearless, Red, the like). I returned to the fanbase in anticipation of Midnights, and the album as a whole I was pleasantly surprised with the techno sound, though “Question…?” elicits a different feeling. As opposed to much of her work on the album, “Question…?” is entirely set in the third-person, a stylistic choice that can’t go overlooked. Within this move, Swift forces the listener to reflect on the naive love everyone has, a love that, eventually, turns sour. While the first verse paints a beautiful scene of what one hopes for when they commit to another, the chorus challenges the picturesque relationship, and the second half of the song begs the question: ‘why did you leave her?’

Vigilante Shit

Izzy Desmarais

I pride myself on being an honest reviewer. To be completely candid, this album did not hit as hard as I was expecting it to. Based on the promotional photos — set in a wood paneled living room accented with jewel tones — I was expecting a 70s rock influenced record. To my core, I am a Speak Now/Red/Folklore girlie. Pop Taylor has never been my absolute favorite — I fell off the Swiftie train for a few years following 1989. So, forgive me, but Midnights definitely missed the mark for me. “Vigilante Shit” is an excellent example of what this album really is — an electro pop record that feels like 1989 and reputation’s love child. Paired with a simple yet dark trap-esque beat, the lyrics tell the story of a woman seeking revenge on her ex-lover. This isn’t the first time Swift has played with this narrative — most recently, evermore’s “no body, no crime” follows a woman avenging her friend’s death by killing her ex-lover turned murder. Instead of a small country town setting, “Vigilante Shit” depicts crimes committed by the elite. Many fans have speculated that this song is about Scooter Braun, the man behind the acquisition of the masters to Swift's first six studio albums and subsequent refusal to sell them back to her. Lyrics suggest that Swift may have told Braun's now ex-wife about his infidelity — “She needed cold, hard proof, so I gave her some / She had the envelope, where you think she got it from?” My favorite line, however, has to be from the third verse — “While he was doin’ lines and crossin’ all of mine / Someone told his white-collar crimes to the FBI.” It's clear that Swift still knows how to write a song with clever word play and unapologetic honesty, but sonically this track definitely fell flat for me. Just imagine these lyrics with a loud, swell of guitars reminiscent of Fleetwood Mac to accompany them! Ugh, what could have been. 

Bejeweled

Sarah Fournell

“Bejeweled” is Swift’s least tragic unrequited love anthem. Unlike the one-sided romance bops from the past, “Bejeweled” is a gleaming ode to moving on phase of a relationship that hasn’t even ended yet. Bouncing far from the self-deprecating themes that have run rampant throughout the album thus far, “Bejeweled” is a shimmering celebration of the self. Rather than let herself suffer from an attention deficit from the one she loves, Swift puts herself first, and is hellbent on having a good time, whether or not her lover is happy about it! “Bejeweled” is shining with references to her own discography, with nods to “This is Me Trying,” “Mirrorball,” and “All Too Well (10 Minute Version)(Taylor’s Version).” The song itself sounds glittery, with the tech-pop beat that screams “Jack Antonoff produced this.” It opens with a regal, cinematic score resemblant of a video game soundtrack and evolves into a bouncy pop track. It’s the perfect anthem for dancing around your bedroom “You Belong With Me” style, or for stepping out to show the world that you’re unapologetically you, a diamond who has no choice but to shine. The star studded music video only adds to the appeal

Labyrinth

Everly Orfanedes

“Labyrinth” absolutely fed the folklore and evermore stans. Once again, Swift unveils her insecurities and fears through delicate word play and soft synth. Swift’s raw lyrics and soft vocals bring listeners back to the familiar, relatable comfort that we met in 2020 with the release of the sister albums. As she repeats “Oh no, I’m falling in love” again and again as the song fades away, it feels as though a physical whirlpool of worry and excitement drowns our ears as the track drifts away and into the next. The song expresses the relatable worry we know all too well; a fear that we will get hurt again, and face heartbreak. Swift says love is a risk, but always a risk worth taking.

Karma

Maura Cowan

I’m going to be transparent: Me and Midnights, so far, do not particularly vibe like that. I swear, Your Honor, this is not blind haterism– I am not above allowing my opinion to evolve, or acknowledging my own shortcomings as someone who struggles to connect to the kind of mid-tempo synthy pop that drives the album. However, the sonic same-ness and lyrical shortcomings of Midnights have made the album difficult for me to fully sink into. All that being said, her eleventh track, “Karma,” is generally a positive standout on the album for me. In all honesty, I was particularly interested in inspecting this one because of Taylor’s ongoing fixation on the titular concept throughout her career, especially since her reputation era. Those who have wronged her (namely Kanye West and former manager Scooter Braun) have been frequent recipients of one particular sentiment from Taylor in the last few years: “I’m patient, I’m chill, because I know you’ll get what’s coming to you.”  “Karma” the track is, perhaps, the most direct execution of this idea in recent memory, but that bluntness works well for me here. I appreciate the floating background synth, spare drum line, and buoyant, anaphoric chorus. Though it suffers in some lines from the same issue of lyrical deficiency (Taylor, I know you can do better than “me and karma vibe like that”), I find it to be a lighthearted and evolved take on this ground that she has trodden before. She frames karma more as the positive things in her life than the misfortune that has befallen her enemies, a sentiment that I appreciate from her after years of Bitter Betty anthems. Sorry Swifties, there may be no secret album by the same name, but I personally am satisfied with the “Karma” that came to us.

Sweet Nothing

Isa Luzarraga

The 12th track of Midnights is unique in its portrayal of domesticity. Swift co-wrote the song with collaborator William Bowery aka her boyfriend of more than five years, actor Joe Alwyn. Having previously collaborated on folklore tracks like “betty” and “exile,” Bowery/Alwyn was predicted to be credited on Midnights. “Sweet Nothings” is a soft ballad, detailing the simple things in Swift and Alwyn’s life together, uncomplicated as the love described in the chorus, “They said the end is coming/Everyone's up to something/I found myself a-running home to your sweet nothings/Outside they’re push and shoving/You're in the kitchen hummin'/All that you ever wanted from me was sweet nothing.” “Sweet Nothings” provides an ordinary yet intimate gaze into their relationship, routine yet remarkable in its ease.

Mastermind

Karenna Umscheid

With “Mastermind,” Swift gives her invisible string a tug and illustrates her master plan to fall in love. She captures the pop magic of 1989 with the deep infatuation of reputation and endless romance of Lover with this track 13, a perfect and lovely encapsulation of the relationship that has guided her hopelessly romantic songwriting since 2017. She infuses her love so deeply and personally when she sings “No one wanted to play with me as a little kid/So I've been scheming like a criminal ever since/To make them love me and make it seem effortless/This is the first time I've felt the need to confess/And I swear/I'm only cryptic and Machiavellian 'cause I care.” Her chorus shimmers with deep love, which Swift ensured was meant to be. It’s an absolutely magical closing track to the album. 

3am edition

The Great War

Stephanie Weber

Sitting as the first song on the Midnights (3am Edition) (2022), “The Great War” is a heartbreaking introduction to the extended album. Midnights is moody and heartfelt — the extended version is no different. “The Great War” is drawn out, with strong drum beats and breathy vocals, a perfect battle cry for the poignant title name. Like any good writer about bloodshed and difficulty, Swift reflects on one particular relationship through a war metaphor, looking back on this life experience with a new lens. She details the highs and lows, desperately trying to garner a new perspective and find the spots where things went awry. Swift draws upon her Americana roots to sing about perseverance and prioritizing love above hate when tragedy strikes. With lyrics like “My hand was the one you reached for / All throughout the Great War” and “I vowed not to cry anymore / If we survived the Great War” display the love that this relationship continues to have, despite the lovers clashing. During tragedy, relationships either break or come together, and Swift strives for the latter. Falling back on her Folklore (2020) and Evermore (2020) days, “The Great War” stands out among the rest of the album due to its detailed descriptions and imagery. Swift sings lyrics like “Soldier down on that icy ground / Looked up at me with honor and truth / Broken and blue, so I called off the troops,” painting a heartbreaking picture of domestic sorrow and bloodshed. Like “Love Story,” off of Swift’s second album Fearless (2008), and “Long Live,” off of Swift’s third album Speak Now (2010), Swift uses her legacy of writing battle cries of maintaining love during a life of destitute in “The Great War.”

Bigger Than The Whole Sky

Izzy Desmarais

I was fast asleep when Midnights (3am Edition) dropped. Having stayed awake for the initial release at midnight, I went to bed roughly an hour later feeling tired and disappointed. My friend told me that these extra seven tracks are — in her opinion — better than the initial thirteen. Again, to be completely honest here, I have not listened to Midnights (3am Edition) in its entirety. I’m a little scared to press play. I mean, what if I’m still disappointed afterwards? I had heard nothing but good things about “Bigger Than the Whole Sky,” so I figured this was a safe choice for my second song to review. A more subdued track that gradually builds over the course of three and a half minutes, its light synthesizer paired with heavy bass perfectly reflects the lyrics. While Swift leaves the true meaning up for interpretation, the song undoubtedly details the loss of a loved one. Fans wonder if it is about a miscarriage, suggested by the lines “You were more than just a short time” and “I’m never gonna meet / What could’ve been, would’ve been / What should’ve been you.” A truly heartbreaking ballad that grapples with themes of guilt and losing faith — “Did some force take you because I didn’t pray?” is, in my opinion, the most gut wrenching lyric — Swift demonstrates a range of emotions on this album while still creating a cohesive electronic sound. 

Paris

Stephanie Weber

“Paris” is exactly what it sounds like; a love song about falling in love like you’re in the most romantic city in the world, Paris. It’s upbeat, catchy, and  yearning at its core. It could serve as the soundtrack for a movie scene where the protagonists who are meant to be together finally kiss in the rain. It opens with vague vocals and synths but leads into the first verse about being in love with an ex-lover. The pre-chorus is what brings the song together, with lyrics “I'm so in love that I might stop breathing” and “I was taken by the view / Like we were in Paris.” Like the rest of Midnights, “Paris” is about a relationship all consumed with being in the honeymoon phase, dramatically in love it makes your friends sick with jealousy. Similarly, to “Lavender Haze” and “Anti-Hero,” the song is self-referential to the album, with the use of the word “midnights” within the song. Although the line “Let the only flashing lights be the tower at midnight” is flawlessly written, my favorite lyrics of this song are “Romance is not dead if you keep it just yours/Levitate above all the messes made,” because, in true Swift fashion, I continue to root for a flawed relationship wherein the lovers are truly compatible with each other but don’t know how to overcome their differences. Swift really shows us that “Romance is not dead,” detailing this relationship she wants to hold forever. Of course, Swift has been to the city of light and love, with her release of a handful of songs performed in Paris, and draws on her cultured experience with the city that never ceases to bring lovers together.

High Infidelity

Sarah Fournell

“High Infidelity” is an instantly recognizable Aaron Dessner produced track, with a more subdued, folky beat reminiscent of the pair’s work on Evermore. Swift gets wildly detailed in this track, posing the question “Do you really want to know where I was on April 29?,” leading fans to believe the track is about her relationship with Calvin Harris. (Harris’ song “This is What You Came For,” which was written by Swift was released on April 29, 2016). The track is deeply melodramatic and poetic, with lines like “You know there’s many different ways that you can kill the one you love/The slowest way is never loving them enough.”

Glitch

Everly Orfanedes

During my first listen of the “chaotic 3am surprise,” “Glitch” was my immediate favorite of the seven extra songs for Midnights (3am edition). The song is sexy but innocent in nature, and it sweetly breaks up the heavy hearted songs that sit on either side of this track. The flirtatious vibe reminds me of songs like “Stay Stay Stay,” but with a much more mature tone. Swift demonstrates her self awareness in regards to how she loves, and who she loves, and we can hear the immense growth she has gone through in this electronic, beautiful, dancing in a dark room track. 

Would’ve, Could’ve, Should’ve

Karenna Umscheid

Swift’s realest, most gut-wrenching and gorgeously honest track (in my opinion!) on Midnights released by surprise at 3am, and now I almost can’t imagine her discography without it. The emotion and pain of tracks like “Dear John” and “All Too Well” ring through this song, with the added wisdom, and anger, of age. The lyric “Living for the thrill of hitting you where it hurts/Give me back my girlhood/It was mine first” is enough for me to want to drive my car off of a cliff. Swift’s intense, longing regret is heartbreaking to hear; though she grows older and her life moves on, her demons and regrets keep their grasp on her. She never holds back, especially when the chorus reads “I can’t let this go/I fight with you in my sleep/The wound won’t close/I keep on waiting for a sign/I regret you all the time.” Swift unexpectedly unleashed absolute hell in the penultimate track to Midnights (3am edition). 

Dear Reader

Sarah Fournell

“Dear Reader” is a perfect culmination to the key themes of the album, with self-doubt, regret, and pain at the forefront of the lyrics. It reads as a direct letter of advice to her fans, urging them to “Never take advice from someone who’s falling apart.” A muted hip-hop beat guides the verses, and gives way to a tranquil piano melody that backs the chorus.  It’s a deeply vulnerable track, wherein Swift admits her insecurities surrounding being a role model. She also advises “the reader” to have the courage to reinvent themselves, to bend but not break, and to have fortitude. The sonically Weeknd-esque outro is a plea for her fanbase to “Find another guiding light.” Throughout the entire song, she practically begs the listener to recognize that she’s a flawed human being, who feels unworthy of idol worship, which is a sentiment her fanbase desperately needs to hear.

Lavender Edition

Hits Different

Sarah Fournell

I’m genuinely upset that “Hits Different” is only on the Target exclusive “Lavender Edition” of Midnights. It is flourishing with aspects of nearly every sonic era she’s ever had, with an acoustic throughline and hard hitting pop choruses. Lyrically, it’s like if the overzealous pining of “August” met the bittersweet naivety of the entire Fearless album. It feels free from the constraint of the pressure to constantly evolve as a musician, as if it’s purely rooted in the fun of the past. The screamable nature of the lyrics like “I never don’t cry at the bar” and “Bet I could still melt your world/Argumentative, antithetical dream girl” make me want to have a TALK with Swift and her team. It’s another Antonoff/Dessner masterpiece that I wish would have been given the same platform of the rest of the album.