A Reflection on ‘Midnights’: An Ingenious Pop Introspection on Fame and Getting Older?

There’s a saying, “Good things take a long time.” And quite frankly, I was beginning to think it didn’t apply to Taylor Swift, who in 2020, released two lyrically and vocally stellar albums within a six month span. Finally, time is pushing up against her. It feels as though Midnights could’ve been perfected had it spent more time in the studio. It lacks any distinct feel (even the topic of Midnights is quite rare), and it seems it’s missing a cohesive feel, one that’s seen on all her albums (slight except to Red) and what makes them so addictingly good.

And thus, less than half a year later of sitting with the album and pouring through any easter egg Taylor Swift has added, I’ve come as close as I can to a definitive feel for the Album.

For some reason, Midnights has become associated with a drone-y pop album reminiscent of old pop stars that slowly start to fade.

Lavender Haze

While this song serves as a catchy opener to the album’s hazy and murky sound, it’s too similar to I Think He Knows, albeit it Lavender Haze does it better. This song definitely fits the theme of the album. A highlight of the song would definitely be the bridge, a more interesting and accurate depicition of the media.

Yet, the lines of 1950s are somewhat dramatic. Taylor is the biggest pop star in the world, no one is imposing 1950s standards on her, sure, many pry on her love life, but not because they want her relationship to be like one of the 1950s, rather because the relationship has last so long in comparison to her previous highly scrutinized ones the media followed.

Maroon

Maroon plays on Taylor’s infamous color references in her songs. This works perfectly, both the vocal delivery and storytelling are superb. This song has similarities to Reputation, which fits with the theme of 13 scattered midnights in Taylor’s life. The biggest down fall of this song is the production. It falls flat on almost every aspect of the production.

Anti Hero

Anti Hero is the best pop single since 1989. There I said it, had Rep had “Getaway Car” or Lover “Cruel Summer” I wouldn’t say this. The 80s sound is refreshing and adds to the self-depreciating tone of Anti Hero. The song in its entirety is a paradox because of the juxtaposing lyrics and sound. The reverb in the song is also for sure a grower and wasn’t my favorite in the beginning. I just wish this song was a tad bit more upbeat in terms of sound. Nonetheless, this is one of the album’s highlight songs and demonstrates Taylor’s pop prowess in writing (with the exception of the sexy baby reference because while I understand the reference, it feels severely out of place).

Snow on The Beach

This song itself is beautiful, but yet an underwhelming and disappointing feature. The instrumental plucks in the beginning were stunning and added to the song production wise. Lana and Taylor’s writing prowess and can clearly be seen through the lyrics of this song. Yet with all of this, the fact that Taylor’s promoted this as a full collab is the main issue because Lana only sings a handful of lines with Taylor.

You’re On Your Own, Kid

Excellent track five! Taylor’s vivid songwriting comes through in this song, which details her rise to fame and her life prior. This is incredibly vulnerable coming from Taylor to admit all that she’s done for the fame (a theme that is ever present in the album). Again I wish for the build in this song to be more rewarding.

Midnight Rain

This feels like an unfinished song. The song lyrics are kind of corny, the autotune/distortion was not well done. The song had a lot of potential however, talking about something Taylor has mentioned, losing relationships because of her fame.

Question…?

The autotune on this song is redundant, given that this follows midnight rain- a heavily distorted track and lavender haze that starts with autotune. The beat never takes off and Taylor has done the nostalgia and what could’ve been better, specifically in “the 1.” The claps in the song also don’t help the song at all. One thing I do like is Taylor’s reflection of a love that she hasn’t quite been able to let go and she sings, “Does it feel like everything’s just like second-best after that meteor strike?”

Vigilante Sh*t

This feels a little out of place in a sleepy album. I also wish the production was different from Eilish’s song because it sounds too much like “bad guy” or “you should see me in a crown.”

Bejeweled

People have praised Bejewled for its interesting beat, but it sounds tacky and juvenile. Especially in this song, it’s noticiable that Taylor should’ve went back into the song writing room and fix some of the cringe-worthy lyrics she wrote, including, “penthouse of your heart.” This also just gives filler vibes.

Labyrinth

The main critique of this song that I have is it seems out of place because it fallows four very pop songs. Yet, Taylor’s breathy vocals and cool production sounds amazing.

Karma

This has an amazing buildup and production and it’s totally groovy just the lyrics are too childish. While I do appreciate the sentiment Taylor has about Karma and how by staying not problematic, she’s been able to avoid any negative things.

Sweet Nothing

Beautiful sleepy love song that sounds vaguely similar to Fourth of July.

Mastermind

I wish the production was more interesting. Taylor almost sounds bored when she’s singing it but I do love her opening up like that.

Total Album Review: 73/100

Tracklist Rearranged:

1. Snow on The Beach (ft. Lana Del Rey)
2. Anti-Hero
3. Midnight Rain
4. Labyrinth
5. You’re On Your Own, Kid
6. Would’ve, Could’ve, Should’ve
7. Sweet Nothing
8. Karma
9. Mastermind
10. Maroon
11. Bejeweled
12. You’re Losing Me
13. Dear Reader