Anyone who knows me knows I am a die-hard Taylor Swift fan… I don’t even think I talk about her that much but I must give off the Swifitie aura because even people I hardly know just KNOW.

Thus, I get asked quite often what my favorite Taylor album is, and what my thoughts are on this new folklore/evermore era. I’ve heard mixed opinions from fellow Swifties, and, just like my opinion of her best album (which we’ll discuss another time), my opinions on the new Taylor aesthetic are kind of unpopular.

I have an (almost) equal appreciation for all Taylor’s albums… I have grown to love the different “eras” that have formed around each record, and love to see how her musical style and fashion tastes have developed over the years.

The folklore & evermore era is definitely the most unique of all her eras. While Fearless and Speak Now intersected on many fronts, and Red flowed to 1989 which flowed to reputation as her pop-based sound expanded.

But folklore stands on its own in Taylor’s catalog.

At least it did, until its little sister evermore came along.

With moody black & white and sepia tone photos of Taylor in big coats walking through foggy forests, folklore and evermore feature equally moody songs.

Unlike her previous work, these sister albums are grounded in piano melodies, soft acoustic guitar, and harmonies from the likes of The National, Jack Antonoff, and even Taylor’s long-time boyfriend, Joe Alwyn (a.k.a. William Bowery).

From “cardigan” to “willow,” here is a good-better-best ranking of all 34 tracks from folklore and evermore.
34. betty

I’m not much of a country girl, so the plucky guitar and harmonicas didn’t do much for me. Nevertheless, I can’t deny that betty has very cute lyrics and is a well-crafted country-folk song.

“If I just showed up at your party / Would you have me, would you want me?… I don’t know anything / But I know I miss you…”

33. dorothea

The melody of this songs screams young Taylor. While it’s quietly catchy, and the “uh-huh” repeated through the chorus is undeniably cute, I have a hard time connecting to songs that don’t make sense as stories being told by Taylor herself. I guess I’m just not into narrative songwriting… sorry Tay!

32. mirrorball

Bittersweet lyrics with themes of adjacent self-confidence and disappointment, mirrorball is a slow and steady track that serves as a great background for a coastal drive… but beyond that, it doesn’t excite me much. It is a pretty song, but I had a hard time understanding the hype.

“I’m still on that tightrope / I’m still trying everything to get you laughing at me…”

31. closure

I had high hopes for this track… I love anything that addresses closure or the lack thereof. I’m not sure if it was just the influence of The National, but even my highly-trained ear simply could not figure out the rhythm of this song. I can’t not sit on the edge of my seat through the entire song because I’m constantly trying to figure out when the percussion beat will match up with the melody…

…It never does. Am I missing something?


“When did all our lessons start to look like weapons / Pointed at my deepest hurt? / I hope she’ll be your beautiful fool / Who takes my spot next to you / No, I didn’t mean that / Sorry, I can’t see facts through all of my fury / You haven’t met the new me yet”

The raw, poetic honesty of the lyrics make up for the over-simplified backing of happiness. This song sounds more to me like things she is trying to convince herself of than anything else… and, in breakups, there is certainly a time and place for that.

“I can’t make it go away it go away / By making you a villian…”

29. evermore (ft. bon iver)

“Gray November / I’ve been down since July…”

If those aren’t the most relatable lyrics for 2020.

(Except I think we’ve all been down since March.)

I was definitely expecting the “evermore” to be something more like “I’ll love you forevermore,” rather than “I had a feeling so peculiar / That this pain will be for evermore.”

Certainly not as strong as the Bon Iver duet from folklore, evermore is still a chill and beautiful song… rich with sadness and the feeling of winter. I wish the whole song was the same tempo as the quickened middle of the song… but overall I won’t complain!

28. epiphany

I have an unpopular take on the Covid-19 pandemic and its effect on our society, so epiphany does not resonate with my lyrically. (Not going to open Pandora’s box any further than that.)

Yet, this song is beautiful, with some incomparable melodies that peak in the bridge that I just cannot get enough of.

“Just a little glimpse of relief / To make some sense of what you’ve seen…”

27. marjorie

I love that Taylor pauses in the core of evermore to pay homage to her late grandmother.

“What died didn’t stay dead / You’re alive, you’re alive in my head…”

I love the bridge of this song, but overall it is mainly a song that I think Taylor needed to write for herself, rather than for her listeners. Which I am more than happy to indulge her in.

26. illicit affairs

“Take the road less traveled by / Tell yourself you can always stop…”

This song nails its subject matter so perfectly and poetically, it ends up just making me sad for those who get themselves caught up in affairs like this.

And for a singer who’s so famous for her bridges, this one ranks pretty high on the list of great bridges.

“And you wanna scream / Don’t call me “kid,” don’t call me “baby” / Look at this godforsaken mess that you made me / You showed me colors you know I can’t see with anyone else / Don’t call me “kid,” don’t call me “baby” / Look at this idiotic fool that you made me / You taught me a secret language I can’t speak with anyone else…”

25. mad woman

Out of all the backing piano melodies between the two albums, this might be one of the best. It sounds exactly how it should – like a woman scorned plotting revenge as she walks alone through a dark, gloomy forest.

And I’m SO here for that aesthetic.

“Every time you call me crazy, I get more crazy / How about that … I’m taking my time, taking my time / ‘Cause you took everything from me…”


Taylor closes the folklore/evermore chapter perfectly with this subtly-nostalgic song, ironically saying goodbye to the cottagecore chapter of her career with a song about knowing when things are done and it’s time to move on.

“That old familiar body ache / The snaps from the same little breaks in your soul / You know when it’s time to go… / Sometimes giving up is the strong thing / Sometimes to run is the brave thing / Sometimes walking out is the one thing / That will find you the right thing…”

While this song clearly references scenarios she hasn’t herself experienced, like “20 years at your job / Then the son of the boss / Takes the spot that was yours,” elements of the song are clearly drawn from her own experience.

“15 years, 15 million tears / Begging ’til my knees bled / I gave it my all, he gave me nothing at all / Then wondered why I left / Now he sits on his throne in his palace of bones / Praying to his greed / He’s got my past frozen behind glass / But I’ve got me…”

Whether this verse is truly about Taylor’s backstabbing by Big Machine Records or not, there are certainly elements of her “past frozen behind glass.” It could mean the snippets of her life encapsulated in songs, or the memories of herself as certain times in her life that other people will always have of her, or even the millions of photos we all hold behind the “glass” screens of our iPhones. This poetic ambiguity is arguably what makes this song – and the rest of Taylor’s music – so magical.

23. invisible string

“A string that pulled me / Out of all the wrong arms, right into that dive bar / Something wrapped all of my past mistakes in barbed wire / Chains around my demons / Wool to brave the seasons / One single thread of gold / Tied me to you.”

After the many times I’ve listened to invisible string over the past few months, the more I’ve come to believe that this is one of the lyrically strongest tracks on folklore.

“Cold was the steel of my axe to grind / For the boys who broke my heart / Now I send their babies presents / Gold was the color of the leaves / When I showed you around Centennial Park / Hell was the journey but it brought me heaven…”

Another beautiful example of how well Taylor knows how to make a song simultaneously extremely personal and somehow nostalgic for every listener.

22. no body, no crime (ft. Haim)

If this song doesn’t give the strongest Goodbye Earl vibes ever, I don’t know what does.

“Este wasn’t there Tuesday night at Olive Gardеn / At her job or anywhere / Hе reports his missing wife / And I noticed when I passed his house / His truck has got some brand new tires / And his mistress moved in / Sleeps in Este’s bed and everything / No, there ain’t no doubt / Somebody’s gotta catch him out”

And why does the mention of Olive Garden somehow make this song even better?

I know I said I don’t like narrative song lyrics, but I bend my rules for Goodbye Earl and friends.

“Good thing my daddy made me get a boating license when I was fifteen / And I’ve cleaned enough houses to know how to cover up a scene / Good thing Este’s sister’s gonna swear she was with me / (She was with me, dude) / Good thing his mistress took out a big life insurance policy …. No, no body, no crime / I wasn’t lettin’ up until the day he died.”

21. long story short

long story short is the perfect peppy mix of closure from past mistakes and hope for the future. These themes are reminiscent of Lover, and the the upbeat, major key sound hints to Lover‘s bubblegum pop sound as well.

“Fatefully / I tried to pick my battles ’til the battle picked me / Misery / Like the war of words I shouted in my sleep / And you passed right by / I was in the alley, surrounded on all sides / The knife cuts both ways / If the shoe fits, walk in it ’til your high heels break…”

As Taylor tends to do, the lyrics in this song nod to other songs and eras of her journey, making the “long story” much shorter by briefly mentioning events and feelings that, in the past, she took entire songs like Wonderland, Look What You Made Me Do, and Getaway Car to explain:

“And I fell from the pedestal / Right down the rabbit hole (Wonderland) / Long story short, it was a bad time / Pushed from the precipice (Look What You Made Me Do/I Did Something Bad) / Clung to the nearest lips (Getaway Car) / Long story short, it was the wrong guy…”

“Actually / I always felt I must look better in the rear view (Breathe/White Horse)
Missing me / At the golden gates they once held the keys to (Look What You Made Me Do) / When I dropped my sword / I threw it in the bushes and knocked on your door (I Did Something Bad/Bad Blood) / And we live in peace / But if someone comes at us / This time, I’m ready.”

20. THE 1

“I hit the ground running each night / I hit the Sunday matinée / You know the greatest films of all time were never made…”

I still don’t feel like this song quite fits with the rest of folklore… I see the 1 almost as a sort of transition from Lover to the new era, with its upbeat tempo and major chord progression.

“I guess you never know, never know / And if you wanted me, you really should’ve showed / And if you never bleed, you’re never gonna grow / And it’s alright now…”

Beside simply being a fun and catchy song that attracts even one-off listeners, the 1 brings a sense of lighthearted nostalgia to anyone who’s had a “one who got away.”

“…if my wishes came true / It would’ve been you / In my defense, I have none / For never leaving well enough alone / But it would’ve been fun / If you would’ve been the one / I, I, I persist and resist the temptation to ask you / If one thing had been different / Would everything be different today?”

A question I think we all have at least once in our lives… If one things had been different, could everything be different?

19. seven

“Please picture me / In the trees / I hit my peak at seven feet / In the swing / Over the creek / I was too scared to jump in…”

The first verse of seven gives me serious “Bridge to Terebithia vibes.” But the second verse is my favorite:

“Please picture me / In the weeds / Before I learned civility / I used to scream ferociously / Any time I wanted…”

Already a hauntingly beautiful song musically, the lyrics to seven make it a chills-all-over-your-body kind of song. Taylor captures a poetic glimpse into the mind of a seven-year-old, who wants nothing more than to solve their friend’s problems.

“Sweet tea in the summer / Cross my heart, won’t tell no other / And though I can’t recall your face / I still got love for you / Pack your dolls and a sweater / We’ll move to India forever / Passed down like folk songs / Our love lasts so long…”

18. champagne problems

“Your mom’s ring in your pocket / My picture in your wallet / Your heart was glass, I dropped it / Champagne problems…”

Against the simple piano-led background, the exquisitely-written verses of champagne problems truly stand out.

“Your Midas touch on the Chevy door / November flush and your flannel cure / ‘This dorm was once a madhouse’ / I made a joke, ‘Well, it’s made for me’ / How evergreen, our group of friends / Don’t think we’ll say that word again / And soon they’ll have the nerve to deck the halls / That we once walked through…”

For someone who (as far as I know) didn’t go to college, Taylor sure nailed the feeling of seeing a new class of students take over the campus. To spend four years somewhere and as soon as its over suddenly watch strangers begin to make memories in all the places where your memories took place seems like a violation.

That feeling, mixed with the harsh reality of having to decide what to do with the rest of your life after graduation, makes this song hit even more close to home on top of the denied proposal that she sings about.

All the feels!!

17. the last great american dynasty

Now, I know I keep saying that I don’t like narrative song lyrics. But for some reason, The Last Great American Dynasty hit different. Maybe it’s the Gatsby vibe or the John-Mayer-sounding guitar, but whatever it is, I loved this track from my first folklore listen.

“She had a marvelous time / Ruining everything…”


There’s something about the hyperbolic nature of this song that makes it so great and so Taylor. With it’s folky instrumentation and subject matter, it’s quite reminiscent of Fearless and Speak Now… maybe this was her segway into Fearless (Taylor’s Version)?

“Did you ever hear about the girl who got frozen? / Time went on for everybody else, she won’t know it / She’s still 23 inside her fantasy / How it was supposed to be / Did you hear about the girl who lives in delusion? / Break-ups happen every day, you don’t have to lose it / She’s still 23 inside her fantasy…”

Maybe it was because I was a couple months out of being a heartbroken 23-year-old myself that this song hit close to home, but regardless it quickly became a favorite of mine as soon as the deluxe version of evermore was released.

Taylor demonstrates her expertise in lyric-writing yet again, with this bonus track holding its own next to evermore‘s lead single willow and cult favorite champagne problems.

“I’m sure that you got a wife out there / Kids and Christmas, but I’m unaware / ‘Cause I’m right where
I cause no harm, mind my business / If our love died young, I can’t bear witness / And it’s been so long / But if you ever think you got it wrongI’m right where you left me…”

15. cowboy like me

“And the tennis court was covered up / With some tent-like thing / And you asked me to dance / But I said, ‘Dancing is a dangerous game’ / Oh, I thought / This is gonna be one of those things / Now I know / I’m never gonna love again…”

I read an article the other day breaking down evermore, and I didn’t realize until I started reading that it was a total roast of the album. I happen to love it, and know lots of other people who agree… not sure why the article was so critical, as if the album sucking was a popular consensus. But beside that, one of the core issues they expressed about cowboy like me, an issue so great that they completely wrote off what they otherwise would’ve loved as an homage to Taylor’s country roots, was the fact that the song starts with the word “and.”

I had a physical reaction to reading that.

The first line is literally my FAVORITE part of the song. As a writer who loves to break the rules in the name of artistic license, I’m a sucker for poetry or song lyrics that start with “and” or “but.” I think it adds a level of depth to the story that follows… Like the singer is making it clear that the lyrics contained within the 4 minutes of the song do not lay out the whole story. For anything that is a real (albeit fictional) story, how could one song fit all the history and nuances of a relationship, especially one as outlandish and complex as the one written about in cowboy like me?

By starting with “and,” Taylor is saying, this is not where these characters began. They have brought baggage and past experiences with them, which will shape the decisions they make in the next 4 minutes and 35 seconds.

“I’ve got some tricks up my sleeve / Takes one to know one / You’re a cowboy like me
/ Never wanted love / Just a fancy car / Now I’m waiting by the phone / Like I’m sitting in an airport bar…”

While I’ve never been a fan of the country-folk sound, the rich narrative and the fluid meter of the lyrics (paired with the John-Mayer-esque guitar in the second half of the song), make cowboy like me irresistable.

“And the skeletons in both our closets / Plotted hard to mess this up / And the old men that I’ve swindled / Really did believe I was the one / And the ladies lunching have their stories about / When you passed through town / But that was all before I locked it down…”

A social commentary, country-folk narrative, and love poem all in one song? I want to be a cowboy like you too, Tay!

14. coney island (ft. The National)

“I’m on a bench in Coney Island / Wondering ‘where did my baby go?’ / The fast times, the bright lights, the merry go / Sorry for not making you my centerfold…”

There isn’t a whole lot to this song musically, but something about it sounds so serenely sad, like sitting on a bench by the ocean under a cloudy sky, and I think that’s exactly what Taylor was going for.

And the lyrics, with the strong rhymes and solid iambic pentameter in the chorus, coney island is a great casual listen that builds on the narrative of impending heartbreak from other songs on evermore like cowboy like me and hoax (notice that allusion with the word “coaxed”? almost as if The National is singing from the perspective of the subject of folklore‘s last track hoax?)

“The question pounds my head / ‘What’s a lifetime of achievement?’ / If I pushed you to the edge / But you were too polite to leave me / And do you miss the rogue / Who coaxed you into paradise and left you there? / Will you forgive my soul / When you’re too wise to trust me and too old to care?”

13. ’tis the d*** season

It’s hard not to fall in love at first listen with the softened electric guitar in this song. And the verses that mentioned Methodist churches and neighborhood schools ring true to anyone who is from a small or suburban town… which means it resonates greatly with me.

“Time flies, messy as the mud on your truck tires / Now I’m missing your smile, hear me out
/ We could just ride around / And the road not taken looks real good now / And it always leads to you and my hometown…”

This is a solid, nostalgic song… the title and subsequent lyrics, though, make it come off too crass to be a favorite of mine, as someone who only listens to the clean version of the album.

But I can’t deny that this song is a major jam, and as a self-proclaimed Grinch I consider listening to this song to be my yearly dosage of Christmas music.

“I won’t ask you to wait if you don’t ask me to stay / So I’ll go back to L.A. and the so-called friends / Who’ll write books about me, if I ever make it / And wonder about the only soul who can tell which smiles I’m fakin’ / And the heart I know I’m breakin’ is my own / To leave the warmest bed I’ve ever known.”

12. the lakes

As a major fan of “the poets” Taylor sings about in the lakes, this folklore bonus track stole my heart from the first listen.

“Take me to the lakes where all the poets went to die / I don’t belong, and my beloved, neither do you / Those Windermere peaks look like a perfect place to cry / I’m setting off, but not without my muse…”

For some reason I just love the use of “muse” by a woman describing her man… It’s a term traditionally only ever used to describe a woman, so when I first heard it I was very pleasantly surprised.

“I want auroras and sad prose / I want to watch wisteria grow right over my bare feet / ‘Cause I haven’t moved in years / And I want you right here / A red rose grew up out of ice frozen ground / With no one around to tweet it / While I bathe in cliffside pools / With my calamitous love and insurmountable grief.”

A catchy amalgamation of modern social commentary and allusions to Romantic poets, the lakes is one of my long-lasting favorites from folklore.

11. august

I didn’t really like august until folklore had already been out for a couple months…

I was actually offended when other Swifties were comparing august to the likes of Getaway Car and Cruel Summer (one of my fave TSwift songs of all time). But I kept hearing it while shuffling folklore, and after a few rounds the bridge of august would not get out of my head.

“Back when we were still changin’ for the better / Wanting was enough / For me, it was enough / To live for the hope of it all / Cancel plans just in case you’d call / And say, ‘Meet me behind the mall’ / So much for summer love and saying ‘us’ / ‘Cause you weren’t mine to lose…”

Ummm, hullo???


Nothing like a good ol’ hometown heartbreak to increase relatability. Taylor continues alluding to the importance of the city mall on evermore in the song coney island:

“‘Cause we were like the mall before the Internet / It was the one place to be / The mischief, the gift wrapped suburban dreams…”

Anyone who grew up in suburbia knows the truth of this simile, and this is one of the many places where the progressive narrative between folklore and evermore shines through.

Even some of the lyrics from the verses and chorus nod to other songs: “Salt air, and the rust on your door” is reminiscent of the last great american dynasty and gold rush; “August sipped away like a bottle of wine” uses a wine simile like the first verse of willow; and, of course, “Will you call when you’re back at school? / I remember thinkin’ I had you” ties into the Taylor-professed “trilogy” between this song, betty, and cardigan.

Beyond that, though, august is simply a beautiful work of poetry. It repeats back in the second bridge with similar lyrics as the first bridge, bringing the nostalgic song full-circle.

“Remember when I pulled up and said, ‘Get in the car’ / And then canceled my plans just in case you’d call? / Back when I was livin’ for the hope of it all, for the hope of it all / ‘Meet me behind the mall'”

And, of course, the dorky-faced excitement that Jack Antonoff had while playing this song in The Long Pond Sessions makes me root for august even more.

10. ivy

Like she tends to do, Taylor somehow read my mind while writing her new album.

Not ready to reveal too many secrets just yet, but let’s just say that this song and many other songs on evermore perfectly coincide with the story I am currently working on. Maybe I am biased because of that, and that’s why I ranked this song so high on my list.

But it’s also just a great song.

I love love love the chord progression, and the plucky guitar and backing vocals give this song a “secret cabin in the woods” sound. Which, I think, is exactly what she was going for with the tenth song on her second “cottagecore” album.

“How’s one to know? / I’d meet you where the spirit meets the bones / In a faith forgotten land / In from the snow / Your touch brought forth an incandescent glow / Tarnished but so grand / And the old widow goes to the stone every day / But I don’t, I just sit here and wait / Grieving for the living…”

The article I mentioned previously that made a big stink about cowboy like me starting with the word “and” also had a whole section dedicated to why the poetics of the lyrics to ivy didn’t make sense… and once again, I wholeheartedly disagree.

The article, entitled “Taylor Swift Could Use an Editor” (which has since been changed to “Taylor Swift’s evermore feels like a rough draft”), discusses her lyrics as though the journalist is some kind of grammar genius. If I could make only statement of criticism for that article, it would be, “Haven’t you heard of the saying, ‘Know the rules so you can break them like a pro’?”

“In ‘Tolerate It,’ a devastating note from one side of a dying relationship, the narrator describes how her acts of service (she even set the table ‘with the fancy s***’) earned responses as frosty as Dessner’s piano riff. The Antonoff anthem ‘Gold Rush’ pulses with the relatable pettiness of resenting someone for being gorgeous; in the delectable chorus, Swift’s voice surges from sarcasm to desire. The sighing ballad ‘Cowboy Like Me’ shows how Swift’s love for conspiratorial romances draws out her knack for detail and scenery. It even has a killer opening word: ‘and.'” (https://bit.ly/3nTVnY6)

If this journalist even went to college, which to me seems doubtful when taking into account their amateur “grammar Nazi” nitpicking, I doubt they took courses on editing (which is how I learned how and when to break grammar rules artistically). But aside from their lack of understanding in this regard, they also don’t seem to understand the poetic quality of evermore, which is the heart and soul of the album. And this is why they didn’t like the album at all.

Then they continue on to bash ivy: “Then there’s ‘Ivy,’ a thesaurus sing-along: ‘Your touch brought forth an incandescent glow / Tarnished but so grand.’ Any editor might wonder if these are signs of first-draft work. The album appears to have tumbled out quickly, and the exuberant public reaction to Folklore could have messed with Swift’s quality-control calculations.”

I beg your pardon?

Go read some Shakespeare sonnets or Emily Dickinson poems and tell me you don’t see one instance in which the poet uses synonymous words. I understand that “incandescent” and “glow” don’t necessarily both need to be used to portray the meaning, but by using the adjective of incandescent Taylor is describing in more detail what the “glow” of romance is like – not a safe, steady flame; not a spark barely bright enough to see; it is “incandescent,” bright with many colors almost like light through a prism. Doesn’t that add more depth of meaning, rather than just saying “your touch made me glow?” Not to mention that it takes extreme skill to write lyrics in iambic pentameter with the correct amount of syllables that fit the melody.

(Also, why would an editor “wonder” if something is a “sign” of something? Wouldn’t you just say “The editor saw a sign that this might be a first-draft work?”)

But back to ivy. While I never condone extramarital affairs, the bittersweet passion of this song is irresistible.

“Clover blooms in the fields / Spring breaks loose, the time is near / What would he do if he found us out? / Crescent moon, coast is clear / Spring breaks loose, but so does fear / He’s gonna burn this house to the ground…”

The choppy background harmonies during the bridge come across as something like a musical representation of looking back and forth, back and forth, whether that be checking over one’s shoulder or not knowing which way to turn. Is that not the message of the song? Seems to me like she’s continuing to home a skill I have seen in John Mayer since I realized the background music of Stop This Train actually sounds like a train chugging on the tracks.

I also love that she uses “one” instead of saying “how was I to know.” I can definitely see the influence of all the reading Taylor said she did during quarantine on her lyrics… this is a very old British way of writing, which makes the lyrics sound more intellectual and mature to me. And I think this is a time in her career and in her life to take steps in that direction.

“How’s one to know? / I’d live and die for moments that we stole / On begged and borrowed time / So tell me to run / Or dare to sit and watch what we’ll become / And drink my husband’s wine.”

All I want to do now is move to a cabin in the snowy woods and drink tea by a roaring fire and listen to this song. Mission accomplished, Taylor. Mission accomplished.

9. peace

It took a few months of folklore for peace to work its way into my heart…

“I’m a fire and I’ll keep your brittle heart warm / If your cascade ocean wave blues come / All these people think love’s for show / But I would die for you in secret / The devil’s in the details, but you got a friend in me / Would it be enough if I could never give you peace?”

This strikes me as one of the most true, autobiographical songs on either of the two new albums. We know because of the media and fans, Taylor (as an adult) never has and never will have a normal, “peaceful” life. I have always admired that she doesn’t complain about this… she simply accepts it as a fact of life and still expresses great gratitude for all that her career has brought her.

I think that’s why I admire so much her acknowledgment here: “I could never give you peace.” She knows that’s not something that will change for her, but she understands that it could be a deal-breaker for someone who wants to be in her life.

“‘Cause there’s robbers to the east, clowns to the west / I’d give you my sunshine, give you my best / But the rain is always gonna come if you’re standing with me…”

In The Long Pond Session Aaron Dessner and Jack Antonoff talk about how musically this song sounds very peaceful… But what I hear in the syncopation and soft pulsing background is a near-peace, an almost-there, a kind of on-the-edge-of-my-seat anticipation that will (hopefully) lead to happiness. But there is still a twinge of doubt and vulnerability. Which, of course, is a major theme of the lyrics.

“And you know that I’d swing with you for the fences / Sit with you in the trenches / Give you my wild, give you a child / Give you the silence that only comes when two people understand each other / Family that I chose now that I see your brother as my brother / Is it enough?”

From the little bit we know of Joe Alwyn, I think it is “enough” for him. But I guess we don’t really know for sure, do we?

8. gold rush

Like this hilarious youtuber, I too was “shook” by the smooth, slightly-electronic beat of gold rush. And then of course the lyrics. THE LYRICS.

“But I don’t like a gold rush, gold rush / I don’t like anticipating my face in a red flush / I don’t like that anyone would die to feel your touch / Everybody wants you / Everybody wonders what it would be like to love you / Walk past, quick brush / I don’t like slow motion double vision in rose blush / I don’t like that falling feels like flying ’til the bone crush / Everybody wants you / But I don’t like a gold rush…”

How she was able to fit with that many separate statements into just a few lines, AND still rhyme perfectly, is a mystery to me. Mad props, Queen Tay!

I also love how the second chorus doubles back to change the first by only a few words, yet entirely changes the meaning – taking back all the adventures the first chorus told us they had to reveal that they never happened, and never can. Tear.

“My mind turns your life into folklore / I can’t dare to dream about you anymore / At dinner parties / Won’t call you out on your contrarian wit / And the coastal town / We never found / Will never see a love as pure as it / ‘Cause it fades into the gray of my day old tea / ‘Cause it will never be…”

While gold rush goes by pretty quickly, it has been one of my favorites from my first listen. Just simply a catchy, bittersweet pop track.

7. exile (ft. bon iver)

Never been a huge fan of Bon Iver, but I must say this song is a work of art.

“I think I’ve seen this film before / And I didn’t like the ending / You’re not my homeland anymore / So what am I defendin’ now? / You were my town / Now I’m in exile seein’ you out / I think I’ve seen this film before…”

Nothing snatches up my heart like a shift to minor key in the chorus… which is done masterfully in exile‘s chorus. I also LOVE when the first chorus and second chorus build on each other, but have different lyrics. Especially because the first is sung here by Justin Vernon and the second by Taylor, this dichotomy really stands out.

“I think I’ve seen this film before / And I didn’t like the ending / I’m not your problem anymore / So who am I offending now? / You were my crown / Now I’m in exile seein’ you out / I think I’ve seen this film before / So I’m leavin’ out the side door…”

Then, of course, the magnificent bridge from the Bridge Queen herself.

“All this time / We always walked a very thin line / You didn’t even hear me out (you didn’t even hear me out) / You never gave a warning sign (I gave so many signs) / All this time /
I never learned to read your mind (never learned to read my mind) / I couldn’t turn things around (you never turned things around) / ‘Cause you never gave a warning sign (I gave so many signs)…”

It’s kind of great, too, how the repeated bridge simply faded out and that is the end of the song… much more fun than repeating a verse, in my opinion.

6. hoax

“My only one / My smoking gun / My eclipsed sun / This has broken me down / My twisted knife / My sleepless night / My win-less fight / This has frozen my ground…”

As a total sucker for a good metaphor, from the first verse Hoax became one of my favorites. It is quite literally just a poem set to a pretty piano melody. And sometimes that is all a song should be.

“My best laid plan / Your sleight of hand / My barren land / I am ash from your fire / Stood on the cliffside / Screaming ‘Give me a reason’ / Your faithless love’s the only hoax I believe in / Don’t want no other shade of blue but you / No other sadness in the world would do…”

Yet, the bittersweet center of this delectable song is my favorite:

“You know I left a part of me back in New York / You knew the hero died, so what’s the movie for? / You knew it still hurts underneath my scars / From when they pulled me apart / You knew the password, so I let you in the door / You knew you won, so what’s the point of keeping score? / You knew it still hurts underneath my scars / From when they pulled me apart / But what you did was just as dark / Darling, this was just as hard / As when they pulled me apart…”

No compliment I could give would do justice to that bridge.

5. this is me trying

This is me trying was also one of my second-time-around favorites.

“They told me all of my cages were mental / So I got wasted like all my potential / And my words shoot to kill when I’m mad / I have a lot of regrets about that / I was so ahead of the curve, the curve became a sphere / Fell behind all my classmates and I ended up here / Pourin’ out my heart to a stranger / But I didn’t pour the whiskey…”

The intense syncopation (to the point where sometimes it almost sounds like she just completely off-beat) was a turn-off initially, but has come to be one of my favorite elements of this song. I think the tone of the song and the weird beat goes hand-in-hand with the narrative she has crafted in her lyrics:

“And it’s hard to be at a party / When I feel like an open wound / It’s hard to be anywhere these days / When all I want is you / You’re a flashback in a film reel / On the one screen in my town…”

With those uber-relatable lyrics and the beautiful strings to kick it up a few notches, this song has the perfect build-up that plays into the hopeful “trying” the POV character is doing. This song is quite unique, but I have come to love it so much. (Hence the top-five rating.)

4. willow

With a much different sound than the rest of the album, I still think willow started off evermore with a major bang.

“I’m like the water when your ship rolled in that night / Rough on the surface, but you cut through like a knife / And if it was an open-shut case / I never would’ve known from that look on your face / Lost in your current like a priceless wine…”

The article I shredded earlier also knocks the first verse of willow

“‘Willow’ opens with a gently plucked guitar riff creating a seesawing sensation, and Swift compares herself to water and her lover to a boat. So far, so fine. But for the verse’s emphatic final line, Swift uses an odd simile: ‘Lost in your current like a priceless wine.’
So, okay, her man, not her, is now the water. But: Are priceless wines commonly lost in currents? Like, is Swift referring to the Veuve Clicquot recovered from the Titanic? Or is she envisioning someone purposefully pouring wine into the sea on an expensive dare? Maybe I’m hearing the grammar wrong—is it that she’s lost in this lover in the same way a drinker might get lost in a drink?”

I happen to think that Taylor’s wine metaphor is consistent with the rest of her catalog and takes just the right amount of poetic license. Without putting forth any mental effort, I immediately gather from that lyric that the give-and-take, or “bait-and-switch,” of this relationship leads her to throw the best parts of herself, her deepest emotions and the core of her soul (the “priceless wine”) into the “current” (i.e. a strong force she has no control over) that is her lover. And while wine (especially a priceless one) should be able to lord the power to intoxicate over its beholder, even a whole bottle of alcohol is powerless against someone as wide and strong as a rushing river. I have been poring over the confusion this article displays with these lyrics, and the only thing I can think as that this journalist is, well, not bright.

“The more that you say, the less I know / Wherever you stray, I follow / I’m begging for you to take my hand / Wreck my plans, that’s my man / You know that my train could take you home / Anywhere else is hollow…”

Willow nails both the realities of falling into potentially one-sided or imbalanced love, and perfect meter and rhyme patterns. What’s not to love?

Plus its filled with straight-up lyrical gems. “Every bait-and-switch was a work of art” is a pretty irresistible line, as it “Life was a willow and it bent right to your wind.” And you know Taylor wrote “I come back stronger than a 90s trend” and smiled and said to herself, “I finally topped ‘Darling, I’m a nightmare dressed like a daydream.'” Tbh, she did.

3. tolerate it

The only thing I’ve been hearing about tolerate it is that people either LOVE or HATE it.

I, personally, fell madly in love with it pretty quickly.

“I sit and watch you reading with your head low / I wake and watch you breathing with your eyes closed / I sit and watch you / I notice everything you do or don’t do / You’re so much older and wiser, and I…”

No matter what that stupid article says, I’m totally here for Taylor setting the table with fancy dishes as she contemplates the future of her relationship. Is it not the smallest details, the quietest moments that truly express the depth of our emotions? Especially when, later, she goes on to sing more about the dishes:

“I take your indiscretions all in good fun / I sit and listen / I polish plates until they gleam and glisten…”

The last minute or so of the song completely has my heart. I don’t know what else I can say beyond what the lyrics themselves say…

“While you were out building other worlds, where was I? / Where’s that man who’d throw blankets over my barbed wire? / I made you my temple, my mural, my sky / Now I’m begging for footnotes in the story of your life / Drawing hearts in the byline / Always taking up too much space or time / You assume I’m fine, but what would you do if I / Break free and leave us in ruins? / Took this dagger in me and removed it? / Gain the weight of you then lose it / Believe me, I could do it…”

Maybe I just got lucky that these lyrics fit perfectly with my (not-so) romantic history, but the melancholic, poetic beauty of the bridge it undeniable, as we hear the relationship go from a “man who’d throw blankets over my barbed wire” to her “always taking up too much space or time.” I feel you girl, I feel you. And I can’t be the only one.

“If it’s all in my head tell me now / Tell me I’ve got it wrong somehow / I know my love should be celebrated / But you tolerate it.”

2. cardigan

Taylor Swift isn’t usually known for her singles… But cardigan dissolved that judgment for me.

“When you are young, they assume you know nothing / But I knew you / Dancin’ in your Levi’s / Drunk under a streetlight, I / I knew you / Hand under my sweatshirt / Baby, kiss it better, I / And when I felt like I was an old cardigan / Under someone’s bed / You put me on and said I was your favorite…”

Cardigan, I think, was the perfect lead single with which to usher in the new era of moody piano ballads, and I think its one of her strongest romantic nostalgia/introspection songs ever. Right away I fell for this new deep-voiced Taylor who appears for the first time in cardigan and pops up many more times throughout the two albums. She has clearly bene working on expanding her vocal range, and it’s certainly working to our benefit.

“To kiss in cars and downtown bars / Was all we needed / You drew stars around my scars / But now I’m bleedin’ / ‘Cause I knew you / Steppin’ on the last train / Marked me like a bloodstain, I / I knew you / Tried to change the ending / Peter losing Wendy, I / I knew you / Leavin’ like a father / Running like water, I / And when you are young, they assume you know nothing…”

Allusions to civilian staples like Levi’s, Peter Pan, and standing in line at the grocery store, along with the harsh realities like fathers leaving that many of us are too familiar with, makes cardigan a song equally compelling for Taylor’s suburban fans and fellow celebrities. Even Nina Dobrev shared a snap of herself in her cardigan, quoting the lyrics in the chorus.

“I knew you’d haunt all of my what-ifs / The smell of smoke would hang around this long / ‘Cause I knew everything when I was young / I knew I’d curse you for the longest time / Chasin’ shadows in the grocery line / I knew you’d miss me once the thrill expired / And you’d be standin’ in my front porch light / And I knew you’d come back to me…”

For such a sad, haunting song, it came as a surprise to me that the subject of the song came around and “came back to [her].” Unpredictable song endings (or really any narrative endings in any medium) are often the best kind.

And I stand by Taylor’s Instagram bio being replaced with this singular lyric: “You drew stars around my scars.” It’s one of the prettiest and richest lines from the song, and the whole album, and I’m still not over it!!!

1. my tears ricochet

Now before I start getting angry Swiftie comments, hear me out.

One of my favorite things to research and study is the historic 16th-century rivalry between Queen Elizabeth I of England and Mary Queen of Scots. I was in deep study mode when folklore first came out, so after the first few times listening to my tears ricochet I realized, wait a second… this song fits almost PERFECTLY into the story of Mary and Elizabeth. If you know anything about these two queens, you probably know that Elizabeth (reluctantly) ordered the execution of Mary, her cousin and rival, in order to protect her own reign and unite England and Scotland. Her execution was abrupt, harsh, and extremely bloody; and though she had many flaws, Mary certainly didn’t deserve such a disgraceful spectacle.

My tears ricochet, if taken literally, is being sung from the perspective of someone who was killed to their killer, addressing the guilt and regret the killer likely has after what they have done. It starts at the funeral of the POV character as she recounts what led to that point:

“We gather here, we line up / Weepin’ in a sunlit room, and / If I’m on fire, you’ll be made of ashes too / Even on my worst day, did I deserve, babe / All the hell you gave me? / ‘Cause I loved you, I swear I loved you / ‘Til my dying day…”

Historically, Mary was always eager to meet Elizabeth and showed great respect and admiration for her. Yet Elizabeth made an excuse for every attempted meeting, and so they never met face-to-face. That is all I can think of when I hear “I swear I loved you / ‘Til my dying day.” Interesting…

Elizabeth was said to have gone into a nervous fit upon hearing the details of Mary’s execution… Doesn’t the chorus fit perfectly with this untimely, regrettable demise?

“I didn’t have it in myself to go with grace / And you’re the hero flying around, saving face / And if I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed / Look at how my tears ricochet…”

But then the correlation starts to get really serious… “You wear the same jewels that I gave you / As you bury me.” There are multiple recorded accounts of Mary gifting Elizabeth with jewels from her royal collection. Hmmm.

“I didn’t have it in myself to go with grace / ‘Cause when I’d fight, you used to tell me I was brave / And if I’m dead to you, why are you at the wake?” Mary fancied herself a “warrior Queen,” and Elizabeth was much less often on any battle lines. Elizabeth also, even after her execution, blamed many of her problems on Mary. Why are you at the wake of your self-proclaimed enemy, Elizabeth?

“I didn’t have it in myself to go with grace / And so the battleships will sink beneath the waves / You had to kill me, but it killed you just the same / Cursing my name, wishing I stayed / You turned into your worst fears / And you’re tossing out blame, drunk on this pain / Crossing out the good years…”

After many years of friendly correspondence in the earlier lives of Mary and Elizabeth, they slowly turned into enemies and Elizabeth caved to her Privy Council’s pleas and “turned into [her] worst fears,” becoming exactly what she never wanted to be – a queen-killer, like her father, the matricidal King Henry VIII. Not to mention that not long after Mary’s execution, Elizabeth famously defeated the unbeatable Spanish Armada, miraculously sinking the esteemed war ships in the sea off the coast of the British Isles. Am I the only one who’s seeing this???

I know this could be quite a stretch from a nerdy scholar, and there are many instances in which my interpretations of the lyrics could also be interpreted instead as discussing Taylor’s major falling out with Scooter Braun and Scott Borchetta. “You wear the same jewels that I gave you” could just as easily be referring to the money Scooter and Scott earned from Taylor’s musical catalogue, but an intellectual Swiftie can dream, right?

Even if my tears ricochet is much simpler than I am making it out to be, it is still an extremely unique take on the heartache that follows betrayal… betrayal taints “the good years” and thus causes emotional damage in a deeper way than other relational disappointments. Even the repetitive use of an unusual but beautiful word like “ricochet” displays that Taylor is stepping to a new level of craftsmanship with her songwriting, which she in all her fame could easily get away with not doing, and thus I admire it even more.

The more I study my tears ricochet, the more I love it and the more convinced I am that it is the strongest song in the cottagecore-era Taylor Swift. Which is funny, because it was the first song she wrote for this era, and also the only one that she wrote without a cowriter.

With that, I rest my case.

Do you agree with any of my rankings? What are your top five favorites? Do you hate my tears ricochet? Let’s chat in the comments…

Click here to view the (stupid) article from The Atlantic that I reference in my reviews.


I’ve been a die-hard Charli XCX fan since True Romance was the only album in her catalog. From her punky aesthetic to her artsy electronic production, what was not to love?

I tend to view upbeat, catchy songs with sad lyrics as the best kind of music… and Charli has had that down to a science since True Romance‘s “Nuclear Seasons,” “Stay Away,” and “Set Me Free.”

This is one of my favorite albums of all time… from “Black Roses” to “Nuclear Seasons” to “You’re the One.” So when Sucker came out I had high hopes, but turned out to only really like “Gold Coins,” “So over You,” and “Caught in the Middle.” And these were definitely a far cry from the moody synth beats that I had become such a staple for me.

But, I stuck it out. I had faith that the picturesquely-heartbroken Charli would return.

Number 1 Angel brought “White Roses” and nothing else that caught my attention, and then with Pop 2 things started looking up. Starting off strong with “Backseat” ft. Carly Rae Jepsen, the delicate and super-synthy “Lucky,” and the glitch-pop masterpiece “Tears” which introduced me to my beloved Caroline Polachek, this short album showed the emotional range that I loved so much on True Romance. I still maintain that “Porsche” was hands-down the best track on Pop 2, and it remains one of my most-played Charli songs. I can never stop thinking about how well she disguised a heartbroken breakup track as an angry girl revenge fantasy electropop song. The talent!!!

Then in 2019 Charli took the world by storm, converting so many anti-pop people into new fans overnight. “White Mercedes” is probably the most emotionally-raw song in her whole catalog, but, paired with the edgy music video, maintains that same electric, rebellious persona that makes her so fun.

Which, lastly, brings us to the hardest year EVER. Charli has been very open about the struggles she’s faced in her love life, even saying that “quarantine saved her relationship.” Now emotionally stable with lots of time on her hands, this was the perfect time for her to dig deep into her feelings and the new completely-electronic glitch-pop she was starting to embrace. After releasing “forever,” she finally put out how i’m feeling now – an homage to all the ups and downs of falling in love as a person with major trust issues. I think to a certain degree we can all understand this, some of us more than others.

The only song really about quarantine itself is “anthems,” and the rest of the 11-song album focuses more on the highs and lows of romance, and the struggle of understanding your own identity within that.

So, without further adieu…

Here is a breakdown of all the tracks on how i’m feeling now in order of my favorites, ending with what i think is the BEST song on the album.

11. pink diamond

While this is a fun song to listen to you, the background and repetitive lyrics didn’t do much for me. Yet, it’s Charli so even her weaker songs are still so cool and unique.

10. visions

The catchy, hypnotic beat is a great canvas for the dreamscape that Charli discusses in the lyrics, a narrative that I interpret as a way to process the memories and dreams that keep appearing to her during isolation of the world she lived in pre-pandemic and the world she longs to get back to… yet her mind is the only place this world exists now. The strange non-lyrical ending to the song I think is a great musical representation of the instability of her mind as she processes all that is going on in the world.

9. anthems

The afore-mentioned track that actually discusses what Charli’s life is like and what she misses most during isolation… being able to actually go out with friends instead of just talking on the phone.

“I’m so bored, woo! / Wake up late and eat some cereal / Try my best to be physical / Lose myself in a TV show / Staring out to oblivion / All my friends are invisible / Twenty four-seven, miss ’em all / I might cry like a waterfall…”

I think we can all relate to this feeling of having so much extra time that we end up wasting it because we “get existential” and don’t know what to do with ourselves…

“These days exhausting / Go online shopping / I’m so uninspired, I just wanna breathe / Flowers and the trees, dirt all on my knees / Got some hands to hold on to / I get existential and so strange / I hear no sounds when I’m shouting / I just wanna go to parties / Up high, wanna feel the heat from all the bodies.”

The catchy but nearly-chaotic production makes anthems a perfect picture of what quarantine life is really like for Charli and for many of us.

8. i finally understand

“Now we’re sticking close and I understand that / Baby, I love you bad / ‘Cause lately I finally understand / That maybe this feeling that I’ve found / Might kill me, put me in the ground / I finally understand, finally understand / My therapist said I hate myself really bad …”

The simple bass-driven beat of this song is irresistible, and pairs perfectly with the raw honesty of the lyrcis. Charli questions her ability to be in a healthy relationship, her ability to love at all. She admits that it all comes back to her view of herself, which likely causes her to self-sabotage.

“You love me even when I hate myself, I’m sure.”

7. c2.0

This is definitely the weirdest sounding song on the album, but there is something so intriguing about the glitchy video game sound and manipulated vocals.

The lyrics are basically a repetition of Charli talking about her “clique…” how “legit” they are and how she cherishes the memories of being able to spend time with her closest friends and boyfriend.

The tempo-change of this song I think is what sets it apart… even though it is 100% electronic, there is so much musical intricacy to this track and I think it displays Charli’s musical talent (and quirkiness) very well.

6. 7 years

The most optimistic track on the album, this song discusses all that Charli and her boyfriend have been through and the place of stability and confidence they have reached in their relationship.

“You know, we were, I’m not going to say like at the end of the road, but close to it, we were living on separate sides of the country even though we were physically far apart, we were emotionally quite distant as well. And this time period, I’m extremely lucky that it has brought us physically close together because now we’re living in the same house but also emotionally, and I finally understand that this person is somebody who I can trust with my life and I will have my security and protection at the front point of their heart no matter what.”

Charli has been very honest about the rockiness of her relationship before quarantine, and I think this song sums it up lyrically.

“So hard, the things that we’ve been through / Could’ve fallen but we’ve only grew / So I make my house a home with you / Right here and it feels brand new / I used to live inside the lie with you / And now I’m honest and it feels so good.”

5. forever

The first single from the album, forever was a great intro to the sound that Charli went with for the rest of the songs.

“I didn’t wanna leave you low / Drove the car off the road / I hope you get some time to grow / You’re not a ghost, you’re in my head (in my head)…”

The switch in sound between the verses and the chorus is sublime! And I think the power of this song is that it is specific enough that it seems so personal, and yet vague enough that I think pretty much anyone who listens to it will have someone from their past (or present) who comes to mind.

“I know in the future (future) / We won’t see each other (we won’t see each other) / Cold just like December / But I will always love you (love you) / I’ll love you forever.”

4. detonate

“Hurt me, no you won’t hurt me / I’m about to detonate / Pull you close and then I’ll be gone / Sorry, never say sorry / All my silence resonates / Think you’re with me, yeah, but you’re wrong / Dirty, I can talk dirty / I can make you feel so sick / Switch your faith and leave you so low / Hurt me, no you’ll never hurt me / I’m about to detonate / Pull you close and then I’ll be gone …”

Charli recognizes in the track her own instability when it comes to relationships, an honesty I think is very admirable.

“I don’t trust myself at all / Why should you trust me? / I don’t trust myself alone / Why should you love me?”

The bubbly sound of this song creates that heavenly pair… depressing lyrics with a fun, upbeat song. I can’t get enough!!!

3. claws

This song just SLAPS. That’s the best way to say it.

A cute homage to how much she loves her boyfriend, Charli’s unique style shines in this glitch-pop song as she repeats “I like, I like, I like everything about you” for just over 2 minutes.

claws is a fun, giddy break from emotional weight of the other tracks on the album. It’s gotten stuck in my head so many times and it’s just a straight-up fun song.

2. enemy

I struggled to decide if enemy should take the number 1 or number 2 slot…

“They say, ‘Keep your friends close’ / But you’re closer, I love when you’re here / I’m so far away sometimes, I’m distant, yeah / You might help me, intimacy, I’ll admit, I’m scared / Maybe, maybe you can reach me, yeah…”

Honest from the first line, Charli questions whether or not she can trust the person she’s falling for. A valid question… I think most people have trust issues to some degree and thus can understand her doubts.

“Maybe you’re my enemy / You’re the only one who knows the way I really feel, oh / Now it’s really clear to me / You could do a little damage, you could cut me deep…”

With a nice little allusion to the album title, the simplistic chorus that repeats throughout the song still carries a lot of weight. On either side of a voice memo she added to the bridge of the song, enemy is quite simply just a well-done, solid pop song. With a nice semi-quick tempo and synth-based sound, there is just enough of the her characteristic electronic flourish in the song to make it stand out against more basic pop tracks, so that people (like me) will keep coming back to it over and over.

1. party 4 u

Where do I even start with party 4 u? The more I listened to this song the more I fell in love with it…

“I only threw this party for you / I was hoping you would come through / It’s true, it’s true…”

Such a simple message, but so much subtext.

“I don’t know what you were waiting for / You know that I’ve been waiting for you / I only threw this party for you / If you saw my tears, would you touch me? Kiss me on the mouth, say you love me? / Leave a message, tell me you’re sorry? / Hit me right back, hit me right back / Why you treating me like someone that you never loved?”

This is the longest track on the album, and the switch in sound in the last 2 minutes are where the sadness of the song truly comes out.

“All I’m thinking, all I know is / That I hope you knock on my door / Nervous energy / My heart rate rises higher, higher up / I wish you’d get here, kiss my face / Instead, you’re somewhere far away / My nervous energy will stay / I hope you realize one day…”

This is easily one of Charli’s saddest songs. And yet still a song you can move to and want to sing along to.

The fact that it finishes off with the sound of fans cheering and Charli saying “This one’s called ‘Boys'” adds so much depth to the song’s content… seems like the “party” her love interest didn’t show up for was one of her shows, and the thought of her struggling to get through a show because she is so disappointed by his absence brings a level of relatability and empathy to anyone who has expected to see someone and had them not show up. It’s the same “sinking feeling” that Taylor Swift mentions in “The Moment I Knew,” except (sorry Queen Taylor), Charli’s rendition of that feeling turned into one of the deepest, best-written electropop songs I’ve ever heard.

Add a caption (optional)

Check out how i’m feeling now on Spotify or YouTube!

If you love party 4 u as much as I do, or want to share a different favorite track, leave a comment! Until the next isolation-busting album…



I don’t usually publicize it, but Ariana Grande’s music has always been a guilty pleasure for me. My Everything and Dangerous Woman are my go-to albums for when I’m bored or have exhausted my playlists on a road trip, and while there’s not much to most of her songs beyond catchy pop hooks and slighty-suggestive romantic commentary, her sound always gets me dancing.

Lady Gaga is a whole different ball game. Edgy, experimental, and often weird to the point of making me uncomfortable, her songs either send me running or totally captivate me. I avoided her at all costs until I heard the 2013 song Applause, which paved the way for me to fall in love with quite of a few of the songs on her latest album, Chromatica.

The first time I heard Rain on Me, one of my friends played it for me with this preface: “It’s really weird, but I keep listening to it and I kinda like it. Except for one part that I really hate, I’ll tell you when it comes.” With that intro, I had low expectations. By the time it got the part my friend hated (when Lady Gaga chants “Rain. On. Me.” in her low-pitch robotic voice) my head was already bobbing and I was like “I actually kind of like that part.” (To which my friend responded, “Yeah I actually kind of like it too.”) By that evening, I had learned most of the lyrics and listened to it more times than I could count.

What is it about Rain on Me that was so alluring? It’s just another shallow Top 40 hit, right? There’s nothing in the sound that is that original juxtaposed with the rest of either of the artists’ songs… It’s got the quintessential build-up into the chorus, the sugary pop beat that’s hard not to like, the over-sized vocal range that few pop singers besides Ariana and Lady Gaga can actually pull off… so what was so different and fresh about it?

Certainly not the music video, from which my entire takeaway was:

from @LGmonsterfacts on Twitter

Either Ariana forgot how to dance, or she couldn’t due to the legwarmers on her arms. Or maybe she was just too weighed down by her hair extensions.

Is this an intentional part of the dance routine? Or are they calling for help from a passing airplane?

But that’s beside the point. My music video commentary could be a whole other article on it’s own.

I think the weight of Rain on Me is in the lyrics, right from the get-go:

“At least I showed up, you showed me nothing at all / It’s coming down on me / Water like misery … I’m ready, rain on me”

How often do you get a bangin’ pop track with lyrics that are (1) depicting the singer in a position where they are completely defeated and heartbroken, and (2) welcoming the pain because they know it could be worse?

I’m going to venture a guess that Lady Gaga wrote WAYYY more of the lyrics than Ariana Grande, though they were both credited. Ariana’s strongsuit is high ponytails, not personal reflection.

But regardless of who wrote what lines, Rain on Me is the ultimate unique hype song. Some of the first (and most important) moves toward recovery are acknowledging your losses, coming to terms with your disappointment, and accepting that things aren’t great – but could always be worse.

“I’d rather be dry, but at least I’m alive” they sing before repeatedly welcoming the pain, asking it to “rain on me.” There aren’t many different lyrics, but something about the repetition of “rain on me” between the verses and even throughout the bridge gives this song a motivating, “you got this” vibe, almost like they are saying “is that all you got? Bring it on, I can handle anything.” And sometimes that is the mentality you need to put on to get you through difficult times.

Singing along to “I didn’t ask for the rainfall,” but “I’m ready, rain on me” is strangely empowering every time I listen to it. Come dark days, let-downs, mistreatment… you can get through anything with the right outlook. And isn’t that just the kind of message we need right now?

While the music video is as hot of a mess as it could be, this end shot is unbearably cute and almost redeems the sketchy aesthetic of the rest of the video:

And just for good measure, I’ll leave you with some food for thought.

from @gagadaily on Twitter

Leave a comment if you agree, disagree, or want to see more of this kind of #unpopularopinion!

Until next week…


The Eight Deepest Dance Pop Songs

While I try never to limit myself to specific genres of music enjoyment, since the Dance/Electronic genre starting ruling the Pop charts, it has always been one of my favorites.

Below are what I believe to be the deepest lyrical narratives from the electro-pop charts of the 2010s, plus some painstakingly-narrowed-down honorable mentions.

8. Stay – Zedd, Alessia Cara

Though an immediate chart-topper, this song is actually really emotionally powerful. Opening softly but quickly building to Zedd’s classic “ticking clock” beats in the chorus, Stay starts by reminiscing about days past before beginning to plead the listener to “Stay!”

“Living on my sofa, drinking rum and cola / Underneath the rising sun… All you have to do is wait a second / Your hands on mine / The clock is ticking, so stay…”

It sounds so easy. But even if it’s not, she “could give a thousand reasons why,” two of them being:

“I know you, / and you’ve got to.”

Whatever is driving the person away, the singer pleads honestly with them.

“Won’t admit what I already know / I’ve never been the best at letting go… Guess I need you, and I need to / Make it on my own, but I don’t wanna grow up…”

Change is hard, even if we know deep down it is necessary for life to move forward. But it would be so much easier if people could always just “Stay,” and yet again Zedd pulls off deep themes through a super-catchy melody.

7. Outside – Calvin Harris, Ellie Goulding

Some of us more than others, we all have known what its like to be on the “Outside” like Ellie Goulding sings about in this hit from Calvin Harris‘s2014 album Motion.

Ellie Goulding does emotionally-rich electronic better than almost anyone, so I was stoked when this came out as a single and it has never gotten old for me. Whether a social outsider or looking at things from a new perspective after a breakup, this song is one that we so easily find ourselves belting out because it is just vague enough to fit into a wide scope of situations.

“There’s a power in what you do / Now every other day I’ve been watching you…”

With this new perspective, the singer realizes she can no longer be passive. She has the power and the insight now to turn the tables and show the “insider” what the effects of their actions truly are.

“I’ll show you what it feels like / Now I’m on the outside…”

With possible connections ranging from emotional abuse to social bullying, this song is a power boost for the underdog we’ve all been at one time or another.

6. Find You – Zedd, Matthew Koma, Miriam Bryant

Find You was the very first song I ever saved to my Spotify… and while I have never felt like it really fit with the movie Divergent which it was written for, it is one I can listen to over and over. (And that’s exactly what I’ve been doing since it came out in 2014.)

“Silent love is calling faith / To shatter me through your hallways / Into echoes you can feel / And rehearse the way you heal…”

A beautifully poetic display of the singers’ passionate commitment to each other, this 3 1/2 minute ride uses vivid metaphors to express the depth of the feelings that are being sung about:

“High on words / We almost used / We’re fireworks with a wet fuse / Flying planes with paper wheels / To the same Achilles heels…”

Always a sucker for Matthew Koma‘s incredible voice, the soft intro flows seamlessly into the powerful driving chorus and bridge which make this song movie-level epic.

“I’ll run away with your foot steps / I’ll build a city that dreams for two / And if you lose yourself / I will find you.”

5. Remedy – Alesso, Conor Maynard

With a steady beat and choral background, Alesso‘s Remedy is brutally honest by oh-so-dance-inducing.

“I didn’t know that I was broken / Until I found my missing piece / Feeling so high on that look in your eyes / I got nothing but time for you…”

Conor Maynard‘s falsetto vocals leave the listener as dizzy and overwhelmed as the singer is. The repetition of raw confessions and the almost-hopeful pleading for the “remedy” he’s been so desperately searching for makes the 3 minutes and 10 seconds go down easy, somehow beautifully convincing listeners that they’ve been feeling lonely too.

“I believe, I believe, I believe, I believe / That loneliness is my disease… That you are the remedy…”

4. Remember – Gryffin, ZOHARA

I discovered Gryffin shortly before he released his first album, Gravity, toward the end of last year. And he immediately took over my Spotify account. His smooth, unique electronic beats are the perfect backdrop for his captivating melodies and lyrics. The lyrics for Remember, in particular, were written mostly (if not entirely) by the vocalist, but it is Gryffin’s pulsing chord progression that wraps the emotional lyrics into such a hard-hitting but velvety-smooth package.

“Don’t you remember / The way that we used to live for each other? Remember the way we fell for each other / When I was yours and when you were mine…”

The steady beat makes this minor-key song impossible not to move to, yet the singer spends the whole 3 minutes and 41 seconds are pleading for their ex to remember what their love was like, and how they will be lost without it.

“You’re gonna need my love / You’re gonna need me…”

This song screams “crying in the club” way more accurately than Camila Cabello’s song by that name, and I will forever be fascinated by songs like this that intertwine such a fun sound with such somber lyrical themes.

3. Hold On – Illenium, Georgia Ku

Incredibly strong and stunning, Illenium‘slatest album ASCEND doesn’t waste any time with it’s first song Hold On. The first verse goes right into honest revelations of the singer, who’s in the middle of an intense battle between mind and heart.

“I can’t listen to these stupid songs / ‘Cause they all remind me that you’re gone / I’m still sleeping in your favorite tee / Pictures I just can’t delete / Don’t know how to be, how to be alone…”

Epically catchy, as the rest of his catalog is, Illenium tells a story of heartbreak and the difficulties of moving on through a dramatic melody and driving beat, making it what I think is one of his richest songs.

“If I can’t live without you / I can’t live at all… I don’t wanna waste another day / I don’t wanna wish that you would stay / If I know I should let go / Why do I hold on to you?”

2. Flames – David Guetta, Sia

Sia has easily become the queen of girl-power, get-yourself-out-of-the-dirt power ballads. In the likes of Titanium and ChandelierFlames is dramatic and empowering.

“So my love, keep on running / You gotta get through today, yeah / There my love, keep on running / Gotta keep those tears at bay, oh / Oh, my love, don’t stop burning / Gonna send them up in flames …”

Painfully aware of the power of the past, and the power of the right mindset during difficulties, the singer cries out to the listeners to “keep running” and “keep moving.” That’s the only thing that will propel you out of the past into all the possibility of the future.

“Don’t stop, tomorrow’s another day / Don’t stop, tomorrow you’ll feel no pain / Just keep moving / Don’t stop the past’ll trip you up / You know, right now’s gotta be enough / Just keep moving…”

For the myriad of electro-pop breakup songs, this anthem is one for empowerment after all types of disappointment and pain – and an incredibly helpful and insightful one, at that.

1. Clarity – Zedd, Foxes

Zedd was the first Electronic artist I got into, and I credit most of my love for dance music to his first studio album Clarity. But I don’t love this song for nostalgic reasons – it is extremely poetic, and it still surprises me that the Orchestral Version he released later was not original version of the song. I have found few electronic songs that are able to pack so much poetic passion through computer-generated sounds.

I wasn’t surprised, yet still disappointed, to find out that Matthew Koma penned most of this song and yet receives such little credit for it. His professional separation from Zedd a few years back is a whole other discussion, but it turns out that the songs I always believed to be Zedd’s best work were mostly written by Matthew Koma, including Clarity and Spectrum, two of my favorite electro-pop songs and just general favorites.

‘Cause you are the piece of me / I wish I didn’t need / Chasing relentlessly / Still fight and I don’t know why…”

There aren’t many individual lyrics in this song, as it repeats the same chorus multiple times between lengthy instrumental interludes. Yet the lyrics always captivate me, and Foxes‘ vocal delivery of the poetic words is flawless.

“If our love is tragedy why are you my remedy / If our love’s insanity why are you my clarity?”

No one other than Zedd himself will ever truly understand his fascination with ticking clocks, but this characteristic temporal metaphor I think fits even more beautifully in this song than in his others:

“Our clock ticks till it breaks your glass / And I drown in you again…”

And the best part is, this is likely where this recurring metaphor began for Zedd. Its this kind detail that makes music as much fun for the consumer as it is for the creator… Even if we don’t know what began his obsession with timekeepers, it feels like a little detail that fills out the greater narrative of the album and his entire musical catalog.


A. Happy Now – Zedd, Elly Duhe

I cannot explain how badly I wanted to put this as my #1 on this list, but I can’t in good conscience call this electronic. It’s just a pop ballad that happens to be electronically-based, but it’s not dance music. But Happy Now happens to be the most raw, emotionally-rich hit song from Zedd, and, in my opinion, from all of 2018.

“In the palm of your hands / You can make me dance / Spin me around in circles till I’m wrapped in string / You keep on talking sweet till your fingers bleed / But don’t you dare ask me how I’ve been…”

If there’s anything that can give the same feeling as brokenheartedly staring out at the ocean without actually staring at the ocean, its listening to this song.

B. Fight for You – Fareoh, Ethan Thompson

Easily one of my favorite songs of all time. But I put it down here because technically this was supposed to be a more or less Top-40-based list, and sadly Fareoh does not make that cut. But I have always been and always will be obsessed with this song. There is something about the unique chord progression and slow-building beat that drips with emotional anticipation. Ethan Thompson‘s breathy vocals only add to the intriguing romantic narrative of Fight for You.

“I know the world is going crazy / But here your eyes the world is hushed / All the past and its pain, fades to oblivion / Cause here your eyes there is nothing but love…”

The lyrics utilize almost outlandish metaphors that ultimately add to the poetic nature of this electric guitar-driven song.

“You are my strength / You are my youth / You are my shelter and my truth / I’ll be the fire If you need me too / I’ll be the weight you’ll never lose…”

C. Papercut – Zedd, Troye Sivan

Because I didn’t want to fill out the entire list with Zedd songs, the song Papercut from Zedd’s second studio album True Colors finds it’s place here. Through Troye Sivan‘s masterful delivery, this song is about as close as you can get to listening to a poem.

“Right now it feels like we’re bleeding / So deep that we might not get back up / Our words will tear through the surface / Like a paper, like a papercut…”

Gives a whole new meaning to “Sticks and stones may break my bones, but words will never hurt me.”

“Right now I don’t know why I love you / But by the morning when we wake up / I’ll reach for you and remember / It was just a paper, just a papercut…”

D. This is What You Came For – Calvin Harris, Rihanna

Since I found out that Taylor Swift assisted with the lyrics as a ghost writer, This is What You Came For has made even more sense. The smart, observant singer in this narrative recognizes that there is someone dominating the scene she and the person she is with are in – and its not her.

“Lightning strikes every time she moves…”

A tough realization to admit to, let alone to repeat aloud for nearly 4 minutes to a bouncy electronic beat.

“Everybody’s watching her / But she’s looking at you…”

Do we pity the singer, who’s watching another woman enchant the person she’s clearly trying to enchant herself? “Who knows why it’s gotta be this way…” Or do we turn our gazes toward the electric connection sparking between this lightning-striking girl and the guy who’s gaze she is returning from across the room?

While most of Calvin Harris‘s songs are a lot less innocent and enchanting, this 2016 hit paints a sleek picture of the sparks of new romance and the jealousy that follows in a style that, when looked at closely, is very “Swift” in nature – which is why I had to end my list with this one. (#swiftieaboveall ?)

Leave a comment if you agreed with this list!

Until next time,



While I am known by friends (& enemies) to be a HUGE Swiftie, some of my T-Swizzle tastes vary quite a lot from the rest of the fan population. So I’m here to argue why my favorites are my favorites… and my reasoning doesn’t come down to chord progressions or production, but to the depth of her lyrics.

So, from old favorites to Lover ballads, here is a breakdown of Tay’s best works and biggest lyrical sucker-punches of emotion.

12. “Time won’t fly, it’s like I’m paralyzed by it…”

The pre-chorus toward the end of “All Too Well” is breathy and quiet, but packs a mean punch to the heart. While this whole song is totally quotable and has become a cult favorite, this is the part that haunts me and stays with me long after listening:

“Time won’t fly, it’s like I’m paralyzed by it / I’d like to be my old self again, but I’m still trying to find it…”

This song is perfectly poetic, full of nuances that are picked up without even listening that hard. It’s effortlessly nostalgic, and not much more needs to be said about it. It’s a universal Taylor favorite for good reason.

11. “I scream, for whatever it’s worth…”

“Cruel Summer”, Track 2 on the new album, has quickly jumped up to the top of my T Swift favorites. The synth beat that drives the surprisingly haunting major-key chord pattern is the perfect match for the lyrics of the song. Sure, summer is fun and warm and romantic days spent outdoors, but when it is filled with hesitation and fear from falling hard for your summer fling, the feelings of “cold,” “blue,” and “crying like a baby” are closer to reality.

“I scream, for whatever it’s worth, / ‘I love you! Ain’t that the worst thing you ever heard?’”

But what really gave me goosebumps during my first listen was the part that comes after that:

“He looks up, grinning like a devil.”

10. “Oh, darling, don’t you ever grow up…”

This song has always been too much of a tearjerker for me to listen to more than once in a blue moon. But in the midst of her advice to listeners to hold on to their youth, the bridge makes me the most weepy:

“Take pictures in your mind of your childhood room / Memorize what it sounded like when your dad gets home / Remember the footsteps, remember the words said / And all your little brother’s favorite songs / I just realized everything I have is someday gonna be gone…”

This is an extremely insightful ballad, especially against the broad backdrop of romance-gone-wrong lyrics. “Never Grow Up” ties up all the high emotions that come with growing up and truly venturing into adulthood, in a pretty package with an aesthetically pleasing bow.

9. “Are we out of the woods yet?”

I truly believe Taylor Swift grew up when she released 1989. There was still the same shiny, catchy youthfulness to her music, but her lyrics move from dealing with the past and the present as separate entities to approaching things as a whole. “Out of the Woods” was never my favorite musically, but paired with a careful study of the music video, I have come to see so much depth in this song.

“Remember when we couldn’t take the heat / I walked out and said, ‘I’m settin’ you free’ / But the monsters turned out to be just trees / And when the sun came up, you were lookin’ at me .”

This song is the reflection of a young poet who is merging her creativity and youthful optimism with her new understanding of adult relationships. Teen romance seems so dramatic and serious at the time, but I think this was the stage in which Miss Swift grew out of that stage. Things are no longer black and white… like the world she mentions having lived in at the beginning of “Out of the Woods.” There is a tension between love and pain, regret and fond memories, fear and hope. This is a clear instance in which she is not just creating art for public consumption. She is processing and dealing with what she’s going through by turning it into music.

8. “I’d never walk Cornelia Street again…”

Much like “Out of the Woods,” I think Taylor Swift is working through another new phase in her life. The album Lover leaves listeners without a doubt that Taylor is done messing around with immaturity and lack of commitment. She is all-in, and I think “Cornelia Street” displays this the most clearly out of all the songs in the album.

“I hope I never lose you, hope it never ends / I’d never walk Cornelia Street again / That’s the kinda heartbreak time could never mend / I’d never walk Cornelia Street again…”

There have been rumors that this song somehow “proves” that Taylor has married her boyfriend Joe Alwyn, but all I hear in this pop-driven ballad is that she is experiencing a new kind of love. This is not the roller-coaster romance that she wrote about in her previous albums. She has grown up, and she is more in love than she ever has been before.

Many people are lucky enough to have that kind of love be their “one.” But many of us fall for the wrong person because, at the time, it seems no one but them could possibly be right. Because Taylor Swift is someone who has had relationships in the past, it sounds like she is now able to draw a clear distinction between those past feelings and what she feels now. To be able to acknowledge the depth of your feelings and the fear that something will happen to hurt you in the midst of that vulnerability is an incredibly scary feeling… and think something we all experience when we have this kind of love she sings about finding on Cornelia Street in New York.

7. “If this was a movie…”

The chorus (and title) of this song says it all. It is refreshing and bittersweet to listen to Taylor Swift acknowledge that, in the middle of this fairytale life of pop-country that she had created thus far, things are not like a movie. She spends the song pleading with her estranged love to act like he should if he were a movie character, inherently acknowledging that he’s not and never will be. That’s just not how things are in real life, as painful as that is to admit.

“Come back, come back, come back to me like / You would, you would if this was a movie / Stand in the rain outside ’til I came out … But if this was a movie, you’d be here by now.”

6. “This is the last time I’m asking you this…”

I may be partial because I love Snow Patrol, but I think “The Last Time” ft. Gary Lightbody is highly underrated in the midst of the rest of the emotionally-rich ballads off “Red.”

“This is the last time I’m asking you this / Put my name at the top of your list / This is the last time I’m asking you why / You break my heart in the blink of an eye, eye, eye…”

I also happen to be partial to the one-sided romance when it comes to types of heartbreak. My first novel is pretty much entirely about what that feels like. But “The Last Time” paints a beautifully tragic picture of what it feels like to be second, to be forgotten, to be strung along. This is heavy stuff, even in the field of breakup songs which Taylor is the ruling queen of. The repetition of certain lines throughout the song creates this feeling of something that sounds like an ultimatum, but is really just begging the person to change their mind and for things to be different.

5. “We were flying, but we’d never get far…”

Arguably the catchiest song on Reputation, “Getaway Car” deals a serious hand of depth.

“X marks the spot, where we fell apart / He poisoned the well, every man for himself / I knew it from the first old fashioned, we were cursed / It hit you like a shotgun shot to the heart / You were driving the getaway car / We were flying, but we’d never get far… No, nothing good starts in a getaway car.”

This song is like a lyrical cringe hidden under a smooth pop beat. Taylor is acknowledging the fragility of this relationship as well as admiting her knowledge of its short life-span from the beginning. It’s almost like she didn’t even want it to go anywhere, even to the point of her just using this guy to get away from her ex. I think people get too wrapped up in the tabloid draw of this song, many believing this song is about running away from a jealous Calvin Harris into the arms of Tom Hiddleston, which is unfortunate because this song is rich with reflection. She knew the relationship was “cursed” and that “nothing good starts in a getaway car,” but “every man [was] for himself” in this one. Or maybe she should’ve said every man and woman, because clearly she realizes that she was not the victim in this narrative.

4. “I’m too tired tonight for all these games..”

“Come in with the Rain” was one of the first songs of Taylor Swift’s that I really loved. I love Fearless, but most of the songs are pretty on-the-nose. Yet this one stands out to me.

“I’ll leave my window open / ‘Cause I’m too tired tonight for all these games / Just know I’m right here hopin’ / That you’ll come in with the rain.”

Taylor is ready to admit that these “games” they’ve been playing have become too much for her. It is easy to go along with the lightheartedness and insecurity of a budding romance… it’s often part of the draw and the excitement. But I love that she acknowledges that she is ready to actually get down to the nitty gritty and get her true feelings out in the open. This is a brave admission for her at this age, and I love seeing this thread of maturity and deep emotion grow through her albums.

3. “The drought was the very worst…”

It’s not often that you hear a breakup song that is truly about healing. Letting go. Moving on and actually being okay with that. I think the song “Clean” represents a point which we all desire to reach after having our hearts broken.

“The drought was the very worst / When the flowers that we’d grown together died of thirst / It was months and months of back and forth / You’re still all over me like a white stained dress I can’t wear anymore.”

Learning to live every day without someone you’ve spent so long loving is the hardest part of losing them. This song is insightful and raw, and is a beautiful, delicate balance of loss and hope. The fact that the song begins with these lines sets the tone for the perfectly-synthesized introspection that follows. I believe this is one of her most quietly strong songs.

2. “I’ve been the archer, I’ve been the prey…”

The famous Taylor Swift Track 5. I don’t know if just one lyric can be picked out of this heavy song, but if there had to be one, I believe the themes of the song culminate in the bridge:

“All the king’s horses / All the king’s men / Couldn’t put me together again / ‘Cause all of my enemies / Started out friends / Help me hold on to you.”

We see right into the heart of the trust issues that Taylor Swift has developed from past relationships. And anyone who’s been betrayed, dumped, cheated on, disappointed, or had their heart broken in any way, I think can understand this. “Who could ever leave me, darling, but who could stay?” Being misunderstood or taken for granted, especially if it happens multiple times, severely wounds self-image. This often leads to this feeling that Taylor is clearly battling: maybe I’m not worthy of being loved. “We accept the love we think we deserve” is the motto that comes to mind.

This is kind of emotional vulnerability we don’t often see from Miss Swift. We see all the details and ups and downs of her romances through her lyrical catalog, but this honest portrayal of her trying to work through her self-image and interpretation of the things that have happened to her in the past is surprisingly raw and relatable, even for someone who has experienced this image crisis primarily because of her fame. But there are numerous events and experiences that rattle our views of ourselves and of life, which is why I feel “The Archer” to be one of her most relatable songs.

1. “This slope is treacherous, and I like it…”

Even though Reputation quickly became my favorite Taylor Swift album, the song “Treacherous” from Red always has (and always will be) my favorite Swift song of all time. The driving guitar in the chorus combined with the lyrics of “driving” through the night to take a risky romantic leap will never get old for me. But the chorus doesn’t hold as much as the second verse does:

“I can’t decide if it’s a choice / Getting swept away / I hear the sound of my own voice / Asking you to stay / And all we are is skin and bone / Trained to get along / Forever going with the flow / But you’re friction.”

Taylor is not only dealing with the ugly truth that following the mainstream or taking the “easy road” is so much simpler and done with such frequency, but also with the dark idea that maybe she is not in control of her own actions – or her own thoughts. Do we let ourselves get swept into love too easily? Could we really stand our ground against budding feelings, or are we totally helpless? Not being in control is scary, especially with something as high-risk as matters of the heart. This is a serious, mature question that has much more depth and consequence than many of the questions she raises in the rest of her portfolio.

I think being unable to fully trust yourself is much scarier than being unable to fully trust someone else ever could be, which is why “Treacherous” ranks at the top of my list. Even if it’s not driving at midnight, I think we all have our “two headlights shine through the sleepless night” moments. And those are the moments that can make or break us, that can change the course of our lives. Which makes them scary and very real. And Taylor puts this fear and mistrust and vulnerability into exactly 4 minutes of soft acoustic guitar, emotion, and choral harmonies.

If you agreed with any of these rankings, or have some favorite deep lyrics of your own, comment below! Art is subjective, especially music, but I hope Taylor Swift’s lyrics have impacted other fans as much as they have impacted me.

Until TS8,