80 Taylor Swift & Jack Antonoff Song Collaborations, Ranked

Like peanut butter and jelly, Taylor Swift and Jack Antonoff are a classic pairing. The 11-time Grammy winner started working with the Bleachers lead singer in 2013, and what started with a soundtrack collaboration has grown into one of pop music’s most fruitful partnerships.

As of 2024, Antonoff has co-written and/or co-produced 80 songs with Swift, which was hugely boosted by her latest album, The Tortured Poets Department. While that’s just a fraction of their individual catalogs, they remain each other’s most influential collaborators.

Arguably, the success of their early songs on Swift’s 2014 album, 1989, helped Antonoff grow into a super-producer, leading him to work with Lorde on Melodrama and Lana Del Rey on Norman F*cking Rockwell! He continued collaborating with Swift on every one of her albums since 2014, and won his first two Album of the Year Grammys for 1989 and 2020’s folklore.

Despite this, Swift had never made a record exclusively with Antonoff until her 10th studio album Midnights, which won the pair their third Album of the Year Grammy together.

Clearly, they’re not done just yet, as evidenced by their many songs together on Tortured Poets. To celebrate their growing creative partnership, here’s a very subjective ranking of Swift and Antonoff’s 80 collaborations.

80. “This Is Why We Can’t Have Nice Things”

‌This kiss-off track was a fun finale on her Reputation Stadium Tour. That’s it.

79. “Bye Bye Baby”

Antonoff lends a wistful touch to this “From the Vault” track for Fearless (Taylor’s Version), but Swift’s 19-year-old instinct to leave this off the proper 2008 album was correct.

78. “I Don’t Wanna Live Forever” (feat. ZAYN)

Much like Swift and Antonoff’s first soundtrack single, “Sweeter Than Fiction,” her 2016 collaboration with ZAYN for Fifty Shades Darker ended up signaling the sound of her next studio album, 2017’s Reputation. But also like that song, there was much better to come on the album.

77. “That’s When”(feat. Keith Urban)

Swift elevates a catchy little ditty with a feature from Urban, making it a perfect “Vault” track on Fearless (Taylor’s Version), but it doesn’t stand up to the towering anthems on the main album.

76. “My Boy Only Breaks His Favorite Toys”

This Tortured Poets track is the first (and so far, only) time where Swift and Antonoff’s signature brand of melodic, twinkly synth-pop feels played out rather than improved upon.

75. “Sweeter Than Fiction”

This was where it all started. “Sweeter Than Fiction,” a song written for the long-forgotten film One Chance, marked Swift and Antonoff’s first-ever collab. They laid down a solid blueprint, with Antonoff ramping up his classic ’80s synth-pop production to fit Swift’s sugary sweet lyrics, but little did we know how much more was to come.

74. “Vigilante Sh*t”

This tale of deceit and payback from Swift’s album Midnights may be one of the weirdest tracks in her catalog, but it could’ve been even weirder. If she wanted a Billie Eilish-esque chilling revenge fantasy, she should’ve gone to the source.

73. “Question… ?”

In true Swiftian fashion, she begins the chorus by asking if she could ask a question before proceeding to ask several in quick succession. Since Swifties are speculating that she’s asking her ex-boyfriend Harry Styles, he should respond with a song called “Answer...” or something.

72. “London Boy”

Everyone say, “Thank you, Taylor,” for generously planning our next trip to London.

71. “The Lakes”

The one part of England that doesn’t get a shoutout on “London Boy” gets its own song instead. Swift envisions a future of her leaving the public eye and traversing the Lake District, much like the poets she idolized. It features some of her poetic and intricate lyrics — and her clunkiest melodies.

70. “imgonnagetyouback”

Swift’s inability to decide if she wants to rekindle a romance or get revenge makes for a fun and funny addition to her catalog, but it wasn’t worthy of making the standard edition of Tortured Poets.

69. “You Are In Love”

Never forget how one of Swift’s most poignant and succinct ballads is about Antonoff’s love story with Lena Dunham. Much like their relationship, this song hasn’t withstood the test of time.

68. “Babe”

Swift originally gave this “From the Vault” track to Sugarland (and sang backup) in 2018 before reclaiming it for Red (Taylor’s Version). Antonoff keeps things surprisingly light, giving the song a distinct pop touch but causing it to lack the emotional impact of Jennifer Nettles’ harrowing pleas.

67. “Suburban Legends”

“Suburban Legends” might be the most Antonoff track that Antonoff has ever Antonoff-ed. Swift helped write the lyrics about star-crossed lovers who just can’t make it work after finding success, but if she hadn’t, Antonoff probably would’ve written and recorded it as a Bleachers song.

66. “Castles Crumbling” (feat. Hayley Williams)

This “Vault” track from Speak Now (Taylor’s Version) proves that Swift has been thinking about the negatives of fame for most of her career. Antonoff’s simple yet melacholic production and the Paramore singer, as one of the few women who can relate, only help drive that message home.

65. “Daylight”

The closing track from Lover is almost surprisingly calm and assured for an album that contains Swift’s most epic love stories and brutal tales of loss. Instead of focusing on highs and lows, she connects her present to her past (“I once believed love was red”) and lets it all go.

64. “Paris”

This Midnights 3 a.m. edition tracks sounds like it could have been a “Vault” track from 1989. But unlike “Welcome to New York,” “Paris” isn’t a romanticized tribute to the city, instead focusing on a whimsical meet-cute that transports you to the City of Love (or in Swift’s case, the City of Lover).

63. “The Alchemy”

Swift somehow found a way to make football terms, corny jokes, and science references sound sweet and romantic rather than cringey. You can thank Travis Kelce for that.

62. “Sweet Nothing”

Co-written with ex-boyfriend Joe Alwyn (under his penname William Bowery), “Sweet Nothing” is Swift’s simplest ode to romance, focusing on pebbles, kitchen humming, and the minutiae of relationships. And that nursery-rhyme melody means the song will never leave your head. Ever.

61. “Call It What You Want”

Speaking of nursery rhymes, the bridge of “Call It What You Want” could be re-written as a lullaby to Swift’s future child. The atmospheric track could also doubled as the story of how she fell in love with that child’s father, if her and Alwyn hadn’t split.

60. “The Tortured Poets Department”

The title track of Swift’s 11th album houses some of her most chaotic lyrics, like “We declared Charlie Puth should be a bigger artist” and “You fall asleep like a tattooed golden retriever.” She somehow makes them sound normal with her dreamy vocals atop Antonoff’s hallmark synths.

59. “Lavender Haze”

Swift begins Midnights with a bang(er), co-written by Zoë Kravitz, that effortlessly calls out speculation about her marital status while harking back to some of the catchiest moments in her and Antonoff’s repertoire. In fact, it carries such a melodic similarity to “I Think He Knows” that Swift hinted at mashing up the two songs on the Eras Tour. (Sadly, this didn’t happen.)

58. “thanK you, aIMee”

Yes, this song is likely about Kim Kardashian, if you couldn’t guess from the capital letters. But what’s more important is that it’s equally catchy and clever, and continues a storied tradition of popstars hiding their song’s subjects through someone named Amy or Aimee. Poor them.

57. “I Look in People’s Windows”

“I Look In People’s Windows” is Swift and Antonoff’s shortest track, lasting just over two minutes. But between her stories of hopping between houses and his experimental, guitar-led production, it packed a huge punch.

56. “I Wish You Would”

This 1989 deep cut is one of the first examples of Swift and Antonoff’s combined synth-pop powers and her fascination with the middle of the night, two things that would go on to become hallmarks of her next several albums. She always knew how to push our buttons (in a good way).

55. “Slut!”

It’s a marvel that Swift managed to make her commentary on slut-shaming sound just as twinkly and romantic as her and Antonoff’s most dreamy work. Just imagine the headlines that “Slut!” would have made if it had made 1989 back in 2014.

54. “Down Bad”

“Now I’m down bad crying at the gym” just might be the most relatable lyric Swift’s ever written. Granted, most people would cry at the gym because working out can be awful, but being hung up over a stupid man is also acceptable.

53. “Glitch”

One of Swift’s most experimental productions, “Glitch” is full of, well, glitches, like fuzzy synths that sound like TV static, loops that could be a Slack notification, and ill-timed interruptions that somehow come together seamlessly. Swift and Antonoff should go even further down this route.

52. “Bejeweled”

Admit it: “Bejeweled” is the Chanel to Reputation track “Gorgeous,” which is Walmart. Five years from now, she will still make the whole room shimmer.

51. “Now That We Don’t Talk”

“Now That We Don’t Talk” might be Swift and Antonoff’s most concise and outright coolest track to date, filled with disco grooves, rapidly shifting melodies, and clever lyrical quips. Thank God she doesn’t have to pretend to like acid rock anymore.

50. “The Black Dog”

Swift is so powerful that “The Black Dog” is single-handedly increasing business at the English pub that it was named after. It also helps that the song is great. Antonoff helps Swift pour out her post-breakup frustrations over epic guitar stabs, almost as if folklore went punk-rock.

49. “You’re Losing Me”

The lead instrument on this Midnights bonus track is Swift’s heartbeat, making for one of her most minimal yet heartbreaking songs. The epic bridge is a story in itself, with her breathless delivery serving as both catharsis and frustration.

48. “Paper Rings”

This Lover deep cut is basically “Shake It Off,” but for people who listen to those “indie records that are way cooler than mine,” as Swift sang in 2012. They may be too cool to play “Shake It Off” at their wedding receptions, but this will be the first song on their playlists — and rightfully so.

47. “Who’s Afraid of Little Old Me?”

Swift has addressed the media several times, but since they didn’t get the message, she had to scare them again on “Who’s Afraid of Little Old Me?” Taking cues from “Florida!!!” collaborator Florence + the Machine, the menacing orchestral backdrop fits her seething warnings.

46. “Karma”

“Karma is a cat purring in my lap ’cause it loves me” is one of Swift’s finest lyrics and that alone should have won Swift her first Grammy for Song of the Year for “Karma.” (Spoiler alert: Midnights single “Anti-Hero” was nominated, but lost to Billie Eilish’s “What Was I Made For?”)

45. “Betty”

Who knew that the combo of Antonoff, Alwyn, and Aaron Dessner would create Swift’s most country-sounding song since Fearless? Most songs on country radio wish their lyrics could tell a story as epic as “Betty,” and yet, it’s still not the peak of their collective powers.

44. “Lover”

This song is the reason why so many people thought Swift was engaged or even secretly married to Alwyn. It’s also her most sweeping and romantic love song, destined to become the first dance for so many Swiftie weddings. If she were to actually get married, the public may never know about it, but fans can imagine they’re at the wedding just by listening to the epic bridge.

43. “Fortnight” (feat. Post Malone)

Swift makes Antonoff’s signature bleep-bloops sound haunting on “Fortnight,” telling a story of infidelity that’s chilling, devastating, and hilarious all at once. Post Malone’s background vocals add to the spooky vibes, but when he comes in for the bridge, he sounds just as vulnerable and weary.

42. “Midnight Rain”

Swift and Antonoff prove just how good they are when they pivot into sultry pop-R&B mode. It opens with a voice so deep that fans could mistake it for a mystery collaborator, but once you realize that Antonoff just reverb-ed Swift’s voice into oblivion, it only makes her recollection of an oft-forgotten breakup hit even harder.

41. “Forever Winter”

Reportedly written about one of her late friends, “Forever Winter” was likely too devastating to include on Red, but it found its home on Red (Taylor’s Version) as a “Vault” track, and not a moment too soon. “Forever Winter” is the warm and comforting hug needed to just get through the day, with Antonoff giving the song some levity by keeping things as upbeat as possible.

40. “Dear Reader”

It’s almost astounding that it took Swift 10 albums and 14 years to write a song that addresses her listeners directly. It’s even more astonishing that she simply left it as a bonus track on Midnights’ “3 a.m. edition” rather than letting it close one of her albums properly.

39. “I Can Do It With a Broken Heart”

This is proof that Swift needs to make a club album. “I Can Do It With a Broken Heart” keeps her signature storytelling but pairs her most relatable and hysterical lines over a wild beat drop, proving that she’s ready for the dancefloor. Make it happen, Antonoff.

38. “Ivy”

Antonoff only contributed to two songs on Swift’s second 2020 album evermore, but he made them count. On “Ivy,” he adds a whimsical pop touch to Dessner’s more traditional folk instrumentation that somehow warps Swift’s story of infidelity into a magical fairytale worthy of a Disney movie.

37. “Don’t You”

This leftover track from the Fearless sessions is great enough to make the main album, but 19-year-old Swift wouldn’t have been ready to ditch her country strings in favor of Antonoff’s shimmering synths, as she wisely does 12 years later on Fearless (TV), where “Don’t You” sounds like the long-lost ’80s prom slow dance song it should be.

36. “Florida!!!” (feat. Florence + the Machine)

Swift and Florence Welch manage to do the impossible: make Florida sound appealing.

35. “Hits Different”

Swift leaving this Midnights gem as a Target-exclusive bonus track is my villain origin story. “Hits Different” combines the jaded outsider energy of “New Romantics” with the carefree country-pop spirit of Speak Now, making it perfect for top-down car rides and hairbrush karaoke sessions.

34. “Maroon”

On “Maroon,” Swift recalls a former flame that still haunts her in blushworthy detail, down to the rust that grew on their telephones. In Swift’s words, he left a “real f*cking legacy,” but that droning synth closing out the song is the only thing you need to know that their story doesn’t end well. Somehow, she still made a breakup sound sexy.

33. “Dress”

For all its greats, “Maroon” would not exist without “Dress.” Swift’s first desperately yearning and effortlessly sexy synth-pop track remains her best, with those twinkling synths perfectly matching her unapologetic infatuation. Antonoff even acknowledged the song’s impact when Bowen Yang remarked that “Dress” planted the seeds for Midnights, and he simply responded, “This is correct.”

32. “Say Don’t Go”

The chorus of “Say Don’t Go” is built for screaming into a hairbrush while jumping on your bed, but the more pensive verses will perfectly soundtrack the moments where you just need a good cry, making for an excellent coming-of-age anthem.

31. “Timeless”

It may be cliché to call “Timeless” timeless — but clichés are true for a reason. Swift’s ode to eternal love that transcends eras (pun intended) will similarly be passed down many generations, and Antonoff’s lush country instrumentation ensures that it will keep aging well.

30. “I Think He Knows”

This is one of Swift’s most underrated pop gems, and it will no longer go unrecognized. It was never released as a single or considered a cult fan favorite like other Lover deep cuts, and yet its finger-snapping melodies, churning synths, and endless amount of hooks went on to inspire songs like “Lavender Haze” and “Karma” years later. Its impact holds no bounds.

29. “Is It Over Now?”

It’s understandable that Swift chose “Out of the Woods” over “Is It Over Now?” for 1989, considering their parallels, but she should’ve made room. The “Vault” song packs two towering choruses, soaring ‘80s power-pop melodies, and storytelling that’s just as epic as its little sister.

28. “I Can Fix Him (No Really I Can)”

If Swift decides to go country again, Antonoff would still be a great collaborator (if his “Vault” tracks didn’t prove that already). He flirts with indie-country flair as she tries out a deeper Western twang to sing about her troubled man, and it works wonders, especially with that last-second twist.

27. “I Can See You”

Swift writing a song this seductive during the Speak Now era is the biggest shock of all the “Taylor’s Version” albums thus far. But holding it back was a wise decision, as her more mature vocals and Antonoff’s hypnotic guitar riff suit the song way more than Speak Now-era production would have.

26. “My Tears Ricochet”

In the canon of Swift’s infamous Track 5’s, “My Tears Ricochet” may be the most dramatic — which is saying something considering “All Too Well” exists. folklore’s Track 5 takes place as Swift’s own funeral, with her haunting harmonies making it feel as if she’s singing from beyond the grave. When she yelps, “I can go anywhere I want, just not home,” nothing feels sadder.

25. “Death By a Thousand Cuts”

The best thing to come out of Netflix’s 2019 rom-com Someone Great.

24. “Look What You Made Me Do”

Swift had no business creating an electro-clash banger that samples Right Said Fred’s “I’m Too Sexy” and recalls the Peaches song that soundtracks the Halloween party in Mean Girls — but she did, and the world is better for it. Reputation’s lead single is Swift’s most indulgent, relentless, and pure camp song, and the amount of discourse it caused will only cement its place in her catalog.

23. “Anti-Hero”

The song Swift first described as the most brutal look into her insecurities has now become the world’s preferred method of analyzing their own flaws. “Anti-Hero” is full of some of Swift’s oddest lyrics, like imagining being killed by her daughter-in-law and everyone being a “sexy baby,” but the hook was destined for pop stardom. Even Antonoff got in on the action (more than he already did) with a Bleachers remix that lends Swift a comforting hand and trades “sexy baby” for “art bro.”

22. “The Archer”

“The Archer” walked so “Anti-Hero” could run. Lover’s Track 5 was the start of Swift using her insecurities for inspiration, analyzing her tendencies for self-sabotage and coming to a stunning realization: “I see right through me.” Antonoff’s steady, pulsing synths build to a pay-off that never truly lands, much like how Swift doesn’t receive her own resolution just yet.

21. “New Year’s Day”

A simple piano ballad at first glance, “New Year’s Day” now feels like a turning point in Swift’s career. It’s how she started healing from Reputation, taking stock of the community (and glitter) around her. It’s where her love of midnights began, and when Swift honed in on the little things in a loving relationship, realizing that it could make for some of her most impactful songwriting.

20. “Labyrinth”

The viral TikTok imagining that the synths on “Labyrinth” were accidentally created by Swift’s cats might be accurate, but it only adds to what is one of Swift’s most ethereal tracks. Her and Antonoff’s dream-pop odysseys are their sweet spot, with “Labyrinth” proving that the only thing she needs to transcend us are two heavenly verses and one hypnotic hook.

19. “Mr. Perfectly Fine”

Could you imagine how much of a hit this song would have been if Swift had released it as part of Fearless in 2008? “Mr. Perfectly Fine” fits perfectly alongside “Love Story” and “You Belong With Me” as country-pop catnip, and Joe Jonas’ reaction to being called “Mr. Casually Cruel” would have made pop culture history (it’s like she knew to save that line for later).

18. “Illicit Affairs”

Contrary to its naive little sister “Ivy,” this folklore gem focuses on the dark side of infidelity and how it devolves from beautiful hotel rooms to “meetings in parking lots.” When Swift seethes “Don’t call me kid, don’t call me baby,” she’s never sounded more angry yet defeated, as emphasized in her Eras Tour performance.

17. “Guilty as Sin?”

In this Tortured Poets deep cut, Swift and Antonoff dive into the majestic pop-rock sound that fans (i.e., me) have wanted them to take on for a while. It’s equal parts sensual, sweeping, and vulnerable, and if there’s any justice, this will get a full-blown Eras Tour performance.

16. “You’re On Your Own, Kid”

Swift’s journey to reassess her own shortcomings reaches its turning point on Midnights’ Track 5. “You’re On Your Own, Kid” recollects her journey from schoolgirl outcast to music stardom with vivid metaphors. She somehow makes “You’re on your own, kid, you always have been” sound so shattering and reassuring at once.

15. “Soon You'll Get Better” (feat. The Chicks)

Written about her mother’s battle with cancer, it’s hard to get through Swift’s recollections of fluorescent hospital rooms on “Soon You’ll Get Better” without sobbing. Antonoff perfectly pairs her with The Chicks (reportedly her mom’s favorite band), their signature harmonies acting as a comfort to Swift’s warble. She’s only performed it once, and it’d be a shock to hear her sing it again.

14. “False God”

“False God” marked new territory for the duo, and they both excelled tremendously. Swift has never sounded more confident yet distressed, not afraid to veer off-course melodically, and the way that Antonoff weaves in that saxophone across her jazz-inspired melodies is masterful. If “Dress” was the origin of Midnights, they would be wise to plant “False God” as the seed for a future album.

13. “This Is Me Trying”

It’s even rare for Swift that every single line in one of her songs cuts like glass, which she pulls off here. “I was so ahead of the curve, the curve became a sphere” hits home for overachievers, while “I got wasted like all my potential” is for those who never feel like they’ve done enough. “This Is Me Trying” just might be the most relatable song Swift has ever written, and Antonoff elevates those sentiments within folklore’s haunting soundscape.

12. “Gold Rush”

“Gold Rush” is less of a song than it is a majestic whirlwind, lacking a proper chorus, bridge, or any traditional song structure, really. Instead, Swift repeats the fears, beauty, jealousy, and purity in her relationship in rapid succession, soundtracked by Antonoff’s whimsical piano and lush strings that could be played on Bridgerton, and bookmarked by Swift’s vocals forming a heavenly choir.

11. “Fresh Out the Slammer”

Swift and Antonoff live up to the title by telling her story of freedom over cinematic Western strings, hazy synths, and layered harmonies. Lana Del Rey’s influence is very prevalent, and the song is better for it.

10. “Out of the Woods”

“Out of the Woods” is where Swift’s relationship with Antonoff truly began to flourish. It was the first proof that her knack for detailed storytelling could carry over to a full-blown pop song, with his ’80s synths proving to be the perfect match for her frenetic tale of Polaroids, paper airplanes, and 20 stitches in a hospital room. (It launched a gazillion Swiftie conspiracy theories.)

9. “Snow on the Beach” (feat. Lana Del Rey)

Yes, the TikTok videos joking about how Del Rey is barely featured on “Snow on the Beach” are funny, but they discredit just how vital she is. Her heavenly background vocals lend a ghostly presence to Swift’s recollection of a love story that’s almost too good to be true. It wouldn’t have happened without Antonoff, who knew how to blend their worlds seamlessly.

8. “Cornelia Street”

“Cornelia Street” was never released as a single, but it became so significant that the New York apartment that inspired it is now a landmark on Apple Maps.

7. “Mastermind”

Midnights’ closing track is the closest any artist has gotten to reaching the bittersweet euphoria of Lorde’s “Supercut,” another Antonoff production. Swift brilliantly flips her public image as calculated and deceitful on its head, outlining how she landed the lover of her dreams. Is it a bit scary? Perhaps. But as soon as Swift yelps, “No one wanted to play with me as a little kid,” and the twist ending is revealed, you become her biggest cheerleader.

6. “All Too Well (10 Minute Version)”

In most worlds, this song would be ranked No. 1. Swift adds more emotional pathos to a story her fans know all too well (pun intended), making every devastating detail feel essential. Antonoff’s production elevates the melodrama without distracting from her words. But this is still Swift’s magnum opus, so it doesn’t feel right to name “All Too Well” as the duo’s crowning glory when, frankly, she could’ve made the 10-minute version without him if she had to.

5. “Cruel Summer”

“Cruel Summer” is Swift’s ultimate ’80s soundtrack song, a rush of surging synth-pop, electric guitar courtesy of St. Vincent, and lyrics so vivid you can probably direct that music video yourself. The towering bridge alone should be studied in music theory classes.

4. “Bigger Than The Whole Sky”

It’s rare that Swift is rendered speechless, but on this Midnights “3 a.m. edition” track, that’s exactly what happens. “No words appear before me in the aftermath,” she begins, laying the groundwork for a song so empty, written about a loss so tremendous, that she goes entire sections without singing, allowing Antonoff to lead with slow, gentle instrumentation.

3. “Getaway Car”

In terms of epic power-pop, “Getaway Car” is Swift and Antonoff’s magnum opus, causing a myriad of conspiracies of what actually made Swift run from an ex (many pertain to the 2016 Met Gala). With rapid-fire verses, a masterful synth line, and a subtle key change, “Getaway Car” is the definition of a perfect pop song, and a winning combination of both of their talents.

2. “Mirrorball”

Mazzy Star-esque dream-pop is Swift and Antonoff’s sweet spot, and nowhere is that more apparent than on “Mirrorball.” Like Antonoff’s best work, it could masquerade as a prom slow dance tune, a Christmas song (those jingle bells!), or the song that plays on the jukebox as you contemplate your life at a slowly emptying bar. But in true Swiftian fashion, it’s an analysis of her own life and a reassuring promise that you are heard, seen, and valued.

1. “August”

It feels like Swift and Antonoff’s entire careers have been building up to “August.” Narratively, it’s the second part of an epic trilogy of songs about a high school love triangle, which collectively take Swift’s storytelling to new imaginative heights. Sonically, it combines everything she and Antonoff excel at — dramatic instrumentation, dream-pop hazes, dazzling strings — and distills them into one whirling, expansive blur, creating a world of its own.