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looks back on the acclaimed singer's discography, from her country origins to her latest pop anthems. The best Taylor Swift song from each album (and no, it was

looks back on the acclaimed singer's discography, from her country origins to her latest pop anthems.

The best Taylor Swift song from each album (and no, it wasn't easy to choose)

looks back on the acclaimed singer's discography, from her country origins to her latest pop anthems.

By Seija Rankin,

Seija Rankin is the former books editor at **. She left EW in 2022.

EW's editorial guidelines

Lauren Huff

Lauren Huff is an award-winning journalist and staff writer at ** with over 12 years of experience covering all facets of the entertainment industry.

EW's editorial guidelines

and Allaire Nuss

Allaire Nuss

Allaire Nuss has been an associate editor at ** since 2022, where she oversees evergreen content and contributes to the music section.

EW's editorial guidelines

October 4, 2025 12:00 p.m. ET

The best songs from every Taylor Swift album. Credit:

Republic (2); Mert Alas & Marcus Piggot

Taylor Swift has churned out countless hits over the years, from her debut lead single, "Tim McGraw," to the 10-minute version of her *Red* opus, "All Too Well."** **That track made her a global sensation, one with the prowess to re-record her entire discography and embark on the highest-grossing tour of all time. And she's shown no signs of slowing down, having just released her highly anticipated 12th LP, *The Life of a Showgirl*.

As we continue to mine all the Easter eggs on her new record, ** attempts to answer a highly contested question: What is Taylor Swift's best song off each of her albums? There were heated debates among our staff, of course, but in the end, there could be only 12 winners (for now...). Read on to see our favorites.

Taylor Swift — "Our Song"

Swifties will choose "Teardrops on My Guitar" or "Tim McGraw," but "Our Song" is pure country fun. Swift's (long-gone) Nashville twang is front and center, and the vibe is more reminiscent of the kind of Swift that makes you roll down the windows and sing at the top of your lungs, bystanders be damned. There are Taylor songs you put on when all you need to do is cry, but "Our Song" gets you out of your funk. Now play it again. *—Seija Rankin*

Fearless — "You Belong With Me"

Fearless. Big Machine

"Hey Stephen" and "Love Story" are typical fan favorites from this album, but a fan favorite does not always equal *best*. Swift's sophomore effort put her solidly on the world music map and "You Belong With Me" is eerily prescient for these times, what with Swift's narrator's refusal to don short skirts and high heels just to woo her crush. But really, this song deserves the nod because the universe is still trying to pay Swift back for Kanye West storming the stage at the 2009 MTV VMAs when she won Best Female Video for "You Belong With Me." *—S.R.*

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Speak Now — "Mean"

Speak Now. Big Machine

This was the diss track that started it all. Before "Mean," Swift's real-life lyrical inspirations were decidedly emotional but without a clear motive. Yet this jam, which was still toeing the line of the country genre, took hit after hit against her bullies with genius barbs like "I bet you got pushed around/Somebody made you cold" and "I can see you years from now/Talking over a football game with that same big loud opinion/But nobody's listening." After "Mean," it was clear to the world that if you screwed over Taylor Swift, you'd wind up in a song. *—S.R.*

Red — "All Too Well"

Red. Big Machine

Is this the best Taylor Swift song of all time? Which reigns more supreme: the original version or the 10-minute re-recorded one? Those are discussions for another day, but "All Too Well" is the far-and-away staff favorite from *Red *(an album that is jam-packed with hits). The chill-inducing musical build, the sense of place it creates, and the gut-wrenching line "You call me up again just to break me like a promise/So casually cruel in the name of being honest" all make this a song for the ages. Go ahead, scream along: You know you want to. *—S.R.*

1989 — "Blank Space"

1989. Big Machine

Has any lyric ever spoken to you more than "You look like my next mistake"? Swift's official story is that this song is satire, but we prefer to live in a world in which it's all quite literal. (What we'd really love is if Swift actually had a bunch of Starbucks lovers.) "Blank Space" is also one of her most playable jams, dishing out addicting '80s vibes and a chorus that was made for singing along. *—S.R.*

Reputation — "Delicate"

Reputation. Big Machine Records

In the spirit of full disclosure, the race for best song on this album came down to the wire — and "Delicate" won out over "Getaway Car" by a hair. The temptation to choose the latter song is high, owed mainly to the voyeuristic thrill that comes with listening to Swift dish about her relationship with Tom Hiddleston. But in the end, her chilling ode to the beginnings of her romance with Joe Alwyn won out. It's yet another reminder that nothing good starts in a getaway car. *—S.R.*

Lover — "Cruel Summer"

Lover. TS/Republic

This album, more than any other album, has the potential to drive a wedge through the EW staff's nearly unbreakable bond. We survived watching *Cats* together, but we almost didn't make it through picking the best song from *Lover*. After much debate and a few sidelined moments of wanting more for Judi Dench, we chose "Cruel Summer." Not even the smooth saxophone stylings of "False God" can compete with the chorus — it's, well, breakable heaven. *—S.R.*

Folklore — "Exile"

Folklore. Universal Music

There were so many signs (so many signs!) that "Exile" would be the EW staff's top pick from Swift's eighth studio album. After all, the moody duet features the gorgeously contrasting tones of Bon Iver's Justin Vernon with Swift's more delicate vocals as the two portray exes who are parsing what went wrong in their relationship. It's also full of film motifs, which is fitting considering the former lovers' exchange plays like delicious dialogue from a tragic romantic drama. Dare we say it's a masterpiece? *—Lauren Huff *

Evermore — "Ivy"

Evermore. Beth Garrabrant

Oh, we can't, stop "Ivy" from putting roots in our dreamland. In the spirit of full disclosure, the EW staff was completely divided on which song off *Evermore* was the best, with most songs getting at least one vote. This dreamy song, which feels like a spiritual successor to *Folklore*'s "Invisible String," just eked out a win. But with its stunning lyrics, catchy hook, and a trademark genius Swiftian bridge, it's a worthy victor. *—L.H.*

Midnights — "Anti-Hero"

Midnights. Republic

It might be exhausting always rooting for the antihero, but not when it's the best song on *Midnights*. Since its debut on Oct. 21, we've had "It's me, hi, I'm the problem, it's me" stuck in our heads on repeat. Some of Swift's best work comes from her self-deprecating moods, and this track, with its self-loathing but super catchy lyrics, is no exception. It is at once brutally honest, incredibly relatable, and just an overall aural delight. *— L.H.*

The Tortured Poets Department — "The Black Dog"

The Tortured Poets Department.

Universal Music Group

The highlight of Taylor's sprawling double album kicks the latter half off on a somber note: Checking your ex's location as they walk into a bar without you — and likely with someone else. "The Black Dog" is a funeral march for intimate moments laid to rest when a relationship dies, leaving you to dwell on the songs you shared and the questions that still linger. Keeping in line with *Tortured Poets*' literary theme, Taylor delivers the final lyrical blow "old habits die screaming" not with a bang, but a whimper. —*Allaire Nuss*

The Life of a Showgirl — "Elizabeth Taylor"

Taylor Swift's 'The Life of a Showgirl'.

Mert Alas & Marcus Piggot

On an album about the pitfalls of fame and ecstasies of love, Elizabeth Taylor is a fitting parallel for the pop star. As Swift implores her lover to "Tell me for real, do you think it's forever?" lest she "cry her eyes violet like Elizabeth Taylor," drums and synths flicker like strobe flashes on the red carpet, while somber strings play up the melodrama. It's an effusive, tenderhearted earworm that kicks off *The Life of a Showgirl *on a high note. —*AN*

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