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You are currently reading the article dedicated to the album 1989. You may have been looking for the re-recorded version, 1989 (Taylor's Version) or the 1989 World Tour.

1989 is the fifth studio album by the American singer-songwriter Taylor Swift, released on October 27, 2014, by Big Machine Records. Inspired by 1980s synth-pop, Swift conceived 1989 to recalibrate her artistry to pop after critics disputed her status as a country musician when she released the cross-genre Red (2012) to country radio. She titled 1989 after her birth year as a symbolic artistic rebirth and enlisted Max Martin, who produced Red's electronic-influenced pop tracks, as co-executive producer.

Swift recorded 1989 at studios across the United States, the United Kingdom, and Sweden with an ensemble including Martin, Shellback, Jack Antonoff, Ryan Tedder, Nathan Chapman, and Imogen Heap. The synth-pop production is characterized by pulsing synthesizers, programmed drum machines, and processed backing vocals with electronic elements, a stark contrast to the acoustic arrangements of Swift's past albums. The songs expand on Swift's autobiographical songwriting and explore failed romance from a lighthearted perspective.

Swift and Big Machine promoted 1989 extensively through tie-ins and media endorsements but withheld the album from free streaming services, which prompted an industry discourse on the impact of streaming. To support the album, Swift embarked on the 1989 World Tour, which was the highest-grossing tour of 2015. Among seven singles released, three peaked atop the US Billboard Hot 100: "Shake It Off", "Blank Space", and "Bad Blood". 1989 spent 11 weeks atop the Billboard 200 and was certified nine-times platinum by the Recording Industry Association of America (RIAA). It has sold over 14 million copies worldwide and was certified multi-platinum in many countries.

When 1989 was first released, music critics generally complimented its production as catchy; they found an emotional engagement in its songwriting but some felt the synth-pop production eroded Swift's artistic integrity—a criticism that journalists and academics retrospectively regarded as rockist. 1989 won Album of the Year and Best Pop Vocal Album at the 2016 Grammy Awards, and it was listed in all-time album rankings by Rolling Stone and Consequence. Critics and academics have considered 1989 an album that transformed Swift's status to a pop icon and promoted poptimism, but they also highlighted the media scrutiny that ensued. Following a 2019 dispute regarding the ownership of Swift's back catalog, she re-recorded 1989 and released it as 1989 (Taylor's Version) on October 27, 2023.


The inspiration behind this record, I was listening to a lot of late 80s pop ... I really loved the chances they were taking, how bold it was. It was apparently a time of limitless potential, the idea you could do what you want be what you want ... the idea of endless possibility was kind of a theme in the last two years of my life.

Taylor Swift had identified as a country musician until her fourth studio album, Red, which was released on October 22, 2012, by Big Machine Records.[1] The album incorporates eclectic styles of pop and rock in addition to country, and its two most commercially successful singles—"We Are Never Ever Getting Back Together" and "I Knew You Were Trouble"[2]—are pop songs with electronic stylings.[3] The album's associated world tour, which from March 2013 to June 2014, was the all-time highest-grossing country tour when it completed.[4] Although Red was promoted to country radio and awards shows, its pop-leaning production sparked a media debate over Swift's status as a country artist.[5]

Swift's personal life was another aspect that attracted media attention.[6] Her serial romantic relationships, including a short-lived romance with the English singer Harry Styles, generated much tabloid coverage and blemished her "America's Sweetheart" image.[7][8] In March 2014, Swift relocated from Nashville to New York City;[9] she recounted that moving geographically while being unattached romantically prompted her to embrace new creative ideas,[6][10] as did the media scrutiny of her public image.[11]

Writing and lyrical content[]

Swift began writing her fifth studio album in mid-2013, when she was touring to support Red.[12] She viewed Red as an album that straddled the boundary between country and pop and thus wanted its follow-up to be "blatant pop" because she believed, "[If] you chase two rabbits, you lose them both."[13] Inspired by 1980s synth-pop, she viewed the decade as an "experimental time in pop music" when musicians abandoned the established "drums-guitar-bass-whatever" production to make songs with synthesizers, drum pads, and overlapped vocals.[14][15] Two of her main inspirations were Annie Lennox and Peter Gabriel—she admired how the former conveyed her "intense" thoughts through music and the latter's synth-pop sound created "an atmosphere behind what he was singing, rather than a produced track".[16]

Swift enlisted Martin and Shellback as prime collaborators because she found "I Knew You Were Trouble" topping the US pop radio chart for seven weeks a motivation to fully embrace the electronic-pop sound that they produced.[2] She enjoyed working with them because they often took her ideas in a different direction, which challenged her as a songwriter.[12] Big Machine president Scott Borchetta initially was skeptical of Swift's decision and persuaded her to record a few country songs with instruments such as fiddle, but she rejected his request.[2] Borchetta ultimately agreed with her to not promote the album to country radio, which had been formative in driving Swift's career.[17][18] Martin and Shellback produced seven of the standard edition's thirteen tracks.[19] Swift credited Martin as co-executive producer because he also recorded and produced the vocals on tracks where he was uncredited, which she deemed important in producing a coherent album.[2]

Jack Antonoff was another key producer on 1989; he had worked with Swift on the 1980s new wave-influenced soundtrack single "Sweeter than Fiction" (2013).[20] Antonoff extensively used the Juno-6 synthesizer, which he thought to have "such a sadness and a glory all at once",[21] and co-wrote and co-produced three tracks, two for the standard edition and one for the deluxe edition.[15] "I Wish You Would" stemmed from his experimental sampling of the snare drums on Fine Young Cannibals' 1988 single "She Drives Me Crazy". He played his sample to Swift on an iPhone and sent it to her to re-record.[14] The final track is a remix that retains the distinctive snare drums. For "Out of the Woods", Antonoff sent his finished instrumental track to Swift while she was on a plane.[22] She sent him a voice memo containing the lyrics roughly 30 minutes later.[13] The song was the first time Swift composed lyrics for an existing instrumental.[23]

Swift contacted Ryan Tedder, with whom she had always wanted to work, by a smartphone voice memo.[24] He co-wrote and co-produced two songs—"Welcome to New York" and "I Know Places".[19] For "I Know Places", Swift scheduled a meeting with him at the studio after forming a fully developed idea on her own; the recording process the following day finalized it. Tedder spoke of Swift's work ethic and perfectionism with Time: "Ninety-five times out of 100, if I get a track to where we're happy with it, the artist will say, 'That's amazing.' It's very rare to hear, 'Nope, that's not right.' But the artists I've worked with who are the most successful are the ones who'll tell me to my face, 'No, you're wrong,' two or three times in a row. And she did."[3]

For "Clean", Swift approached British producer Imogen Heap in London after writing the song's lyrics and melody. Heap helped to complete the track by playing instruments on it; the two finished recording after two takes in one day at Heap's studio.[15] Nathan Chapman, Swift's longtime collaborator, co-produced the track "This Love".[25] The album was mastered by Tom Coyne in two days at Sterling Sound Studio in New York City.[15] Swift finalized the record upon completing the Asian leg of the Red Tour in mid-2014.[26]

The standard edition of 1989 includes 13 tracks; the deluxe edition includes six additional tracks—three original songs and three voice memos.[27] The album prominently incorporates synthesizers, programmed drum machines, pulsating basslines, and processed backing vocals—a stark contrast to the acoustic arrangements of Swift's past albums.[28][29] Because she aimed to recreate authentic 1980s pop, the album is devoid of contemporary hip hop or R&B crossover elements popular in mainstream music at the time.[30] Although Swift declared her move from country to pop on 1989, several reviewers, including The A.V. Club's Marah Eakin,[31] argued that Swift had always been more pop-oriented even on her early country songs. The three voice memos on the deluxe edition contain Swift's discussions of the songwriting process and unfinished demos for three songs—"I Know Places", "I Wish You Would", and "Blank Space". Myles McNutt, a professor in communications and arts, described the voice memos as Swift's effort to claim her authority over 1989, defying pop music's "gendered hierarchy" which had seen a dominance of male songwriters and producers.

As with Swift's past albums, 1989 is primarily about the emotions and reflections resulting from past romantic relationships.[28][32][33] Swift's songwriting retained its storytelling which had been nurtured by her country-music background,[34][35] but it is more ambiguous and embraces pop-music songwriting prioritizing emotional intensity and general ideas over intricate details. Swift's characters in the 1989 songs cease to vilify ex-lovers and failed relationships like those on her past songs did[36][37] and instead look at them through a wistful perspective.[13] She attributed this change of attitude to her realization of "more complex relationships", in which she was also responsible for the downfall instead of completely putting the blame on the other.[16] For USA Today's Brian Mansfield, even though the songs were inspired by Swift's personal life, they resonated with a wide audience who found themselves and their situations represented in her songs.[37] The album's liner notes, which include a one-sentence hidden message for each of the 13 songs, collectively tell a story of a girl's tangled relationship. Ultimately, she finds that, "She lost him but she found herself and somehow that was everything."[38]

Title and artwork[]

Swift named 1989 after her birth year and said it signified a symbolic rebirth of her image and artistry.[15][39] As creative director for the album's packaging,[19] Swift included pictures taken with a Polaroid instant camera—a photographic method popular in the 1980s.[40][41] The cover is a Polaroid portrait of Swift's face cut off at the eyes, which Swift said would bring about a sense of mystery: "I didn't want people to know the emotional DNA of this album. I didn't want them to see a smiling picture on the cover and think this was a happy album, or see a sad-looking facial expression and think, oh, this is another breakup record."[42][43] She is wearing red lipstick and a lavender sweatshirt embroidered with flying seagulls.[40][44] Her initials are written with black marker on the bottom left, and the title 1989 on the bottom right.[41][43]

Each CD copy of 1989 includes a packet, one of five available sets, of 13 random Polaroid pictures, made up from 65 different pictures.[45] The pictures portray Swift in different settings such as backdrops of New York City and recording sessions with the producers.[46] The photos are out-of-focus, off-framed, with a sepia-tinged treatment, and feature the 1989 songs' lyrics written with black marker on the bottom.[41] Polaroid Corporation chief executive Scott Hardy reported that the 1989 Polaroid concept propelled a revival in instant film, especially among the hipster subculture who valued the "nostalgia and retro element of what [their] company stands for".[47] Billboard in 2022 ranked the cover of 1989 as one of the 50 greatest album covers of all time.[48]


The album's standard and deluxe editions were released for download on digital platforms on October 27, 2014.[49] In the United States and Canada, the deluxe edition was available exclusively through Target.[24][50] The songs "Out of the Woods" and "Welcome to New York" were released through the iTunes Store as promotional singles on October 14 and 20, respectively.[51]

On November 3, 2014, Swift removed her entire catalog from Spotify, the largest on-demand streaming service at the time,[45] arguing that their ad-supported free service undermined the platform's premium service, which provides higher royalties for songwriters.[52] She had written an op-ed for The Wall Street Journal in July 2014, expressing her concerns over the decline of the album as an economic entity following the rise of free, on-demand streaming.[53] Big Machine and Swift kept 1989 only on paid subscription-required platforms such as Rhapsody and Beats Music.[54] This move prompted an industry-wide debate on the impact of streaming on declining record sales during the digital era.[55]

In June 2015, Swift stated that she would remove 1989 from Apple Music, criticizing the service for not offering royalties to artists during their free three-month trial period.[56] After Apple Music announced that it would pay artists royalties during the free trial period, she agreed to leave 1989 on their service; she then featured in a series of commercials for Apple Music.[57] She re-added her entire catalog on Spotify in June 2017.[58] Swift began rerecording her first six studio albums, including 1989, in November 2020.[59] The decision came after talent manager Scooter Braun acquired the masters of Swift's first six studio albums, which Swift had been trying to buy for years, following her departure from Big Machine in November 2018.[60]

Swift marketed 1989 as her first "official pop" album.[55] To bolster sales, Swift and Big Machine implemented an extensive marketing plan.[54] As observed by Maryn Wilkinson, an academic specialized in media studies, Swift adopted a "zany" aspect for her 1989 persona.[note 1] Her social media posts showcased her personal life, making fans feel engaged with her authentic self and thus cemented their support while attracting a new fan base besides her already large one.[55]


She also promoted the album through product endorsements with Subway, Keds, and Diet Coke.[62] Swift held a live stream via Yahoo! sponsored by ABC News on August 18, where she announced the details of 1989 and released the lead single "Shake It Off",[63] which debuted atop the US Billboard Hot 100.[64] To connect further with her supporters, Swift selected a number of fans based on their engagement on social media and invited them to private album-listening sessions called "the 1989 Secret Sessions".[61] They took place at her properties in Los Angeles, New York City, Nashville, Rhode Island, and London throughout September 2014.[65]

In addition to online promotion, Swift made many appearances on radio and television.[54] She performed at awards shows including the MTV Video Music Awards[66] and the American Music Awards.[67] Her appearances on popular television talk shows included Jimmy Kimmel Live!, The Ellen DeGeneres Show, Late Show with David Letterman and Good Morning America.[54] She was part of the line-up for the iHeartRadio Music Festival,[68] CBS Radio's "We Can Survive" benefit concert,[69] the Victoria's Secret Fashion Show[70] and the Jingle Ball Tour.[71] The album's supporting tour, the 1989 World Tour, ran from May to December 2015. It kicked off in Tokyo,[72] and concluded in Melbourne.[73] Swift invited various special guests on tour with her, including singers and fashion models the media called Swift's "squad" which received media coverage.[74] The 1989 World Tour was the highest-grossing tour of 2015, earning over $250 million at the box office.[75] In North America alone, the tour grossed $181.5 million, setting the record for highest-grossing US tour by a woman.[76] Swift broke this record in 2018 with her Reputation Stadium Tour.[77]


Promotional singles[]

1989 was supported by a string of commercially successful singles,[78] including Billboard Hot 100 number ones "Blank Space" and "Bad Blood" featuring rapper Kendrick Lamar, and top-10 hits "Style" and "Wildest Dreams".[79] Other singles were "Out of the Woods", previously a promotional single,[80] and "New Romantics".[81] The deluxe edition bonus tracks, which had been available exclusively through Target, were released on the US iTunes Store in 2015.[82]

Commercial performance[]

US music-industry publications were fond of predicting 1989's sales performance;[54] the music industry had seen declining record sales brought by digital download and streaming platforms,[83] but Swift had established herself as a best-selling album artist in the digital era: her last two albums, Speak Now (2010) and Red (2012), each sold over one million copies within one week.[55] Many industry personnel questioned whether Swift abandoning country music and withdrawing from streaming would impact the album's sales.[55] During one week leading to 1989's release, publications predicted the album would sell short of one million copies in its debut week, with estimations from 600,000 to 750,000[83] to 800,000–900,000.[84] After 1989 was released, Billboard closely monitored its sales and raised the first-week prediction from 900,000[85] to one million within 24 hours,[86] 1.2 million within 48 hours,[87] and 1.3 million after six days of tracking.[88]

Through November 2, 2014, 1989 debuted atop the US Billboard 200 with first-week sales of 1.287 million copies, according to data compiled by Billboard for the chart dated November 15, 2014. Swift became the first artist to have three albums each sell one million copies within the first week, and 1989 was the first album released in 2014 to exceed one million copies.[89] 1989 topped the Billboard 200 for 11 non-consecutive weeks[90] and spent the first full year after its release in the top 10 of the Billboard 200.[91] By August 2022, the album had spent 400 weeks on the chart.[92][93] 1989 exceeded sales of five million copies in US sales by July 2015, the fastest-selling album since 2004 up to that point.[note 2] With 6.215 million copies sold by the end of 2019, the album was the third-best-selling album of the 2010s decade in the United States.[96] The Recording Industry Association of America (RIAA) certified the album nine-times platinum, which denotes nine million album-equivalent units. As of August 2023, 1989 had accumulated 12.3 million album-equivalent units in the United States.[97]

1989 also reached number one on the record charts of various European and Oceanic countries, including Australia, Belgium, Ireland, the Netherlands, New Zealand, Norway, and Switzerland. The album received multi-platinum certifications in many countries, such as Australia (eleven-times platinum), Austria (triple platinum), Belgium (four-times platinum), New Zealand (nine-times platinum), and Norway (triple platinum). In Canada, it was certified six-times platinum by Music Canada (MC) and sold 542,000 copies to become the decade's fifth-best-selling album. It was the fastest-selling album by a female artist of 2014 in the United Kingdom,[98] where it earned a six-times platinum certification from the British Phonographic Industry (BPI). In the Asia-Pacific markets, 1989 was certified platinum in Japan and Singapore, and it sold over one million units as of August 2019 to become one of the best-selling digital albums in China.[99] According to the International Federation of the Phonographic Industry (IFPI), 1989 was the second-best-selling album of 2014 and third-best-selling of 2015.[100][101] By 2022, the album was Swift's best-selling and had sold 14 million copies worldwide.[102]

After Swift embarked on her sixth headlining world tour, the Eras Tour, in March 2023, sales and streams of Swift's discography resurged.[103] 1989 reached new peaks on the albums charts in Greece (number one), Austria (number four), Sweden (number 17). It appeared on new albums charts of Argentina (number one), Uruguay (number seven), and Iceland (number 25).

Critical reception[]

1989 ratings
Aggregate scores
Source Rating
Metacritic 76/100[104]
Review scores
Source Rating
AllMusic 3Star fullStar fullStar halfStar empty[105]
The A.V. Club B+[31]
Cuepoint (Expert Witness) A−[106]
The Daily Telegraph 4/5 starsStar fullStar fullStar fullStar empty[107]
The Guardian 4/5 starsStar fullStar fullStar fullStar empty[108]
Los Angeles Times 2/4 starsStar fullStar emptyStar empty[109]
NME 7/10[110]
Pitchfork 7.7/10[36]
Rolling Stone 4/5 starsStar fullStar fullStar fullStar empty[111]
Spin 7/10[112]

When 1989 was first released, contemporary music critics gave it generally positive reviews. On Metacritic, a review aggregator site that compiles reviews from mainstream publications and assigns a weighted average score out of 100, 1989 received a score of 76 that was based on 29 reviews.[104] AnyDecentMusic? compiled 28 reviews and gave the album a score of 7.4 out of 10.[113]

Most reviewers highlighted Swift's mature perception of love and heartbreak.[114] The A.V. Club's Marah Eakin praised her shift from overtly romantic struggles to more positive themes of accepting and celebrating the moment.[31] Neil McCormick of The Daily Telegraph commended the album's "[sharp] observation and emotional engagement" that contrasted with lyrics found in "commercialised pop".[107] Alexis Petridis of The Guardian lauded Swift's artistic control that resulted in a "perfectly attuned" 1980s-styled synth-pop authenticity.[108]

The album's 1980s synth-pop production divided critics. In an enthusiastic review, The New York Times' Jon Caramanica complimented Swift's avoidance of contemporary hip hop/R&B crossover trends, writing, "Ms. Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars...even bother aspiring to."[25] Writing for Rolling Stone, Rob Sheffield characterized the record as "deeply weird, feverishly emotional, wildly enthusiastic".[111] In a review published by Cuepoint, Robert Christgau applauded her departure from country to experiment with new styles, but felt this shift was not radical.[106] NME's Matthew Horton considered Swift's transition to pop "a success", save for the inclusion of the "soft-rock mush" of "This Love" and "Clean".[110] Shane Kimberlin writing for musicOMH deemed Swift's transition to pop on 1989 "not completely successful", but praised her lyrics for incorporating "enough heart and personality", which he found rare in the mainstream pop scene.[115]

Some critics lamented that Swift's move from country to pop eroded her authenticity as a songwriter, particularly because of pop music's "capitalist nature" as opposed to country music's emphasis on authenticity.[102] Slant Magazine's Annie Galvin observed that Swift maintained the clever songwriting that had distinguished her earlier releases, but was disappointed with the new musical style.[116] Entertainment Weeklys Adam Markovitz and Spin's Andrew Unterberger were critical of the heavy synthesizers, which undermined Swift's conventionally vivid lyrics.[112][117] AllMusic's Stephen Thomas Erlewine described the album as "a sparkling soundtrack to an aspirational lifestyle" that fails to transcend the "transient transparencies of modern pop".[105] Mikael Wood, in his review for the Los Angeles Times, found the album inauthentic, but acknowledged her effort to emulate the music of an era she did not experience.[109]


1989 won industry awards, including Favorite Pop/Rock Album at the American Music Awards[118] and Album of the Year (Western) at the Japan Gold Disc Awards in 2015,[119] and Album of the Year at the iHeartRadio Music Awards in 2016.[120] It also earned nominations for Best International Pop/Rock Album at the Echo Music Prize,[121] International Album of the Year at the Juno Awards,[122] and Best International Album at the Los Premios 40 Principales in 2015.[123] At the 58th Annual Grammy Awards in 2016, 1989 won Album of the Year and Best Pop Vocal Album.[124] Swift became the first female solo artist to win Album of the Year twice—her first win was for Fearless (2008) in 2010.[125]

Many publications ranked 1989 among the best albums of 2014. Those who placed the album within their top 10 included Billboard (first),[126] American Songwriter (4th),[127] Time (4th),[128] The Daily Telegraph (5th),[129] The Music (5th),[130] Drowned in Sound (6th),[131] Complex (8th),[132] and Rolling Stone (10th).[133] Other publications that featured 1989 in their lists were The Guardian,[134] The A.V. Club,[135] PopMatters,[136] Pitchfork,[137] and MusicOMH.[138] The album ranked 7th on The Village Voice's 2014 Pazz & Jop mass critics' poll[139] and featured in individual critics' lists by Jon Caramanica for The New York Times (7th),[140] Ken Tucker for NPR (3rd),[141] and Brian Mansfield for USA Today (1st).[142]


1989's commercial success transformed Swift's image from a country singer-songwriter to a worldwide pop phenomenon.[143][144] The album was the second album to spawn five or more US top-10 singles in the 2010s decade,[145] and made Swift the second woman to have two albums each score five US top-10 hits.[146] Its singles received heavy rotation on US radio over a year and a half following its release, which Billboard described as "a kind of cultural omnipresence that's rare for a 2010s album".[147] The academic Shaun Cullen specializing in the humanities described Swift as a figure "at the cutting edge of postmillennial pop". According to the BBC's Neil Smith, 1989 "[forged] a path for artists who no longer wish to be ghettoised into separated musical genres".[148] The album's electronic-pop production expanded on Swift's next two studio albums, Reputation (2017) and Lover (2019), which solidified her status as a pop star.

Along with 1989's success, Swift's new image as a pop star became a subject of public scrutiny. While Swift supported feminism—her first time expressing her political opinions[149]—her public appearances with singers and fashion models whom the media called her "squad" gave the impression that she did so just to keep her name afloat in news headlines. Kristy Fairclough, a professor in popular culture and film, commented, "Her shifting aesthetic and allegiances appear confusing in an overall narrative that presents Taylor Swift as the centre of the cultural universe." Swift's disputes with several celebrities, most notably rapper Kanye West, diminished her sense of authenticity that she had maintained. Their so-called feud emerged again when West released his 2016 single "Famous", in which West incorporates a lyric referencing Swift. West claimed that he had asked for Swift's approval, which she objected to.[150] Swift announced a prolonged hiatus following the 1989 World Tour because "people might need a break from [her]". Her follow-up album Reputation (2017) was influenced in part by this tumultuous affair with the media.[151]

Retrospective reviews from GQ's Jay Willis,[152] New York's Sasha Geffen,[153] and NME 's Hannah Mylrea lauded the album's avoidance of contemporaneous hip hop and R&B crossover trends, which made 1989 a timeless album representing the best of Swift's talents. Mylrea praised it as Swift's best record and described it as an influence for younger musicians to embrace "pure pop", contributing to a growing trend of nostalgic 1980s-styled sound.[154] Geffen also attributed the album's success to its lyrics offering emotional engagement that is uncommon in pop.[153] Contemporary artists who cited 1989 as an influence included American singer-songwriter Conan Gray[155] and British pop band the Vamps, who took inspiration from 1989 while composing their album Wake Up (2015).[156] Jennifer Kaytin Robinson cited 1989 as an inspiration for her 2019 directorial debut, Someone Great.[157] American rock singer-songwriter Ryan Adams released his track-by-track cover album of 1989 in September 2015. Finding it a "joyful" record, he listened to the album frequently to cope with his broken marriage in late 2014.[158] On his rendition, Adams incorporated acoustic instruments which contrast with the original's electronic production.[159][160] Swift was delighted with Adams' cover, saying to him, "What you did with my album was like actors changing emphasis."[161]

Track listing[]

Standard edition
1."Welcome To New York"Taylor Swift • Ryan TedderSwift • Tedder • Noel Zancanella3:32
2."Blank Space"Swift • Max Martin • ShellbackMartin • Shellback3:51
3."Style"Swift • Martin • Shellback • Ali PayamiMartin • Shellback • Payami3:51
4."Out Of The Woods"Swift • Jack AntonoffSwift • Antonoff • Martin3:55
5."All You Had To Do Was Stay"Swift • MartinMartin • Shellback • Mattman & Robin3:13
6."Shake It Off"Swift • Martin • ShellbackMartin • Shellback3:39
7."I Wish You Would"Swift • AntonoffSwift • Antonoff • Martin • Greg Kurstin3:27
8."Bad Blood"Swift • Martin • ShellbackMartin • Shellback3:31
9."Wildest Dreams"Swift • Martin • ShellbackMartin • Shellback3:40
10."How You Get The Girl"Swift • Martin • ShellbackMartin • Shellback4:07
11."This Love"SwiftSwift • Nathan Chapman4:10
12."I Know Places"Swift • TedderSwift • Tedder • Zancanella3:15
13."Clean"Swift • Imogen HeapSwift • Heap4:30
Total length:48:41
Deluxe edition
14."Wonderland"Swift • Martin • ShellbackMartin • Shellback4:05
15."You Are In Love"Swift • AntonoffSwift • Antonoff4:27
16."New Romantics"Swift • Martin • ShellbackMartin • Shellback3:50
17."I Know Places" (voice memo)Swift • TedderSwift3:36
18."I Wish You Would" (voice memo)Swift • AntonoffSwift1:47
19."Blank Space" (voice memo)Swift • Martin • ShellbackSwift2:11
Total length:1:08:37


Spotify streams[]

Standard edition
No. Song Streams
1. Welcome To New York 250,960,348
2. Blank Space 1,853,384,274
3. Style 1,234,967,797
4. Out Of The Woods 326,488,518
5. All You Had To Do Was Stay 220,930,570
6. Shake It Off 1,430,900,693
7. I Wish You Would 153,106,024
8. Bad Blood 609,055,855
9. Wildest Dreams 974,466,573
10. How You Get The Girl 171,176,847
11. This Love 108,783,931
12. I Know Places 134,781,663
13. Clean 196,438,213
Deluxe edition
No. Song Streams
14. Wonderland 150,486,060
15. You Are In Love 143,678,434
16. New Romantics 282,812,873
17. I Know Places - Voice Memo 5,992,603
18. I Wish You Would - Voice Memo 4,581,328
19. Blank Space - Voice Memo 4,868,540
* Total streams 8,257,861,144


Physical booklet[]

Digital booklet[]


Main article: 1989 photoshoot

Hidden messages[]


  • On certain international versions of the Deluxe CD, the 3 voice memos and "You Are In Love" are absent from the track list and the disc itself. It is unknown if this was intentional, or if it was a misprint.
  • On the digital deluxe version that has been released internationally, the 3 voice memos are unavailable/blocked in some countries. The reason for this is unknown.
  • For years, it has been rumored that 100-150 songs were written for the album, although this has never been confirmed and is very likely false.
  • Due to a glitch that occurred on iTunes in Canada on October 21, 2014, "Track 3" (eventually revealed to be "Style") was released by accident. However, it didn't feature the actual song itself, but rather 8 seconds of static noise. So many fans bought the track that it hit number one on the Canadian iTunes chart.[162]


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  1. Wilkinson used "zany" to describe Swift as "a figure who emphasises the pop 'performance' as one of hard work instead, because she exposed its construction as one that does not come 'naturally'". As Swift had been associated with a hardworking and authentic persona through her country songs, her venture to "artificial, manufactured" pop required intricate maneuvering to retain her sense of authenticity. She used social media extensively to communicate with her fan base. To attract a younger audience, she had promoted her country songs online previously.[61]
  2. The record was later surpassed by Adele's 25 (2015).[94][95]
"Welcome To New York" • "Blank Space" • "Style" • "Out Of The Woods" • "All You Had To Do Was Stay" • "Shake It Off" • "I Wish You Would" • "Bad Blood" • "Wildest Dreams" • "How You Get The Girl" • "This Love" • "I Know Places" • "Clean"
Deluxe Edition
"Wonderland" • "You Are In Love" • "New Romantics" • "I Know Places - Voice Memo" • "I Wish You Would - Voice Memo" • "Blank Space - Voice Memo"
Taylor's Version
"Slut!" • "Say Don't Go" • "Now That We Don't Talk" • "Suburban Legends" • "Is It Over Now?"
Taylor's Version Deluxe Edition
"Bad Blood" (feat. Kendrick Lamar)
Taylor's Version Deluxe+ Edition
"Slut!" (acoustic version)
Tangerine Edition
"Sweeter Than Fiction"