The List of Taylor Swift Albums in Order of Release
Having sold over 200 million records worldwide, Taylor Swift is one of the best-selling musicians of all time, released 9 original studio albums, 2 re-recorded studio albums, 5 extended plays (EP), 3 live albums, and 14 miscellaneous compilations. Swift’s career began with a record deal with Big Machine Records in 2005 and the release of her eponymous debut album the following year.
She explored country pop on the albums Fearless (2008) and Speak Now (2010); the success of the singles “Love Story” and “You Belong with Me” on both country and pop radio established her as a leading crossover artist. She experimented with rock and electronic genres on her fourth studio album, Red (2012), supported by the singles “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble”. Swift eschewed country on her synth-pop album 1989 (2014) and its chart-topping tracks “Shake It Off”, “Blank Space”, and “Bad Blood”. Her sixth studio album, Reputation (2017), made Swift the first music artist to have four consecutive albums each sell over one million copies within its debut week. she ventured into indie folk and alternative rock styles on her 2020 studio albums, Folklore and Evermore, receiving plaudits for their nuanced storytelling. So, we have gathered all Taylor Swift albums in order of release so far.
Taylor Swift Albums Available on: Apple Music
All Taylor Swift Albums In Order: Check Out The List Of Taylor Swift Albums in Order Here!
- Taylor Swift — October 24, 2006
- Fearless — November 11, 2008
- Speak Now — October 25, 2010
- Red — October 22, 2012
- 1989 — October 27, 2014
- Reputation — November 10, 2017
- Lover — August 23, 2019
- Folklore — July 24, 2020
- Evermore — December 11, 2020
- Midnights — October 21, 2022
All Taylor Swift Albums List
1. Taylor Swift (2006)
Tracks
- Tim McGraw
- Picture to Burn
- Teardrops on My Guitar
- A Place in This World
- Cold as You
- The Outside
- Tied Together with a Smile
- Stay Beautiful
- Should’ve Said No
- Mary’s Song (Oh My My My)
- Our Song
Taylor Swift’s self-titled debut captures a girl on the verge of womanhood’s dreams and desires with candor, intelligence, and genuine sweetness. Swift is given sympathetic backing by producer Robert Ellis Orrall, who adds banjo-driven twang to “Pictures To Burn” and electric guitar punch to “The Outside.” Swift sings with clarity and conviction, bringing a winsome yearning to songs like “Tied Together With A Smile” and “Mary’s Song.” There are moments here that recall the tenderness of an old Everly Brothers song, such as the lovely “Teardrops On My Guitar.” Other songs, such as “Picture To Burn,” have a distinctly sarcastic tone. Most importantly, Swift stays true to her own experience on her award-winning debut.
2. Fearless (2008)
Tracks
- Fearless
- Fifteen
- Love Story
- Hey Stephen
- White Horse
- You Belong with Me
- Breathe
- Tell Me Why
- You’re Not Sorry
- The Way I Loved You
- Forever & Always
- The Best Day
- Change
Making the transition from teen sensation to mature artist can be difficult, but an 18-year-old Taylor Swift did it with style on her second album, Fearless. The songs are filled with both angst and delight. Swift sails through the title track, “Hey Stephen,” and “You Belong With Me” with boundless joy, as guitars chime and beats bounce. These moments shine even brighter when paired with thoughtful songs like “Fifteen” and “White Horse.”
3. Speak Now (2010)
Tracks
- Mine
- Sparks Fly
- Back to December
- Speak Now
- Dear John
- Mean
- The Story of Us
- Never Grow Up
- Enchanted
- Better than Revenge
- Innocent
- Haunted
- Last Kiss
- Long Live
Taylor Swift’s maturity and assertiveness shine through on Speak Now. Each song is inspired by a personal experience, ranging from unpredictable relationships (“Mine”) to a meticulously crafted response to a very public humiliation (“Innocent”). Swift demonstrates both strength and vulnerability, revealing an artist undergoing creative and personal transformation.
4. Red (2012)
Tracks
- State of Grace
- Red
- Treacherous
- I Knew You Were Trouble
- All Too Well
- 22
- I Almost Do
- We Are Never Ever Getting Back Together
- Stay Stay Stay
- The Last Time
- Holy Ground
- Sad Beautiful Tragic
- The Lucky One
- Everything Has Changed
- Starlight
- Begin Again
Taylor Swift captures the essence of her fourth album in a primary color: it represents her taste for vengeance, her hot-blooded romantic streak, and the neon-lit pulse of a dance floor. The title track’s banjo pluck and acoustic ballad “All Too Well” will appeal to country fans, but glossy singles like “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble” seem destined for a broader audience—one as vivid as the title suggests.
5. 1989 (2014)
Tracks
- 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
Taylor Swift’s fifth studio album, inspired by the ’80s, is her first “official pop album,” with heavyweights like Max Martin, Shellback, Ryan Tedder, and Jack Antonoff contributing to a sleeker, glitzier sound. “Shake It Off” is reminiscent of OutKast’s own populist anthem “Hey Ya,” and there are echoes of Madonna, Cyndi Lauper, and Belinda Carlisle throughout. 1989 is a juggernaut, as brash and brilliant as Times Square’s lights.
6. Reputation (2017)
Tracks
- …Ready for It?
- End Game
- I Did Something Bad
- Don’t Blame Me
- Delicate
- Look What You Made Me Do
- So It Goes…
- Gorgeous
- Getaway Car
- King of My Heart
- Dancing with Our Hands Tied
- Dress
- This Is Why We Can’t Have Nice Things
- Call It What You Want
- New Year’s Day
You don’t have to hear Taylor Swift declare her old self dead—as she does on the explosive “Look What You Made Me Do”—to understand that her new reputation is both a warning shot to her detractors and a full-fledged artistic transformation. All of these songs have a newfound complexity: They’re dark and meaningful, catchy and lived-in, pointed and provocative, and they’re catchy and lived-in. On “End Game,” a languid hip-hop cut with Ed Sheeran and Future, she’s braggadocious, but then sassy and sensual on “…Ready for It?” and “I Did Something Bad.” However, songs like “Call It What You Want” and “Delicate” bring together Taylor’s many emotional layers and confront the dynamic between her celebrity and personal life: “My reputation’s never been worse/So, you must like me for me,” she says. It all adds up to a boundlessly energetic, soul-baring pop masterpiece—her most daring statement yet.
7. Lover (2019)
Tracks
- I Forgot That You Existed
- Cruel Summer
- Lover
- The Man
- The Archer
- I Think He Knows
- Miss Americana & the Heartbreak Prince
- Paper Rings
- Cornelia Street
- Death by a Thousand Cuts
- London Boy
- Soon You’ll Get Better
- False God
- You Need to Calm Down
- Afterglow
- Me!
- It’s Nice to Have a Friend
- Daylight
There’s a reason Taylor Swift sounds so assured and cool on Lover, her seventh and most free-spirited album to date. She’s in love—true, unwavering, starry-eyed, shout-it-from-the-rooftops love. This project comes 13 years after her eponymous debut album, and after a string of songs that felt like battle scars from public breakups and celebrity feuds. It comes across as clear-eyed, thick-skinned, and grown-up. It could be a sign that the 29-year-old has entered a new phase of her life: she’s now impressively private (she and her long-term boyfriend are rarely seen together in public), politically charged (this album finds her fighting for queer and women’s rights), and eager to see the big picture.
As a result, she’s never sounded more powerful or in command. On the Pride anthem “You Need to Calm Down,” she calls out dark-age bigots, on “The Man,” she mocks patriarchy, on “I Forgot That You Existed,” and on “ME!,” a duet with Panic! at the Disco’s Brendon Urie. At a disco. Tonally, these songs are diametrically opposed to 2017’s vengeful and self-conscious Reputation. The atmospheric synths and ’80s drums preferred by collaborator Jack Antonoff (“The Archer,” “Lover”) pervade the majority of the album. Even so, some of the best moments are also the most unexpected. “It’s Nice to Have a Friend” is daydreamy and delicate, with laidback strumming, twinkling trumpet, and high-pitched ooh-oohs illuminating it. And “I Think He Knows,” a percussive, playful song, is a rollercoaster of a song, spiking and dipping from chatty whispers to breathy shout-singing in a matter of seconds.
8. Folklore (2020)
Tracks
- The 1
- Cardigan
- The Last Great American Dynasty
- Exile
- My Tears Ricochet
- Mirrorball
- Seven
- August
- This Is Me Trying
- Illicit Affairs
- Invisible String
- Mad Woman
- Epiphany
- Betty
- Peace
- Hoax
It was only 11 months between the release of Lover and its surprise sequel, but it felt like an eternity. Folklore finds the 30-year-old singer-songwriter teaming up with The National’s Aaron Dessner and long-time collaborator Jack Antonoff for a set of ruminative and relatively lo-fi bedroom pop that’s worlds away from its predecessor. “I’m doing good, I’m on some new st,” Swift begins “the 1,” a sly hybrid of plaintive piano and her naturally bouncy delivery. Swift’s considerable energies, however, have been channeled into writing songs here that double as short stories and character studies, from Proustian flashbacks (“cardigan,” which bears shades of Lana Del Rey) to outcast widows (“the last great american dynasty”) and doomed relationships (“exile,” a heavy-hearted duet with Bon Iver’s Justin Vernon). It’s a work with a lot of texture and imagination. “Your braids like a pattern/Love you to the moon and to Saturn,” she sings on “seven,” a song about two friends planning a getaway. “Love is passed down like folk songs, and it lasts so long.” It stands to reason that a songwriter who has mined such rich detail from a life lived largely in public would eventually find inspiration in solitude.
9. Evermore (2020)
Tracks
- Willow
- Champagne Problems
- Gold Rush
- ‘Tis the Damn Season
- Tolerate It
- No Body, No Crime
- Happiness
- Dorothea
- Coney Island
- Ivy
- Cowboy like Me
- Long Story Short
- Marjorie
- Closure
- Evermore
Surprise-releasing a career-defining album in the midst of a paralyzing global pandemic is an admirable flex; doing it again barely five months later is a display of confidence and concentration so audacious that you have every right to feel personally chastised. Evermore, like folklore, is a collaboration with Aaron Dessner, Jack Antonoff, and Justin Vernon, taking advantage of cozy home-studio vibes for more bare-bones arrangements and bared-soul lyrics, casually intimate and narratively rich.
There is a larger guest roster here—HAIM appears on “no body, no crime,” which seems to place Este Haim in the center of a small-town murder mystery, while Dessner’s bandmates in The National appear on “coney island”—but they fit into the mood rather than distract from it. (The percussive “long story short” could have been on any National album from the last decade.) Elsewhere, “’tis the damn season” is the elegaic home-for-the-holidays ballad this broken year didn’t realize it needed. But, while so much of folklore’s appeal involved marveling at how this setting seemed to have unlocked something in Swift, the only real surprise here is the timing of the release itself. Beyond that, it’s an extension and confirmation of its predecessor’s promises and charms, less a novelty driven by unprecedented circumstances and more simply a thing she happens to do and do well.
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