Taylor Swift has long been keenly aware of the power of music videos to help expand the worlds she meticulously builds in her songwriting. Now, for the first time, all 58 of Taylor’s videos are coming to Spotify, giving her fans the opportunity to dive deeper than ever into her catalog. From “Tim McGraw” to this year’s star-studded “Opalite,” her entire catalog of official music videos is now available to Premium users on Spotify.
We’re also bringing back the custom Eras-themed play and pause button animations across all of Taylor’s catalog. When you listen to a song on Spotify, the play/pause button will be animated with visuals representative of each album.
Premium subscribers in our beta markets can open Spotify on their TV, desktop, iOS, and Android devices, search for the song, and get a first look by tapping “Switch to video.” The music video will start playing right where the song left off. To return to background listening, just press “Switch to audio.” For a full-screen experience on mobile, viewers can simply turn their devices to landscape mode.
To celebrate the news, we asked Spotify editors Talia Kraines and Claire Heinichen to walk us through a few of their favorite Taylor videos. Across albums and eras, the songs change, but Taylor’s commitment to her artistic vision remains constant. Check out their picks here, and make sure to check out the rest of Taylor’s video catalog on Spotify.
“Tim McGraw”
Released on July 22, 2006
Directed by Trey Fanjoy
“Tim McGraw” was Taylor’s first-ever music video, and makes clear that even from the very beginning, she saw music videos as fundamental to building out the cinematic universe of her music. This video, shot in part at Johnny Cash’s iconic Cash Cabin, is country music heaven, pairing a well-told story with familiar backdrops like backroads, open fields, a peaceful lake, and a truck bed. It all comes together to paint the charming, emotional, and relatable picture of young love. —Claire Heinichen
“You Belong With Me”
Released on May 4, 2009
Directed by Roman White
“You Belong With Me” is an ode to teenage girlhood, awkward dance moves, messy hair, blossoming romances, and all. Still a teenager herself when it was released, Taylor’s superpower at this point in her career was the way she related to her young, mostly female audience. Despite her growing fame (and access to high-end glam and wardrobe), Taylor used this video to reflect what normal teenage years actually look like, from fun details like a (now notorious) sharpie-decorated t-shirt to the emotional turmoil wrought by high school cliques. As would become a signature for Taylor, this video feels like a whole romantic comedy shrunk down to four minutes.
With Taylor still firmly rooted in country music at the time, this song and video served as her second massive pop crossover moment, following “Love Story” the previous year, another glimmer of the truly massive pop career that lay ahead for her. The video took home Female Video of the Year at the MTV VMAs, making her the first and only country artist to ever win it. —CH
“Mine”
Released on August 27, 2010
Directed by Roman White and Taylor Swift
“Mine” kicked off Taylor’s Speak Now era, and her video-directing era, too, as she teamed up with past collaborator Roman White to co-direct for the first time. Not that you’d know it was her first time behind the camera: Country music is all about storytelling, and Kennebunkport, Maine-set “Mine” levels up the beautiful songwriting with flashbacks and flashforwards. The final product feels like the highlight reel of an emotional romantic comedy, complete with a picture-perfect ending. —CH
“Blank Space”
Released on November 10, 2014
Directed by Joseph Kahn
The most streamed song on Taylor’s pop debut 1989 also gets one of her most iconic videos. For this song and video, Taylor took a comedic approach, wondering what it would look and sound like if she actually was the man-eating crazy girl the media often painted her to be at the time. From the grandeur of the locations, to the luxury of the outfits, animals, and props (and of course the fun, flirty destruction and chaos that Taylor’s character causes), you can tell she’s really going for it. Looks from this video have inspired countless Halloween costumes, and the bicycles and the golf clubs used to destroy a rare sports car popped back up to the crowd’s delight during the Eras Tour. This video was her first of many collaborations with director Joseph Kahn, and earned Taylor her first Emmy Award for the backstage app experience that came alongside it, getting her halfway to EGOT status. —CH
“Look What You Made Me Do”
Released on August 27, 2017
Directed by Joseph Kahn
Every diehard Swiftie remembers exactly where they were the first time they saw this video. At the top of her mysterious reputation era, Taylor decreed: “there will be no further explanation, there will just be reputation.” But this Easter egg-teeming video provided way more “explanation” (or at least, opportunity for fan interpretation) than any interview or Instagram caption ever could. Each scene is more intricate and meticulously metaphor-heavy than the last, serving eagle-eyed fans nods to past eras and headlines. Just minutes after the video’s release, social media timelines began overflowing with screenshots dissecting every detail, like the name on the tombstone, the single dollar bill in the bathtub, the “squad,” the crop tops, and of course, the mountain of Taylors. My personal favorite moment sneaks in at the very end, when Taylors past and present exchange perfectly chosen insults, assuring fans once and for all that nothing gets past Taylor. —CH
“The Man”
Released on Feb 27, 2020
Directed by Taylor Swift
The fourth music video from Taylor’s Lover album marked a major career milestone: her solo directorial video debut. Coming as the battle for her master recordings was taking flight, the project is deeply rooted in autonomy and control. That’s especially true of the video’s most talked about scene, set in a subway station covered in the titles of her past albums alongside some notable signs, one reading: “MISSING: IF FOUND, RETURN TO TAYLOR SWIFT.”
Deep in prosthetics as her alter ego, Tyler Swift, Taylor presents as an obnoxious man whose behavior highlights double standards and gender discrepancies in the workplace and society. At the end we see the real Taylor, in the director’s chair, firmly establishing her leadership role and emphasizing it with the reveal that the video was written, directed, and owned by her. Ultimately, the music video serves as a powerful callout of male privilege and a bold declaration of Taylor’s creative ownership. It’s only fitting that “The Man” earned her the historic achievement of becoming the first solo female director to win Best Direction at the MTV Video Music Awards. —Talia Kraines
“cardigan”
Released on July 24, 2020
Directed by Taylor Swift
Looking back, it’s hard to believe that “The Man” and “cardigan” came only five months apart. Both are self-directed, but couldn’t be more different stylistically. While the Lover era was full of color and maximalism, folklore was more intimate both musically and visually, softer and swirling with greens and golds. Thanks to strict COVID lockdowns, Taylor added the roles of makeup artist, hairstylist, and costumer to her resume.
“cardigan” dropped with no warning, and the video showed Taylor alone, mirroring the pandemic’s climate of isolation. She enters a piano that transports her into a magical world, moving from a cabin to the forest and eventually the stormy sea. The video, song, and album captured a new audience, and Taylor proved she could strip everything back without losing any of the magic of her songwriting. —TK
“All Too Well: The Short Film”
Released on Nov 12, 2021
Directed by Taylor Swift
The long-rumored, 10-minute version of “All Too Well” is perhaps the ultimate piece of pop music fan fiction, and it finally came to life on Red (Taylor’s Version). Defying every conventional pop songwriting rule, it’s a sprawling, unedited, emotional epic illustrating the full story that fans had mythologized for nearly a decade. No longer bound by radio limitations in the streaming era, Taylor had the space to sing her heartbreak in its entirety, without compromise or restraint. And visually, this was also a new format for Taylor, who turned the 10-minute song into a short film, clocking in at nearly 15 minutes, that screened at the Tribeca Film Festival in 2022.
Sadie Sink and Dylan O’Brien play the central couple, underlining the age difference at the heart of the song. Unlike a traditional music video, Taylor builds a whole narrative with chapters like “An Upstate Escape” and “Are You Real,” with dialogue and scenes that continue even when the song drops away. Visually, it taps into the romance of the Red world, feeling autumnal and glazed with nostalgia at the beginning, before turning blue, sad, and icy as the relationship deteriorates. —TK
“Anti-Hero”
Released on October 21, 2022
Directed by Taylor Swift
This video served as the kickoff to Taylor’s moody, 1970s-drenched Midnights era. Similar to the iconic “Blank Space” video from eight years earlier, this video sees Taylor embodying a narrative about herself, but this time, the narrative is coming from Taylor’s inner critic rather than the media. This song is lyrically dense, with Taylor’s songwriting superpowers taking the form of brutal self-awareness and self-deprecation, which she brings to life in this video by portraying different versions of herself. One version is paralyzed by anxiety and fear, another acts on all of her worst impulses (RIP to the Speak Now koi fish guitar!) and fills the fearful version of herself with more doubt, and a third is both the literal and metaphorical “monster on the hill.” True to Taylor form, it’s also littered with Easter eggs and references that devoted Swifties will be deciphering and referencing for eras to come.
This video is a visual delight, playing with special effects and scale without diminishing the very real and delicate emotions the song alludes to. Perhaps inspired by the creative liberties she adopted making the “All Too Well” short film, “Anti-Hero” drops its vocals for a nearly two-minute scene where Taylor watches from the inside her own coffin in horror as chaos erupts at her own funeral. (Despite the bleakness of that description, it’s actually a very silly and enjoyable addition!) The video ends with all three Taylors coming together to share a bottle of wine, and, hopefully, a brighter outlook on the future. —CH
Head to Spotify now to check out all of Taylor Swift’s music videos.
Photo: Mert Alas & Marcus Piggott
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