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- He has also served as the co-writer or co-producer on albums by Taylor Swift, The 1975, Florence + the Machine, Lorde, Kevin Abstract, Sabrina Carpenter, Clairo, The Chicks, Lana Del Rey, and St. Vincent, and has written and produced individual tracks with artists including Pink, Paramore, Sara Bareilles, Maren Morris, Troye Sivan, Carly Rae Jepsen, Kendrick Lamar, Gracie Abrams, and Sia, among many others.
en.wikipedia.org/wiki/Jack_Antonoff_production_discography
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He has also served as the co-writer or co-producer on albums by Taylor Swift, The 1975, Florence + the Machine, Lorde, Kevin Abstract, Sabrina Carpenter, Clairo, The Chicks, Lana Del Rey, and St. Vincent, and has written and produced individual tracks with artists including Pink, Paramore, Sara Bareilles, Maren Morris, Troye Sivan, Carly Rae ...
- “Bye Bye Baby”
- “I Don’T Wanna Live Forever”
- “That’s When”
- “My Boy only Breaks His Favorite Toys”
- “Sweeter Than Fiction”
- “Vigilante Sh*t”
- “Question… ?”
- “The Lakes”
- “Imgonnagetyouback”
- “You Are in Love”
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
- Jake Viswanath
- “I Don’t Wanna Live Forever,” Zayn & Taylor Swift [2016] The only way to avoid having this earworm stuck in your head is to keep your radio off at all times.
- “Green Light,” Lorde [2017] You may remember seeing Jack with an upright piano in both the music video for “Green Light” and Lorde’s SNL performance of “Liability.”
- “We Are Young,” fun. featuring Janelle Monáe [2011] Who doesn’t love fun.? Jack co-wrote on each of their albums, and their biggest hit was the Hot 100-topping “We Are Young,” named Song of the Year at the 2013 Grammys.
- “Dope,” Fifth Harmony [2016] If you didn’t pick up the deluxe version of Fifth Harmony’s latest record, you may have missed this one. Jack co-wrote and produced this track, but took it a step further by recording all of the instruments himself as well.
- “August” Whether Swift is looking back just a few weeks in the midst of her Sad Girl Autumn or reminiscing about a summer fling sweetened by the distance of decades, Antonoff’s production on “August” wraps the singer’s voice in layers of reverb, ghostly memories chiming in with suddenly remembered details.
- “Out of the Woods” The tone of the drums on “Out of the Woods” is more 1981 than 1989, but the thundering percussion that Antonoff builds the track around is so effective at creating a sense of urgency behind Swift’s narrative that the anachronism doesn’t matter.
- “All Too Well (10 Minute Version)” Arguably Swift’s definitive artistic statement, this reworking of a fan favorite is a thoughtful pop-rock epic whose skillful songwriting justifies its radio-unfriendly runtime.
- “The Archer” Swift had already done her Katniss Everdeen cosplay by contributing two fantastic songs to the first Hunger Games soundtrack, so Antonoff wisely avoided any roots-music signifiers that might have invited those comparisons as she sang of having been “The Archer.”
- Lana Del Rey – “Venice Bitch” Yes, “Mariners Apartment Complex” came first, but it’s “Venice Bitch” that gave fans one of the earliest tastes of the gauzy pop dreamscape Antonoff would eventually wrap Norman Fucking Rockwell!
- Lorde – “Green Light” It’s true that Lorde’s massive “Green Light” didn’t sound much like many of the other tracks on the radio at its time of release, and that’s where Jack Antonoff’s touch comes into play.
- Taylor Swift – “Lover” One of, if not the very best best tracks in Swift’s discography, “Lover” is a masterwork. Lyrically, it’s certainly one of her strongest creations, but the track is also a prime example of a song being elevated by great production.
- St. Vincent – “New York” “New York” marked a departure for St. Vincent — not of place, but of tone. Upon release, it was the most stripped-down work of hers to date, lacking any of the incandescent guitar or larger-than-life soundscapes around which she had started to build her reputation.
Oct 21, 2022 · The project once again teams Swift with her long-time writing/producing partner Jack Antonoff, who is credited with co-writing 11 of the 13 songs on the traditional version of the album.
Antonoff was one of the songwriters and producers on Swift's 2024 album The Tortured Poets Department, co-writing ten songs and co-producing sixteen songs across the album's standard and double album editions, including the number-one single "Fortnight".
