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On the superb Maroon, Swift’s voice is backed by ambient electronics and droning shoegazey guitars: it’s one of several songs that you feel could suddenly surge into an epic chorus or coda, but never does. The Del Rey collaboration Snow on the Beach is beautifully done – a perfect gene-splice between their two musical styles with a gorgeous melody – but it’s a long way from a grandstanding summit between two pop icons: there’s a striking lightness of touch about it, a restrained melding of their voices. Meanwhile, Anti-Hero offers a litany of small-hours self-loathing set to music that feels not unlike the glossy 80s rock found on Swift’s 1989, but with the brightness turned down. There’s an appealing confidence about this approach, a sense that Swift no longer feels she has to compete on the same terms as her peers.

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That confidence is the thing that binds Midnights together. There’s a sure-footedness about Swift’s songwriting, filled with subtle, brilliant touches: the moment on Question…?, where, as they describe a drunken conversation, the lyrics simultaneously speed up their rhythm and stop rhyming; You’re on Your Own, Kid’s fantastic description of a now-famous Swift returning to her home town and feeling like a prom queen, albeit a very specific prom queen: “I looked around in a blood-soaked gown,” she sings, invoking the image of Sissy Spacek about to go postal in Carrie. It’s an album that’s cool, collected and mature. It’s also packed with fantastic songs and at a slight remove from everything else currently happening in pop’s upper echelons. As ever, you wouldn’t like to predict what Taylor Swift will do next, but what she’s doing at the moment is very good indeed.

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买的，围棋别吹了～