All 275 Songs Jack Antonoff Has Produced, Ranked From Worst to Best

The post All 275 Songs Jack Antonoff Has Produced, Ranked From Worst to Best appeared first on Consequence.

This article originally ran in August 2021, but we’ll be updating it for years to come, because Jack Antonoff cannot be stopped.

Jack Antonoff remains booked and busy. Or as fellow singer-songwriter and producer SG Lewis put it:

Antonoff, former member of fun. and current frontman of indie pop group Bleachers, is the most sought-after producer in the pop world right now, full stop. This, like any gust of fame, comes with a harsher magnifying glass. Antonoff has turned into a bit of a polarizing figure recently; many love the signature flourishes he adds to tracks, while others think he’s becoming formulaic.

Wherever you stand when it comes to the Antonoff discourse, it’s worth highlighting his resume of contributions to modern pop. Not to mention his six Grammy Awards; he was nominated for Producer of the Year in 2020 and 2021, and won the category again in 2022.

With Bleachers, Clairo and Lorde releasing Antonoff-produced projects in rapid succession over the course of 2021 and Antonoff showing no signs of leaving the studio throughout 2022, we found this to be the perfect time to take on the gargantuan task of ranking every song the ‘80s loving advocate of main character energy has ever produced. To be clear, this isn’t a ranking of Swift or Del Rey’s discographies; rather, we set out to illustrate a map of Antonoff’s growth and influence as a producer, while highlighting the varied and unique merits of each song.

The ground rules: this list excludes songs on which Antonoff might have co-written/composed but had no hand in as a producer, as well as most remixes, voice memos, and Del Rey’s spoken word album. We’ve also left out unreleased songs, and have combined interludes/instrumentals when appropriate. Bonus tracks were fair game.

The usual suspects appear on the list of hundreds of songs — namely, Taylor Swift, Lorde, and Lana Del Rey — but there are moments with artists like Kevin Abstract, St. Vincent, and Clairo that have allowed Antonoff to experiment with different musical brushstrokes, expanding his palette of production skills. In examining his production discography, some of his quirks become abundantly clear. He knows his lane, and he can achieve excellence there.

Editor's Pick

With Midnights, Taylor Swift Finds Grandeur in the Small Hours

Meanwhile, some of the less favorable sentiments bouncing around about Antonoff seem to lump him in with his frequent collaborators. In a 2021 conversation with the New York Times ahead of the release of Solar Power, Lorde pushed back on the idea that she was making a “Jack Antonoff record,” rightfully resentful of the idea that she was just another feather in his cap. Antonoff is not who made Lorde great; he’s also probably not to blame for that 2021 record being relatively lackluster.

What the list does reveal, though, is that Antonoff’s reputation as a pop superproducer is the result of years of dedication and a bit of healthy experimenting. At one point does developing musical motifs become repetitive instead? Just how much of an impact does Antonoff’s involvement have in the reception to a new release? While we might not have all the answers, we do have this ranking, listed in order from the songs we’re happy to forget, to the songs we stan(tonoff). Scroll to the end for the full playlist.

— Mary Siroky

275. Lorde – “California”

Almost entirely unrelatable, “California” is a track that shows one of the negatives of Lorde’s time away from society. The references feel forced, dated, and strange — aren’t the days of marveling at lines at the Supreme store behind us? Lorde should have the freedom to explore her complicated relationship with fame, but this Solar Power cut is so scattered that the takeaways get muddled. — M. Siroky

274. Fifth Harmony – “Dope”

Not many things could’ve saved Fifth Harmony — the group was plagued by lack of cohesiveness almost from the start, perhaps due to the members being pitted against one another during their formative years. Jack Antonoff couldn’t save them, either, and the same can be said for “Dope,” a completely forgettable song from 7/27 that doesn’t even stand out as a b-side. — M. Siroky

273. Brooke Candy – “Changes”

By design, Brooke Candy and her larger-than-life persona transcend any accusations of “quirky,” instead moving directly into the realm of camp. (See: releasing a song with a feature from Real Housewife Erika Jayne). “Changes” is more on the restrained end for the rapper and singer, and Antonoff is uncredited on the background vocals through the chorus. Perhaps it was a fun experiment for both, but if that’s the case, it was one from which both parties quickly moved on. — M. Siroky

272. How to Dress Well – “Lost Youth/Lost You”

There’s a certain glamor attached to songs that extend past three and a half minutes, reveling in taking up time and space in a way most artists shy away from these days. “Lost Youth/Lost You” is such a track from ultra-indie multimedia artist How to Dress Well. His ambient sounds turned out to be a good match for Antonoff’s production style, but the repetitive track isn’t one that sticks for much longer than the song’s indulgent runtime. — M. Siroky

271. Red Hearse – “Born to Bleed”

“Born to Bleed” is one of the tracks from Red Hearse (Sam Dew, Sounwave, and Antonoff) that fell the most flat. The draw to days gone by is overdone here, nostalgia tipping into cheesy territory. Everything feels too big, leaving the track scattered. Red Hearse is a great concept, and some of the results of the collaboration are treasures worth revisiting, but “Born to Bleed” isn’t one of them. — M. Siroky

270. St. Vincent – “Humming (Interlude 1, 2 and 3)”

The three interludes on Daddy’s Home support one of St. Vincent’s goals for this album, which was harkening back to the indulgent album structure of the ‘70s. The first interlude is the most accessible, a quick, dreamy escape; the second interlude gets warped, sounding like she’s underwater; by the third, things sound almost haunted. — M. Siroky

269. Sia – “Together”

There was a certain point where people started jumping ship from being associated with Sia’s disastrous foray into film. (How was that just this year?) Music, which was co-written and directed by Sia, received vocal pushback from autistic critics who pointed out the ableist perspectives the film perpetuated. “Together” was meant to be a bouncy, buoyant track to accompany the film — and it’s fine — but, much like Music, will probably be forgotten very soon. — M. Siroky

268. Sia – “Play Dumb”

The same goes for “Play Dumb,” because, truly, who was spearheading everything surrounding this film? Sia will be remembered for much kinder, better work — Music was a rare but major misstep for the artist. Like “Together,” “Play Dumb” has no staying power whatsoever. — M. Siroky

267. Lorde – “Leader of a New Regime”

Channeling her best Crosby, Stills & Nash impression on this Solar Power cut, Lorde picks through a meditation on the uncertainty of the future you can practically hear being sung around the fire at the nearest nature commune. Now if only the song was more of a fully fleshed-out treatise, than the start of important social questions she briefly sketches out before leaving them hanging in the air after just 93 seconds. — Glenn Rowley

266. Lana Del Rey – “Not All Who Wander Are Lost”

Lana Del Rey’s Chemtrails Over the Country Club takes listeners not to the West Coast (as one expects), but to the flyover states; in this case, to Lincoln, Nebraska. (How did we get here?) Paired simply with an acoustic guitar, the ultra-specific identity of HomeGoods Lana soothes in a falsetto encapsulating the idea that truly, not all who wander are lost… they’re just in wanderlust. — John Palmer Rea

265. Taylor Swift – “Sweeter Than Fiction”

Miss Swift, of course, has a fondness for the British, and “Sweeter Than Fiction” was an original song she penned for the 2013 U.K. film One Chance, which stars… James Corden, sigh. It’s a track that feels like the result of a Mad Libs set of sorts — and it’s uncharacteristically formulaic for Swift. Even the most devoted Swifties might have forgotten this one. — M. Siroky

264. Red Hearse – “Violence”

This song provides a pretty strong argument for the existence of Red Hearse. The chorus in particular sticks the landing: Dew’s vocals soar over Antonoff’s production and instrumentals when Sounwave’s beat kicks in. It’s a song for a friend as much as it is a song about the highs and lows of life — there’s a great breakdown on the bridge that’s so fun that it’s remarkably easy to forget that Dew is singing about the violence too often found in life. — M. Siroky

263. St. Vincent – “Somebody Like Me”

Annie Clark excels both in rockstar mode and heartbreaking singer-songwriter mode (as with gems like “New York”). “Somebody Like Me” is one of the tracks that lands somewhere in the middle, a song with country elements that would be fitting for a long drive on a nearly empty highway. It fits neatly into Daddy’s Home, but ultimately feels a bit forgettable. — M. Siroky

262. Bleachers – “Who I Want You to Love”

Understated but raw in its lyrical content, “Who I Want You to Love” wraps up Bleachers’ debut album. It’s certainly the exit sign for Strange Desire: sonically, Antonoff lures you to sleep. This wasn’t designed to be a banger, but it does its job as an outro just fine. — J.P.R.

261. Lana Del Rey – “Breaking Up Slowly”

On this collaboration with country artist Nikki Lane, Del Rey proves she can hold her own in the genre (we’re still waiting for those two other country songs she wrote with Antonoff, btw). Antonoff assists by lacing up Del Rey’s boots and providing an ominous background for these two distinct voices. Overall, it’s nothing too memorable, but nice enough. — J.P.R.

260. St. Vincent – “Candy Darling”

Daddy’s Home closes with “Candy Darling,” a short, washed-out ballad directed toward the Warhol superstar and transgender icon of the same name, as well as the romanticized New York era she came to embody after her untimely death. In a Reddit AMA, Clark revealed that she wrote the song in just 20-30 minutes. Despite how quickly it all came together, “Candy Darling” works well enough as a send-off to the sepia-tone world of Daddy’s Home. — Curtis Sun

259. Bleachers – “Dance, Rascal, Dance”

Everything around the 2015 film Hello, My Name Is Doris was quickly forgotten — this song included. It’s danceable as the name suggests; it also feels like Antonoff might’ve phoned it in a bit, pulling from many of his dependable tricks without worrying too much about creating something fresh or new. — M. Siroky

258. Lorde – “Oceanic Feeling”

What is an “Oceanic Feeling,” exactly? Well, according to the Kiwi singer, it’s the sensation native to her homeland of New Zealand — it pulses through the island country’s every cicada, fish, breeze, wave, and offering of nature. As Antonoff’s stirring mix of programming and percussion brings Solar Power to a quietly resolute close, Lorde reminds fans on the song’s reflective coda that the day will come when it’s time for her to shake off her mantle as pop’s reluctant messiah and simply “step into the choir,” happy to fade into the larger body of transcendent acolytes. — G.R.

257. Sam Dew – “Rap Sh*t”

Set clearly in a starlit night (as made clear by the constant cricket sounds injected throughout the song), “Rap Sh*t” is a quick, breezy track. More sonically interesting than lyrically, the song (from Sam Dew’s 2021 album MOONLIT FOOLS) feels like a throwback jam that doesn’t have anything new to say. Dew shines especially bright when he has the chance to flex his truly impressive vocals, something this song is devoid of. — M. Siroky

256. St. Vincent – “Power Corrupts”

The comparisons between St. Vincent and David Bowie are seemingly endless, and the sticky, addictive groove of “Power Corrupts,” a Japanese bonus track off Masseduction, ensured that those comparisons wouldn’t be ending any time soon. St. Vincent actually takes a backseat here: Toko Yasuda of St. Vincent’s touring band (and, formerly, of NYC rock group Enon) takes the vocals, and St. Vincent is only heard in the chorus. — M. Siroky

255. Christina Perri – “I Don’t Wanna Break”

Back in 2014, Antonoff was still new to striking gold with young, wildly talented female singer-songwriters, and the link to “A Thousand Years” star Christina Perri was actually made through his then-girlfriend Lena Dunham; the track was for season 2 of HBO’s Girls. What does any of this have to do with the song itself? Not much. It’s fine. — M. Siroky

254. Sam Dew – “DJ”

“Play that slow jam for me,” Sam Dew implores the titular DJ on this dreamy track from MOONLIGHT FOOLS. As the name suggests, much of the record feels set in the late hours of the night. Some feel full of yearning, some feel upbeat, and this one feels romantic. It’s a bit of a slow jam itself, and Antonoff was a wise choice for a collaborator, his sentimental touch letting the production lull the listener off to dreams of their own. — M. Siroky

253. St. Vincent – “My Baby Wants a Baby”

The sitar is undeniably St. Vincent’s co-star and the MVP of Daddy’s Home. Aiding in the sticky, almost dreary vibes woven into the fabric of the whole 2021 collection, the instrument sells the panic that grows to a fever pitch as the song unfolds. It’s one of the better moments on the LP, at once both claustrophobic and escalating, ending without offering easy answers or much resolution. — M. Siroky

252. Bleachers – “Keeping a Secret”

Co-written with pop superstar writer Justin Tranter, “Keeping a Secret” is featured on the soundtrack for the 2018 LGBT rom-com Love, Simon. While it’s not the star of the bunch of tracks Antonoff contributed to the film, the cute, chantable chorus can easily get stuck in your head for days. — J.P.R.

251. Sam Dew – “To Your Face”

The repetitive nature of the song is probably intentional, and Dew keeps coming back to the phrase, “So hard to show love to your face.” MOONLIT FOOLS overall feels mostly made up of interludes, and clocking in at just 3 minutes and 16 seconds, “To Your Face” is, strangely, one of the longest tracks on the album. Even so, it doesn’t fall into too much of a verse-chorus structure, instead feeling like a poem that is tagged with the same line at the end of each stanza. — M. Siroky

250. St. Vincent – “…At the Holiday Party”

The closest Daddy’s Home gets to anything upbeat or optimistic would be on “…At the Holiday Party,” which is a rare journey into St. Vincent’s upper register. She describes the song as her take on “You Can’t Always Get What You Want,” and while it might sound accusatory on surface level, the lyric “You can’t hide from me” comes from a place of intimacy — she knows her subject, a friend, so well that they can’t hide their true feelings from her, even in a crowded social gathering. — M. Siroky

249. Lorde – “Fallen Fruit”

Solar Power‘s “Fallen Fruit,” for all its biblical references tucked in the lyrics, also includes credits of epic proportions. Background vocals from Clairo and Phoebe Bridgers, plus Antonoff on percussion, piano, and keyboards, create a dreamy soundscape. There’s an eerie undertone to it, though, presumably because the song can’t be removed from her frustration at the state of the world her generation will be inheriting. — M. Siroky

248. The 1975 – “The 1975”

How many introductory tracks have The 1975 given us that are simply titled “The 1975?” We’ve lost count, but this one from 2022’s Being Funny in a Foreign Language is par for the course: “We’re experiencing life through the postmodern lens,” sings Healy, before immediately invalidating his own claim with, “Oh, call it like it is!/ You’re making an aesthetic out of not doing well/ and mining all the bits of you you think you can sell.” It sets the tone for the record as a whole, and probably won’t be anyone’s favorite song from the album, but is a perfectly serviceable way to kick things off. — M. Siroky

247. Sam Dew – “Thinking of You”

Perhaps part of the reason Sam Dew and Antonoff work so well together is their love for bygone eras, particularly the ‘80s. “Thinking of You” includes a relatively deep cut of a sample in the form of Phyllis Hyman’s “Living All Alone,” Dew weaving in and out of the existing melodies. Quick and fleeting, the song comes and goes without leaving too much of an impact. — M. Siroky

246. St. Vincent – “Down and Out Downtown”

The instrumentals carry this Daddy’s Home cut. At a certain point, St. Vincent’s commitment to ‘70s funk slips into a repetitive nature, and that’s part of what might have “Down and Out Downtown” leaving some listeners a little cold. As with the rest of the album, though, the instrumentalists are unreal, and some of the individual moments are far from monotonous. — M. Siroky

245. Bleachers – “I’m Ready to Move On/Wild Heart Reprise (feat. Yoko Ono)”

Atypical production paired with a Yoko Ono feature should be a standout, but this one falls a bit flat. While it’s exciting to hear Yoko Ono on an Antonoff record, something about the rendezvous just doesn’t add up. Antonoff loves a callback, so the “Wild Heart” reprise is a nice addition, but doesn’t redeem the rest of it. — J.P.R.

244. Sam Dew – “Do Over”

Strings and punches of synth over a walking bassline make for a largely fun listen — the only place “Do Over” stumbles (especially from a production standpoint) is towards the end, where what sounds to be a children’s chorus lends itself to the slow fade out. There are only a few places the eerie sound of a children’s choir can really work, namely Tim Burton films, and the choice undercuts some of the chill fun that preceded the end of the song. — M. Siroky

243. St. Vincent – “Funkytown”

Jack Antonoff threw indie fans a curveball with the soundtrack for Minions: The Rise of Gru. Tapping his favorite indie artists for over-the-top covers seemed like a joke — and it kind of is. But, at times, it’s a decently funny joke. With St. Vincent’s “Funkytown,” however, any enjoyment comes more from laughing at the song than laughing with the song. The track seemingly treats its source material with the same meme-based-irony used by Gen Z on TikTok, but (if we’re talkin’ memes) comes across more like Steve Buscemi in 30 Rock. — Jonah Krueger

242. RZA – “Kung Fu Suite”

RZA’s “Kung Fu Suite,” which arrived for the soundtrack for Minions: The Rise of Gru, may be quick, but it’s cinematic in every way. The blooming, dramatic strings are one thing, but RZA and Antonoff’s airy, shimmering beat and chopping flourishes add a whole new dimension. — P.R.

241. St. Vincent – “The Laughing Man”

“911, what’s your emergency?/ I’m in love,” shouldn’t be relatable, right? The start of the minor-keyed “The Laughing Man” is for the heartbroken and the hurt, or for anyone afraid of the vulnerability that comes with romance. Getting close to someone is one of the most dangerous things a person can do — St. Vincent captures those feelings of risk well. It’s a slow trudge sonically, but it’s one of the stronger stories on Daddy’s Home. — M. Siroky

240. Carly Rae Jepsen – “Me And the Boys In the Band”

Eh. It’s fine. CRJ has always been a little more straightforward as a pop star than some of Antonoff’s other mainstream collaborators, so his keeping things relatively clean makes sense for her. It’s just not terribly interesting, more an example of when his quirkiness can feel bland rather than strictly hollow. It’s a sweet song from Jepsen, and just an uninspired effort from Jack. — Ben Kaye

239. G.E.M. – “Bang Bang”

“Bang Bang” certainly comes with a bang, considering its bombastic horns, punchy drums, and grandiose energy. Hong Kong singer G.E.M. rounds out the classy track with some smooth vocals and a deliriously cool attitude, showing us that even a Minions soundtrack can feel both refreshing and inviting. — P.R.

238. Taylor Swift – “Bigger Than the Whole Sky”

Surprise — Taylor Swift had a few more songs she wanted to include in an expanded version of Midnights. Less of a surprise? Most of them were produced by Jack Antonoff.

The thirteen tracks that ended up on Midnights are, by any reading, the stories that Swift felt were most important. Bonus track “Bigger Than the Whole Sky” retreads some familiar ground for Swift thematically, revolving around pining and curiosity about the one who got away. It’s perfectly fine, especially as a bonus track, but Swift has many stronger songs in her canon. — M. Siroky

237. Bleachers – “Reckless Love”

In 2014, Antonoff was pretty good at 1) triumphant instrumentation and 2) beachy vibes. “Reckless Love” certainly contains the latter, though the repetitive, building bridge falls into the first category, and serves as the track’s highlight. It’s the type of song that transports the listener to a festival, drink in hand, vibing out with a friend. — J.P.R.

236. Taylor Swift – “Bye Bye Baby”

Antonoff unfurls his best approximation of yacht rock for this Fearless-era deep cut from Taylor’s vault. By the time the beat kicks in on the chorus, the superstar’s ready to sail away from this relationship that never would’ve worked, waving “bye bye, baby” as the listener sways along in the warmth of the song’s breezy goodbye. — G.R.

235. St. Vincent – “Palm Desert”

The Nowhere Inn, St. Vincent’s collaborative project with Carrie Brownstein, also yielded an accompanying album, where “Palm Desert” appears. The Western-inspired track is certainly evocative and visual — you can practically see a dusty landscape and singular tumbleweed pass by while listening. The best part of the track, though, is the unexpected tempo change towards the end. — M. Siroky

234. Taylor Swift – “Midnight Rain”

Like many parts of Midnights, “Midnight Rain” feels like a bridge between so many different eras of Swift’s musical journey. In the case of this particular song, though, the overbearing vocal distortion ends up detracting from the story she’s telling here. If the effect were employed just once at the top of the track, it may have been a different story, but warping Swift’s vocals every time the chorus hits makes for a somewhat unpleasant listen. — M. Siroky

233. Lana Del Rey – “Season of the Witch”

On “Season of the Witch,” a song recorded for the 2019 horror movie Scary Stories to Tell in the Dark, Lana Del Rey goes jazzy. She’s also someone who, in all her camp glory, is used to veering into witchy territory more often than many of her peers. With playful lyrics that refer to the plot lines in the movie itself, “Season of the Witch” is an easy spooky season companion. — M. Siroky

232. St. Vincent – “Daddy’s Home”

The rollout of St. Vincent’s 2021 album was marred by conflict with music journalists, a messy affair that didn’t do Daddy’s Home any favors. At least the title track from the album keeps some of St. Vincent’s fondness for dissonance, and Antonoff’s production lifts what could have otherwise been a boring track into more interesting territory. The instrumental break after the first chorus throws cares to the wind — the entire album is steeped in ‘70s energy, and the lack of traditional structure in this song is a trademark of the era as well. — M. Siroky

231. Lana Del Rey – “You’ll Never Walk Alone”

This song took a lengthy journey before landing in Del Rey’s lap: originally composed by Rogers and Hammerstein for the classic musical Carousel, the song, with time, became the anthem for Liverpool Football Club. It’s massive and operatic and certainly not for the faint of heart. When the time came to find someone to record a rendition for documentary The End Of The Storm, Del Rey might not have seemed like an obvious choice, but she sticks the landing, hitting every haunting note necessary to make the song the tearjerker it was written to be. — M. Siroky

230. Clairo – “Just for Today”

“Just For Today” sees Clairo mourning the end of a relationship, and though it features the least amount of instrumentation on the album (next to “Blouse”), it’s passionate and deliberate — a language that Jack Antonoff speaks fluently. — Paolo Ragusa

229. Taylor Swift – “The Archer”

Many people felt let down upon hearing “The Archer” for the first time ahead of Lover. “Look What You Made Me Do,” however polarizing it was, started conversation — “The Archer” might’ve felt sleepier by comparison. It’s a succinct example, though, of the transition this record marked for Swift — Lover is dreamy, unabashedly pop in so many places, and is true to its core subject matter throughout. The same can be said for “The Archer.” — M. Siroky

228. Kevin Abstract – “Crumble”

One of the more melodic cuts on Kevin Abstract’s solo LP Arizona Baby, “Crumble” hovers over a beat that conjures country music more than anything. Yes, the album is rooted in the geography and culture of the American south, but the choice to keep production (relatively) sparse on “Crumble” keeps the focus on the lilting undercurrent provided by the guitar. — M. Siroky

227. Lorde – “Secrets From a Girl”

Lorde’s secret weapon on this letter to her younger self? None other than Robyn, who makes an uncredited cameo by delivering the track’s spoken word outro full of gems like, “Your emotional baggage can be picked up at carousel number two/ Please be careful so it doesn’t fall onto someone you love.” Wise words from a modern pop pioneer who’s really seen it all. — G.R.

226. Taylor Swift – “That’s When (featuring Keith Urban)”

From its opening rhythm laced with pedal steel and syncopated 12-string acoustic guitar, “That’s When” gives off an almost tropical vibe before Taylor’s lyricism reminds the listener that we’re still rooted firmly in the country territory of her teenaged songwriting prowess. Reuniting with her OG Fearless-era tourmate Keith Urban (for whom Tay opened on select U.S. dates of his 2009 Escape Together World Tour) makes the duet all the more special, as Antonoff imbues the production with a wistful streak of sentimentality. — G.R.

225. The 1975 – “Looking For Somebody (To Love)”

This song isn’t the first time 1975 frontman Matt Healy has played with the contrast between a bright instrumental and dark, almost tragic lyrics, and it probably won’t be the last. The track off Being Funny in a Foreign Language is pure Antonoff territory: ‘80s-inspired, neon-soaked, and free-wheeling enough to include a brief saxophone solo. Don’t let the fun Antonoff is having distract you from the increasingly miserable journey the figure in the song is taking as the song reaches its end, though. — M. Siroky

224. Lorde – “Helen of Troy”

One of the two bonus tracks on the deluxe edition of Solar Power, “Helen of Troy” is thematically in line with the remainder of the album: detachment, the struggle of being in the spotlight, and continuing to find her footing to stand against the messy games within the entertainment industry. It stands out a bit from an album in which she spends so much time in her higher register, coming back down to earth (and to her distinct low growl) in the verses and the final chorus. — M. Siroky

223. Taylor Swift – “False God”

The last third of the sprawling Lover brings “False God,” a languid, darkly romantic track. The nearly constant saxophone might have sounded out of place in the hands of a less-talented producer — here, it’s the tie that binds the song together.— M. Siroky

222. The 1975 – “When We Are Together”

The 1975 have the range, as proven even just within Being Funny in a Foreign Language, an album that is alternatively enormous and intimate. The record closes with the largely acoustic “When We Are Together,” recorded at Electric Lady Studios in New York. According to Healy, once recording wrapped, he felt like he was going to collapse; he didn’t listen to the song, and just went straight home. Antonoff, in producer role, filled in any gaps that may have existed. — M. Siroky

221. St. Vincent – “Waiting on a Wave”

With an industrial sound, distortions, and a touch of angst, “Waiting on a Wave” is a far cry from the Western-inspired sounds found on other parts of The Nowhere Inn. While it’s certainly an interesting listen, it’s not essential to the St. Vincent canon by any means. Antonoff did his job, but this track won’t end up memorable for either of their careers overall. — M. Siroky

220. Bleachers – “Strange Behavior”

Welcome to Jack Antonoff’s Zen Garden, soundtracked by “Strange Behavior,” a slower moment on Take the Sadness Out of Saturday Night. Lay back and listen to the soothing vocals and beautiful instrumentals. Just don’t listen too hard to the lyrics (“look at this, this is just a shadow, what you thought was faith, that was hollow”) or the tears will start to flow, and that’s not zen at all. — J.P.R.

219. Lorde – “The Man With the Axe”

Lorde’s biggest strength has always been her lyrics. “The Man With the Axe” bears one of Solar Power’s most compelling stories, directed at a conniving man who threatens to thwart its narrator’s plans for success: “I should’ve known when your favorite record was the same as my father’s, you’d take me down,” she sings, the type of line that feels both universally relatable and like it could’ve only come from Lorde’s mind. — Abby Jones

218. Clairo – “Harbor”

There’s a great deal of vulnerability in “Harbor,” built atop a steady piano and featuring quiet, subtle harmonies and orchestration. It’s somber, lulling, and it puts Clairo’s impeccable songwriting abilities to the forefront. Ultimately, while not a standout, it’s a song that sits with the listener for some time. — P.R.

217. Lorde – “Dominoes”

Slightly bouncier than many of the tracks found elsewhere on Solar Power, “Dominoes” takes down the posers among us. Lorde has indicated she was inspired to write this song as a reckoning with climate change, expressing a desire to take care of the world around us, thereby attempting to undo the domino effect. The track almost plays like an interlude, barely reaching past two minutes, Lorde’s vocals simply supported by a repetitive guitar line and not much else.— M. Siroky

216. St. Vincent – “Live in the Dream”

If Daddy’s Home is St. Vincent’s ‘70s retro rock tribute album, then “Live in The Dream” represents an excursion into the psychedelic sounds of Pink Floyd. The English outfit’s imprint is everywhere on the song, and Clark even directly references them with her breathy first “Hello…” Lyrically, “Live in The Dream” is a chilling ballad about waking a friend from an overdose, as well as an elaborate metaphor for the trappings of fame and power. — C.S.

215. The 1975 – “Part of the Band”

“I like my men like I like my coffee/ Full of soy milk and so sweet it won’t offend anybody,” Healy sings on “Part of the Band,” a sparse, orchestral confessional off the group’s Being Funny in a Foreign Language. Between mentions of heroin, the lameness of falling in love, and ironic wokeness is a nihilistic moment of taking stock in the world around us. The problems of yesterday are still many of the same problems of today in the world painted here. — M. Siroky

214. Verdine White – “Cool”

That’s right: Antonoff got Verdine White himself, founding member and bassist of Earth, Wind, and Fire, onto the Minions: The Rise of Gru soundtrack. The instrumental track is such a vibe, proving that some things, like a perfectly executed ‘70s funk moment, never really go out of style. — M. Siroky

213. Lana Del Rey – “How To Disappear”

Lana Del Rey isn’t for everyone — not every day necessitates a long drive down a West Coast highway, hair tied up in a vintage scarf — but few do American malaise like Miss Lana. “How To Disappear” is a prime example, gloomy and raw, pointing the listener to the sad story being spun throughout. It’s a specific mood that calls for songs like this, and when the mood hits, this track is standing by and ready. — M. Siroky

212. Taylor Swift – “Snow on the Beach” feat. Lana del Rey

Swift and Lana Del Rey are two people who both have extensive histories with Jack Antonoff; however, their first official collaboration is perhaps the biggest disappointment of 2022’s Midnights. While it’s a perfectly fine song on its own, “Snow on the Beach” doesn’t offer del Rey much to do beyond harmonies and background vocals. It’s a letdown for fans of both artists. — M. Siroky

211. Banks – “Crowded Places”

Your mileage on “Crowded Places” may vary, depending on if you first experienced it in the woozy party scene anchoring the penultimate episode of Girls, or if you chanced upon it in the wild. Lena Dunham framed the track as a dreamy ode to changing dreams, as her character Hannah left the “crowded Ppaces” of New York for the stability of the suburbs. On its own, however, the song registers as a workmanlike ballad, lacking the vibrancy that characterizes both Banks’ and Antonoff’s best work. — Wren Graves

210. Red Hearse – “Blessin’ Me”

The airy chorus of “Blessin’ Me” is the highlight of the closing track to Red Hearse. Many of the songs on the album are easy and breezy, and this track is one of them, hardly longer than three minutes. It’s a catchy melody, supported by (what else) a generous helping of synth, closing out the album in true Antonoff fashion. — M. Siroky

209. Carly Rae Jepsen – “This Love Isn’t Crazy”

Originally teased by Jepsen on Instagram in early 2018, “This Love Isn’t Crazy” was ultimately cut from her fourth studio album Dedicated in 2019. The song was later released in May 2020 as part of the surprise (not really) outtakes album Dedicated Side B. It’s a straightforward but dazzling dance-pop smash, the perfect antidote to the gloomy, quarantined world it was finally released into. — C.S.

208. Amy Shark – “Sink In”

Love, Simon soundtrack cut “Sink In” opens with a line so poignant it almost hurts: “​​There’s not a bone in my body that’s not weak for you/ Well if you find one, let me know.” The next time Jack Antonoff decides to jump onto an album for a coming-of-age story, it’ll be a welcome return. — M. Siroky

207. Taylor Swift – “Don’t You”

While Antonoff co-produced nearly all of the tracks Tay dusted off from the vault on Fearless (Taylor’s Version), the instrumental choice that sets “Don’t You” apart is Mikey Freedom Hart’s Rhodes piano, which colors the restrained mid-tempo affair with a tinge of 1970s soft rock appeal. Meanwhile, the superstar draws a line in the sand with a former flame, while in the very next breath begging him to cross it. — G.R.

206. Grimes, Bleachers – “Entropy”

“Entropy” was written by Grimes and Antonoff for… what else? Girls. The 2015 single often gets lost in Grimes’ broader discography, but it’s nonetheless an excellent pop song that foreshadows the at once accessible and audacious sound of Art Angels, released later that year. Also, the chorus is exactly the kind of nerdy nonsense only Grimes could ever write: “Calculate the entropy/ Running out of energy/ A lack of love or empathy/ Leave me lonely.” — C.S.

205. Kali Uchis – “Desafinado”

With a voice smooth as honey with just enough rasp to keep us on our toes, Kali Uchis made her mark on the Minions: The Rise of Gru soundtrack Antonoff so lovingly assembled. Her cover of the Joao Gilberto classic captures the romance of bossa nova, and, while it might not be the most memorable entry into an unnecessarily stacked soundtrack for an animated movie, it’s a solid cover nonetheless. — M. Siroky

204. Lorde – “Big Star”

“Big Star” opens with a question rooted in insecurity: “Everyone knows that you’re too good for me, don’t they?” The heartfelt Solar Power track tackles painful goodbyes with quiet grace, making it all the more interesting that the track was penned as a farewell to her beloved dog, Pearl, who died in 2019. Pearl was often mentioned in the email newsletters Lorde would send to her most devoted fans, clearly a source of inspiration and comfort for her as a writer. “Big Star” posits that loss of any size is difficult. Feelings matter.— M. Siroky

203. Taylor Swift – “Glitch”

It’s rare that flirting can turn into friends with benefits before blooming into a strong, secure romantic relationship, so congratulations to Swift for being one of the few to apparently stick that incredibly difficult landing. This is the narrative she spins in “Glitch,” at least, one of the bonus “3 am” tracks from Midnights. It’s a curiously minimal vocal job from Antonoff, considering the title and theme of the track. — M. Siroky

202. Caroline Polachek – “Bang Bang”

There’s a bit of mystique in Caroline Polachek’s “Bang Bang,” largely thanks to a slinky guitar and a noir-type saxophone, but for the most part, Polachek and Antonoff play the song a lot goofier than, say, Nancy Sinatra. Then again, Minions: The Rise of Gru is probably a lot goofier of a movie than Kill Bill. Still, it’s far from the silliest cover the absurd soundtrack has to offer, and it’s also far from the worst. — Jonah Krueger

201. Bleachers – “What I’d Do with All This Faith?”

The finale to Taking the Sadness Out of Saturday Night, “What’d I Do With All This Faith?” is a quiet end to an album of many emotions and sounds. Stripped-down production creates a pensive, reflective atmosphere. Previous Bleachers albums have closed with the theme of moving on, but here, Antonoff audibly wonders what to do with his faith. In what? Maybe God, family, friends, or a past or current love. It’s obvious he can’t move on — he’s wrapped up in wondering why he feels as much as he does. — J.P.R.

200. Taylor Swift – “Vigilante Shit”

Taylor Swift first warned us long ago that revenge was one of her many talents, and since leaving her first record label Big Machine, she’s run circles around her peers in her quest to rectify her history. “Vigilante Shit” is widely assumed to be about Scooter Braun, who infamously acquired the masters to Swift’s first six albums upon purchasing Big Machine. It was one of the most talked-about disputes in recent pop culture history, but Swift has successfully played the game.

Since the Big Machine acquisition in 2019, Swift has released four original studio albums and two track-by-track re-recordings, and she’s made it look easy. Sonically, “Vigilante Shit” never quite blows up in the style of her other vengeance-seeking songs like “Bad Blood” or “Better Than Revenge,” with Antonoff’s trap beat maintaining a steady simmer. Because sometimes, the best revenge is playing it cool. — A.J.

199. Bleachers – “Instant Karma”

Boy, does Jack Antonoff love his little E-Street saxophone moments — but woodwinds aside, Bleachers’ cover of the Lennon/Ono Plastic Band classic for the Minions: The Rise of Gru soundtrack, is a delightful, rousing rendition. Antonoff makes his vocals deliberately messy and heavily layered, making his voice sound both larger than life and like there’s a group of people huddled together, singing from their hearts. — P.R.

198. The 1975 – “Wintering”

This bouncy take on a Christmas song, inspired by The 1975’s self-titled debut, was described by the act as “a series of Polaroids and captured moments that’s just about your family — the dynamics, the quirks and the beauty of it.” While it doesn’t necessarily rise to the top of the incredibly stacked pack in Being Funny in a Foreign Language, it’s a tightly-wound track with Antonoff failing to waste a second. It’s under three minutes long, and every beat counts. — M. Siroky

197. St. Vincent – “Pay Your Way in Pain”

Kicking off with a piano intro that feels pulled from a jangly Western saloon, “Pay Your Way in Pain” quickly descends into the mid-tempo seen most frequently throughout Daddy’s Home. Lyrically, while the song is a bit unclear, this track is a place where some of the crowded energy just works. Not anyone could pull off this kind of song, full of yelling, a low funk groove, and plenty of bells and whistles, but St. Vincent puts on her best rock star show. — M. Siroky

196. Red Hearse – “Everybody Wants You”

“Everybody Wants You” is a standout on Red Hearse’s self-titled collection, on the basis of the track alone as well as from a production standpoint. Kicking off with Antonoff’s layered synths, a bright choir of vocals kicks in before Sounwave’s percussion launches the song into true gear. Ultimately, the track wisely keeps Sam Dew’s vocals in the spotlight. — M. Siroky

195. St. Vincent – “The Melting of the Sun”

This is what Antonoff and Annie Clark were going for on all of Daddy’s Home, but few tracks on the LP succeeded as well. Still, even here, the sporadic punctuation by various instruments throughout the minimally constructed early verses only serves to confuse. At least the hooks and bridge still sing, though, and the vibe survives. — B. Kaye

194. The 1975 – “About You”

To make a song almost six minutes long in this day and age is something of a rarity. This continuation of the band’s own 2013 track “Robbers” takes its time gathering and growing, building eventually to a cascade with an orchestral swell that nearly overpowers Healy’s vocals. “I think about you,” he confesses in one of the song’s rare moments of quiet. “Did you think that I’d forgotten about you?” Antonoff embraces the openness of the track, letting it lead the way. — M. Siroky

193. Taylor Swift – “You Are in Love”

1989 is so jam-packed with favorites that this track from the Deluxe Version might slip between the cracks. Glittering consistently with the rest of the album, “You Are In Love” is more of a sonic journey than a lyrical one. The skittering keyboard conjures an airiness, like glancing out a window on an airplane as the sun dips behind the clouds. This song might not be one to fall in love with forever, but it’s perfect to fall in love with for a moment. — M. Siroky

192. Cam – “Classic”

Cam is a far cry from the formulaic bro-country that dominates the genre’s airwaves these days. Even so, it’s rare for Antonoff to step into the true country space, where Cam resides. “Classic” is aptly named, though; a throwback track with an upbeat tempo suited for a long drive. Although it’s not necessarily a standout in Antonoff’s production repertoire, it’s a song that presumably benefited from his touch. — M. Siroky

191. Red Hearse – “Half Love”

A statement piece at the opening of Red Hearse’s self-titled debut, “Half Love” is dead center in Antonoff’s wheelhouse. The groove is undeniable, Sam Dew’s falsetto vocals soaring off the back of Antonoff’s synthesized organ and Sounwave’s funky beat. This project was clearly about a fun collaboration, and this one sounds like a bunch of dudes enjoying making music together. — B. Kaye

190. Bleachers – “Secret Life (feat. Lana Del Rey)”

Here, Antonoff calls Del Rey to return the favor, and bring her velvet vocals to Take the Sadness Out of Saturday Night. The result is an intriguing duet with restrained production, letting the lyrics tell the story of two people longing to hide away from the world, be “bored” together, and keep their love a secret. — J.P.R.

189. Taylor Swift – “Question…?”

Taylor Swift loves zeroing in one intimate moment at enormous, crowded parties. She thrives in this setting, and she’s absolutely correct that there’s something special about the confidentiality that can exist in the most public of spaces. “Question…?” revolves around a heated exchange between a “good girl” and “sad boy” and the questions (and miscommunications) that came as a result. While it’s not a must-listen on Midnights, Swift’s breathy vocals and the urgency of the chorus make it a decent one. — M. Siroky

188. Red Hearse – “You Make It Easy”

“You Make It Easy” is all about that hook, the way the vocals compliment the synth on their climb. The groove on the bridge also rides high on the guitar. Overall, it’s a decent showing of how Antonoff can nail a specific throwback vibe when he’s working in the right arena — but it gets stuck on “decent” because its strengths don’t sustain even its short runtime. — B. Kaye

187. St. Vincent – “Young Lover”

A quick bait and switch, what seems to indicate a romantic relationship is soon revealed to be a conversation around addiction. So much of St. Vincent’s discography centers around those who she has lost — to family struggles, to addiction, to slow drifts apart, some even to death — and “Young Lover” shows just how intimately she knows the feeling of loss. It’s not that she’s callous; in fact, her focus on the subject matter shows just how much she cares. — M. Siroky

186. Kevin Abstract – “Big Wheels”

Quick and anxious, “Big Wheels” serves as the intro to Arizona Baby. Considering how exploratory Abstract’s work with Brockhampton can be, “Big Wheels” is a bit more accessible, following more familiar song structures. If Abstract and Antonoff seem like an unexpected match, consider one of Abstract’s inspirations for the record: Lana Del Rey’s “Venice Bitch.” — M. Siroky

185. St. Vincent – “The Nowhere Inn”

The title track for the soundtrack of St. Vincent and Carrie Brownstein’s mockumentary thriller, “Nowhere Inn” has a tall order to fill. It serves both as an introduction, a theme, and a standalone song. And while it may work better as the former two than the latter, it remains an enjoyable track with a particularly eerie vibe. — J.K.

184. Bleachers – “Goodmorning”

The alarm just went off. What time is it? Which day is it? Did I somehow dream about Mickey Mantle? Somehow, Antonoff managed to describe that perfect moment of awake-but-not-really, or as he puts it, “the inbetween.” The day has begun: good morning only to Jack Antonoff. — J.P.R.

183. Kevin Abstract – “Joyride”

Once again, it’s rare that a healthy horn section hurts a song. “Joyride” is both frenetic and focused, showing off some of Abstract’s more rapid-fire flow. It’s fun to see Antonoff’s ability for conjuring montages to mind applied to a more hip-hop oriented song, and what’s especially great here is that the song’s lyrics still have the spotlight. — M. Siroky

182. Florence + The Machine – “Girls Against God”

“It’s good to be alive,” proclaims Florence Welch on this Dance Fever track after years of feeling completely suffocated. “Girls Against God” is a breath of fresh air and a sonic sigh of relief. It’s no surprise that the track soars and transcends — exactly what else would expect from Antonoff? — Kelly Park

181. Taylor Swift – “Maroon”

A decade ago, red seemed to represent everything that was worth celebrating in Taylor Swift’s life — namely love. But nowadays, “Maroon” seems to imply, relationships worth maintaining aren’t as effortless as singing your favorite song or as thrilling as driving a sports car. Now, love takes on a darker, but equally powerful hue.

Like accidentally downing an entire bottle of screw-top wine, Antonoff’s production on “Maroon” isn’t fussy or overcomplicated. Its simple beat give spaces for the woozy synths that drive the track, culminating in the final chorus when Swift’s voice is doubled with a vocoder. It sounds ever-so-slightly disorienting, like when you’ve had one too many glasses or the moment you realize your crush is the real deal. — A.J.

180. St. Vincent – “Savior”

An appropriately tongue-in-cheek exploration of kinks in a relationship, St. Vincent skillfully circles her mystery lover on “Savior.” Throughout the song, she lists out the many things asked of her, underscoring the conclusion that while she’ll play along, she is not here to rescue anybody. It’s fun, it’s flirty, but she’s still the one ultimately most in control. — M. Siroky

179. Taylor Swift – “London Boy”

More than a few Londonites may have taken issue with Taylor’s rosy, touristy view of their city on “London Boy,” but anyone willing to simply accept the song at face value won’t be able to resist its effervescent charm as a piece of swooning bubblegum pastiche that’s head over heels for a particular London lad, ride on the back of Idris Elba’s scooter or not. — G.R.

178. Bleachers – “Big Life”

“I flip back coast to coast like a herb.” That’s right, Jack Antonoff wants people to know from the opening line that he’s a FUNNY GUY. Invite him to the next big dinner party — he’s ready. “Big Life” feels like a skilled songwriter threw around a bunch of ideas against a wall, and somehow, it kinda works? — J.P.R.

177. The Chicks – “Set Me Free”

Antonoff doesn’t overthink his choices on Gaslighter’s closer. He pairs Natalie Maines’ soul-baring plea of “set me free” with simple acoustic guitar, Emily Strayer’s ukulele — punctuated sparingly with pedal steel — Martie Maguire’s trusty fiddle and cello, and Antonoff’s ever-present Mellotron for a quietly affective finish. — G.R.

176. Kevin Abstract – “Georgia”

Here, Kevin Abstract repurposes the tag from “Georgia On My Mind” for a broader summary of a rocky childhood in the South. He was raised in Texas, and throughout the nostalgic song, he recounts some of the struggles. Ultimately, though, the chorus circles back to a much more relatable line: “Call my mom and let her know that everything is alright.” — M. Siroky

175. Taylor Swift – “This Is Why We Can’t Have Nice Things”

If “Look What You Made Me Do” is Taylor’s proverbial “fool me once,” then “This Is Why We Can’t Have Nice Things” is the consequence that comes from fooling her twice. On the bombastic reputation highlight, Antonoff constructs the kind of unadulterated acoustic revelry that would make Jay Gatsby proud, but if your name is in red underlined on the list at the door, you’re most definitely not welcome at this party. Not to worry — before you go, there’s still time for a champagne toast! In the words of Swift herself, “Here’s to you/ ‘Cause forgiveness is a nice thing to do.” You know the rest. — G.R.

174. Taylor Swift – “Dear Reader”

It’s not at all out of character for Swift to speak directly to listeners through her music. Many fans do see her as something of a mentor or big sister figure, making “Dear Reader” and the advice it contains feel like familiar territory. Even so, the mid-tempo offering is a bit sleepy, and Antonoff’s production is familiar but inoffensive. — M. Siroky

173. Kevin Abstract – “Mississippi”

Arizona Baby floats through various vignettes of the American South, which is a space Antonoff rarely inhabits. Most of his production work brings East Coast nostalgia and West Coast whimsy to mind, but his touch undoubtedly lands on this LP just the same. There are moments that sparkle on “Mississippi” which, as a whole, unfolds melodically, taking its time over a crunchy beat. — M. Siroky

172. The 1975 – “Human Too”

Feeling akin to some of the band’s previous songs, such as “Frail State of Mind,” “Sincerity is Scary,” and “Be My Mistake,” “Human Too” is a quiet, nearly fragile plea to the listener, and to the general public. Healy digs into some of his more public mistakes, acknowledging incidents that might have led to cancel-adjacency in the eyes of many. He owns up to his failings in the meandering offering on Being Funny in a Foreign Language. — M. Siroky

171. Lana Del Rey – “For Free (featuring Zella Day and Weyes Blood)”

Del Rey and Antonoff both love nostalgia — we are so far past the point of any doubt there. “For Free” digs into the sounds of women in early country and folk, allowing LDR to toss the melody between Zella Day and Weyes Blood. Together, the three ensure this track doesn’t get lost in the melancholic journey of Chemtrails Over the Country Club. — M.S.

170. Bleachers – “Foreign Girls”

Bleachers’ sophomore LP Gone Now is closed out by the delightfully strange “Foreign Girls,” which begins with an unhinged muted trumpet riff and features Antonoff’s AutoTuned, nearly-mumbled vocals. As the song progresses and takes a firmer shape, it launches into a big chorus without it ever feeling TOO big — a rare sweet spot for Bleachers.— P.R.

169. Lorde – “The Path”

Lorde begins her utopian vision that is Solar Power by stepping onto “The Path,” but if you’re looking for a savior, this prettier Jesus can’t help you. Over the sunny, New Age vibes of Antonoff’s floating Wurlitzer, the pop star one-ups the Manson girls with blissed-out harmonies courtesy of Clairo, Phoebe Bridgers, Marlon Wayans and Lawrence Arabia. “Won’t take the call if it’s the label or the radio,” she sings, before casually reminding us that not even the rarified air of the Met Gala compares to the nirvana she’s after. — G.R.

168. Bleachers – “Let’s Get Married”

If you hate hope, love, and joy, this song is not for you. Written as a letter to a love you’re ready to spend forever with, this track is simply begging to be the soundtrack to a wedding. Try listening to this song and not falling completely down the Antonoff rabbit hole. — J.P.R.

167. Florence + The Machine – “Dream Girl Evil”

With background vocals by Maggie Rogers, “Dream Girl Evil” is a jubilant cry. Bewitchingly addictive, an eerie drum drives the track, which serves as an anthem of freedom found in femininity. “Dream Girl Evil” builds and ascends just moments before it shatters every fiber of your being. — K.P.

166. Kevin Abstract – “Use Me”

“Use Me” distills Antonoff’s maximalist approach to production through a hip-hop lens, stepping away from the avenue more expected of him (‘80s pop explosion might be the most succinct way to frame it). Listing out some of the details of “Use Me” can start to sound like a Stefon sketch, because this song has it all: cricket sounds, a gospel choir, baby’s laughter, a cash register, and a piano interlude. Antonoff manages to pack it all under two and a half minutes, without the track bursting at the seams. — M. Siroky

165. Bleachers – “Wild Heart”

If there was an A.I. program with the ability to generate a Jack Antonoff track, this would be the product. The opening song to Bleachers’ first album Strange Desire, “Wild Heart” delivers the sweeping percussion and deep vocals that make a song so… well, you know, Jack Antonoff. More exciting Bleachers songs are out there, but was as a solid opening to the 2014 LP as well as a popular song at their live shows. — J.P.R.

164. Taylor Swift – “You’re on Your Own, Kid”

Even with its climactic ending, “You’re On Your Own, Kid” is one of the more understated Swift/Antonoff collaborations. As such, the track’s production is competent, but not particularly noteworthy. Really, the Midnights cut is classic Antonoff, featuring his signature blend of contemporary pop timbres and indie-pop soundscapes. The song is successful in its simplistic goals, but it’s unlikely fans will look back on “You’re On Your Own, Kid” as the peak of either artists’ catalog. — Jonah Krueger

163. Lana Del Rey – “Wild at Heart”

On this Chemtrails Over the Country Club ballad, Del Rey admits she wants out of the Calabasas life. She acknowledges the dark side of fame through a Princess Diana reference: “The cameras have flashes, they cause the car crashes/ But I’m not a star.” While Del Rey overtly stirs up her own public drama at times, it’s certainly a reminder that the media’s also complacent in putting stars on pedestals in the first place. — Gab Ginsberg

162. Red Hearse – “Honey”

It’s vibey, it’s as smooth as its namesake, it’s “Honey.” While this track from Red Hearse is a little overstuffed in places, the track glitchy and twinkling in a space-age way, Sam Dew’s vocal performance glides through with ease. Overall, Red Hearse hasn’t proven to be the most memorable of Antonoff’s meetups, but “Honey” makes a pretty good argument for the album overall: “Whatever you’re serving is what I’m having.” — M. Siroky

161. The Chicks – “Texas Man”

Natalie Maines may confess to being “a little bit unraveled” amid her search for a good “Texas Man,” but the gratifying crunch of Antonoff’s percussive production choices on the track keep the top-quality fabric of the song sounding not only stitched up, but entirely homespun. — G.R.

160. Kevin Abstract – “American Problem”

Here, Kevin Abstract is questioning his identity, and inviting us all to do the same. Throughout the collection, he seems plagued by questions of identity — he ruminates at length on community, his upbringing, queerness, and the future, making it all the more interesting that his blame lands back on himself. He’s self-identifying as the “American problem” in question, and no one can lift that burden but him. — M. Siroky

159. Taylor Swift – “Paris”

One of the stronger bonus tracks on Midnights, “Paris” sees Swift using the French city’s reputation as a bastion of love and romance as a device to explain how it felt to fall in love. The first verse in particular is the most fun. “Met someone at a club and he kissed her/ Turns out, it was that guy you hooked up with ages ago/ Some wannabe Z-lister/ And all the outfits were terrible,” she says as if she’s dishing over a glass of wine. — M. Siroky

158. Bleachers – “91”

The first notes of “91” take the listener to Antonoff’s favorite place: a nostalgic trip to the past. However, this time we’re in 1991, and getting out of the ‘80s takes things to what may be one of Antonoff’s most immersive songs. The strings and mixed voices in the background are distinctly early ‘90s. This man loves to sonically set the stage for a Bleachers album, and “91” does exactly that. — J.P.R.

157. Lana Del Rey – “Dance Till We Die”

Over meandering guitar and piano, Del Rey pays her dues to icons Joan Baez, Joni Mitchell, Stevie Nicks and Courtney Love on “Dance Till We Die.” References to Baez in particular are woven throughout the song, with Del Rey mentioning the folk legend’s retirement, as well as their friendship. (Baez’s granddaughter Jasmine also revealed that Del Rey played the song for her family during a dinner ahead of Chemtrails Over the Country Club’s release.) — G.G.

156. Taylor Swift – “Bejeweled”

According to Swiftie sleuths, “Bejeweled” seems to recount the 2016 Met Gala, when Taylor wore a sparkly dress and had a dance-off with Tom Hiddleston in the midst of relationship issues with her then-boyfriend Calvin Harris. Lyrically, the track leans on gemstone wordplay reminiscent of Rihanna’s “Diamonds.” On an album where Swift memorably sings “it’s me, I’m the problem, it’s me,” “Bejeweled” acts as a glimmering counterweight, emphasizing the narrator’s unshakeable self-confidence. — Spencer Dukoff

155. Gary Clark Jr. – “Vehicle”

Gary Clark Jr.’s cover of The Ides of March’s “Vehicle” for the Minions: The Rise of Gru soundtrack sure can move — with swirling guitars, restless bass and drums, and a psychedelic haze, there’s a momentum that constantly makes you feel like you’re speeding in all the best ways possible. Complete with an outstanding and signature guitar solo from Clark Jr., it’s an undeniable slice of psychedelic funk. — P.R.

154. Bleachers – “How Dare You Want More”

Easily one of the more fun songs from Take the Sadness Out of Saturday Night, this song has some moments of pure chaos. Antonoff has proven time and again that he can let such chaos explode, but has shown that he can restrain it, too. Who else can do a vocal call-and-return with a saxophone other than Jack Antonoff? There’s no doubt this song will explode (in the best ways) when Bleachers hit the road again. — J.P.R.

153. Taylor Swift – “Lavender Haze”

The Midnights era begins with “Lavender Haze” — this one’s for the “I Think He Knows” enjoyers who often find themselves shuffling between the stories presented in folklore and evermore. “I’m damned if I do give a damn what people say,” Swift explains, expressing her desire to stay in the bubble of safety offered whenever she’s with her lover. It probably won’t be the song everyone talks about with this record, but it’s the proper introduction to her tenth studio album that we needed. — M. Siroky

152. The Chicks – “Julianna Calm Down”

In a love letter named for Emily Strayer’s daughter, “Julianna Calm Down” finds The Chicks passing down lessons of hard-won wisdom to the next generation. While the trio are urging their daughters and nieces (Martie Maguire’s three girls also get their own shout-outs in the lyrics) to “put on [their] best shoes and strut the f–k around like [they’ve] got nothing to lose,” Antonoff’s muted production builds without ever overwhelming, giving the track plenty of room to breathe. — G.R.

151. Bleachers – “Chinatown (feat. Bruce Springsteen)”

Bruce Springsteen’s influence can be felt in almost every second of a Jack Antonoff production, so how fitting to have the two proud Jersey boys team up for “Chinatown.” The result? A song that feels like wrapping up in your high school crush’s varsity jacket. It’s a beautiful connection between two writers who have so much in common but come from completely different eras. In a time when Twitter is known to label way too many entities as iconic, this Springsteen co-sign truly feels like an official icon status for Antonoff (as if he needed it by now). — J.P.R.

150. Taylor Swift – “Daylight”

It’s possible Swift has never sounded more at peace than in the serenity of Lover’s closing track, which finds Antonoff wrapping the singer’s newfound revelation that love just might be golden in a warm blanket of pulsating synths and gently crashing percussion. Finally, Swift steps out of the shadows of constant public scrutiny and into the daylight. — G.R.

149. Florence + The Machine – “Morning Elvis”

While the rest of Welch’s album Dance Fever experiments with the darker forces of nature, “Morning Elvis” manifests all the characteristics of a hallmark Antonoff-produced track. It’s beautifully heartfelt and cuttingly vulnerable, residing deep within the listener, a feeling that Antonoff often excels at sharing. — K.P.

148. Bleachers – “You’re Still a Mystery”

Antonoff’s music has a way of conjuring main character energy, but especially if the movie is set in the ‘80s. Everything about “You’re Still a Mystery” screams movie montage — hair is getting teased, legwarmers are on, and it’s time to go roller skating. –– J.P.R.

147. Taylor Swift – “Labyrinth”

“I’ll be getting over you my whole life,” Swift sings on the airy, dreamlike “Labyrinth.” In the moments when, through her music, Swift pulls the curtain away entirely and exposes the rawest parts of herself to the light, she can be at her most vulnerable; similarly, these are some of the most rewarding moments for longtime listeners, too, who feel they’ve grown up with Swift and have a different kind of understanding of her as a storyteller. With the restraint exercised in “Labyrinth” from a production end, Antonoff serves the song well. — M. Siroky

146. Florence + The Machine – “Free”

If any song off of Dance Fever was designed to play over the final shot of an acclaimed coming-of-age film, it’d be “Free.” Driving and determined, Antonoff simply produced the hell out of the song. Different sounds cut in and out, all the while the pulsing beat never lets up. The result is a dynamic, intensely rewarding track. — J.K.

145. Taylor Swift – “Sweet Nothing”

In the penultimate track of Midnights, Swift makes an existential crisis sound sweet. “They say the end is coming,” she explains, but she finds moments of contentment watching her lover waste the day away in the kitchen. With just a twinkling piano and some layered vocals, “Sweet Nothing” wouldn’t have sounded out of place on folklore or evermore. Antonoff understood what was needed here, and it truthfully wasn’t too much. — M. Siroky

144. Taylor Swift – “Dress”

reputation marked Swift’s foray into more mature material, and “Dress” specifically was called out upon release as her most sultry work to date. The breathy vocals are accompanied by a memorable hook, “Only bought this dress so you could take it off,” a line so simple in its seduction that it’s shocking it hadn’t appeared in dozens of pop songs before. — M. Siroky

143. St. Vincent – “Smoking Section”

“Smoking Section” is one of the quieter, gloomier moments on Masseduction. Her aim is to drive away a lover by any means necessary, and these self-destructive tendencies are described with little remorse. Antonoff’s touch isn’t felt as strongly here as it might be elsewhere on the album. The choir-like chorus and sprawling keyboard cascading into the sound of organ indicate his presence nonetheless. — M. Siroky

142. Clairo – “Bambi”

Kicking off Clairo’s Sling is “Bambi,” a delicate and organic introduction to the sounds of the album. Antonoff refuses to rush through this one, letting the flurries of instruments move at their own pace and keeping the energy of the song at an easy, contemplative trot. — P.R.

141. Tierra Whack – “Black Magic Woman”

Tierra Whack adds a whole different element to her cover of “Black Magic Woman” for Minions: The Rise of Gru — her auto-tuned croons, mixed with a restless, percussive beat, create an even more hypnotic impression. With yet another psychedelic backdrop, Antonoff is not shying away from taking a Minions soundtrack and making it his own — and Tierra Whack is, as always, untouchably cool. — P.R.

140. Taylor Swift – “Soon You’ll Get Better” (featuring The Chicks)”

Lover cut “Soon You’ll Get Better” finds Swift at her most vulnerable as she opens up about her mother Andrea, who has battled cancer since 2015. For his part, Antonoff honors his close friend with a lovely, reverent arrangement that transcends its simplicity thanks to fiddle, banjo and backing harmonies by none other than The Chicks, who would go on to recruit the producer to helm their equally raw 2020 comeback album Gaslighter. — G.R.

139. Clairo – “Management”

To close out Sling, Clairo and Antonoff save some of the strongest production choices for last, calling to mind Sgt. Peppers-era Beatles as they inject a little bit of happiness into the end of an otherwise somber album. — P.R.

138. The Chicks – “Young Man”

Many took The Chicks enlisting Antonoff to produce Gaslighter as a signal they were stepping firmly past the threshold of country music, but one listen to the gentle, interweaving guitar lines and late-stage strings of “Young Man” proves the superproducer is equally capable of stepping into a pair of cowboy boots as he is at pushing artists outside of their sonic comfort zones. — G.R.

137. BROCKHAMPTON – “Hollywood Swinging”

It’s fun to see BROCKHAMPTON, known for acting as an antithesis to traditional “boy band” structure while also embracing some of the format’s best elements, take on a classic like Kool & the Gang’s “Hollywood Swinging” for Minions: The Rise of Gru. It’s a playful balance of classic elements (big, bright horns) and modern touches (rap verses rooted in the 21st century). Antonoff understood the assignment on this one. — M. Siroky

136. St. Vincent – “Down”

“Down,” one of the highlights from St. Vincent’s Daddy’s Home, is charged, angry, and teeming with a little too much liquor. Some fascinating choices populate the 1970s New York-inspired track, including a sitar, probably seven different guitar tones, a small choir, and a deeply inspired vocal performance from Annie Clark. The song itself is a threat, but Antonoff and Clark inject a flair and a restlessness that makes “Down” truly captivating. — P.R.

135. Thundercat – “Fly Like an Eagle”

Leave it to Thundercat to excel within such a bizarre context as Jack Antonoff drafting indie artists to cover ‘70s songs for a Minions movie. One of the best tracks in the collection, Thundercat makes his presence known from the first few seconds. He, of course, trades the introductory guitar line for a wah-heavy bass before Antonoff’s swirling production comes in to support him. Is it faithful to Steve Miller’s original? Not at all. Is it pretty fun, though? You betcha. — J.K.

134. Taylor Swift – “this is me trying”

A nostalgic slow-burner, “this is me trying” could be interpreted as Taylor Swift’s offering to the fair-weather fans and critics who deemed her washed-up. But as folklore indicates, there’s a reason why Swift is still consistently named one of our generation’s best songwriters. — A.J.

133. Clairo – “Little Changes”

Towards the end of Sling, Clairo admits that “for the first time, it feels good/ good to fall between the ones I loved and the ones that faded.” It’s a statement of acceptance, and at the same time, it’s one of the most radiant moments of the album.— P.R.

132. Bleachers – “Wake Me”

Sonically, 2014’s “Wake Me” takes the listener to the West Coast — maybe it should’ve been a clue that Antonoff would work with someone like Lana Del Rey years down the line. Lyrically, Antonoff is speaking of a love he can’t comprehend he has (“I can’t believe I captured your heart”), and his chanting chorus is mesmerizing. After some of the hits given in the front half of Strange Desire, “Wake Me” feels more jam band than rock pop record, but is a fan favorite from the record. — J.P.R.

131. The 1975 – “All I Need To Hear”

A highlight of Being Funny in a Foreign Language is “All I Need To Hear,” a classic, slow-dance ballad that serves as one of the album’s tender centers. The song is devoid of any kind of tension, and it’s almost surprising to hear Healy be so sincere and sweet without immediately discounting himself, as he plainly coos, “Just tell me you love me/ That’s all I need to hear.”– P.R.

130. The Chicks – “Hope It’s Something Good”

One common theme of Antonoff’s production on Gaslighter is to start things off quietly before adding piece after sonic piece to take each song from point A to point B (and beyond). It’s an approach he replicates once again on “Hope It’s Something Good,” which begins with simple acoustic guitar before adding vocal harmonies, mandolin, soft snare drum, and more to steadily increase the lilting ballad’s gently rolling momentum. — G.R.

129. Bleachers – “Take Me Away (feat. Grimes)”

Before the world got to know her as the better half of Mr. Tesla and the mother of XÆA-12, Grimes was known in smaller circles for her ethereal vocals. In what is easily one of the most artsy-fartsy Bleachers records, Antonoff uses Grimes’s vocals to provide an angelic but mysterious backlay to the chorus. This isn’t the only time they’ve collaborated — they would go on to release “Entropy” for HBO’s Girls the next year. — J.P.R.

128. Lorde – “Stoned at the Nail Salon”

While Antonoff is known for his anthemic pop rock bops, he’s shown in recent years that he’s an expert at restraint, too. This collaboration with Lorde is a perfect example, as they weave together vocals from Lorde, Clairo, Phoebe Bridgers, Marlon Williams, and Lawrence Arabia to create an introspective moment. Antonoff’s simple acoustic guitar provides all the song needs. — J.P.R.

127. Clairo – “Joanie”

“Joanie” is an almost entirely instrumental track on Sling, and it’s also the name of Clairo’s dog (fittingly named after the great Joni Mitchell). It’s an experimental and unpredictable track that fully captures the adventurous sonic spirit of the record, and it’s a rather exciting choice for an Antonoff-related project. — P.R.

126. Jackson Wang – “Born To Be Alive”

Jackson Wang is known as the “Magic Man,” and that nickname (and the name of his upcoming album) was chosen for a good reason. The K-pop star, a member of the group GOT7, is multilingual and multitalented, as beloved for his charisma as he is for his bops and onstage energy. Here, he puts his unique fingerprint on a cover of “Born To Be Alive,” and while it was put together for the soundtrack for Minions: The Rise of Gru, it’s a bright, cross-cultural burst of energy and light. — M. Siroky

125. St. Lucia – “Help Me Run Away”

For a few years in the mid 2010s, Brooklyn electronic project St. Lucia was synonymous with the NYC indie music scene. 2016’s Matter saw them at the height of their powers, as exemplified on the relentlessly upbeat “Help Me Run Away,” which wouldn’t be out of place on Bleachers’ Gone Now. — G.G.

124. Florence + The Machine – “The Bomb”

“The Bomb” again puts Antonoff alongside Thomas “Doveman” Bartlett, and it’s honestly the latter’s sensibilities which may stand out more on the track. The drive of the folky number is clearly more Doveman’s wheelhouse, but it’s definitely fascinating to hear Antonoff work within those confines, as the production feels far more considered than constrained. — B. Kaye

123. Taylor Swift – “ivy”

The turns of phrase in “ivy” are some of the very best on evermore — right from the jump, the first line, “I’ll meet you where the spirit meets the bones,” is breathtaking. Overall, the song leans more towards the modern folk-pop sound that Swift has grown into. Justin Vernon of Bon Iver lends banjo lines and background vocals, and Antonoff wraps it all up in rustic brown paper and ropey twine. — M. Siroky

Editor’s note: Antonoff was initially credited as a producer on “ivy,” though he is now only credited as a co-writer; “ivy” was solely produced by Aaron Dessner. In the interest of not redoing this entire ranking (!), we’ve left it here, but acknowledge the error.

122. Clairo – “Wade”

The way the songs on Sling inhale and exhale with orchestration, key changes, and tempo shifts calls to mind Van Morrison’s Astral Weeks or Bon Iver’s Bon Iver. “Wade” demonstrates that comparison perfectly. There are a handful of moments where the song cracks open, falls apart, and finds itself all over again. Some of these instrumental choices certainly signal this to be Jack Antonoff’s most experimental work as a producer. — P.R.

121. Carly Rae Jepsen, Bleachers – “Comeback”

“Comeback” is a wonderful, sparkly little synth-pop song about a girl rediscovering her sense of self after exiting a devoted relationship: “I don’t know what I’m feeling, but I believe/ I was thinking ‘bout making a comeback, back to me.” From the second verse on, Jepsen is joined by Antonoff, who provides backing vocals. He’s listed in the track credits not by his real name but as Bleachers, which sort of makes sense: it’s not a duet between Jepsen and Antonoff. This is Jepsen’s song, and Antonoff is only there for support. — C.S.

120. Red Hearse – “Red Hearse”

Easily the best song to come out of this trio, “Red Hearse” is Jack’s playful pop side unleashed. There’s a ton of nonsense going on in the beat’s construction, and you can just imagine how out of control the DAW interface must have looked. It’s a strong instance of Antonoff’s maximalist tendencies paying off. — B. Kaye

119. St. Vincent – “Hang on Me”

“Hang on Me” is a song of contrasts, mixing bright production with breathy vocals. In the past, when discussing this song, St. Vincent has also explained that while she has been drawn to the way humans create their own mythologies, she has never wanted to buy into the many systems that surround us. She’d rather create her own. In her music, she’s always operated from a place of her own, and there’s something to be said for the way she lives out her own value system through her work. — M. Siroky

118. The Chicks – “March March”

From the first kick of the syncopated bass drum, “March March” sets The Chicks off on a steady strut to the direction of their choice. What starts as an army of one swells into an instrumental rallying cry as Antonoff places ominous slide guitar, anxious strings, and defiant banjo from the song’s fringes into its tense coda. — G.R.

117. Brittany Howard ft. Verdine White – “Shining Star”

“Shining Star” is truly an iconic song — it’s one of the most enduring Earth, Wind & Fire treasures, and rightly so. Brittany Howard, known both as a soloist and the frontwoman of Alabama Shakes, has one of those distinct, rich tones that seem to make everything she sings sound soulful and honest. While nothing can ever top the magic of the original, Howard, Antonoff, and Verdine White offered a worthy cover for the Minions: The Rise of Gru soundtrack. — M. Siroky

116. St. Vincent – “Sugarboy”

“Sugarboy” puts the hyper in hyper-pop: it’s a bold, synth-heavy piece of Masseduction, which is an elaborate work overall. The beat on “Sugarboy” in particular is constant and inescapable. St. Vincent often leans into the glamorous, and the indulgent sound design throughout “Sugarboy” makes it a piece of art that lives, breathes, and sprints away, carrying the listener along whether they’re ready or not. — M. Siroky

115. Taylor Swift – “gold rush”

In our review of evermore, “gold rush” was a standout. Initial reactions hold up: it’s immaculately produced and slight, barely three minutes long, flickering to life and whisking the listener into a starlit night without wasting a moment. The light pulse and breathy, layered vocals pair with playful verses. Not as unstructured as some later tracks (with the titular and expansive “evermore” coming to mind in particular), “gold rush” feels almost conversational, a rambling confession of love in a doorway. –– M. Siroky

114. Florence + The Machine – “Cassandra”

Some of Antonoff’s best work is in collaboration with his peer Tom Hull, with exhibit A being “Cassandra,” a supernatural retelling of a mythical Greek character condemned to foresee the future. It’s eerie and purely possessive, a powerful culmination of all the fear that rests in an unknown fate. — K.P.

113. Lana Del Rey – “Love song”

As a girl who loves to look camp straight in the eye, Del Rey does exactly that on “Love song.” Antonoff’s production tone aligns with the rest of Norman Fucking Rockwell!, simply including strings, piano, and Del Rey’s vocals and chants. That’s purposeful — both Del Rey and Antonoff believe that love doesn’t need all of the bells and whistles, and a love song doesn’t either. As Lana puts it: “the taste, the touch, the way we love, it all comes down to make the sound of our love song.” — J.P.R.

112. Clairo – “Partridge”

“Partridge” features a minimalist style with an abundance of musical flourishes atop a myriad of vocal harmonies. It’s another example of restraint and ambition from Antonoff and Clairo, who purposely mixed her vocals lower at the beginning of Sling before raising the levels at each interval. — P.R.

111. Bleachers – “Goodbye”

A fitting wrap to mirror Gone Now‘s earlier “Goodmorning,” this track sees Antonoff finishing his day and cheerily winding down to bid adieu to those who’ve surrounded him. The female voice in the middle of the song is a recording of his then-girlfriend (Lena Dunham, heard of her?) discussing what it means to be alive. Antonoff loves a good voice memo thrown into a song, and this one is perhaps his best use of it yet. — J.P.R.

110. Bleachers – “Don’t Go Dark”

Cheery, with a stomping, thumping drum throughout, “Don’t Go Dark” is a dark horse from Take the Sadness Out of Saturday Night. Co-written with Lana Del Rey, who also provides backing vocals alongside The Chicks, Antonoff’s production builds quietly throughout, and by the end, it’s almost enough to make the listener go buy some Bleachers tour tickets. — J.P.R.

109. Taylor Swift – “Mastermind”

The closer of Midnights takes Swift’s own “invisible string,” unravels it thread by thread, and weaves something new — and something more honest. Here, she reveals that nothing about her romantic relationship was an accident, and that her meticulous need to control everything in her orbit is in fact the root of her success in this realm. The glitter and synths from Antonoff accentuate the confessional. — M. Siroky

108. Taylor Swift – “mirrorball”

It seems like Jack Antonoff’s name is attached to many of the standouts on folklore, “mirrorball” included. Deceiving in its simplicity, it’s a sweetly sad number that sees Swift recounting the process of constantly shifting to please those around her. The looping nature of the track serves its subject matter well, landing as cohesive rather than repetitive.— M. Siroky

107. Bleachers – “Alfie’s Song (Not So Typical Love Song)”

Released as a part of the Love, Simon soundtrack, “Alfie’s Song” lets Jack Antonoff live in his cinematic songwriter lane. True to its title, and to his style, Antonoff manages to write an untraditional love song: “Cause back then we were caught in a love song so loud, not a typical love song, cause it hurt us again and again.” Oof, lyrics stabbing at your heart — and the production matches the energy of a high schooler in love. It’s easy to put this one on repeat. — J.P.R.

106. Sia – “House on Fire”

Sia’s This Is Acting saw her master the art of singing about the most devastating subjects (here, the push-and-pull of an abusive relationship) over infectiously catchy beats. When she admits, “Baby, I’m a house on fire/ And I wanna keep burning,” you want to cry and dance in equal measure. — G.G.

105. Taylor Swift – “I Wish You Would”

Written about a certain One Directioner after a breakup, “I Wish You Would” is definitely a 1989 sleeper hit. You can thank Antonoff for those buoyant guitars, as Swift noted: “Jack is one of my friends and so we were hanging out and he pulled out his phone and goes, ‘I made this amazing track the other day. It’s so cool, I love these guitar sounds.’ And he played it for me and immediately I could hear this finished song in my head.” — G.G.

104. Bleachers – “I’m Ready to Move On/Mickey Mantle Reprise”

Antonoff wraps up Gone Now with the concept of moving on. This reprise and closing provide some of the more interesting production choices, but specifically the multi-part harmonies that finally answers the question: what if Jack Antonoff was the only person in a barbershop quartet? — J.P.R.

103. Taylor Swift – “Mr. Perfectly Fine”

It’s hard to believe Swift kept a tune as melodically sunny and lyrically shady (ahem, hello Mr. “Perfect Face” Jonas) as “Mr. Perfectly Fine” in the vault for 13 years. But in the long run, that may have been a good thing, because back in 2008, Antonoff wouldn’t have been “mister always at the right place at the right time” to add his magic touch to the should’ve-been-a-single, which was finally released as part of Fearless (Taylor’s Version). — G.R.

102. Phoebe Bridgers – “Goodbye to Love”

Leave it to Phoebe Bridgers to bring us to the most vulnerable, sensitive place in the most unlikely of ways. Her entry for the Minions: The Rise of Gru soundtrack is classic in a couple ways: Not only is it a traditional multi-dimensional ballad, it’s Phoebe absolutely in her bag, letting her vulnerability ooze out with patience and tact. Only until the wild saxophone solo in the song’s bridge do you remember that, oh yeah, this is a Jack Antonoff production! — P.R.

101. The Chicks – “My Best Friend’s Weddings”

Like a bridesmaid ready to steal the spotlight, the real star of the show on “My Best Friend’s Weddings” is Antonoff’s ear for vocal production — namely, the background vocals by Martie Maguire and Emily Strayer. Their layered harmonies provide the perfect atmosphere for Natalie Maines to look back in retrospect over quietly pulsing church organ and the distant clang of wedding bells, as she ruminates on just how much life can change in the time between your best friend’s two attempts at finding happily ever after. — G.R.

100. Lana Del Rey – “Looking for America”

Written in response to mass shootings in 2019, Antonoff and Del Rey take a serious look at the state of affairs in the United States on “Looking for America.” A constant of Lana Del Rey’s music is the theme of Americana, and Antonoff’s restrained instrumentals let the lyrics shine. Immerse yourself in Lana’s America of no violence or guns, only love. — J.P.R.

99. Weyes Blood – “You’re No Good”

On “You’re No Good,” Weyes Blood manages to channel her inner Linda Ronstadt fairly successfully. It’s one of the most faithful covers on the Minions: The Rise of Gru soundtrack, and it stands out as one of the better tracks because of it. Weyes Blood and Antonoff come through with a song that’s worth listening to on its own merits, rather than relying on the tongue-in-cheek novelty that runs through many of the other tracks on the compilation. — J.K.

98. Lorde – “Hold No Grudge”

Maybe the reason “Hold No Grudge” isn’t included on the standard version of Solar Power is because it sounds the least like the rest of the album. Slightly more upbeat, less sun-soaked and beachy, the song feels closer to the Lorde that vanished from the spotlight over four years ago. The fact that she cut the song and released it to anyone should be encouraging for fans that might’ve felt let down by Solar Power — the moodier, grungier Lorde isn’t totally gone. — M. Siroky

97. Taylor Swift – “Karma”

From its first few seconds, the hip-hop influenced production of “Karma” takes center stage. Relentless percussion, synth chords, and deep bass accompany Taylor’s poppy vocal performance. It’s a wonder Swift didn’t throw a rap feature on the track — and perhaps a 2014-era Swift would have. Still, it’s an expensive-sounding, impressive display of the Swift-Antonoff connection. — J.K.

96. Taylor Swift – “Call It What You Want”

For an artist whose love life has been constantly ridiculed, the synthy ballad “Call It What You Want” acted as Taylor Swift’s kiss-off to the doubters. “At least I did one thing right,” she coos in reference to her current lover. Who’s laughing now? — A.J.

95. Lana Del Rey – “Cinnamon Girl”

As “Cinnamon Girl” kicks off, the track’s bare piano chords land in blunt juxtaposition to much of the album’s opaque sonic palette. However, as Del Rey’s kerosene-soaked narrative takes hold, Antonoff’s instrumentation floats away, eventually spiraling into an ominous, wind-torn cacophony of sound amid the storm of the singer’s clouded thoughts. — G.R.

94. Bleachers – “Dream of Mickey Mantle”

Opening the 2017 Bleachers album Gone Now, “Dream of Mickey Mantle” tees up the album perfectly. A driving drum, building chorus, and references to Mickey Mantle (sure!) all collide to provide one of the singable songs on the album. Written from the perspective of a dream state, the production pulls the listener to consciousness… but what exactly is he singing about? It doesn’t matter — just be happy Jack Antonoff brought you into his dreams. — J.P.R.

93. Amy Shark – “All Loved Up”

Beloved Australian indie-pop artist Amy Shark has said before that she didn’t quite know what to expect when she connected with Jack Antonoff for the first time. Antonoff was already quite well-known in the region thanks to his work with Lorde (and Taylor Swift, to a lesser extent) — the result of their meetup feels like as natural of a match as could be imagined, though. — M. Siroky

92. H.E.R. – “Dance to the Music”

H.E.R. is halfway towards an EGOT and hasn’t been showing any signs of slowing down on her quest. The singer-songwriter and all around lovable entertainer understands the timelessness of a song like “Dance to the Music,” and her cover, produced joyfully by Antonoff, makes you want to get up and dance. It’s a track that simply begs the question: Why did everyone go so hard for the Minions: The Rise of Gru soundtrack, and what am I going to tell people when some of these OST cuts show up in my 2022 Spotify wrapped? — M. Siroky

91. Lorde – “Writer in the Dark”

Slow like pseudoephedrine? Hardly. Built around a solitary piano line, Antonoff flexes his ability to edit on this Melodrama track, never letting the orchestral accompaniment drown out Lorde’s devious exclamation of, “Bet you rue the day you kissed a writer in the dark.” We’d hate to be the guy who found himself on the wrong side of the singer’s poisonous pen… — G.R.

90. Diana Ross and Tame Impala – “Turn Up The Sunshine”

Say what you will about Illumination Studios or the proliferation of Minion memes on your older relative’s Facebook page, Jack Antonoff’s soundtrack for Minions: The Rise of Gru is, at the very least, far from boring. At the heart of it is a sunny collaboration between Diana Ross and Tame Impala that celebrates the sounds of the ‘70s. It’s a bubbly, kid-friendly romp that’s as bizarre as it sounds. — J.K.

89. Bleachers – “Everybody Lost Somebody”

This one is a fever dream — smooth saxophone, syncopated beats, catchy chorus — by the second Bleachers album, we all got the gist. Conceptually, “Everybody Lost Somebody” a simple revelation: every person in this world has lost someone. As Antonoff is wont to do, he has us sign up both to dance and to weep. — J.P.R.

88. The 1975 – “Oh Caroline”

Being Funny in a Foreign Language highlight “Oh Caroline” lays it all out, placing every card someone might want to hold close to their chest right in the center of the table. It’s the messiness of romance and the adage that love makes a person do crazy things in its purest, most literal form. One thing The 1975 have a particular knack for is taking concepts that might otherwise be uncomfortable and making them intensely palatable. Here, utter desperation almost sounds fun. — M. Siroky

87. P!nk – “Better Life”

A classic Jack Antonoff trope is taking crushing lyrical content and matching it to a purely pop record, and he managed to do just that with “Better Life.” While P!nk is singing about her concerns of a love living with a “better life, better wife,” Antonoff distracts us with catchy piano beneath the devastating message. — J.P.R.

86. Troye Sivan – “Strawberries & Cigarettes”

The jump from internet personality to legitimate musician isn’t always doable, but Troye Sivan made it look easy. While “Strawberries & Cigarettes” was released fairly early in Sivan’s musical journey, he stuck the landing on the dreamy pop track. Since then, he’s continued to establish himself as someone to count on for a wistful, youthful anthem. — M. Siroky

85. Lana Del Rey – “California”

With Del Rey planting a flag squarely in the Golden State, Antonoff cedes many of the musical duties on “California” to a backing band heard nowhere else on Norman Fucking Rockwell!. There’s Loren Humphrey of Guards on the drums and Evan Weiss of Wires on Fire on one of two guitars, while Tyler Parkford and Zach Dawes of Mini Mansions respectively handle the track’s electric organ and bass. After all, Antonoff wisely knows when to hand the reins to the (mostly) L.A. natives for a song named for the home state of Lana’s tortured femme fatale aesthetic. — G.R.

84. The Chicks – “Everybody Loves You”

The best moments on “Everybody Loves You” — and Gaslighter as a whole — come from the righteous fire of The Chicks’ anger. Antonoff wisely leaves the accompaniment sparse around this beleaguered ballad, which finds Natalie Maines at odds with the public’s adoration of her two-timing Hollywood star of an ex. — G.R.

83. St. Vincent – “Fear the Future”

Structure is the saving grace of this one, and that’s mainly on St. Vinny. There’s a lot of chaos in these verses — you can’t even tell what’s rumbling, just that there’s a bunch of rumbling. But that aural pandemonium fits what the track is trying to do, an example of a producer clearly understanding his collaborator’s goal. — B. Kaye

82. The 1975 – “I’m In Love With You”

The simple joy of “I’m In Love With You” makes the song the perfect midway point of The 1975’s Being Funny In a Foreign Language. The pre-release track set the tone for the new era for the band, seeing the act right in line with their beloved “The Sound” with an unapologetically catchy chorus. Sometimes, The 1975 like to keep an edge buried somewhere in even their sweetest songs, but “I’m In Love With You” gave us a look at a band ready to embrace a genuine love song, no hidden agendas involved. — M. Siroky

81. Taylor Swift – “August”

From its very first note, “August” arrives as a shimmering, bittersweet memory — you can practically taste the salt air and feel the rust on the door of a beach house that might only exist in your imagination. Swift’s layered vocals and Antonoff’s indelible guitar only add to its sublimely quixotic quality, washing the reverie into a hazy wave of nostalgia you never want to let slip away. — G.R.

80. Florence + The Machine – “Heaven Is Here”

Channeling the energy of a full moon Esbat, this track off Dance Fever sonically feels like a coven of Florence Welches dancing, singing, and clapping while surrounded by candles. Passionately crying out against the gods, she proudly reclaims agency over them. Her relationship with divine power and the way it has scarred her is a common theme of this album.

“Heaven is here if you want it,” Welch sings, as she reflects between metaphorically assassinating men for the devil and the very real power and wealth she’s accumulated in the physical realm. It’s all a jovial occasion until the music dies down, when the artist — in a whisper — wonders if all of it came at the cost of a heaven. Whether she means it figuratively or not, this song leaves a lingering feeling, similar to the doubt that comes with carrying the weight of the past. — André Heizer

79. Lana Del Rey – “Chemtrails Over the Country Club”

Antonoff’s skills behind the boards are obvious on the dreamy title track from Del Rey’s seventh studio album. We must also mention the video, which is classic Lana: it’s got vintage cars, sepia footage, shaky cuts to children playing, and…then it turns into a completely demonic seance scene where everyone’s a werewolf and that “little red sports car” gets set on fire?! Epic. — G.G.

78. Taylor Swift – “I Think He Knows”

Antonoff injects “I Thinks He Knows” with a dose of funk in the form of a bouncing bass line, punchy programming, and staccato finger snaps. By the time the giddy chorus kicks in, anyone listening will find themselves ready to skip down Nashville’s Music Row (or whatever their local equivalent of 16th Avenue happens to be) without a care in the world. — G.R.

77. Taylor Swift – “Forever Winter (Taylor’s Version)”

Red was so packed with things for fans to be excited about that the release of vault track “Forever Winter (Taylor’s Version)” might not have risen to the top of the pack. Most of the fun is hearing Swift sing about a rumored high school love with the clarity of someone a decade later, while Antonoff’s production touches keep the energy as high as possible. — M. Siroky

76. Lana Del Rey – “Tulsa Jesus Freak”

Lana Del Rey has pronounced many a word in a strange fashion over the years (see: die-ah-monds), but the best recent example is definitely “Arkansas,” which had every listener of a certain age recalling that iconic Vine. Jokes aside, it’s a sweet and soothing listen from Chemtrails Over the Country Club. — G.G.

75. The Chicks – “For Her”

The superproducer’s choice of organ-esque synths center this one-woman come-to-Jesus moment, which turns into a full-blown revival as the track builds, adding instrument upon instrument over Maine’s wailing refrain of, “Why can’t we be together? Why can’t we love for her?” The Chicks’ leader may never get the answer she’s searching for, but the asking alone is nothing short of a revelation. — G.R.

74. Taylor Swift – “Lover Remix Feat. Shawn Mendes”

The only way to make Lover’s title track even more swoonworthy? Adding Shawn Mendes to the cozy love affair! The Canadian heartthrob’s falsetto-tinged harmonies and Antonoff’s astute addition of plucky strings to the track’s opening moments turn it from an endearing love letter to the kind of romance that only comes around once in a lifetime. — G.R.

73. Lorde – “Mood Ring”

The Lorde has spoken: it’s time to take “plant daddy” out of Twitter bios forever and turn off the Co-Star notifications. While “Mood Ring” sounds easy and breezy, it’s actually more of a front for Lorde’s self-professed satirical take on wellness culture. With a hook melody that could easily be thrown into a soft-pop early 2000s hit (“I can’t feel a thing, I keep looking at my mood ring, tell me how I’m feeling, floating away), Ella & Antonoff managed to politely read every millennial who can’t live without their specific iced coffee for filth. — J.P.R.

72. Taylor Swift – “illicit affairs”

“illicit affairs” is the veritable dark horse of folklore; pay attention to Antonoff’s rolling cascade of layered strings as Swift weaves the song’s disquieting tale of infidelity, secrecy, and betrayal. The narrator at the duplicitous heart of the track may be in search of that ever-fleeting “dwindling, mercurial high,” but the deep cut’s gorgeous instrumentation provides a hypnotic fix Swifties can return to again and again. — G.R.

71. Lana Del Rey – “Dark But Just a Game”

While Antonoff’s producer fingerprints are all over Chemtrails Over the Country Club, this song is inspired by an actual quote from him, uttered during a party the pair had attended. “Something happened, kind of like a situation — never meet your idols,” Del Rey told MOJO magazine. “I thought to myself, ‘I’m going to try my best not to change because I love who I am.’ I said, ‘Jack, it’s dark.’ And he said, ‘Well, it’s dark — but just a game.’ — G.G.

70. Bleachers – “All My Heroes”

Antonoff himself called this “I Wanna Be Better Part 2,” which creates large shoes to fill. Thematically, it’s clear: “When all your heroes get tired, I’ll be something better yet.” That final line is repeated throughout, and the production matches the hope in its tone. By the end, it’s easy to believe that everything really will be better yet. — J.P.R.

69. Taylor Swift – “Paper Rings”

Taylor Swift goes pop-punk? Lover’s most surprising track works as an unexpected curveball — even nearly verging into ska territory in moments — thanks to Antonoff’s jangly, joyful instrumentation. Fun fact: “Paper Rings” is also the only place on Tay’s seventh album where fans can hear the producer’s voice: he’s the one counting in the chorus and providing all the ecstatic, chant-ready backing vocals diehard Swifties can’t wait to shout along to when they finally get to hear the track live. –– G.R.

68. St. Vincent – “Pills”

Masseduction‘s punchy third single was inspired simply by Annie Clark’s sleeping issues. The chorus is like a nursery rhyme that you can’t get out of your head, as Clark’s ex-girlfriend Cara Delevingne chants: “Pills to wake, pills to sleep/ Pills, pills, pills every day of the week!” Then there’s that ominous, sweetly-sung outro, which will certainly leave you hooked. — G.G.

67. Lana Del Rey – “White Dress”

If you missed the “Downatthemeninmusicbusinessconference” memery that took over Twitter upon this Chemtrails Over the Country Club’s release in March 2021, it’s not too late to hop aboard. Also fun: trying out the sing-as-high-as-Lana-does-on-the-chorus challenge! — G.G.

66. Kevin Abstract – “Peach”

Although Kevin Abstract’s work with BROCKHAMPTON often features glitchy, aggressive production, “Peach” is a patient, comfortable song. It highlights Abstract’s role as a curator and Antonoff’s skill at creating warm, delicate atmospheres. — P.R.

65. Bleachers – “Nothing is U”

At the time of release, Antonoff described “Nothing is U” as one of the more straightforward love songs he’s ever written. The production is subtle; he lets this song sit as an ode to a love, singing “nothing has changed me quite like you.” Antonoff often doesn’t do straightforward, but when he does, he does it well. — J.P.R.

64. Florence + The Machine – “Back in Town”

Antonoff has two distinct sides: kitchen sink pop cacophony, and stripped down electro-subtlety. “Back in Town” is Dance Fever’s equivalent of MASSEDUCTION’s “Happy Birthday, Johnny,” in that it’s an example of when Antonoff knows it’s time to get out of the artist’s way and just give them a beautiful bed on which to lay their vocals. — B. Kaye

63. Lorde – “Sober II (Melodrama)”

The almost-title track from Lorde’s acclaimed album Melodrama packs a punch directly to the gut. In this song, the party is over, and it’s time to clean it all up — both the kitchen, as well as the emotions from the night before. Without being too much, the production matches the swagger needed as Lorde repeats, “We told you this was melodrama.” — J.P.R.

62. Clairo – “Zinneas”

Another highlight from Sling is “Zinneas,” which finds Clairo winding her way through a rather unorthodox pasture. It takes 40 seconds for the song to come to life as more instruments begin to pop up and a strong melody takes shape — another great example of Antonoff’s patience and ability to create acres of space for the artist to inhabit. — P.R.

61. Lorde – “The Louvre”

“The Louvre” depicts the impending fear of a budding fling doomed to fail. But as the title of Lorde’s second album Melodrama implies, there’s something oddly beautiful about making a scene of even your most trivial interactions: “Broadcast the boom, boom, boom boom, and make ‘em all dance to it,” Lorde mutters. We might as well make the most of the limited time, right?— A.J.

60. The Chicks – “Sleep at Night”

Antonoff partnered with Teddy Geiger to produce this searing condemnation of a single, which finds Natalie Maines calling out her cheating ex-husband for blatantly betraying their marital vows in no uncertain terms (“My husband’s girlfriend’s husband just called me up/ How messed up is that?/ It’s so insane that I have to laugh”). The smallest Chick may be working through her pain with a jaded sense of humor, but there’s nothing funny about the song’s unrivaled ability to deliver blow after blow as she demands answers. — G.R.

59. The 1975 – “Happiness”

Amidst many infectious moments from The 1975, Being Funny in a Foreign Language standout “Happiness” belongs to bassist Ross MacDonald. His bouncy bassline guides the track entirely, carefully picking moments to deviate from the repetitive line and interlocking with George Daniel and Adam Hahn in a dazzling way. It’s one of the grooviest experiments the band has ever pulled off, and rather than meet the other three members with an equally rollicking vocal performance, Healy is much more tender, sincere, and restrained on “Happiness.” It’s the sound of a band coming into their own in real time, and focusing on the freeing potential of their wildly impressive musicianship. — P.R.

58. St. Vincent – “Dancing With a Ghost”/ “Slow Disco”

The former is really an intro to the latter, so ranking it by itself is almost meaningless. Together though, this is a refined Antonoff that perhaps hinted at how well he would mesh with T. Swift a few years later. “Slow Disco” is a gorgeous song, and spooky chances like the filter on the backing vocals and the second layer of strings haunting the background really sell the lonely beauty. — B. Kaye

57. Lana Del Rey – “Fuck it I love you”

Del Rey is admittedly in a “California state of mind” on this NFR! cut, and Antonoff places the singer’s neon daydreams tenderly against an easy, swaying blend of muted keyboards, piano, guitars, programming, and percussion. The heady track also features Chad Smith of the Red Hot Chili Peppers on drums. — G.R.

56. Lorde – “Sober”

On this highlight from Melodrama, Lorde and Antonoff explore the primal nature of a house party and the chaos that can come with a night of heavy drinking. Lorde’s background vocals feature a high end so shrill, it almost sounds like a group of hyenas laughing. The drums pound relentlessly, setting the stage for the age-old ritual of partying. And all the while, we’re supposed to believe that this is fun — when in reality, there’s a potential for the song to go full hyperpop and completely fall apart onto itself. “Sober” is certainly more ambitious from Lorde and Antonoff, and it contains the stylish mark of two pop auteurs in their prime. — P.R.

55. Bleachers – “I Miss Those Days”

This Gone Now single showcases what Antonoff does best: pair cheery melodies with bittersweet and even depressing lyrics. Here, he references his sister, who passed away at 13 from brain cancer, and the twin towers falling on 9/11. Subject matter aside, don’t you miss those days when Bleachers were unafraid of horns? — G.G.

54. Clairo – “Blouse”

“Blouse” was the first single released off of Clairo’s Sling, and it marked an inward shift for the young indie pop artist. Antonoff’s work on “Blouse” is far from his kitchen sink, ‘80s-forward style of pop — instead, it’s pared down, devastatingly intimate, and raw. — P.R.

53. Kevin Abstract – “Corpus Christi”

Arizona Baby gave Abstract the chance to explore a more polished product than the more experimental work that tends to emerge from BROCKHAMPTON. On “Corpus Christi,” he unpacks some of the details of life in the amorphous group, specifically around the departure of member Ameer Vann, who was fired from the group following domestic abuse allegations. If part one of Arizona Baby is a broader focus, “Corpus Christi” is the point in the album in which the lens starts to narrow. — M. Siroky

52. Lana Del Rey – “hope is a dangerous thing for a woman like me to have – but i have it”

The product of Antonoff’s very first recording session with Lana Del Rey, “hope is a dangerous thing for a woman like me to have – but i have it” is as languorous and sultry as its amusingly long title suggests. Attention seems to have been paid to the lyrics, and the underwater dreamscape it conjures is all-consuming. When discussing the song, Antonoff has said that he and Del Rey emerged from the session with a “perfect vocal,” and the final product had “sounded exactly like that in the room.” — M. Siroky

51. Kevin Abstract – “Baby Boy”

“Baby Boy” is pure poetry. The track sees Kevin Abstract unraveling fears both existential and tangible, musing on his legacy, faith, fame, and finding a place in the world. It’s deeply personal, melodic, and gentle, his internal monologue realized and accompanied by a strumming guitar and layered background vocals. “Baby Boy” was a chance for the deeply talented Abstract to look inward — and it wasn’t wasted. — M. Siroky

50. Clairo – “​​Amoeba”

“Amoeba” is a true highlight of Clairo’s Sling, and it’s a track that serves as an advancement on her previous record, Immunity. It’s one of the more vibrant songs on the album, and it leans beautifully into Antonoff’s pop-minded sensibilities, even when Clairo is toying with folk, classic rock, and country styles. — P.R.

49. Bleachers – “Stop Making This Hurt”

The official lead single from Bleachers’ Take the Sadness Out of Saturday Night, this song has it all. Syncopated piano! Gang vocals! Nostalgic songwriting! References to the title of the album! Though he’s been spending some time in the woods with Taylor Swift and on the Cali beach with Lana Del Rey, “Stop Making This Hurt” proves Jack can still deliver a pop banger that’s begging for a live crowd. — J.P.R.

48. St. Vincent – “Happy Birthday, Johnny”

People love to talk about films in which New York City feels like a character, but what about songs where that’s the case? If that discussion were ever to catch, “Happy Birthday, Johnny” would have to be included in the conversation. A tragedy in just over two and a half minutes, the song is chilly and yearning as a gray, slushy NYC morning in February. For a song with “happy” in the title,” it’s one of the saddest in St. Vincent’s entire catalogue. — M. Siroky

47. Bleachers – “Hate That You Know Me”

Antonoff dives deep into pop territory with “Hate That You Know Me,” calling in backup from the Canadian Pop Queen herself, Carly Rae Jepsen. Synths, mixed with Carly’s harmonies, create a song with so much pop sugar the sweetness can’t be ignored. Juxtapose that with a crushing lyric (“sometimes I hate that you know me so well, some days, I wish I wasn’t myself”) and you’ve got the recipe for a patented Jack Antonoff product — guaranteed fresh! — J.P.R.

46. Lorde – “Solar Power”

“Solar Power” isn’t one of the best songs on this list, because it’s definitely not one of Lorde’s best songs. As the track that marked her return to music after four years, anticipation was high. Ultimately, the takeaway from “Solar Power” is that she seems happy. That’s enough to make us happy, too. It’s light, bouncy, and nonchalant. Known for her introspective lyrics and innovative production choices, she has chosen to return to the scene decked in yellow and grinning at the camera. — M.S.

45. FKA twigs feat. Future – “holy terrain”

“holy terrain” features a truly star-studded cast: FKA twigs and Future lay down the vocals, while Antonoff and Skrillex lead the production. Kenny Beats, Arca, Sounwave, and Poo Bear are just a few more big names that played a part in the song’s creation. With so many genreless artists colliding, it’s no surprise that “holy terrain” is a one-of-a-kind pop/R&B song, at once feminine, masculine, dreamy, punchy, moody, and sexy. — C.S.

44. Taylor Swift – “Babe (Taylor’s Version) (From the Vault)”

Tinged with a definite “Taylor of the past” timestamp, this “From the Vault” track receives a lift from the touches of some unexpected horns and a breakdown on the bridge. Coupled with Swift’s penchant for an addictive melody and call-and-response moments, and it becomes a joy that Swift and Antonoff pulled this one out of the vault after all. — M. Siroky

43. Lorde – “Hard Feelings/Loveless”

Pop medleys, when done right, can be absolute treasures, and “Hard Feelings/Loveless” is one of them. Sure: go ahead and sample the iconic drum fill from Phil Collins’ “In The Air Tonight,” toss in some glitchy beats, distorted synth, light strings, and an unhealthy dose of devastation. What’s that? It sounds great? Whatever, Jack Antonoff, you don’t have to brag about it. — M. Siroky

42. Taylor Swift – “Death by a Thousand Cuts”

In the midst of her well-deserved bliss with Joe Alwyn, Swift revealed that “Death by a Thousand Cuts” was the first breakup song she was able to write after finding her happily ever after. The heartbroken torch song remains one of the strongest examples of the superstar’s ability to craft a story on Lover, and Antonoff’s atmospheric production choices augment the feelings of uncertainty and grief as Taylor asks the stop lights along her way whether things will ever be OK. (Never fear: as her personal life proves, the answer is a resounding “yes.”) — G.R.

41. Bleachers – “Like a River Runs”

The final single from Strange Desire, Antonoff leans headfirst into the art of the power pop anthem. In the 2015 reimagining of the song (as a part of the criminally underrated project Terrible Thrills, Vol. 2), Sia jumps on for a compelling version with vocals soaring over a more understated production, which ended up being the most commercially successful of all the 2015 re-recordings. — J.P.R.

40. Taylor Swift – “Look What You Made Me Do”

To say reputation’s lead single was polarizing upon first listen is a rather massive understatement, but four years on, the old Taylor still can’t come to the phone and no one’s listening to the haters. With a genius use of Right Said Fred’s kitschy 1991 classic “I’m Too Sexy,” Jack helped Taylor craft a sleek and sneering sonic backdrop that provided the perfect (non-tilted) stage to help her rise up from the dead, take back the narrative and successfully resurrect her reputation. — G.R.

39. Lana Del Rey – “Let Me Love You Like a Woman”

The lowkey “Let Me Love You Like a Woman” was the first official hint of LDR’s Chemtrails Over the Country Club era. Though not much time had passed since 2019’s Norman Fucking Rockwell!, when the first chords of that sparse guitar kicked in, dammit if we weren’t immediately sipping the Chemtrails Kool-Aid (while lying poolside in a chaise lounge, of course, wearing vintage diamonds despite the obvious impracticalities). — G.G.

38. Bleachers – “45”

“45” was initially released along with “Chinatown” in 2020, and it’s easy to see why Bleachers thought to release them as a duo. Jack Antonoff takes on this song acoustically, just vocals and a guitar, allowing his expert songwriting to shine. The driving guitar and catchy chorus take you straight to your best friend’s car, windows down, flying down the road, yelling at the top of your lungs. — J.P.R.

37. Jack Antonoff, MØ – “Never Fall In Love”

Danish singer MØ sounds right at home on this electro-pop cut, which appears on the soundtrack for Love, Simon, and which never fails to beam directly into the pleasure center of your brain. For that, you can credit Antonoff, who generously ladles out glittering ‘80s synths. — G.G.

36. Zayn, Taylor Swift – “I Don’t Wanna Live Forever”

The days in which Fifty Shades of Grey could pull names like Taylor Swift, Zayn, and The Weeknd feel like a fever dream. Zayn and Swift might have been an unexpected pairing at the time, but the result of their partnership, “I Don’t Wanna Live Forever,” went on to receive a Grammy nomination. Swift, fully in her reputation era, gamely picks a dark persona to play with, matching Zayn’s moody vocals with a little sultriness of her own. — M. Siroky

35. Lana Del Rey – “Norman fucking Rockwell”

The title track from Del Rey’s sixth studio album is a rich and beautifully indulgent song. With some delightfully scathing lines like, “Your poetry’s bad and you blame the news,” and, “You talk to the walls when the party gets bored of you,” it marked the beginning of her partnership with Jack Antonoff. His cinematic, Laurel Canyon-inspired arrangement fully abandons percussion for the sake of letting Del Rey take the reins, and the way the orchestra takes over in the end as her voice fades out feels like that of a dream. It’s some of his most inspired and ambitious production work to date, and it marked a new height for his brand of thoughtful and tasteful pop. — P.R.

34. Clairo – “Reaper”

“Reaper” features some of Clairo’s most vulnerable and mature lyrics. There is a great deal of tension between the apathy and disappointment she feels about the expectations of womanhood and the gentle, folk-patterned atmosphere she creates behind it — it’s almost as if Clairo is singing a lullaby to herself, rather than her future child. It’s a brilliantly layered and exceptional song from the young artist, and it’s one that encapsulates the beauty of Sling. — P.R.

33. Troye Sivan feat. Betty Who – “Heaven”

No song in modern pop music captures the struggle of every young LGBTQ person who’s ever had to reconcile their long-repressed identity with the homophobic doctrines they were taught in church quite like “Heaven.” Antonoff’s stuttering, stop-start production perfectly mirrors the confusion, doubt, and heartbroken yearning of Troye Sivan and Betty Who’s desperate prayer as they reckon with an inner war of self and salvation. “Without losing a piece of me, how do I get to heaven? Without changing a part of me, how do I get to heaven?” The two Aussie pop stars plead, though thankfully, by the end of the chorus they’ve realized that if they can’t be fully and authentically themselves, maybe it’s not the kind of heaven they want. — G.R.

32. Florence + The Machine – “Choreomania”

A song with a repetitive pop rhythm about dancing one’s self to death? Yeah, that’s right up Antonoff Alley. He has a gift for a driving track that builds from soft repetitions into a multi-layered exuberance, and “Choreomania” is a prime example of how well that can work. (Also, “You said that rock and roll is dead/ But is that just because it has not been resurrected in your image?” is just such a direct shot of a killer line.) — B. Kaye

31. Taylor Swift – “Anti-Hero”

“It’s me, hi, I’m the problem,” is a line from “Anti-Hero” that is probably destined to become ubiquitous along the lines of old Taylor being unable to come to the phone. “Anti-Hero” is a very self-aware and, at times, incredibly funny look at Swift’s interior monologue, seeing her work through insecurities, pressures, and the stress of being as wildly famous as she is. She unpacks her own mythology, highlighting her tendency to leave hidden clues and secret messages, leaning into her own unhinged nature in all the best ways. Antonoff’s production takes a backseat here — the spotlight is on Taylor and the story she’s telling. — M. Siroky

30. Taylor Swift – “my tears ricochet”

On folklore’s all-important Track 5, Antonoff constructs a kind of sonic ghost story — complete with funeral procession populated by a spectral backing choir of Swift-like apparitions. The hushed, grief-stricken scene provides the perfect opportunity to rise from her open casket and (allegedly) take haunting aim at a particular cog in the, ahem, big machine of her past. That plot may sound like the stuff of urban legends, but years from now, on a dark and quiet night, Swifities will still be listening for the familiar tune of their icon’s stolen lullabies off in the distance. — G.R.

29. St. Vincent – “Los Ageless”

The antithesis to Masseduction‘s “New York” is the hypnotic “Los Ageless,” which features one of Annie Clark’s catchiest choruses ever, as she deftly employs antanaclasis: “​​How can anybody have you?/ How can anybody have you and lose you?/ How can anybody have you and lose you/ And not lose their mind, too?” — G.G.

28. Taylor Swift – “betty”

Let’s get one thing out of the way: “betty” is all about the harmonica. Yes, there are callbacks to cardigans, rumors from Inez, and grand gestures in the garden, but James’ desperate hail Mary at Betty’s party is tied together with the help of the folk music staple — effectively turning the song into a piece of pop lore that teenagers will surely be passing from first loves to future generations for decades to come. — G.R.

27. The Chicks – “Tights on My Boat”

In stark opposition to the scathing accusations at its center, everything about this Gaslighter standout is cheekily clever and approached with a snarky sense of humor. As Natalie Maines lays bare all the literal gaslighting, cheating, and betrayal she endured in her former marriage (“Remember when you wouldn’t come away with me?/ Sent your mom instead, yeah that was a real thing…”), her indignation is mirrored in every pluck of her ukelele, along with the winking bass line and Strayer’s jaunty fiddle. The Chicks’ frontwoman may hope her ex-lover gets what’s coming to him, but it’s safe to say fans got the much better end of the bargain with this gift of karmic retribution. — G.R.

26. Bleachers – “Don’t Take the Money”

Seemingly tailor-made for a John Hughes film, Antonoff wrote “Don’t Take the Money” with Lorde (who offers uncredited background vocals) during a late-night studio session. Despite its simple composition, it’s the type of song that feels full of boundless emotion, evoking the euphoria of meeting a potential partner you know right away you want to stick around. — A.J.

25. Lana Del Rey – “The greatest”

On “The greatest,” Lana Del Rey raises the question: What if the apocalypse we’re all so afraid of is already here? On the somber Antonoff-produced track, Del Rey mourns a fizzling romance in terms of endless pop culture references: the 2018 California wildfires, her feud with Kanye West, listening to David Bowie and the Beach Boys. It all wraps up in the track’s most unforgettable lyric: “The culture is lit, and if this is it, I had a ball.” — A.J.

24. Taylor Swift – “Cornelia Street”

One of the most affecting and romantic songs to ever spring from Swift’s pen, “Cornelia Street” walks a delicate line between all kinds of emotions — equal parts hope and fear, dawning recognition that you need someone and sinking panic that that same person might one day slip away. Antonoff’s fluttery synths, steady piano, and slapping percussion only add to the emotional juxtaposition, leaving the listener with a case of the feels sure to last longer than the amount of time it takes to wander down a tiny, hidden street in the West Village. — G.R.

23. Bleachers – “Shadow”

In Antonoff’s solo work, the mythos of the “shadow” makes its way into many of his songs. It’s in the title of his annual New Jersey music festival (Shadow of the City), he’s sung about the metaphorical shadow in all three Bleachers albums, and it even subtly appears in his black-and-white-themed album covers.

“Shadow” appears on the first Bleachers album, and throughout, Antonoff declares his commitment to “loving your shadow” — a promise to love, cherish, and continue on, even through the darkest moments. Inspired by a New Yorker article, as well as his friend Sara Quin of Tegan and Sara, it’s a sweet and appropriate sentiment for Antonoff’s ‘80s-indebted project, and the challenge that the “shadow” presents beyond this euphoric track is fascinating to consider. — P.R.

22. St. Vincent – “Masseduction”

A robo-funk track with an iconic roaring guitar riff, “Masseduction” is a moody, and undeniably sexy, ode to female pleasure in all its forms. Listen to the way all those vocal screeches and guitar rides play off the electronic modulations in the chorus; that’s the kind of crack-pot structure Antonoff can excel at when he’s on a roll. “I hold you like a weapon /I don’t turn off what turns me on,” Annie Clark sings, and you can almost hear her stepping on the necks of anyone who dares to get in her way. This is what St. Vincent playing with pop should sound like. — A.J. & B. Kaye

21. P!nk – “Beautiful Trauma”

For the title track of P!nk’s underrated 2017 effort Beautiful Trauma, Antonoff crafted an opener that’s part piano ballad, part electro-pop banger, all earnest, heart-wrenching love. The object of the pop star’s affection might be her “perfect rock bottom,” but “Beautiful Trauma” soars as one of the most sorely under-appreciated singles in P!nk’s jam-packed discography. — G.R.

20. Lorde – “Liability”/”Liability (Reprise)”

Arguably the most heartbreaking song in Lorde’s (or Antonoff’s) catalog, “Liability,” and its reprise, follows the gut-wrenching aftermath of being told you’re “a little much” for somebody. Its final lines, however, carry a peculiarly optimistic ambiance: “You’re all gonna watch me disappear into the sun,” Lorde sings. After all, it takes a brave soul to fly so close to the sun.— A.J.

19. Carly Rae Jepsen – “Want You In My Room”

Carly Rae Jepsen has always deserved more. She just gets it — and “Want You In My Room” marks an instance when Antonoff completely got it, too. From the opening drums at the jump to the crunchy, spoken chorus, “Want You In My Room” dials into the ‘80s sounds that made Dedicated land. Plus, any song with room for a saxophone solo simply can’t be bad. — M. Siroky

18. Florence + The Machine – “King”

“King,” from Florence + the Machine’s excellent Dance Fever, reminded us of Florence Welch’s songwriting prowess, as well as the way Jack Antonoff can elevate an indie rock tune. The album’s opening track has the heart of a power-pop tune and the sonics of a disco-influenced indie anthem. In other words, it’s a perfect match for Jack Antonoff.

Like the best Antonoff-adjacent songs, “King” is a triumphant track with an explosive structure. “I am no mother/ I am no bride/ I am King,” Welch asserts over the somewhat stripped-back, building instrumental. Then, after two-and-a-half minutes, a drum fill brings us into a climax so cathartic Welch has no words, only emotive vocalizations. With harps playing her out in the outro, it’s a truly epic way to start an album. — J.K.

17. Taylor Swift – “Getaway Car”

If it’s true that nothing good starts in a getaway car, what does that say about this fan-favorite reputation cut? Propulsive production makes you practically feel the city lights pulse by in a flash as Taylor and her soon-to-be-betrayed partner in crime fly down the freeway making their daring escape. For this jet-set Bonnie and Clyde, X marks the spot, indeed. — G.R.

16. Lana Del Rey – “Happiness is a butterfly”

If happiness is, indeed, an elusive butterfly, the next best thing may be this NFR! deep cut’s melancholy chord progression. Paired with tossed off incredibly quotable lyrics like, “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?”, Antonoff’s dueling piano and keyboards give Lana’s wallowing pain a soft place to land. — G.R.

15. Taylor Swift – “All Too Well (10 Minute Version) (Taylor’s Version)”

Red (Taylor’s Version) was a treasure trove of a re-release. The beloved autumnal album took on a new poignancy with the updated release from Swift, and the expanded version of favorite b-side “All Too Well” felt like the axis on which so much of the excitement hinged.

The track might’ve been a bit different from what listeners expected — spoken of which near reverence for years, the alleged 10-minute version of the song took on an almost mythical quality among Swifties, and it was clear with knockout lines like, “I’ll get older but your lovers stay my age” that this wasn’t necessarily a song Swift had been sitting on for years — but that didn’t make the final product, or the accompanying short film, any less impactful. — M. Siroky

14. Taylor Swift – “New Year’s Day”

Like many other songs on this list, the beauty of the production on “New Year’s Day” is in its simplicity. reputation, a largely misunderstood album, is often maligned and regarded as a misstep for Swift, which can be confusing when discussing a collection that includes tracks like this one. It’s what people love most about Swift: honesty, reliability, and a little bit of sweet nostalgia. The sparse production makes it feel like Swift could be sitting at the piano in the living room.— M. Siroky

13. Taylor Swift – “the lakes”

Though it started life as a swelling, orchestral coda to folklore, Antonoff followed Taylor’s lead in paring “The Lakes” down to its more rustic final product — further proving that one of the New Jersey native’s greatest strengths as both a collaborator and producer is often his ability to simply help each artist bring out the best in their own work. (Also, we obviously had to put Taylor in the thirteenth spot on this list.) — G.R.

12. Lana Del Rey – “Mariners Apartment Complex”

Del Rey has described the moment that inspired “Mariners Apartment Complex” as a time when a man she was seeing alluded that they were both “messed up.” But Del Rey has never enjoyed being put into boxes: “They mistook my kindness for weakness /I fucked up, I know that, but, Jesus /Can’t a girl just do the best she can?” — A.J.

11. Taylor Swift – “Out of the Woods”

When Taylor dropped “Out of the Woods” a few weeks before the release of 1989 in the fall of 2014, it sounded completely unlike any song she’d ever written. The newly-country-turned-pop star’s early collaboration with Antonoff arrived in screaming color, updating her fifth album’s ‘80s-inspired aesthetic for the 21st century thanks to the producer’s booming pop programming and howling background vocals. The single was the first time Swift had ever written lyrics to a track conceptualized by Antonoff, but it certainly wouldn’t be the last in their continuous and fruitful partnership. — G.R.

10. Lorde – “Supercut”

It’s difficult to pinpoint what makes “Supercut” so special. It’s not the song that put Lorde on the map (that would be “Royals”), the song that many point to as the peak of her artistry (“Ribs”), or the song that brings tears (“The Louvre,” probably) — but there is a timelessness to “Supercut” that conjures up main character energy. Listening to “Supercut” is the euphoria of sprinting down the street, dancing among strangers and friends, or escaping the rain right before the downpour. It feels like a homecoming.

The irony is that “Supercut” is mourning love lost, and there’s a beauty in the fact that the song doesn’t feel particularly sad. It’s a reminder that joy can come out of endings, too. There are always more stories to be told, and throughout “Supercut” Lorde so clearly asserts that life isn’t made of just neat montages. It’s the good, the bad, the hopeful, and the unknown. — M. Siroky

09. The Chicks – “Gaslighter”

“Gaslighter” is a tour-de-force of a song, and it’s one that rivals their 15-year-old, Grammy-winning single “Not Ready To Make Nice.” Antonoff roots the song in a stomp-your-boots thump that recalls the folk-centered indie pop of 2012, but without any of the whistles or “heys!” Instead, it’s all about The Chicks and what they have to say. — P.R.

08. Bleachers – “Rollercoaster”

As far as singers go, Antonoff wouldn’t distinguish himself at a second-rate karaoke bar. But by the ghost of John Hughes, his lyrics tremble with teen angst. “Rollercoaster” is full of vague-yet-evocative doozies. “We took the bones out from the road,” he coos, “Those endless nights that we traveled we stole/ You let your clothes fall to the floor/ And lit a fire while I waited for more.” Here, “What does it even mean?” is the wrong question. The lines are urgent, horny, and more than a little sad, and as any high schooler could tell you, that combination can be overwhelming, even if it doesn’t mean anything at all. — W.G.

07. Lorde – “Perfect Places”

Written during a violently hot summer in New York, “Perfect Places” is about how teenhood is anything but perfect. The Melodrama single is a gorgeous mix of euphoric instrumentation and Lorde’s soaring vocals — though the lyrics might dredge up painful memories for anyone who’s experienced the embarrassment and cruelties of being nineteen. “My life was like a weird little Etch A Sketch I kept scribbling on and resetting,” Lorde said of writing the track. “I couldn’t shake the feeling that everyone I knew or saw was searching for something — trying to transcend the news and the screaming pavements, drinking that one drink hoping it’d get them someplace higher.” Sometimes, everything you need is right here on the ground. — G.G.

06. Bleachers – “I Wanna Get Better”

For many, this was the first introduction to Jack Antonoff the artist, as opposed to Jack Antonoff the guy from Fun. but not the one who sings but also the guy who’s dating Lena Dunham somehow? Impressions aside, “I Wanna Get Better” was a thesis statement for Antonoff at the time, an optimistic anthem about self belief and the ability to make something amazing. With glitchy piano sounds, a decidedly huge chorus, and a pretty spectacular vocal performance from Antonoff, eight years later you can tell that this is the high he’ll be chasing with Bleachers for a long, long time. — P.R.

05. Taylor Swift – “Cruel Summer”

All together now: “‘Cruel Summer’ should have been a single!” The sparkling Lover standout remains a universal fan favorite among Swifties old and young (just ask Olivia Rodrigo where she got the inspiration for “Deja Vu”…), and its undeniable appeal is as much a credit to Antonoff’s throbbing synth-pop soundscape as it is to St. Vincent’s guitar and Swift’s explosive, shout-along bridge. The only missing pieces of the puzzle are a technicolor, summer-ready music video and the unforgettable experience of seeing Taylor perform the song at Lover Fest that we never got… — G.R.

04. 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. It’s stripped down and intentionally simple, serving as a dual eulogy: the song mourns both a lost lover and lost places within the titular city. The sparse production is critical in driving home the personal nature of the song. — M. Siroky

03. 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. There’s an appropriately vintage feel to the song that matches the waltz tempo, particularly in the percussion. Everything sounds open and inviting, echoing and reverberating enough to feel like a recording of a live performance. — M. Siroky

02. 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. It’s hard to deny that the two make a good team: the Melodrama era in particular makes sure of that. “Green Light” captures the magic of pop music in which ultra-specific experiences can suddenly become relatable. It’s enduring, a gem within Lorde and Antonoff’s partnership that has not lost its shine with time. — M. Siroky

01. 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! in (and it launched a thousand Instagram captions with “It’s me, your little Venice bitch”). One of the most ambitious and critically successful songs Antonoff has ever worked on, “Venice Bitch” clocks in at a whopping nine minutes and 37 seconds, and yet it can still feel too short, depending on how much time is left on your trip down the Pacific Coast Highway.

As Del Rey effortlessly delivers iconic lines like “fresh out of fucks forever” and “me myself, I like diamonds,” the opus warps, writhes, and contorts into the kind of golden fever dream you wish would last forever — and if a song capturing all that isn’t worthy of a No. 1 slot, what possibly could be? — G.R.

Every Song Produced by Jack Antonoff Playlist:

All 275 Songs Jack Antonoff Has Produced, Ranked From Worst to Best
Consequence Staff

Popular Posts

• Leslie Jordan Killed in Car Crash After Suffering Medical Emergency

• Kid's Impressive Street Performance of "Master of Puppets" Earns Props from Metallica: Watch

• Chris Rock and Dave Chappelle Announce Co-Headline US Tour

• Andy Dick Arrested for Felony Burglary After Allegedly Stealing Power Tools

• Anti-Woke Superhero Movie Falls Apart After Super-Theft of Funding

• James Corden Banned from New York Restaurant for "Extremely Nasty" Behavior

Subscribe to Consequence’s email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.