taylor swift

01 Dec 2025

Here’s Every Song Taylor Swift Wrote on Her Own

The pop superstar is the sole writer credited on more than 60 tracks.

Taylor Swift performs onstage during

Taylor Swift performs onstage during “Taylor Swift | The Eras Tour” at BC Place on December 06, 2024 in Vancouver, British Columbia.

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A prolific talent across country, pop and alternative – with even a little bit of rock and roll at times – Taylor Swift’s pen knows almost no bounds. From No. 1 singles to record-breaking tours, four Grammy wins for album of the year, and more accolades galore, her latest single “The Fate of Ophelia” from The Life of a Showgirl recently tied her longest leader on the Billboard Hot 100, Midnights’ “Anti-Hero,” for the most weeks on top with eight.

It’s important to note that Swift has a hand in writing all of her catalog – despite some accusations to the contrary. And throughout her career, a plethora of co-writers have worked with the pop superstar, including Jack Antonoff, Max Martin, Shellback, Ryan Tedder, Aaron Dessner, Liz Rose, Lana Del Rey, Florence Welch and even Zoe Kravitz, among many others.

But she’s also written a number of songs — 67 to be exact — all on her own. In fact, 10 of her 12 studio albums all have at least one song where she’s the only writer – Reputation and The Life of a Showgirl are the only two that don’t – and her third studio album, Speak Now, is even comprised entirely of works she wrote alone. And that goes for the vault tracks on Speak Now (Taylor’s Version), released in 2023 as well.

From her debut in 2006 to 2024’s The Tortured Poets Department, find every song she has a solo credit on, including one originally recorded by a different band (although it ended up as a vault track release), listed from the oldest original release to newest and accompanied by a standout Swift lyric below.

26 Nov 2025

10 Songs Taylor Swift Wrote for Movies, Ranked (Critic’s Picks)

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Taylor Swift is known for lending her talents to other artists — but the pop star has also shared plenty of original songs to some of your favorite movies.

Swift has appeared in several films: Amsterdam, Cats, The Giver, Valentine’s Day, and Hannah Montana: The Movie – the latter as herself. She even made a cameo on the Fox series New Girl.

Along with appearing in those films, the superstar has written songs for a few of them as well: She crafted two tracks from the Hannah Montana: The Movie soundtrack, one for Valentine’s Day, and one for Cats. Swift has also penned tracks for films she didn’t appear in, including two for the original Hunger Games, one for Britain’s Got Talent winner Paul Potts’ biopic One Chance, one for Fifty Shades Darker, one for her own documentary Miss Americana and one for Where the Crawdads Sing.

Blending her usual genres of country and pop, certain tracks were written directly for the films like “Beautiful Ghosts” and “Safe & Sound,” while others — like “Today Was a Fairytale” — she had in her vault and offered up for soundtracks. “I wrote that song last summer, and when this movie opportunity came about, I reached back into my pocket and thought, ‘I think this is perfect for the soundtrack. I hope it’s perfect for the soundtrack,’” she told The Tennessean back in 2010 of the Valentine’s Day song.

Of all the soundtrack cuts, “Today Was a Fairytale” and “I Don’t Wanna Live Forever” with former One Direction member ZAYN reached the highest chart peaks of her soundtrack cuts, each hitting No. 2 on the Hot 100.

Read below for a ranking of the songs she’s written for movies. And for more Swift rankings, check out all of her title tracks ranked, and all of her track fives ranked plus her biggest Billboard hits.


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24 Nov 2025

Here Is Every Taylor Swift Track 5, Ranked (Critic’s Picks)

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Taylor Swift’s diaristic writing lends itself to the poignant and emotive songs that run through her catalog. In particular, the tracks positioned in spot five on her albums have customarily been seen by fans as her most sensitive – something she later grabbed onto and ran with.

“Track five is kind of a tradition that really started with you guys,” Swift explained in a 2019 Instagram Live. “Because I didn’t realize I was doing this, but as I was making albums, I guess, I don’t know why, but instinctively I was just kind of putting a very vulnerable, personal, honest, emotional song as track five.”

“Because you noticed this,” she continued, “I kind of started to put the songs that were really honest, emotional and vulnerable and personal as track fives.” And during Folklore: The Long Pond Studio Sessions, Swift elaborated on the pressure she feels when choosing a number five. “Picking a track five is sort of a pressurized decision,” Swift told her frequent collaborator Jack Antonoff in the documentary.

On the 12 cuts, Swift employed a variety of co-writers, and penned two of them on her own (“Dear John” and “my tears ricochet”). Liz Rose and Max Martin each appear as writers on three songs (Rose with “Cold as You,” “White House,” and “All Too Well’; Martin with “All You Had to Do Was Stay,” “Delicate” and “Eldest Daughter”). Antonoff (“The Archer,” “You’re on Your Own, Kid”), Shellback (“Delicate” and “Eldest Daughter) and Aaron Dessner (“tolerate it” and So Long London”) each are credited on two. Dessner’s twin Bryce also joined for “tolerate it.”

Read below for all of Swift’s track fives ranked. (And while some count “How Did It End?” from The Tortured Poets Department: The Anthology in the special club, it sits as number 21 on the second half of the double release – although the self-reflective cut certainly fits the theme.)

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17 Nov 2025

Here Are All of Taylor Swift’s Title Tracks, Ranked (Critic’s Picks)

Swift recorded namesake songs for seven of her 12 studio albums.

Taylor Swift,

Taylor Swift, “Lover”

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With 12 full-lengths under her belt, Taylor Swift has released seven albums that include songs that reflect each album’s name: “Fearless,” “Speak Now,” “Red,” “Lover,” “evermore,” “The Tortured Poets Department” and “The Life of a Showgirl.” Right now, only three – “Fearless,” “Red” and “Lover” – became official singles. The rest linger in the deep cuts, but certainly fan favorites, of her work.

Spanning her career from 2008’s Fearless to 2025’s The Life of a Showgirl – currently enjoying its sixth week atop the Billboard 200 – her title tracks show the breadth and depth of her sonic evolution, from her country roots to her pop superstardom, with her signature storytelling lyricism on display.

(And don’t worry about the five albums without a title track: She shows them love in other ways. Debut doesn’t mention her name, but she later shouts herself out on both “22” from Red and “Clara Bow” from The Tortured Poets Department; 1989 never received a lyrical callback, but her famous introduction to its world tour does: “My name is Taylor and I was born in 1989!”; Reputation tracks “End Game” and “Delicate” as well as Speak Now’s “Superman” reference reputation; evermore’s “gold rush” includes “My mind turns your life into folklore”; and mentions of midnight abound throughout her catalog, but only “Anti-Hero” and “Midnight Rain” from Midnights and Rep’s “New Year’s Day” contain the actual word.)

Read below for Billboard’s ranking of the seven title tracks, as well as their peaks on the Billboard Hot 100. (And check out all of her lead singles ranked and her biggest Billboard hits too.)

13 Jun 2025

Taylor Swift and Travis Kelce Head to Florida for Stanley Cup Final

Swifties the world over have been rushing to scream “Take me to Florida” as Taylor Swift and partner Travis Kelce were seen in the southeast for the Stanley Cup Finals.

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Turning up for Game 4 on Thursday (June 12), the pair were in attendance at Sunrise’s Amerant Bank Arena to watch the Edmonton Oilers reign supreme over the Florida Panthers, with the 5-4 result coming via an overtime goal from Leon Draisaitl. 

However, with Swift and Kelce in the crowd, ice hockey was of least concern for fans of the musician, with announcers focusing on the pair to describe them as “musical and sporting royalty.” Likewise, even a photo of the pair taken during the game’s second period with Canadian hockey icon Wayne Gretzky failed to overtake the excitement generated by Swift’s presence.

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Per a recent report from People, Swift is currently staying with Kelce at his Florida residence while he’s in training for the upcoming NFL season. In February, the Kansas City Chiefs tight end made the decision that he would return to professional football for another season, with the upcoming season set to be his last under contract with the team.

Earlier this month, Travis and brother Jason spoke to former professional basketball player Shaquille O’Neal on their New Heights podcast, where the NBA icon suggested that Travis could follow in his footsteps of his DJ moniker Diesel and become an opening act for Swift.

“You know what [would be] crazy? You opening up with your girlfriend,” O’Neal suggested. “Bro, you’d be a f–king star. Ten minutes hyping up the crowd, oh my God.” 

“Come on, you know I’m a hype man,” Kelce said while laughing. “You know I’m a hype man. Get it rocking in there. Have the Swifties bouncing off the walls before T gets out there.”

03 Jun 2025

Taylor Swift Owns Her Masters Now – But Her Greatest ‘Taylor’s Version’ Song Ensures the Legacy of Her Re-Recordings

When Taylor Swift posted a photo of herself leaning back and smiling, her first six studio albums scattered in front of her, on Friday (May 30), the party was on.

Swift’s announcement that she had successfully purchased the master recordings of her first six albums, for an undisclosed sum from investment firm Shamrock Capital, was met with jubilation by her millions of fans. Swift finally had full control of her intellectual property, in a byzantine music industry where such ownership was incredibly difficult to come by, even for the biggest superstars. The importance of such artistic freedom was not lost on Swift, who rightfully treated the occasion as a hard-fought celebration in a letter to fans on Friday. “To say this is my greatest dream come true is actually being pretty reserved about it,” she wrote.

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As even casual pop culture observers likely know by now, Swift spent over a half-decade re-recording her back catalog to combat this previous lack of creative ownership, with Taylor’s Version albums of 2008’s Fearless, 2012’s Red, 2010’s Speak Now and 2014’s 1989 offering faithful re-creations under her domain. Not only did these re-recorded albums prove wildly successful – as fans rallied around the vision and motivation of their favorite artist, and helped 1989 (Taylor’s Version) score an even bigger debut than the original album – they also inspired real industry change, from other artists exploring ways to re-record their own material to label groups reworking standard contracts to prevent them from doing so.

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Still, the news that Swift had bought back her masters was met with some consternation about the future of the Taylor’s Version albums: Swift wrote that her 2006 self-titled debut was fully re-recorded, while Reputation (Taylor’s Version) was not. “Full transparency: I haven’t even re-recorded a quarter of it,” she wrote of her 2017 full-length.

So will the long-sought-after Reputation (Taylor’s Version) ever get completed? Will Taylor Swift (Taylor’s Version) receive a release date in the near future? What’s the point of a re-recorded album, now that Swift owns all of the original albums? And what do we do, moving forward, with the four Taylor’s Version albums that did get released?

We don’t know the answers yet, but we know how much the Taylor’s Version albums have already given us – including “All Too Well (10-Minute Version),” an irreplaceable linchpin recording in her catalog.  

We’ll see if and when this project gets completed, how the Taylor’s Version re-recordings will age, and what versions of her hits and deep cuts fans will gravitate toward in the future. But just because the battle is now over, it’d be shortsighted to declare all for naught. The four Taylor’s Version albums presented her back catalog to a new generation – helping first to prime fans for the globe-conquering, catalog-revisiting Eras tour, and then to help cement her career year while the trek was underway.

Plus, fans received over two dozen unheard “From the Vault” songs — castoffs from the original albums that Swift reworked to include on her Taylor’s Version releases. These previously unheard goodies across the bonus cuts on the four re-recordings ranged from collaborations with Maren Morris and Fall Out Boy, to a late-breaking radio hit in the effervescent Red (Taylor’s Version) dance-pop track “Message in a Bottle,” to another Hot 100 chart-topper in the wistful “Is It Over Now?,” from 1989 (Taylor’s Version).

Which brings us to the greatest “From the Vault” song, and the one that stands as the greatest musical legacy of the entire re-recording project. When Red was released in 2012, the five-and-a-half minute “All Too Well” was positioned on the track list as an extended songwriting showcase in between shorter, more radio-friendly pop singles like “I Knew You Were Trouble” and “22.” While those hits helped Swift transition to pop superstardom with 1989 two years later, the power of “All Too Well” as a richly detailed examination of a failed relationship endured, becoming a fan favorite in the years following Red. 

The song, and its cult status, also marked an important inflection point for Swift as a storyteller. A year before Red (Taylor’s Version) arrived in 2021, Swift pivoted away from top 40 on Folklore and Evermore, using an indie-folk aesthetic to explore different characters and narratives with the same care as one of her fiercely embraced album cuts.

A 10-minute version of “All Too Well” had long been teased, and the release of Red (Taylor’s Version) proved to be the perfect occasion for its unveiling. Any Swift purist could have been reasonably worried about the decision to nearly double the length of one of her best-loved songs. Yet the supersized version of “All Too Well” was not overstuffed — instead, “All Too Well (10-Minute Version)” towers above the original. Expanding the song’s world of stray thoughts and heartbreak totems while expertly navigating the story’s twists and turns, Swift turned a for-the-fans album cut into an authoritative epic.

With 10 minutes to work with, Swift lets each new detail of “All Too Well” simmer without building to a boil. The profane keychain that gets tossed her way, her subject’s refusal to “say it’s love,” the inquisitive actress, the charming chats with her father, the heartbroken 21st birthday — each new line is woven into the tapestry of a reflection that already exists, and Swift delivers them with varying degrees of frustration and regret.

Most of Swift’s songs wouldn’t improve if pushed to the 10-minute mark, but the structure of “All Too Well” — verses stacked upon one another, chorus lyrics shapeshifting to reflect her curdling emotion — allows for the bulked-up format. By the time the song starts to fade out with the refrain “Sacred prayer, I was there, I was there,” the passage of time is made explicit, as Swift’s recollections are stored in a time capsule that needed to be made a little bit bigger. Sure, there are new Easter eggs for fans to pore over and peruse – but nothing about “All Too Well (10-Minute Version)” feels forced, and that’s why it provoked such a strong reaction upon its release.

All Too Well: The Short Film, written and directed by Swift, was released along with the 10-minute version, and she performed the song in full on Saturday Night Live the day after its release. With so much pre-release hype and release-weekend promotion, “All Too Well” shot to the top of daily streaming charts immediately – and one week later, the song sat atop the Hot 100, the first Taylor’s Version track to come anywhere close to the chart’s peak. The flashpoint of excitement around its release demonstrated Swift’s still-rising commercial power, about a year before she made it unignorable with the record-setting success of 2022’s Midnights. 

It also clued in countless casual listeners to one of her best songs. “All Too Well” isn’t just a fluky chart hit; the song now stands as a defining work for Swift, and an encapsulation of her legacy as a modern songwriter. In the future, critics, writers and historians will need a song to represent Swift’s cultural impact, and that song may very well be “All Too Well” – which simply wouldn’t have been the case without the Taylor’s Version moment.

That impact was on full display during the Eras Tour, where “All Too Well” was performed in its 10-minute incarnation as the final song in the Red portion of the show. Each night, stadiums full of Swifties sang along to its fourth, fifth and sixth verses, and bellowed “F—k the patriarchy!” with uninhibited glee.

Now that Swift’s Taylor’s Version project has entered a new phase of existence, those sing-alongs are worth considering as part of its legacy. “All Too Well (10-Minute Version)” wasn’t just a commercial ploy, or catnip for the critics. It’s now an anthem for all of us.

11 Apr 2025

Taylor Swift Is Taking Legal Action Against Kanye After Latest Rant, Allegedly

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The beef with Kanye West and Taylor Swift continues. Sources say she is taking legal action against him after his latest slander campaign.

Athlon Sports is reporting that Taylor Swift is considering taking her grievances with Kanye West to a court of law. Earlier this week, Ye took to X, formerly Twitter, and had another brain dump regarding why he has yet to perform at the Super Bowl Halftime Show. “I never was allowed to do the Super Bowl because of 3 moments,” Ye wrote. “George Bush don’t care about black people. The Taylor Swift movement moment. Wearing a MAGA hat. How it feel to be the best living and blocked from the main stage because of being ahead of my time.” Of course, this assumption that Taylor Swift is somehow blocking his big moment soon picked up traction.

The Daily Mail spoke to a source that is said to be close to the “Shake It Off” singer and claims that she is considering taking legal action against Kanye West. “This time he has gone too far,” the source said. “His claims are not just false they are defamatory. This isn’t just [West] gossiping. This is [West] sexually harassing a woman, defaming her and intending to cause harm to her and to her career.” The unidentified contact also says that her boyfriend Travis Kelce also wants to confront [Ye] “man to man.”

The Taylor Swift and Kanye story dates back to the 2009 MTV Music Video Awards when West interrupted her acceptance speech and proclaimed that it should have gone to Beyoncé. “Yo, Taylor, I’m really happy for you. I’mma let you finish, but Beyoncé had one of the best videos of all time!” Since then the two have gone on to make amends but it didn’t last very long. 

Taylor Swift has yet to formally speak on the matter.

10 Apr 2025

Kanye West Apologizes To Jay-Z, But Goes Wild On Taylor Swift

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Kanye West hopped online and had the internet on fire again, this time with a mix of remorse and recklessness.

Ye started off by issuing a rare apology to Jay-Z for past disrespectful comments about his kids. “I’m sorry JAY-Z,” he wrote. “I be feeling bad about my tweet but I still feel I gave my life to this industry and thought so many people were my family but when I needed my family on some real shit none of these rap n-ggas had my back.”

It looked like Ye was finally trying to patch things up with Hov… but in true Kanye fashion, the peace didn’t last long. In the very same breath, Ye came for Taylor Swift with some jaw-dropping claims that had social media shook. He accused the pop star of having a threesome with Justin Bieber and Harry Styles, and said he was heated he wasn’t included. “I’ll show you an example of racism. Justin Bieber and Harry Styles had sex with Taylor Swift from both sides and didn’t call me,” Kanye posted. “ON EVERYTHIIING THIS TWEET IS ONE THOUSAND PERCENT TRUE.”

Kanye has been wildin’ on Twitter for a very long time. Letting off reckless tweets with no filter. He’s callin’ people out, droppin’ crazy claims, and just disrespecting his peers like it’s nothing. From taking shots at Taylor Swift to name-dropping other artists in messy situations, Ye’s got the timeline in a frenzy. Some fans think he’s just being Ye, but a lot of people are fed up, saying he’s doing too much and he’s crossing the line.

Check out some of the other wild tweets Ye’s been firing off below.

20 Feb 2025

‘Evolving Away From Clip-Based Music:’ Why Hit Songs Got Longer in 2024

For several years, the consensus has been clear: Hit singles are getting shorter. Blame for this has fallen on shrinking attention spans, an environment of endless musical abundance in which songs must impress themselves on listeners quickly or risk being discarded, and the rise of short-form video platforms, which cause users to fall in love with 15-second sound snippets, rendering a full track irrelevant. 

In 2024, however, the average length of songs that cracked the top 10 on the Billboard Hot 100 actually rose by more than 20 seconds, to 3:40, according to Hit Songs Deconstructed. At the same time, the portion of top 10 hits that let over a minute pass before hammering home a chorus rose to its highest level in a decade, nearly 23%. 

While a single year of data doesn’t reverse a trend, it’s clear that longer hits have not been banished permanently from the upper reaches of the Hot 100. Five top 10s last year exceeded five minutes, including two apiece from Taylor Swift and Kendrick Lamar. These are the musical equivalents of doorstops, more than twice as long as the shortest top 10, Tate McRae‘s “Greedy.” And those hits seem downright laconic next to Drake‘s “Family Matters,” released in the middle of his venomous, no-holds-barred showdown with Lamar, which ran past 7:30. 

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Top songwriters and producers were cautiously optimistic about having more room to roam last year — and more freedom from the old adage, “Don’t bore us, get to the chorus.”

“The whole short-form thing has been pushed so hard,” says GENT!, who co-produced Doja Cat‘s “Agora Hills,” a hit that clocks in at 4:25. “The majority of the time, with short-form content, you need a gimmick, and I think music lovers are kind of tired of the gimmicks.”

“[An increase of] 20 seconds is significant,” adds the writer and producer Cirkut (Lady Gaga‘s “Abracadabra,” ROSÉ and Bruno Mars‘ “APT.”). “People may be tiring of the quick little TikTok thing.” 

On a spectrum between succinct and long-winded, Cirkut leans toward the former. “I do like to get to the hook,” he says. But he acknowledges that “sometimes, a longer verse keeps you waiting, and if it’s well-written, then it makes the chorus that much more satisfying.”

TikTok can certainly reward brevity as users fall hard for sonic morsels, even a verse or a hook from an as-yet-unwritten song. But perhaps counterintuitively, when “any catchy part of a song could be what grabs people’s attention,” this may end up loosening the constraints binding commercial songwriters, according to Matt MacFarlane, senior vp of publishing at Artist Partner Group. “Song length becomes less relevant,” adds Olly Sheppard, also a senior vp at APG. “Listeners already like the part they found on TikTok,” so they’re locked in regardless of how peculiar or meandering the rest of the track turns out to be.

This theory also got a vote of support from Evan Blair, who produced and co-wrote Benson Boone’s theatrical, heaving ballad “Beautiful Things,” which peaked at No. 2 on the Hot 100. (At three minutes on the dot, “Beautiful Things” was shorter than the average top 10 hit last year, but it did make listeners wait more than a minute before drenching them with a chorus.) “Now that teasing tracks [on TikTok and other social media platforms] is a thing, we often don’t introduce songs to the world chronologically,” Blair says. “If we draw people into the middle of the song, the journey to get there matters much less.”

While TikTok plays a prime role in music discovery, it is not the only factor influencing what songs become popular. Vincent “Tuff” Morgan, vp of A&R at the indie publisher peermusic, points out that many of the star artists and songwriters who released albums last year are now in the second half of their 30s. They have devoted fan bases, so they don’t live or die by viral trends: Instead, they can be confident that even if they take their time, legions of listeners will linger with them. 

“If you look at the chart, a lot of these are seasoned songwriters,” Morgan says. “The commonality is that the songwriters are a little more mature than the Gen-Z, TikTok generation.” Superstars like Swift, Lamar, Bruno Mars and Beyoncé, who combined for two dozen top 10 hits between them in 2024, are all 35 and up. 

Data from last year offers some support for Morgan’s theory. The average length of a top 10 hit was 3:40, and the average age of the lead artists on songs that exceeded 3:40 was around 35. That’s roughly five years more than the average age of the lead artists whose hits clocked in under 3:40. 

Not only that: 12 out of 18 of the top 10s that sprinted to the finish line in less than 3 minutes came from musicians under the age of 30. On the other end of the spectrum, Swift, who is 35, had seven top 10 hits longer than 3:40, and Lamar, age 37, had six.

This is all exciting for Dan Petel, who runs This Is Noise, a management company with a roster of songwriters and producers. For years, he’s been admonishing his clients, “stop sending songs that are just two verses and a chorus!” And now he believes, “happily, we’re evolving away from 15-second clip-based music.” 

“If you’re gonna have a great song,” Petel adds, “why would you want it to end so soon?”

14 Jan 2025

Taylor Swift and Benson Boone Rule Australia’s End Of Year Charts

It’s four years in a row for Taylor Swift, with the U.S. pop icon dominating Australia’s year-end charts once again, according to data published by ARIA

Swift has once more found her way to the top of the ARIA Top 100 Albums Chart, this time off the back of her massively-successful eleventh album, April’s The Tortured Poets Department. With results undeniably bolstered by her seven local shows as part of the record-setting Eras Tour, Swift is a constant presence in the year-end charts, making up 40% of the top ten.

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While The Tortured Poets Department sits at No. 1, 1989 (Taylor’s Version) appears at No. 5, with Lover at No. 7, and Midnights rounding it out at No. 10. Overall, she makes up 11% of the entire Top 100, with original or re-recorded versions of her entire discography (save for her self-titled debut) placed across the top 68 positions. Her 2014 album 1989 doubles up thanks to its original version placing at No. 68.

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It’s not a far cry from the results of last year either, where 1989 (Taylor’s Version) reigned supreme and was joined by the likes of The Weeknd, Morgan Wallen, SZA, and Harry Styles. In 2024, the top ten is rounded out by Billie Eilish‘s Hit Me Hard And Soft, Sabrina Carpenter‘s Short n’ Sweet, The Weeknd’s The Highlights, SZA’s SOS, Wallen’s One Thing At A Time, and Olivia Rodrigo‘s Guts.

The singles chart, however, belongs to U.S. singer-songwriter Benson Boone, whose “Beautiful Things” spent six weeks at No. 1 and has rarely been absent from the top ten since it first debuted. Boone’s success isn’t limited to Australia, with the track having topped numerous charts globally, and peaking at No. 2 on the Billboard Hot 100.

Shaboozey‘s “A Bar Song (Tipsy)” holds the silver medal position, with Carpenter’s “Espresso” closing out the podium finishes. Noah Kahan‘s “Stick Season” and Teddy Swims‘ “Lose Control” round out the top five, with Eilish’s “Birds Of A Feather” following closely behind. Irish musician Hozier‘s “Too Sweet” prevents a clean sweep for American artists, however, with his single hitting No. 8.

Swift’s influence also extends to the Singles Chart, with 2019’s “Cruel Summer” hitting No. 9 off the back of its 2023 viral success and single release. Miley Cyrus‘ “Flowers”, which topped the chart last year, also makes a return appearance, albeit relegated to a respectable No. 39.

Of note, however, is the lack of Australian artists that make up the Albums and Singles Charts. In the latter category, just 5% are home-grown, with Vance Joy’s 2013 single “Riptide” leading the charge at No. 24. Cyril’s reimagining of Suzi Quatro’s “Stumblin’ In” can be found at No. 29, while DJ and producer Dom Dolla‘s “Saving Up” splits the field at No. 50. The Kid LAROI closes out the local representation with “Nights Like This” featuring at No. 84, and his 2021 Justin Bieber collaboration “Stay” in at No. 96.

The Albums Charts, however, boasts only three Australian names – with only one being a studio release. While South Australian veterans Cold Chisel can be found at No. 44 with their 50 Years – The Best Of compilation, so too can INXS‘ Diamond-certified The Very Best be located down at No. 81. The Kid LAROI is once again the only point of difference, with his debut album – 2023’s The First Time – hitting No. 67.

Check out ARIA’s year-end singles and albums charts.