Would've, Could've, Should've

Last updated

"Would've, Could've, Should've"
Song by Taylor Swift
from the album Midnights (3am Edition)
ReleasedOctober 21, 2022 (2022-10-21)
Genre Soft rock
Length4:20
Label Republic
Songwriter(s)
Producer(s)
  • Taylor Swift
  • Aaron Dessner
Lyric video
"Would've, Could've, Should've" on YouTube

"Would've, Could've, Should've" is a song by the American singer-songwriter Taylor Swift. It is a bonus track originally released as part of the 3am Edition of her tenth studio album, Midnights (2022). Written and produced by Swift and Aaron Dessner, it is a new wave-leaning soft rock song about a narrator's rumination of a flawed, age-inappropriate romantic relationship in the past.

Contents

Music critics highly praised the lyrics, production, and emotional sentiments of the song, with some picking it as an album highlight. The song was included in 2022 year-end best-of lists by Business Insider , Rolling Stone , and Slant Magazine . It peaked at number 20 on the US Billboard Hot 100, number 21 on the Billboard Global 200, and charted in Canada, the Philippines, Portugal, Sweden, and Vietnam.

Background and release

On August 28, 2022, Swift announced her tenth studio album Midnights during her acceptance speech when she won Video of the Year for All Too Well: The Short Film at the 2022 MTV Video Music Awards. [1] The 13-track album was released at midnight on October 21, 2022, Eastern Time, on Republic Records. Three hours later, the 3am Edition of Midnights, which features "Would've, Could've, Should've" and six other songs, was surprise-released. [2] The song was also included on the Til Dawn and Late Night editions of the album that were released on May 26, 2023. [3] [4] Aaron Dessner, who had collaborated with Swift on her 2020 studio albums Folklore and Evermore , worked on four tracks of the 3am Edition, including "Would've, Could've, Should've". [5]

On May 8, Swift performed the song with Dessner during the Nashville stop as part of her sixth headlining concert tour, the Eras Tour. [6] "Would've, Could've, Should've" debuted and peaked at number 20 on the US Billboard Hot 100. [7] On the Billboard Global 200, it peaked at number 21. [8] The track peaked on singles charts including the Canadian Hot 100 (18), [9] the Portuguese singles chart (66), [10] the Philippines Songs chart (23), [11] and the Billboard Vietnam Hot 100 chart (96). [12]

Composition

Swift wrote and produced "Would've, Could've, Should've" with Dessner, who plays numerous instruments for the track including bass guitar, electric guitar, acoustic guitar, harmonica, synthesizer, and piano. [2] [13] Other musicians include Bryce Dessner (electric guitar), James McAlister (drums, synthesizer), Bryan Devendorf (drums), and Thomas Bartlett (keyboards, synthesizer). [13] The track's production features steadily building acoustic guitar, synthesizers, and distortion. [14] [15] Callie Ahlgrim from Business Insider described the genre as soft rock, [16] and Rolling Stone considered it a new wave-leaning song. [17] In The Oregonian , Lizzy Acker found the track containing "an almost-country vibe". [18] Commenting on the production, USA Today 's Melissa Ruggieri said it features "a galloping cadence and soaring chorus". [19]

In the lyrics, a narrator ruminates about a past relationship with an older man when she was 19 years old and how it still haunts her into adulthood. [17] [20] The narrator reflects on the relationship, "I damn sure never would've danced with the devil at 19 / And the God's honest truth is that the pain was heaven / And now that I'm grown, I'm scared of ghosts." [21] She examines how the trauma turned her memories into weapons ("I regret you all the time"), but also admits how it used to entertain her ("the God's honest truth is that the pain was heaven"). [16] [22] Religious references are prevalent ("You're a crisis of my faith" and "The tomb won't close, stained glass windows in my mind"). [23]

The bridge contains the lyric that some critics found striking and most cutting, "Living for the thrill of hitting you where it hurts / Give me back my girlhood, it was mine first", accusing the man of stealing her innocence, and abusing her emotionally and sexually. [16] [17] [23] Many critics viewed "Would've, Could've, Should've" as a loose sequel to Swift's 2010 song "Dear John", as both are about a teenage girl dealing with a relationship with an older man. [16] [24] [25] Rob Sheffield from Rolling Stone considered "Would've, Could've, Should've" "messier, more confused, more ambivalent". [26] In Slate, Carl Wilson said the song finds Swift "returning to stories that feel familiar, but with second thoughts". [27]

Reception

Many critics considered "Would've, Could've, Should've" the best track on the 3am Edition of Midnights, [14] [23] [28] and some commented that it even outshines the 13 tracks on the standard edition and questioned Swift's decision to include it as a bonus track. [16] [25] A few agreed with the song's status as a 3am Edition-only track because it stands out production-wise; [14] [25] Variety journalist Chris Willman added that the painful lyrics might tarnish the rather playful Midnights. [21] Wilson called the song a "killer" with intense lyrics that feel like "where she stays inside the house as it burns". [27] Quinn Moreland from Pitchfork picked it as one of the best songs of Swift's career, and praised the nuanced, mature perspective compared to the 2010 track "Dear John". [29] In The Atlantic , Shirley Li commented that despite the media gossip that surrounded the subject behind "Would've, Could've, Should've", the track would stand the test of time thanks to its emotional sentiments. [30] Acker was less complimentary; she deemed the track not as fun as other Midnights songs. [18] The song was ranked in year-end lists of the best songs of 2022 by Business Insider (1st), [31] Slant Magazine (24th), [15] and Rolling Stone (59th). [17]

Credits and personnel

Credits are adapted from Tidal. [13]

Charts

Chart performance for "Would've, Could've, Should've"
Chart (2022)Peak
position
Canada (Canadian Hot 100) [9] 18
Global 200 ( Billboard ) [8] 21
Greece International (IFPI) [32] 49
Ireland ( Billboard ) [33] 24
Philippines ( Billboard ) [11] 23
Portugal (AFP) [10] 66
Sweden Heatseeker (Sverigetopplistan) [34] 4
UK Audio Streaming (OCC) [35] 31
UK Singles Downloads (OCC) [36] 11
UK Singles Sales (OCC) [37] 15
US Billboard Hot 100 [7] 20
Vietnam (Vietnam Hot 100) [12] 96

Certifications

Certifications for "Would've, Could've, Should've"
RegionCertification Certified units/sales
Australia (ARIA) [38] Gold35,000
United Kingdom (BPI) [39] Silver200,000

Sales+streaming figures based on certification alone.

Related Research Articles

<span class="mw-page-title-main">Should've Said No</span> 2008 single by Taylor Swift

"Should've Said No" is a song written and recorded by the American singer-songwriter Taylor Swift for her self-titled debut studio album (2006). The song was released to US country radio as the album's fifth and final single on May 19, 2008, by Big Machine Records. Produced by Nathan Chapman, "Should've Said No" combines country rock, pop rock, and post-grunge with banjo and distorted guitars. The lyrics are about Swift's contempt for a cheating ex-lover.

<i>Folklore</i> (Taylor Swift album) 2020 studio album by Taylor Swift

Folklore is the eighth studio album by the American singer-songwriter Taylor Swift. It was a surprise album, released on July 24, 2020, via Republic Records. Following the outbreak of the COVID-19 pandemic in early 2020, Swift canceled the concert tour for her seventh studio album Lover (2019). She conceived Folklore during quarantine as "a collection of songs and stories that flowed like a stream of consciousness", working with producers Aaron Dessner and Jack Antonoff virtually; Dessner and Antonoff operated from recording studios in the Hudson Valley and New York City, respectively, while Swift recorded her vocals in a home studio at her Los Angeles residence.

"Peace" is a song by the American singer-songwriter Taylor Swift from her eighth studio album, Folklore (2020). Swift wrote the song with its producer, Aaron Dessner. According to Swift, "Peace" is her most personal song on Folklore. It has a minimal composition of a soft piano and harmonized guitars over an electric pulse, combining elements of R&B, funk, and jazz. In the lyrics, Swift's character pledges her commitment to a lover while acknowledging the downsides she might bring to their relationship.

"August" is a song by the American singer-songwriter Taylor Swift from her eighth studio album, Folklore (2020). Swift wrote and produced "August" with Jack Antonoff; Joe Alwyn was credited as a co-producer. A dream pop and guitar pop ballad, "August" features elements of soft rock in its guitars, strings, and vocal reverberation. In the lyrics, an unnamed female narrator expresses her sorrow over James, a 17-year-old boy who reconciles with Betty after a fleeting summer romance with her. She is a character involved in a love triangle depicted in three Folklore tracks, the other two being "Cardigan" and "Betty".

"Invisible String" is a song by the American singer-songwriter Taylor Swift from her eighth studio album, Folklore (2020). She wrote the song with its producer, Aaron Dessner. The lyrics are about how fate brings two soulmates together and refer to specific moments from their lives, containing references to the literature classics Jane Eyre and The Sun Also Rises. Musically, "Invisible String" is a folk tune with elements of blues, pop, and country. Its spare acoustic arrangement is driven by acoustic guitar strums on a rubber bridge and vocal backbeats.

"The 1" is a song by the American singer-songwriter Taylor Swift and the opening track from her eighth studio album, Folklore (2020). She wrote the song with its producer, Aaron Dessner. A folk and soft rock tune with elements of indie folk, "The 1" sets Swift's conversational vocals over a production consisting of piano and percussion. In its lyrics, the narrator fondly introspects a failed romance and details the time when she found "the one" who never came to be. Republic Records released the song for download in Germany on October 9, 2020.

<i>Folklore: The Long Pond Studio Sessions</i> 2020 American documentary concert film and live album

Folklore: The Long Pond Studio Sessions is a 2020 American documentary concert film directed and produced by the American singer-songwriter Taylor Swift, released on Disney+ on November 25, 2020. The documentary is set at Long Pond Studio, an isolated recording studio in a forested area in the Hudson Valley, New York; Swift performs all of the 17 tracks of her eighth studio album, Folklore (2020), whilst discussing the creative process behind the songs with her collaborators Aaron Dessner and Jack Antonoff. Swift made her debut as a film director with the documentary, which is her fourth film to be released on a streaming service, following the releases of The 1989 World Tour Live (2015), Taylor Swift: Reputation Stadium Tour (2018), and Miss Americana (2020).

<i>Evermore</i> 2020 album by Taylor Swift

Evermore is the ninth studio album by the American singer-songwriter Taylor Swift. It was a surprise album released on December 11, 2020, via Republic Records, less than five months after her previous studio album Folklore. Evermore was a spontaneous product of Swift's extended collaboration with her Folklore collaborator Aaron Dessner, mainly recorded at his Long Pond Studio in the Hudson Valley.

"Coney Island" is a song by Taylor Swift featuring the National, taken from Swift's ninth studio album, Evermore (2020). Swift, Joe Alwyn, and the National's Aaron and Bryce Dessner wrote the song, with the latter two producing it. Matt Berninger contributed guest vocals. Republic Records sent "Coney Island" to US adult album alternative radio as a single on January 18, 2021.

"Long Story Short" is a song by the American singer-songwriter Taylor Swift from her ninth studio album, Evermore (2020). She wrote the song with its producer, Aaron Dessner. "Long Story Short" is an upbeat song that consists of dynamic programmed and live drums, synths, strings, and guitars; music critics characterize the genre as synth-pop, electropop, folk-pop, and indie rock. The lyrics see Swift reminiscing about a dark part of her past and her contentment with a current state of mind.

"'Tis the Damn Season" is a song by the American singer-songwriter Taylor Swift from her ninth studio album, Evermore (2020). She wrote the song with Aaron Dessner, who produced it using an instrumental track he had written prior. "'Tis the Damn Season" is a folk song instrumented by a finger-picked electric guitar and programmed drums. Narrated from the perspective of a female character named Dorothea, the lyrics detail her returning to her hometown during the holiday season and engaging in a quickly-faded rekindled relationship.

"Nothing New" is a song by the American singer-songwriters Taylor Swift featuring Phoebe Bridgers. Swift wrote the song in March 2012 and produced it with Aaron Dessner for her second re-recorded studio album, Red , which was released in 2021 through Republic Records. The track is a guitar-led folk and alternative rock tune about anxieties over romance and growing up.

<i>Midnights</i> 2022 studio album by Taylor Swift

Midnights is the tenth studio album by the American singer-songwriter Taylor Swift, released on October 21, 2022, by Republic Records. Swift conceived it as a concept album about nocturnal ruminations inspired by her sleepless nights. The autobiographical songwriting explores broad emotions such as regrets, self-criticism, fantasies, heartbreak, and infatuation, using confessional yet cryptic lyrics that allude to her personal life and public image.

"Mastermind" is a song by the American singer-songwriter Taylor Swift, taken from her tenth original studio album, Midnights (2022). She was inspired to write it after watching the 2017 film Phantom Thread. Produced with co-writer Jack Antonoff, "Mastermind" is an electropop song featuring synth arpeggiators, layered vocal harmonies, and an expansive bass. Its lyrics are about a narrator confessing to a lover that they were the one who initiated and planned their romantic relationship.

"Maroon" is a song by the American singer-songwriter Taylor Swift from her tenth original studio album, Midnights (2022). Written and produced by Swift and Jack Antonoff, the lyrics contain references to different shades of red such as maroon, burgundy, and scarlet in order to describe the haunting memories of a long-gone relationship set in New York. Musically, "Maroon" is a ballad combining dream pop, synth-pop, and trip hop. Its ambient production consists of reverbed layered vocals, trap beats, and an oscillating electric guitar creating a sustained note throughout the track.

"You're on Your Own, Kid" is a song by the American singer-songwriter Taylor Swift, taken from her tenth studio album, Midnights (2022). Swift wrote and produced the song with Jack Antonoff. With a production combining alternative rock, pop rock, and synth-pop sounds, "You're on Your Own, Kid" is an upbeat song with muted guitars and synthesizers that gradually build up. In the lyrics, a narrator reflects on her coming of age, on how she dealt with an unrequited love and her career ambitions.

"Hits Different" is a song by the American singer-songwriter Taylor Swift. It was first released as a bonus track on the CD-only Lavender Edition of her tenth studio album, Midnights, on October 21, 2022. The track was released for download and streaming as part of the Til Dawn Edition on May 26, 2023. Written and produced by Swift, Jack Antonoff, and Aaron Dessner, its lyrics reflect on a past relationship and contain references to some of Swift's other songs. Critics complimented the humorous tone of its lyrics and found the production catchy.

"Bigger Than the Whole Sky" is a song written and recorded by the American singer-songwriter Taylor Swift as a bonus track for the 3am Edition of her tenth original studio album, Midnights (2022). Produced by Swift and Jack Antonoff, "Bigger Than the Whole Sky" is a country-influenced ambient ballad with ambiguous lyrics expressing grief and heartache over a person the narrator has never met.

"Happiness" is a song by the American singer-songwriter Taylor Swift, taken from her ninth studio album, Evermore (2020). She wrote the song with Aaron Dessner, who produced it using an instrumental track he had written since 2019. A midtempo ambient ballad, "Happiness" has piano, guitar and synthesizer instrumentation generated by a slow drone that build up. Its lyrics are about a narrator finding happiness after a divorce.

<span class="mw-page-title-main">You're Losing Me</span> 2023 song by Taylor Swift

"You're Losing Me" is a song by the American singer-songwriter Taylor Swift. She wrote and produced it with Jack Antonoff. The song first appeared as a bonus track on The Late Night Edition of Swift's 2022 studio album Midnights, released by Republic Records, in May 2023. The edition was only on CD and available for in-person purchase at certain venues of the Eras Tour for a limited time, following which the song was widely pirated on social media. It was released for streaming on November 29, 2023.

References

  1. Martoccio, Angie (August 29, 2022). "Taylor Swift Announces New Album Midnights: 'A Journey Through Terrors and Sweet Dreams'" . Rolling Stone . Archived from the original on August 29, 2022. Retrieved November 4, 2022.
  2. 1 2 Mier, Tomás (October 21, 2022). "Taylor Swift Surprises Fans With Midnights 3 A.M. Edition Featuring 7 Additional Songs" . Rolling Stone . Archived from the original on October 26, 2022. Retrieved November 4, 2022.
  3. Lonsdale, John (May 26, 2023). "From 'Til Dawn' to '3 a.m.,' Here's Where to Buy Every Edition of Taylor Swift's Midnights Online". Rolling Stone . Archived from the original on May 30, 2023. Retrieved August 27, 2023.
  4. "Midnights (The Late Night Edition) Digital Album". Taylor Swift Official Store. Archived from the original on May 27, 2023. Retrieved August 27, 2023.
  5. Willman, Chris (October 21, 2022). "Taylor Swift Releases Deluxe '3 am' Edition of 'Midnights' With Seven Bonus Tracks". Variety. Archived from the original on October 21, 2022. Retrieved September 6, 2023.
  6. Blistein, Jon (May 8, 2023). "Taylor Swift, Aaron Dessner Debut 'Would've, Could've, Should've' in a Downpour" . Rolling Stone . Archived from the original on May 8, 2023. Retrieved September 6, 2023.
  7. 1 2 "Taylor Swift Chart History (Hot 100)". Billboard. Retrieved November 4, 2022.
  8. 1 2 "Taylor Swift Chart History (Global 200)". Billboard. Retrieved November 4, 2022.
  9. 1 2 "Taylor Swift Chart History (Canadian Hot 100)". Billboard. Retrieved November 4, 2022.
  10. 1 2 "Taylor Swift – Would've, Could've, Should've". AFP Top 100 Singles. Retrieved November 4, 2022.
  11. 1 2 "Taylor Swift Chart History (Philippines Songs)". Billboard . Archived from the original on May 17, 2022. Retrieved November 4, 2022.
  12. 1 2 "Taylor Swift Chart History (Billboard Vietnam Hot 100)". Billboard . Archived from the original on June 6, 2022. Retrieved November 5, 2022.
  13. 1 2 3 "Credits / Midnights (3am Edition)" . Tidal. October 21, 2022. Archived from the original on January 6, 2023. Retrieved January 6, 2023.
  14. 1 2 3 Hudson, Alex; LaPierre, Megan (October 21, 2022). "Hot-Take Reactions to Taylor Swift's Midnights: A Return to Synthpop, Autobiographical Lyrics and the Word 'Fuck'". Exclaim! . Archived from the original on October 24, 2022. Retrieved December 8, 2022.
  15. 1 2 "The 50 Best Songs of 2022". Slant Magazine . December 6, 2022. Archived from the original on December 6, 2022. Retrieved December 7, 2022.
  16. 1 2 3 4 5 Ahlgrim, Callie (October 27, 2022). "The best song from Taylor Swift's Midnights is one she left off the actual album". Business Insider . Archived from the original on January 15, 2023. Retrieved November 4, 2022.
  17. 1 2 3 4 "The 100 Best Songs of 2022". Rolling Stone . December 5, 2022. Archived from the original on December 5, 2022. Retrieved December 7, 2022.
  18. 1 2 Acker, Lizzy (October 24, 2022). "Tracks on Taylor Swift's Midnights (3am Edition), ranked from slightly less best to best". The Oregonian . Archived from the original on November 22, 2022. Retrieved December 8, 2022.
  19. Ruggieri, Melissa (October 24, 2022). "Taylor Swift feeds fan frenzy by releasing seven additional songs from Midnights". USA Today . Archived from the original on December 24, 2022. Retrieved December 8, 2022.
  20. Bailey, Alyssa (October 21, 2022). "Taylor Swift's 'Would've, Could've, Should've' Lyrics Seem to Reveal Her John Mayer Romance Regret". Elle . Archived from the original on November 2, 2022. Retrieved November 4, 2022.
  21. 1 2 Willman, Chris (October 21, 2022). "Taylor Swift's 3 am Bonus Tracks, Reviewed: Peeks Into Prior Relationships Prove Fascinating, Even if She Was Right to Trim From Midnights". Variety . Archived from the original on November 1, 2022. Retrieved December 8, 2022.
  22. Jennings, Rebecca (October 21, 2022). "Every song on Taylor Swift's Midnights, explained". Vox . Archived from the original on October 26, 2022. Retrieved December 8, 2022.
  23. 1 2 3 Quinn, Rick (November 2, 2022). "Taylor Swift: Midnights (Album Review)". PopMatters . Archived from the original on November 4, 2022. Retrieved December 8, 2022.
  24. Dailey, Hannah (October 21, 2022). "Here's Why Swifties Think Taylor Swift Shaded John Mayer on Midnights". Billboard . Archived from the original on November 27, 2022. Retrieved November 27, 2022.
  25. 1 2 3 Wilson, Carl (October 21, 2022). "Taylor Swift's Midnights Is the Right Kind of Concept Album". Slate . Archived from the original on October 21, 2022. Retrieved November 27, 2022.
  26. Sheffield, Rob (October 26, 2022). "All 229 of Taylor Swift's Songs". Rolling Stone . Archived from the original on February 15, 2021. Retrieved December 8, 2022.
  27. 1 2 Hampton, Rachelle; Hampton, Susan; Wilson, Carl (October 25, 2022). "Is Taylor Swift's Midnights Great or Cringe? Four Generations of Fans Debate". Slate . Archived from the original on December 8, 2022. Retrieved December 8, 2022.
  28. Caramanica, Jon (October 21, 2022). "Taylor Swift, Caught Between Yesterday and Tomorrow on Midnights" . The New York Times . ISSN   0362-4331. Archived from the original on October 22, 2022. Retrieved November 11, 2022.
  29. Moreland, Quinn (October 24, 2022). "Taylor Swift: Midnights Album Review". Pitchfork . Archived from the original on October 24, 2022. Retrieved November 5, 2022.
  30. Li, Shirley (November 2, 2022). "Taylor Swift's Best New Songs Aren't Technically on Midnights" . The Atlantic . Archived from the original on November 3, 2022. Retrieved November 5, 2022.
  31. Ahlgrim, Cahllie (December 10, 2022). "The 20 Best Songs of 2022". Business Insider . Archived from the original on January 15, 2023. Retrieved December 10, 2022.
  32. "IFPI Charts". IFPI Greece. Archived from the original on November 2, 2022. Retrieved November 11, 2022.
  33. "Taylor Swift Chart History (Ireland Songs)". Billboard . Retrieved November 7, 2023.
  34. "Veckolista Heatseeker, vecka 43". Sverigetopplistan. Archived from the original on October 31, 2022. Retrieved November 4, 2022.
  35. "Official Audio Streaming Chart Top 100". Official Charts Company. Retrieved November 4, 2022.
  36. "Official Singles Downloads Chart Top 100". Official Charts Company. Retrieved November 4, 2022.
  37. "Official Singles Sales Chart Top 100". Official Charts Company. Archived from the original on October 31, 2022. Retrieved November 4, 2022.
  38. "ARIA Charts – Accreditations – 2023 Singles" (PDF). Australian Recording Industry Association . Retrieved September 13, 2023.
  39. "British single certifications – Taylor Swift – Would've Could've Should've". British Phonographic Industry . Retrieved February 15, 2024.