Billboard 200 peak: No. 5

Swift's self-titled debut is the only studio album in her catalog that hasn't reached No. 1 on the Billboard 200.

"Taylor Swift" debuted at No. 19 and scaled the chart for more than a year, peaking at No. 5 in 2008.

Billboard 200 peak: No. 1 for one week

Swift's seventh studio album was the first one that she owned outright, thanks to her new label contract with UMG.

"Lover" was promoted by several singles, including "You Need to Calm Down," "The Archer," and "The Man."

Four years later, after Swift kicked off the Eras Tour with "Cruel Summer" near the top of the set list, the fan-favorite song climbed to No. 1 on the Billboard Hot 100 and remained there for four weeks, becoming the album's biggest hit.

Billboard 200 peak: No. 1 for one week

The extended tracklist for "Red (Taylor's Version)" included the storied extended cut of "All Too Well," a longtime fan-favorite song in Swift's catalog.

"All Too Well (10 Minute Version)" was released alongside a short film directed by Swift and promoted by a convention-breaking performance on "Saturday Night Live." It became the longest song to reach No. 1 in the history of the Hot 100.

Billboard 200 peak: No. 1 for two weeks

"Fearless" was the first rerecorded album that Swift ever released.

The "Taylor's Version" series was inspired by the sale of Swift's masters to Scooter Braun in 2019, which she described as her "worst case scenario" in a passionate open letter. Swift decided to remake and rerelease her first six albums in a bid to reclaim ownership of her life's work. Braun later sold Swift's masters to a private equity firm.

In addition to faithfully recreating each tracklist, Swift decided to add never-before-heard songs "from the vault" that were written during the album's original creative process but cut from the final product.

"I've spoken a lot about why I'm remaking my first six albums, but the way I've chosen to do this will hopefully help illuminate where I'm coming from," Swift explained. "Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work."

"For example, only I know which songs I wrote that almost made the 'Fearless' album," she continued. "Songs I absolutely adored, but were held back for different reasons."

Many were skeptical that the "Taylor's Version" project would be embraced by fans, let alone achieve commercial success.

Those skeptics were forced to eat their words when "Fearless (Taylor's Version)" began to outpace the original on streaming platforms. According to Billboard, "Fearless (Taylor's Version)" earned more equivalent album sales in its first week of release than "Fearless" earned over the entire next year.

Four years later, in May 2025, Swift announced that she bought back her masters from Shamrock Capital, giving her complete control over her musical catalog and rendering her "Taylor's Version" project moot.

Billboard 200 peak: No. 1 for two weeks

The rerecorded version of Swift's third album featured six songs from the vault, including two duets with Fall Out Boy and Hayley Williams.

Billboard 200 peak: No. 1 for four weeks

"Reputation" arrived after an extended period of silence. Swift's longtime feud with Kim Kardashian and Ye (then known as Kanye West) had reached a fever pitch; in response to a massive social media hate campaign, Swift decamped to London and withdrew from the public eye.

She returned with a new snake-infested aesthetic and "Look What You Made Me Do," a cheeky lead single that poked fun at her own persona — and quickly rose to No. 1 on the Hot 100.

Swift also declined to participate in interviews or media appearances while promoting her sixth album. Instead, she relied on a simple tagline: "There will be no further explanation. There will just be reputation."

Billboard 200 peak: No. 1 for four weeks

"Evermore" was surprise-released just five months after Swift's previous album, "Folklore." The two were billed as "sister albums," created under near-identical conditions with the same team of collaborators.

"To put it plainly, we just couldn't stop writing songs," Swift explained on social media.

"Evermore" was nominated for album of the year at the 2022 Grammys, but lost to Jon Batiste's "We Are."

Billboard 200 peak: No. 1 for six weeks

Swift's third album had a lot to live up to, following the blockbuster success of "Fearless."

In response to skeptics — who questioned whether the teen phenom was relying too heavily on her collaborators — she decided to write "Speak Now" entirely by herself. Swift is the only songwriter credited on the standard tracklist.

Billboard 200 peak: No. 1 for six weeks

Swift's 10th studio album sold over 1 million copies in its debut week, the first to cross that seven-figure threshold since Swift's own "Reputation." (She has now achieved the feat on eight different occasions.)

"Midnights" also won album of the year at the Grammys, joining "Fearless," "1989," and "Folklore" in the prestigious group of victors. Swift is the only artist in history to win album of the year four times.

Billboard 200 peak: No. 1 for six weeks

The rerecorded version of "1989" was released nine years after the original album. Swift added five vault tracks, including the fan-favorite song "Is It Over Now?"

Billboard 200 peak: No. 1 for seven weeks

"Red" is Swift's fourth studio album. It featured a mishmash of Max Martin-produced pop bangers, including "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble," as well as country-rock breakup anthems such as "State of Grace" and "Holy Ground."

Billboard 200 peak: No. 1 for eight weeks

"Folklore" marked a sonic departure for Swift, stripping down her favored synth-pop production to reveal introspective reflections and intricate narratives.

The pandemic-era album was co-produced by Swift, Jack Antonoff, and Aaron Dessner of The National. It received rave reviews from critics and is widely considered Swift's best work to date.

Billboard 200 peak: No. 1 for 11 weeks

Swift's sophomore effort had the longest run at No. 1 of any album in the 2000s. "Fearless" has since been certified diamond by the RIAA.

Billboard 200 peak: No. 1 for 11 weeks

Swift's fifth album marked her official pivot from country to pop music, a move that Swift said she had to "really fight — and I mean aggressively fight — to have happen."

In addition to its double-digit streak atop the Billboard 200, "1989" yielded three No. 1 songs on the Hot 100: "Shake It Off," "Blank Space," and "Bad Blood" featuring Kendrick Lamar.

Billboard 200 peak: No. 1 for 15 weeks

Cowritten and co-produced with Max Martin and Shellback, "The Life of a Showgirl" was described by Swift as a snapshot of "everything that was going on behind the curtain" during the Eras Tour.

After its initial three-month run atop the Billboard 200, "The Life of a Showgirl" returned to No. 1 in October 2026 when Swift released the deluxe edition, dubbed "The Encore."

The album's reign at No. 1 on the Billboard 200 brought Swift's total sum atop the chart to 101 weeks, extending her record among solo artists.

Since the Billboard 200 was launched in 1956, only The Beatles have logged more weeks at No. 1 than Swift. The band holds the all-time record with 132 weeks.

Billboard 200 peak: No. 1 for 17 weeks

Swift's 11th studio album, "The Tortured Poets Department," did not leave the No. 1 slot for 12 straight weeks after its debut in April 2024, fending off new releases from stars like Dua Lipa, Billie Eilish, and Zach Bryan.

The uninterrupted reign of "Poets" was rare for a streaming-era release. It became the first album ever by a female artist to spend its first 12 weeks atop the chart, surpassing a record previously held by Whitney Houston's 1987 blockbuster "Whitney." (The all-time record for a consecutive streak among women is held by Carole King's "Tapestry," which spent 15 weeks at No. 1 in 1971.)

Swift briefly yielded the top spot to Eminem and Stray Kids before "Poets" notched 13th, 14th, and 15th consecutive weeks atop the chart.

The album eventually fell to lower positions, but then in December of that same year, it returned for two more weeks at No. 1 after Swift released physical versions of the album's deluxe version, "The Anthology," for Black Friday.

Weeks at No. 1: Three

Despite writing ubiquitous hits like "You Belong With Me" and "Love Story" earlier in her career (which peaked at No. 2 and No. 4, respectively), "We Are Never Ever Getting Back Together" was Swift's first-ever song to top the Hot 100.

The country-pop crossover smash was released as the lead single from Swift's fourth album, "Red." It rose from No. 72 to No. 1 in its second week of tracking and remained atop the chart for two more weeks.

Weeks at No. 1: Four

"Shake It Off" was released as the lead single from Swift's fifth album, "1989." It became her first No. 1 debut on the Hot 100.

Weeks at No. 1: Seven

"Blank Space," the second single from "1989," debuted at No. 18 on the Hot 100.

It rose to No. 13 before soaring to No. 1 in its third week — dethroning "Shake It Off" and making Swift the first woman in history to replace herself in the chart's top spot.

"Blank Space" went on to become one of Swift's biggest hits, reigning atop the chart for nearly two months.

Weeks at No. 1: One

In May 2015, a remix of "Bad Blood" featuring Kendrick Lamar was released as the fourth single from "1989."

It rose from No. 53 to the chart's top spot after the music video premiered at the 2015 Billboard Music Awards and broke the Vevo record for most views in 24 hours.

Weeks at No. 1: Three

Despite mixed reactions from critics, Swift's lead single from "Reputation" rose to No. 1 after its first full week of tracking, breaking the weekly streaming record for a song by a woman.

Once again, Swift's music video broke the record for most views within 24 hours, racking up 43.2 million views in its first day.

Weeks at No. 1: One

Swift announced the arrival of her eighth album, "Folklore," just one day in advance. The second track, "Cardigan," was released alongside the album and promoted with a whimsical music video.

"Folklore" debuted at No. 1 on the Billboard 200 while "Cardigan" simultaneously debuted at No. 1 on the Hot 100, making Swift the first artist in history to open atop both charts in the same week.

Weeks at No. 1: One

Just five months after "Folklore," Swift repeated her pandemic-era strategy and surprise-released her ninth album, "Evermore," alongside its lead single.

Again, "Willow" debuted at No. 1 on the Hot 100 while "Evermore" simultaneously debuted at No. 1 on the Billboard 200.

Weeks at No. 1: One

"Red (Taylor's Version)" was the second rerecorded album Swift released. It was accompanied by the long-awaited 10-minute version of "All Too Well," a fan-favorite track from the original album.

"All Too Well (10 Minute Version) (Taylor's Version)" was promoted with a self-directed short film starring Sadie Sink and Dylan O'Brien, a convention-breaking performance on "Saturday Night Live," and plenty of theories about the song's muse.

It debuted at No. 1 on the Hot 100, becoming the longest song in history to top the chart. The record was previously held by Don McLean's "American Pie (Parts I & II)" at 8 minutes and 37 seconds.

Weeks at No. 1: Eight

"Anti-Hero" was released alongside Swift's 10th album, "Midnights," and promoted as the lead single.

It dominated the Hot 100 for eight weeks, surpassing the high-water mark set by "Blank Space."

The same week that "Anti-Hero" debuted at No. 1, Swift became the first and only artist in history to occupy the entire top 10 on the Hot 100. The hit single was flanked by "Lavender Haze" (No. 2), "Maroon" (No. 3), "Snow on the Beach" (No. 4), "Midnight Rain" (No. 5), "Bejeweled" (No. 6), "Question...?" (No. 7), "You're On Your Own, Kid" (No. 8), "Karma" (No. 9), and "Vigilante Shit" (No. 10).

Weeks at No. 1: Four

"Cruel Summer" was originally released as the second track on Swift's 2019 album "Lover."

Although it was identified early as a fan favorite, the song was never promoted as a single and debuted modestly at No. 29 on the Hot 100.

Four years later, Swift transformed "Cruel Summer" into a showstopping spectacle on the Eras Tour. Streams of the song began to surge, and it reigned atop Billboard's Pop Airplay chart for two months. Swift's label sent the song to pop radio in June 2023.

Finally, following the release of "The Cruelest Summer" EP — which includes a live version of the song and a remix by LP Giobbi — the song reached No. 1 on the Hot 100, marking Swift's milestone 10th chart-topper.

Weeks at No. 1: One

"Is It Over Now?" was released as the final vault track on "1989 (Taylor's Version)," a rerecording of her beloved fifth album.

Although it wasn't initially slated as a single, its enthusiastic reception from fans pushed Swift's team to serve the song to pop radio.

"Is It Over Now?" debuted at No. 1 on the Hot 100, dethroning "Cruel Summer." Swift remains the only woman in history to replace herself in the top spot, a feat she's now achieved twice.

Weeks at No. 1: Two

"Fortnight," a duet with Post Malone, was released alongside "The Tortured Poets Department" and promoted as the album's lead single.

The song debuted at No. 1 on the Hot 100 while "Poets" simultaneously debuted at No. 1 on the Billboard 200.

For the second time in her career, Swift managed to occupy the entire top 10 of the Hot 100. In fact, the top 14 positions on the chart were occupied by "Poets" tracks, including "Down Bad" (No. 2) and "I Can Do It With a Broken Heart" (No. 3), all the way through to "The Smallest Man Who Ever Lived" (No. 14).

"Fortnight" returned to No. 1 on the Hot 100 for a second consecutive week.

Weeks at No. 1: 10

"The Fate of Ophelia" was released alongside Swift's 12th studio album, "The Life of a Showgirl," and promoted as the lead single.

The Shakespeare-inspired pop song debuted at No. 1 on the Hot 100, while "Showgirl" simultaneously debuted at No. 1 on the Billboard 200.

All 12 tracks on the album debuted within the Hot 100's top 12 spots, making Swift the first and only artist to dominate the chart's entire top 10 on three separate occasions. "The Fate of Ophelia" was joined in the top five by "Opalite" (No. 2), "Elizabeth Taylor" (No. 3), "Father Figure" (No. 4), and "Wood" (No. 5).

"The Fate of Ophelia" remained atop the Hot 100 for eight straight weeks after its release. After falling to lower positions during the holiday season, it returned to No. 1 in early 2026, surpassing "Anti-Hero" as Swift's longest-leading hit to date and becoming her first to top the chart for double-digit weeks.

Weeks at No. 1: One

"Opalite" was originally released as the third track on "The Life of a Showgirl" and debuted at No. 2 on the Hot 100.

It was later promoted as the album's second single, rising to No. 1 after Swift sold vinyl copies of the song. She also released a music video co-starring Domhnall Gleeson, which premiered exclusively on Spotify and Apple Music in a savvy move to boost streaming numbers.

Swift celebrated her latest chart achievement on Instagram, thanking fans for their support of the song.

"This is actually the first time I've had two Hot 100 #1s off of one album since my album 1989 came out in 2014, nearly twelve years ago!" Swift wrote. "I know that's a lot of numbers but it all adds up to me being so thankful to the fans who helped make this happen by welcoming this song into your lives with open arms."

Weeks at No. 1: Two

"I Knew It, I Knew You" was released as a soundtrack single for Pixar's "Toy Story 5."

The twangy tune, cowritten by Swift and her longtime producer Jack Antonoff, was embraced by country radio and debuted simultaneously at No. 1 on the Billboard Hot 100 and the Hot Country Songs charts.

Weeks at No. 1: Three

"Patient Zero" was released as a deluxe track from "The Life of a Showgirl: The Encore."

Swift said she was inspired to write more "Showgirl" songs during a trip to visit her Swedish collaborators, Max Martin and Shellback, to celebrate the album's historic first-week sales.

"I hope you love them, because they were born out of pure gratitude for your exuberance for and celebration of the album we made," Swift wrote on social media.

"Patient Zero" followed in the chart-topping footsteps of "The Fate of Ophelia" and "Opalite," making "Showgirl" the first female album to yield three No. 1 hits since Swift's own "1989" over a decade earlier.

As Business Insider previously reported, Cyrus and Hemsworth met on the set of "The Last Song," which was released in 2010, and dated on and off for several years. The couple married in 2018 and divorced a year later. The split was finalized in January 2020.

While Cyrus hasn't confirmed that "Flowers" is about her relationship with Hemsworth, the single's release date, lyrics, and other hidden details offer a few clues to the song's meaning.

The buzz around "Flowers" began when fans noticed its release date.

The single dropped on January 13 — Hemsworth's 33rd birthday — a detail that was not lost on Cyrus' fans. 

"She definitely didn't lie when she said she's got nerve," one user tweeted. 

In "When I Was Your Man," Mars sings that he wishes he "bought you flowers, and held your hand."

Although Mars isn't credited as a songwriter on "Flowers," Cyrus sings "I can buy myself flowers," and "I can hold my own hand" in a similar tune to Mars' hit. 

According to Billboard, some fans have speculated that Hemsworth dedicated Mars' song to Cyrus during their first engagement — though those theories are unconfirmed.

"We were good, we were gold/ Kind of dream that can't be sold/ We were right till we weren't/ Built a home and watched it burn," Cyrus sings in the opening verse. 

According to Us Weekly, the fire metaphor could be referring to the home Cyrus shared with Hemsworth, which burned down during the 2018 Woolsey Fire.

Cyrus has said that the loss of the couple's Malibu home is partially what led her and Hemsworth to get married. 

In 2019, while attending the Vanity Fair Oscars party, an Access Hollywood reporter asked Cyrus and Hemsworth what a dance number would look like between the couple.

When Cyrus began dancing on Hemsworth, her then-husband, he shut it down, saying, "We're not doing this. Not on the carpet."

One Twitter user put that video side by side with a promotional clip Cyrus posted on the platform, in which she appears to do a similar dance move — while the lyrics "I can love me better" play in the background.

After selling out shows at the Hollywood Bowl in October 2026, Cyrus changed the pre-chorus lyrics to "Flowers."

In the original version, Cyrus sings: "I didn't wanna leave you/I didn't wanna fight/Started to cry, but then remembered I," before belting out the chorus.

This past weekend, however, Cyrus changed that to: "I didn't wanna leave you (but I had to)/I didn't wanna fight (but we did)/Started to cry, but then remembered I sold out the Hollywood Bowl."

Cyrus has ad-libbed her hit single before: At the 2024 Grammys, she sang, "Started to cry, but then remembered I just won my first Grammy!"

Fans took to social media to applaud Cyrus' lyric change, with one YouTube commenter saying they "love how she's filling it in with different achievements."

Cyrus also paid tribute to Dolly Parton, her late godmother, during the concert, breaking down in tears as she recalled memories of Parton. Cyrus then performed Parton's hit song "Jolene."

Editor's Note: This story was originally published in January 2023 and was most recently updated in October 2026.