There's glitter on the floor after the party
Girls carryin’ their shoes down in the lobby
Candle wax and Polaroids on the hardwood floor
You and me from the night before, but
[Chorus]
Don't read the last page
But I stay when you're lost and I’m scared and you're turnin' away
I want your midnights
But I'll be cleanin' up bottles with you on New Year's Day
[Verse 2]
You squeeze my hand three times in the back of the taxi
I can tell that it's gonna be a long road
I'll be there if you’re the toast of the town, babe
Or if you strike out and you’re crawlin' home
[Chorus]
Don’t read the last page
But I stay when it's hard or it's wrong or we're makin’ mistakes
I want your midnights
But I'll be cleanin' up bottles with you on New Year's Day
[Refrain]
Hold on to the memories, they will hold on to you
Hold on to the memories, they will hold on to you
Hold on to the memories, they will hold on to you
And I will hold on to you
Please, don't ever become a stranger
Whose laugh I could recognize anywhere
Please, don't ever become a stranger
Whose laugh I could recognize anywhere
[Verse 3]
There's glitter on the floor after the party
Girls carryin' their shoes down in the lobby
Candle wax and Polaroids on the hardwood floor
You and me forevermore
[Chorus]
Don't read the last page
But I stay when it's hard or it's wrong or we're makin' mistakes
I want your midnights
But I'll be cleanin' up bottles with you on New Year's Day
[Refrain]
Hold on to the memories, they will hold on to you
Hold on to the memories, they will hold on to you
Hold on to the memories, they will hold on to you
And I will hold on to you (Hold on)
[Outro]
Please, don't ever become a stranger
(To the memories, they will hold on to you)
Whose laugh I could recognize anywhere
(Hold on to the memories, they will hold on to you)
Please, don't ever become a stranger
(Hold on to the memories, they will hold on to you)
Whose laugh I could recognize anywhere
(And I will hold on to you)
About
The closing track on reputation uses a New Year’s party as a metaphor to discuss holding on to people and memories from both good and bad times. Taylor recognizes that when the ‘parties’ in her life are over and the ‘new year’ begins, such memories are all she will have left to hold on to and learn from. She relates a lasting love to someone who shares a midnight kiss with you on New Year’s, but who still stays with you the next morning for the aftermath of the party and begins the new year together with you.
Musically, the song is reminiscent of Taylor’s older tracks, with sparse production and simply guitar and piano as backing. Contrasting many prior songs on the album where Taylor takes shots at various people, she creates a more mature image here–thankful for her past and ready to ‘clean up’ and move on in the future.
Q&A
Find answers to frequently asked questions about the song and explore its deeper meaning
We threw a big New Years Party in London this year and I was thinking about how everybody talks and things about who you’ll kiss at midnight, it’s this big romantic idea, like, “Who you’re gonna kiss at midnight? Ring in the New Year.” And I think that’s very romantic, but I think there’s something even more romantic about who’s gonna deal with you on New Year’s Day. Who’s willing to give you advil and help you clean up the house. I think that states more of a permanence. And so, I was thinking about that and I wrote this song called “New Year’s Day.” There’s are two lines in this song that I’d been saving for a really long time for the right moment and I just picked them for this song and I’m really excited about them, and the first one is: “Please, don’t ever become a stranger whose laugh I could recognize anywhere,” and the other one is: “Hold on to the memories, they will hold on to you.”
Jack told Entertainment Weekly:
It was the quickest [song to record]. If you listen to the piano on that record, you can hear me moving around. You hear things clicking. Those are the ‘scratch takes’ — we did that very quickly. It came out in that sort of goofy Hollywood version of how music is written, where it comes out of moments of inspiration. Part of the process is you do that [scratch take], and then you do it for real. But we just sat there: That’s the song. You want a song to sound like itself. You don’t want to get the perfect tune. You don’t want to get the absolute perfect vocal take or the perfect panning or compression. You just want it to sound like itself. You want to feel like you’re home within the song. […] I don’t know what we would be thinking if we tried to fuck with it. I’m so proud of it because, personally, I think it’s some sort of hint at the future.
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