What if Taylor Swift never sang Reputation? What if this edgy, electric, venom-laced era had been handed to a whole lineup of other artists — each bringing their own unique style, voice, and flavor to her iconic tracks? Here’s how each song from Reputation might sound if it had been sung by someone else entirely.

“…Ready For It?” would be transformed by Billie Eilish into a whispery, hypnotic thrill ride. Her delicate vocals over that pounding bass would give it a haunting energy, like a futuristic love song drifting through smoke and neon lights. The pre-chorus would melt into a soft hum, and the beat drop would hit even harder in contrast.

“End Game,” originally featuring Ed Sheeran and Future, would morph into a late-night R&B banger with Drake on the lead, The Weeknd crooning the chorus, and SZA sprinkling in sensual charm. The chemistry would be chaotic in the best way — moody, boastful, and smooth.

“I Did Something Bad” belongs in Rihanna’s hands. She’d own the line “They say I did something bad, then why’s it feel so good?” like it was written for her. Her version would be fierce, bold, and dripping with attitude, turning the track into a dark pop power anthem, somewhere between Rated R and Anti.

“Don’t Blame Me” would take a gospel-rock turn with Hozier. His deep, soulful voice and emotional delivery would amplify the song’s desperation and intensity. Imagine a church choir in the background, organs wailing, and Hozier crying out a love that feels like a drug.

“Delicate” would find a perfect home in Olivia Rodrigo’s voice. Her vulnerability and soft melancholy would elevate the quiet insecurity of the song. She’d turn it into a teenage love diary entry, raw and heartbreaking, with maybe even a new bridge whispered like a secret.

“Look What You Made Me Do” would be peak chaotic energy with Doja Cat. She’d flip the structure, throw in rap bars, maybe even some spoken-word sass, and make it a viral, memeable, genre-bending track that rules TikTok and radio alike.

“So It Goes…” would sound like magic with Troye Sivan. His synth-pop touch would give it a dreamy, intimate vibe — perfect for 2AM thoughts and slow-motion music video aesthetics. His version would feel more vulnerable, more lost-in-love.

“Gorgeous” would fit Selena Gomez like a glove. Flirty, fun, and a little petty — her breathy vocals and relaxed delivery would turn this into a breezy bop perfect for dancing in front of the mirror or texting your crush at midnight.

“Getaway Car” would explode with Harry Styles. His raspy vocals and flair for drama would make the story of betrayal sound like a rock opera. Add a few guitar riffs and a dramatic key change, and it’s Fine Line meets Bonnie & Clyde.

“King of My Heart” would feel poetic in the hands of Lorde. Her knack for turning quirky beats into emotional landscapes would bring out the romance and chaos in equal parts. She’d lean into the glitchy production and make it beautifully strange.

“Dancing With Our Hands Tied” would be right at home with Charlie Puth. He’d turn it into a polished, synth-laden heartbreak jam with pristine falsetto moments and a slick radio-friendly finish — a sad song you can still dance to.

“Dress” was basically meant for Lana Del Rey. She’d sing it like a secret, dripping with lust and longing. Her voice would wrap around the lyrics like velvet, slow and seductive, turning it into a bedroom confession bathed in candlelight and nostalgia.

“This Is Why We Can’t Have Nice Things” would be all Miley Cyrus. Rock-infused, sarcastic, and unapologetic, she’d lean into the drama and make it a middle finger in musical form. Think Plastic Hearts energy, complete with a knowing laugh mid-song.

“Call It What You Want” would be a masterpiece in Frank Ocean’s voice. Stripped down and reimagined as a lo-fi, atmospheric track, Frank would deliver the lyrics like journal entries. It would be tender, aching, and full of love that doesn’t need approval.

And “New Year’s Day” would land softly in the world of Phoebe Bridgers. She’d make it feel like a rainy morning, a quiet goodbye, or the first moment of peace after heartbreak. Her voice would barely rise above a whisper — just enough to break your heart.

Each of these reinterpretations reminds us how versatile Reputation really is. Taylor wrote songs that transcend genre and personality — they hold up even when imagined through completely different voices. But even so, it’s clear that no one can quite deliver snake-era Taylor like Taylor herself. Still, it’s fun to dream.

Want to see 1989 or Lover reimagined next? Let’s remix it all.