Just shy of the one-year anniversary of her 12th studio album, “The Life of a Showgirl,” music legend and global icon Taylor Swift released a four-track addition to the album, suitably titled “The Life of a Showgirl: The Encore.”
Primarily about finding true love as well as the theatrics and expectations of fame, “The Life of a Showgirl” received mixed reviews from fans and critics, some appreciating the upbeat, bold energy of the soft pop album, and others feeling it lacked lyrical or emotional depth. Rolling Stone Magazine described the original album as a “stark departure from [the previous] year’s deeply personal, prosaic and tortured-as-hell ‘The Tortured Poets Department.’”
Upon listening, it’s safe to say that “The Encore” fits right in with the rest of “The Life of a Showgirl,” both with synth-pop beats and themes of navigating relationships and the costs of fame. With that, let’s break down each track.
“Patient Zero”
“Patient Zero” is the only single on the disc, and with it, Swift released a haunting music video starring Dakota Johnson and Colin Farrell. The song is about bonding with someone over a shared ex-partner and having a mutual understanding of that person’s toxic and gaslighting behaviors. The narrator is evidently “patient zero,” as she was the first victim of his emotional abuse.
The song itself is a solid opener to “The Encore,” with a catchy chorus and a story that many listeners can relate to. From the “Folklore” love triangle to “No Body, No Crime,” Swift is the master of weaving clever fictional stories into her music, and this track is no exception.
The majority of the song is enjoyable, but the queen of bridges may have collapsed this one. Typically, Swift adds a bridge to her songs to leave a hard-hitting impact on fans, yet this one was monotone and lacking in lyricism at first glance. The bridge may represent a realistic conversation between the two women in Swift’s fictional story, but regardless of the intention, it simply is not a pleasant listen.
Despite that hiccup, “Patient Zero” is overall a strong start to “The Encore” and is deserving of becoming a hit single.
“Cleveland!”
Newlywed Swift dedicated “Cleveland!” to her NFL player husband Travis Kelce, while also directly responding to those who shamed her dating history and said she would never get married. Referencing Kelce’s hometown, Swift writes, “He already took me to Cleveland/ And showed me The Heights, so hate all you like.”
Considering how poetically talented Swift is, this song feels like a step down from what she is capable of. Sure, it’s catchy enough, but it seems as though she is trying to convince her audience that she is fulfilled by seeking revenge on her haters rather than simply telling a love story and allowing fans to feel that through her words.
In terms of melody, “Cleveland!” is reminiscent of artist Sujfan Stevens’s track “Chicago,” with upbeat drums, percussion and piano. As the lyrics in this second track are subpar, the use of instrumentals nearly saves the song.
While the message behind this work is understandable and worthy of gracing the radio, Swift’s “Cleveland!” does not showcase her strengths as a singer or songwriter. Goodnight, Cleveland!
“Pink Clouding”
“Pink Clouding” is a peppy telling of a person who led another person on in a relationship, despite how good they were to them. It’s both an apology and a description of an overwhelming sense of euphoria and optimism in the early stages of substance use recovery, commonly known as “pink clouding.” Swift loves a good metaphor, so the premise here is that the narrator had a rush of buoyancy post-break up before finally processing that they were in the wrong.
Now, is this song the most lyrical or abstract piece Swift has ever written? Of course not. That being said, “Pink Clouding” is an incredibly fun song. It’s the perfect pick for a late-night joyride with the windows down and friends to sing along with.
The rose-colored lens that occurs after ending an addiction serves as an effective metaphor for the “rebound stage” or emotional high after ending a relationship. “Pink Clouding,” while simple in concept, is a certified banger and proves that a work does not have to be multifaceted for it to be enjoyable.
“Babylon”
Arguably the best track on “The Encore,” “Babylon” is an admonition to appreciate what one has before it’s gone rather than wallowing in nostalgia and chronic dissatisfaction. “You never knew that it was Babylon/ ‘Til it was gone,” Swift writes, using the city of Babylon, known for its immense wealth and opulence, as a metaphor for dissatisfaction in adulthood.
Aside from the bittersweet message behind the song, it is also undeniably well executed in terms of storytelling. By delving into the main character’s longed-for childhood and the wife and family he neglects, “Babylon” feels intimate and emotional, regardless of whether listeners are in a similar situation.
While “The Life of a Showgirl” as a whole was controversial among fans, “Babylon” is the kind of track Swifties have been waiting for, as it combines both her vocal style and knack for building a heartbreaking narrative filled with rich metaphors, history and poetry.
Revealing that family and home are what truly matter in life, “Babylon” is a beautiful conclusion to the second disc.
All in all, “The Life of a Showgirl: The Encore” is a valuable addition to the original album in regard to its cohesion and fascinating storytelling in a lighthearted manner. Though this is by no means Swift’s best work, and in fact is far from it, “The Encore” is proof that even her less meticulous songs are still a hit.