Taylor Swift dropped her 12th studio album, The Life of a Showgirl, on Oct. 3, and the entire project is next-level. There are dance hits, pop-inspired ballads, and even some diss tracks. Throughout it all, Swift has some lethal lyrics that actually had me saying, “Damn, Taylor!” Here’s a look at some of my favorites.
There must have been something in the air when Taylor Swift recorded TLOAS with Max Martin and Shellback during the European leg of her Eras Tour. Was it karma? Fate? I’ll call it thriving. The Fearless Taylor Swift came back paired with the evolution and bloom of being “married to the hustle” of the life of a show girl. Dropping any mask, our girl did not hold anything back this time around.
With references, allusions, and comebacks by the bounty, TLOAS is nothing short of wicked fun. The album embodies the feeling of being too on top of the world to care (I’ll have what she’s having!), Taylor Swift is no longer a member of The Tortured Poet’s Department who can’t escape “The Prophecy” — it’s clear she has made her own happiness, and “now the sky is opalite.” TLOAS is by far a no-skip album written by an unshakable Taylor Swift that I can get behind. Here are some of her most lethal TLOAS lyrics.
- “i can make deals with the devil ’cause my d*cks bigger” – “Father Figure”
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Whoa. The lyrics of “Father Figure” are a compelling look at a mentor and mentee relationship gone sour. Almost like a spinoff of both “The Man” and “Nothing New,” the song focuses on the double standard of being a protector, getting ahead, and then being betrayed by someone who looks up to you. The synth beats have me dancing while examining the complexities of these complicated relationships.
- “I heard you call me ‘Boring Barbie’ when the coke’s got you brave” – “Actually Romantic”
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This song’s full lyrics has fans thinking it’s about Charli xcx. This specific line embodies the cutting idea of a person always saying vicious things about you, but only being able to do so behind your back (and on substances). “Boring Barbie” speaks to the person’s preoccupation with Swift’s perfectionism and mass-appeal as a tedious thing. Really, when anyone obsesses over another person, it’s usually a little bit flattering, and “Actually Romantic” is the greatest comeback of her discography.
- “We tell the world to leave us the f*ck alone, and they do” – “Wi$h Li$t”
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Taylor Swift has found her ideal endgame, and it’s Travis Kelce, an SUV full of kids, and a “driveway with a basketball hoop.” In “Wi$h Li$t,” Swift talks about her dream of a quiet life in the suburbs, far away from the glamorous life of show business. It’s the first time I’ve realized Swift might one day disappear from the public eye for good to settle down and live her happy ending. (Wipes tears.)
- “You think I’m tacky, baby stop talking dirty to me, it sounded nasty, but it feels like you’re flirting with me” – “Actually Romantic”
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It’s not my fault that “Actually Romantic” has changed the chemistry of my brain. Any time self-aware Taylor Swift comes out to play, I can’t help but giggle. The lyrics don’t feel like an intentional takedown, but an acknowledgment of the admiration and complexities that come with female competition.
- “But I’m not a bad b*tch, and this isn’t savage, But I’m never gonna let you down” – “Eldest Daughter”
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As per usual for a track five song, “Eldest Daughter” drops the persona for a minute and lets us into Swift’s interior. Using colloquial language like “bad b*tch” and “savage” might seem cringey to some, but it was clearly intentional. On the internet, “apathy is hot,” which is not exactly great considering humans have feelings. As an eldest daughter, Swift cannot help but care about those close to her and while it’s not “savage” to admit that, it’s honest. That’s why we love her.
- “It’s easy to love you when you’re popular: The optics click, everyone prospers, but one single drop, you’re off the roster, ‘Tone-deaf and hot, let’s f*ckin’ off her'” – “Cancelled”
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Swifties lived through Taylor Swift’s cancellation in 2016 and her comeback like loyal soldiers. “Cancelled!” breaks through the fourth wall of pop culture, with Swift keen on the operation of the cancel culture machine. Over the past few years, Swift’s friends — from Selena Gomez to Blake Lively to Brittany Mahomes — have been embroiled in scandals. Each time, to signify solidarity, Swift sings the lyrics, “Come with me, when they see us, they’ll run.” Such a father figure.
- “When anyone called me Sweetheart it was passive-aggressive, at the bar and the b*tch was tellin’ me to back off ’cause her man had looked at me wrong” – “Honey”
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“Honey” is a take on the condescending nature of weaponizing disingenuous pet names against women. Alone, the nicknames sweetheart and honey insinuate adoration, but the connotation for young women is often meant to be a saccharine put-down. In this case, Swift discusses the female competition over a man’s attention.
- “When anyone called me late-night he was screwin’ around with my mind askin’, ‘What are you wearin’?’ Too high to remember in the morning” – “Honey”
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Ouch. The relationship referenced in this song is classic situationship-level. His “casually cruel” ability to call her on a whim, without even remembering it in the morning. Who hasn’t been there? It’s crazy to think Taylor Swift is just like us.
- “Girls, I don’t need to catch the bouquet to know a hard rock is on the way” – “Wood”
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As Taylor Swift alluded to, “Wood” would be nothing short of a love song, and she was not lying. At least, not in the traditional sense. These lyrics are her try at a double entendre (Sabrina Carpenter’s impact?) and it’s working. I screamed when I heard it, and I’m sure Travis Kelce is somewhere blushing.
- “And all the headshots on the walls of the dance hall are of the b*tches who wish I’d hurry up and die, But I’m immortal now, baby dolls I couldn’t if I tried.” – “The Life of a Showgirl”
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It’s not the first time Taylor Swift has referenced the industry’s desperation to replace her. (Clara Bow, who?) As a showgirl, the younger crop of talent are rushing forward to fill a hole in the entertainment space that Swift can’t seem to give up. As Swift playfully acknowledges, she’s “immortal” — possibly referencing the number of times that show business has tried to take her out. Yet, she’s still standing and dancing — hit after hit.
More to come…