Unless you’ve been living under a rock the past week (or months, dare I say), you’ve probably seen the buzz around Taylor Swift’s highly anticipated 12th studio album, The Life of a Showgirl.
taylor’s new era
After the melancholy masterpiece that was The Tortured Poets Department, it was evident that her return to reclaim her pop princess crown was imminent. As an album serving as the aftermath of ‘The Eras Tour’, it offers a behind-the-scenes look at Taylor’s life during her record breaking world tour, such as her newfound love, past conflicts and her emotional highs and lows of living in the spotlight. The visuals of this era display the grandeur of the showgirl aesthetic, with the photoshoot featuring her surrounded by lavish theatrical sets, wearing glittery crowns, sequined bodysuits and over-the-top feathery attire.
tracklist highlights
The 12 song tracklist is filled with catchy, upbeat melodies, tied seamlessly into her witty lyrics and literary references. It incorporates a variety of elements from her previous albums and is a purely pop, ‘glitter gel pen’ album, as Taylor Swift would call it. Her vocals shine across the record, as one would expect when working with Max Martin and Shellback, the producer duo that helped create the pop perfection that is 1989. The album is undeniably one of her happiest, a fine collection of romantic songs such as the lead single “The Fate of Ophelia”, “Wood”, (arguably one of her most explicit songs to date) and “Wi$h Li$t” which talks about the future life that she ultimately longs for.
But of course, the album isn’t without its sharp, tongue in cheek writing that she is known for, as seen in “CANCELLED!”, “Father Figure” and “Actually Romantic”, songs that would serve very well as vault tracks for the Reputation album. The record concludes with the title song “The Life of a Showgirl” featuring Sabrina Carpenter, beautifully tying together the overarching concept. The two showgirls at the top of the game right now come together to remind the world that while they wouldn’t have it any other way, their life is not something to be envious of. As an avid performer, this song was the standout to me from the album. I personally loved the symbolism of the master passing the baton to her protegee, to continue the legacy of their art.
EXPECTATIONS VS REALITY
I originally expected this record to take a darker, more introspective direction exploring the theatrical melancholy of the showgirl life, similar to the song “I Can Do it With a Broken Heart”. But instead, I was pleasantly surprised to see her bright, bubbly pop persona in the spotlight again. As a longtime Swifite, I can’t help but feel proud. She’s wrapped up the highest grossing tour in history, gotten engaged to the love of her life, and has yet again broken the Spotify record for the most streams in a single day. She’s living her best life and it clearly shows in her music. That being said, it has been interesting to watch the internet discourse surrounding this album unfold.
the public perception
Many fans and critics were quick to say that The Life of a Showgirl lacked the profound lyricism of its predecessors, such as TTPD, Midnights, Folklore and Evermore. Some were also quite taken aback with the risque lyrics and absence of her signature sad melodies. While that critique isn’t totally unfounded, it also misses the point. As an audience we expect artists to evolve with time and in accordance with their life experiences. Taylor Swift, one of the most versatile artists of her generation, has always crafted every era of hers to reflect her reality and to make them as distinct as possible in terms of vocals, visuals and overall themes.
So tell me this: why would she only write sad songs when she’s on the top of the world in every aspect of her life? Don’t get me wrong, I’m a certified lover of sad songs. In fact, my getting ready playlist features half of the Folklore album, so make of that what you will. But I can’t deny that it’s quite refreshing to hear her first album in a long time to have love songs without the undercurrent of anxiety running through it.
a familiar cycle
Of course, this reaction has been seen before. Almost every single one of Taylor’s albums has been met with backlash upon release. 1989 was “too pop”, Reputation was “try hard”, Lover was “too happy”, Folklore and Evermore were “too sad” and the list goes on. Most recently, The Tortured Poets Department was berated by the public for “sounding the same” and “being too lengthy”, but is now lauded as the epitome of lyricism.
Taylor quotes this exact phenomenon in her new song “Elizabeth Taylor”, where she sings “You’re only as hot as your last hit, baby”, which is quite reflective of the current discourse. Taylor’s work is dissected and torn apart by the public the moment it drops, often with a performative rush to critique it. And yet, weeks later the same voices claim they loved it all along, quoting lyrics and analysing easter eggs. While it’s absolutely valid to dislike an album, dismissing it after a single listen often may not let you fully capture its artistic intent and nuances.
final thoughts
As a seasoned Swiftie, I only have one thing to say: Taylor’s albums are layered and complex. Her music is a mosaic of innuendos, references and callbacks from previous eras which require time, and multiple listens to fully comprehend and understand the depth of its lyricism. In fact, this goes for any piece of art. The Life of a Showgirl truly encapsulates the joy that most experience only once in a lifetime, one filled with happiness, confidence and security. While it may not carry the same weighty lyricism of her previous work, it shines through as a celebration of her current life – one that has emerged after enduring years of heartbreak.
This album is for you if you’re looking for a vibrant, sparkly soundtrack to dive into. And if you’re not, that’s completely alright too! Meanwhile, you will find me hitting repeat, with my drink in place and speakers blasting the record across the room, one song at a time. Happy listening!
