Taylor Swift, the leading pop phenomenon renowned for her sophisticated lyricism and catchy melodies, has just released her 12th studio album titled “The Life of a Showgirl.” The album features a promising collection of 12 glittery pop songs that explore concepts such as love, womanhood and marriage, while also offering fans a glimpse into the figurative diary of the music industry’s leading showgirl. All of the tracks fell under the soft pop genre, while also incorporating elements of soft rock and even some 1970s-inspired disco themes. Although this album was one of the most anticipated of the year, with Taylor teasing major hits and her reputation for consistently high-ranking songs, fans were generally let down by the final product.
While I disagree with people saying this album was a complete mess, many of the more focused and collected adverse reactions to the album came from a place of disappointment. The lyrics of several songs lacked creativity and nuance, resulting in a relatively dull listen. Additionally, Swift included several sexual innuendos that made many fans uncomfortable. This was all surprisingly uncharacteristic, as Swift’s heartfelt and thoughtful lyrics have always been such an integral part of her identity as an artist; yet, the writing in this album did not live up to the writing standard that fans are accustomed to. As a result, her lyrical storytelling and the relatability of her music seemed a little off-center. Some suggest that this is a result of her exorbitant fame and wealth, claiming that it has caused her to become out of touch with reality. Another interpretation is that the lyrics’ lack of depth can be attributed to Swift’s newfound happiness; her deep cuts and fan favorites, mainly from albums like Folklore and Evermore, were written during a period when she was deeply depressed and unhappy. I don’t necessarily agree with this, because we have seen many artists write upbeat music and still include profound and intelligent lyrics.
Fans also noticed that Swift sampled the works of other artists for a large number of her melodies, including Michael Jackson, the Jonas Brothers, The Ronettes, Jack Antonoff and others, as well as tracks from her own discography. This was surprising to many becauseTaylor has always prided herself on having unique and distinctive music, and also because she immediately struck down the young artist Olivia Rodrigo because her song “1 step forward, 3 steps back” resembled Swift’s “New Year’s Day.”
One track I didn’t particularly enjoy was “Ruin the Friendship.” While I appreciated the concept of “tell them you love them, otherwise you’ll regret it for the rest of your life,” and liked the melody, the song just didn’t mesh well with the overall theme of the album. The idea of regretting a relationship with this person seems to contradict the notion that Swift is happy in her current relationship, which is central to the album’s message. It honestly feels unprofessional for Swift to still be writing about her high school experiences well into her 30s. It strikes me as odd and a bit out of touch, in ways similar to other songs on the album. Her fans deserve more grown-up themes that reflect her current life rather than revisiting her teenage years.
The title track, which features the highly relevant pop artist Sabrina Carpenter, is arguably the most symbolic song on the album. Many fans theorized that the song represented the passing of the torch from each pop icon to the next. The “kitty” referenced in the first line, “Her name was Kitty, made her money being pretty and witty, they gave her the keys to this city,” is speculated to be Britney Spears, the pop sensation that captivated audiences in the 1990s and basically sparked the teen pop movement that later inspired a young Taylor Swift. Similarly, Sabrina Carpenter, who has recently risen to fame, sings, “I took her pearls of wisdom, hung them from my neck,” which suggests that Taylor is ready to pass down her fame to the next generation of pop stars, hinting towards a new period of her life with a possibility of settling down with her husband-to-be, Travis Kelce.
After listening to this album, my rating falls at a solid three out of five. I don’t think this was even close to being Swift’s best album, and I would argue that it is one of her weakest works, but it didn’t deserve the criticism that it got from fans. The album was a bright and fun encapsulation of Swift’s acceptance of the challenges of the music industry and how she works through criticism to become stronger, embodying the showgirl nature. Swift also explored the realities of cancel culture and how quickly people are to criticize on the internet, which was ironic given the overwhelmingly negative comments that circulated online after the album’s release. I believe there were some strong metaphors in her songs, and they were entertaining overall. The sparkling melodies were catchy and enjoyable to listen to. Additionally, it was refreshing to see Swift let loose and enjoy making music again now that she’s in a happy relationship. I would recommend this music to anyone who enjoys the work of artists like Sabrina Carpenter, Jack Antonoff, Lana Del Rey and The 1975 because some of Swift’s music carries a remarkably similar vibe. This album is a good choice for idle listening, but don’t expect to be awestruck by the melodies or blown away by Swift’s thought-provoking lyricism.
“The Life of a Showgirl:” ★★★☆☆
