The Life of a Showgirl

The Life of a Showgirl, Taylor Swift’s 12th album in almost 20 years in the music industry, arrived on Friday, October 3. Pitched by Swift as an attempt to capture the magic of her record-breaking Eras Tour and “take a look behind the curtain” on that time period in her life, the album delivers an interesting blend of highly-specific lyrics, infectious melodies, and a perfect amount of wistfulness. Produced by Max Martin and Shellback, legendary producers who ushered Swift into pop godhood with 2014’s bible 1989, the Life of a Showgirl aims for the skies, and lands (at least for me). 

I’ve seen The Life of a Showgirl face plenty of criticism in its first few days out in the world—about the theater “release party,” the lyrics, the spectacle around it all. It took me a few listens, but the album has grown on me. The conversation surrounding Taylor Swift often feels impossible to separate from the music itself; she exists in this intense web of parasocial relationships where everyone has an opinion, and most feel compelled to share it. Where I land on that spectrum changes day to day. Right now, I’d put it simply: she might have more than enough money, but I still really enjoy her music, and that feels fine to admit.

Her lyrics take a real turn from The Tortured Poets Department, that sprawling 31-track odyssey where she laid everything bare for almost two hours. The Life of a Showgirl feels like the opposite in tone; more of a spiritual sister to Midnights than a follow-up to TTPD. Here, she’s bejeweled again, sparkling in every sense of the word. The sequins and glitter pulled me in, not because they’re hiding anything, but because they offer a little bit of escapism. Honestly, that’s all I’m truly looking for from a Taylor Swift album. 

The first three tracks of this album are easily my favorite. The energy of “The Fate of Ophelia” into “Elizabeth Taylor” followed by “Opalite” perfectly captures the magic of Taylor’s writing. Dazzling imagery, infectious melodies that will get stuck in your head for days on end. “Father Figure” seems to discuss Swift’s reacquisition of her masters, which she announced on her website in a letter to fans back in May. “Eldest Daughter” is a stripped back, piano driven ballad that still hasn’t fully caught on for me, despite my status as the eldest daughter.

“Ruin the Friendship”'s lyrics echo Taylor’s early days of riding on the passenger side of pickup trucks, navigating the awkwardness of prom, and handling difficult losses. The melody is nostalgic, and tragic at times. “Actually Romantic” isn’t necessarily a diss track, but it’s a swipe at the haters, a sister song to "Shake It Off" or “Better than Revenge”. "Wi$h Li$t" is a slow, r&b-esque number, exploring Swift’s desires for the future. “Please God, bring me a best friend who I think is hot” does read closer to a Sabrina Carpenter lyric, but it is relatable and honest, so I will give her credit for saying it out loud. 

“Wood” is another one that feels so similar to Sabrina Carpenter’s “House Tour”, laden with innuendos about her now-fiance Travis Kelce’s body. “New heights of manhood…His love was the key that opened my thighs” may be some of Swift’s most “explicit” lyrics, but she’s no stranger to lust and desire. It’s clear the couple doesn’t take their relationship too seriously. 

“Cancelled!” feels as though the production was taken from a reputation vault song, with stomping beats that remind me of “I did Something Bad”. “Honey” has country and r&b elements, while Swift describes the feelings of elation when being called pet names in earnest. “The Life of a Showgirl”, the titular and closing track, features the up and coming pop princess Sabrina Carpenter and is the only feature on the album. Using a narrative storytelling method, Swift tells a story of her introduction to the life of a showgirl. One fan theory claims that the character of Kitty is inspired by Britney Spears. This album ended for me on an off note, as this song has become one of my main skips during listening sessions. 

While this release certainly isn’t intended for everyone, it’s a fun piece of escapism in a tumultuous political climate. The aesthetic is one that really stands out to me amongst Swift's notorious era, and while I wish some of the songs were a little different, it’s a shiny and sparkly 41 minutes of music that I think is worth a listen.