Taylor Swift’s “The Life of a Showgirl” isn’t chasing approval; she’s reclaiming her throne in the pop industry on her own terms.
The album was one of the most anticipated for Swift fans. “The Life of a Showgirl” was a curveball; it was released so quickly that fans, including me, didn’t know what to expect.
Swift uses all of her best strengths to create a truly organic album. She grabbed all the great aspects of her past albums to create this one.
Lyrical
It doesn’t flow as well; this wasn’t the best concept album. This album is meant to be listened to song by song, different than “Evermore” and “Folklore,” where the albums were a cohesive story. All the songs from “The Life of a Showgirl” felt like previous vault tracks, like they could’ve been in other albums. It was short; Swift obviously didn’t feel pressured to put out a lengthy, 24-track album.
Swift knows how to write a song and make it seem like she is speaking directly to you. She knows how to sing the wrenching lyrics right when they needs to be said.
This album is a balanced blend of electric and acoustic, while still using her country and pop roots. Max Martin and Shellback obviously made their presence known while maintaining Swift’s new poetic self. This wasn’t a dictionary bomb; it was a blended mix of reclaiming pop music while still incorporating her often complicated lyrics.
Her lyric choices in this album were nothing short of interesting. Some of the lyrics made me cringe, like “Did you girlboss too close to the sun?” Swift, please stick to your poetic roots. It was weird to hear her sing some lyrics seriously. It was almost like she was trying to be the cool millennial aunt to her Gen Z children. Swift doesn’t need to try and fit in with her audience; she has clearly earned her status.
Fan reaction
Influencers and critics are saying that each song sounds like it could be in a different era. “Ruin the Friendship” sounded like a mature part two of “Fearless,” with references to Abigail (her friend from high school). I was so happy when I heard Abigail’s name. The only time we’ve heard this iconic name was in “Fifteen.”
Fans who may have been expecting songs like “I Knew You Were Trouble” and “Shake It Off” will be surprised. This is not the vibe, though their presence is known with pop influences embedded.
Her past collaborator, Jack Antonoff, did not help with this album, and it is obvious. I miss the aspects he brought to her past albums. His synth-pop and creative edge brought risks that Swifties enjoyed.
This album was, in a lot of ways, a misdirect from what fans expected. I was expecting upbeat, musical theatre vibes. This is not the case, and many fans agree. Some songs were about falling in love, while others were about the expectations of fame.
Personal reaction
“Actually Romantic” still had electric remnants while embracing change. She knows her strengths and put them all in this album. The only thing I was hoping for was a more upbeat song like “Shake It Off” or “22.” This shows that her discography is so versatile, while staying unique with each new era.
“Father Figure” is an example of how to do interpolation done right. She was respectful toward George Michael, using the chorus of “Father Figure” but still making the song her own. This wasn’t an “Ice Ice Baby” and “Under Pressure” situation; she was respectful toward the artist and his art. She only used sampling in the chorus, and the rest of the song was catchy; the song is its own.
“Eldest Daughter” was the song I claimed when the track list came out. As an eldest daughter, I cried listening to this song. She hits every mark when it comes to the eldest daughter theory. Her storytelling in this song sticks out, and with the intimate solo piano, it sounds like she is speaking directly to the listener. The track five theory for Swift’s album is real. The fan theory is that every track five on her albums is the most sad, personal and gut-wrenching. This track five proves it.
With her collab with Sabrina Carpenter in “The Life of a Showgirl,” I was afraid this was going to be like “Snow on the Beach” with Lana Del Ray. I am a huge fan of Carpenter, and was excited that both artists were able to shine. This felt like Taylor was handing the baton to Sabrina and letting her have her moment. It was an equal and smooth collaboration. This was one of the best songs on the album.
Swift isn’t playing it safe; this was made for the fun of it. There was no pressure to release music. This album came out of the blue and was truly a surprise to fans.
How could an artist who just ended the highest-grossing tour release MORE music, let alone make music while on tour? The real question is if Swift ever sleeps… and I don’t think she does.
She didn’t release this album to please anyone but herself, and that’s exactly why it works. She’s not just playing the pop game; she’s rewriting the rules. The showgirl is back, and she’s here to stay.
