Image courtesy of Wikipedia Commons
This past Friday, Oct. 3, Taylor Swift put on her 12th show with her latest album, “The Life of a Showgirl.” Swift promised a compilation of infectious pop bangers, and she certainly delivered; reuniting with Max Martin and Shellback was the right sonic transition from the melancholic “The Tortured Poets Department.”
Despite the catchy hooks, the lyrical content left much to be desired. Dated references to “girlbossing too close to the sun” and “trolling and memes” abound, the album’s portrayal of fame feels tone-deaf, and the descriptions of Swift’s fiance Travis Kelce sound superficial.
Regardless, I am fond of “glitter gel pen” songs, so I did have fun listening. Here’s my ranking, so you know what to play and what to skip.
“Wi$h Li$t” — Oddly-formatted title aside, this track comes across as incredibly hypocritical. Its sentiment of wanting love over material gains is sweet, but Swift treating things like a yacht life and an Oscar win — which she has previously chased — as shallow and trivial makes the message fall flat.
“CANCELLED!” — I’m sure this would have made sense in 2016 when Swift was villainized by the internet for an edited phone call. But released now, after recently being “cancelled” for her silence on numerous human rights issues, it doesn’t land. This song about liking her friends who are cloaked in scandal, such as the Mahomes family’s controversial political affiliations, sounds out of touch.
“Father Figure” — Let’s be clear: Taylor Swift has never been edgy, including on this condemnation of exploitation in the music industry. I think the themes of this track fit the showgirl aesthetic pretty well, but her attempt at being provocative in musical direction and lyrical content feels inauthentic to Swift’s brand.
“Honey” — After having to listen to nearly an entire album about Travis Kelce, this track bored me. I did like its smooth instrumentation a la its title, but this one easily could have stayed in the vault.
“Opalite” — An upbeat rumination on finding the “one,” this track’s imagery of “dancing through the lightning strikes” and having to “make your own sunshine” is cute but ultimately forgettable. The pop-rock production reminds me of the “Speak Now” vault track “I Can See You,” and frankly, I wish I was listening to that instead.
“Wood” — I absolutely love the ‘70s-inspired production here, but “Wood” is trying just a little too hard — pun entirely intended — to be raunchy for me to take seriously.
“Actually Romantic” — The way Swift sings the word “romantic” in the chorus scratches my brain just right, and the indie rock production complementing Swift’s voice makes this a sonic standout.
“Eldest Daughter” — I’ll be honest: As an eldest daughter myself, I might be biased in liking this. Its themes of mental burdens and feeling like a lamb to the slaughter truly resonate, while the lyrically poignant bridge reminds me of Swift’s roots as a yearner.
“The Life of a Showgirl (feat. Sabrina Carpenter)” — Sabrina Carpenter steals the show in this Lumineers-esque tale of an ambitious showgirl named Kitty. Her earnest delivery alongside Swift’s soothing tone allowed me to forgive the presence of some clunky rhymes throughout.
“Elizabeth Taylor” — With a commentary on love’s relationship with fame accompanied by a snappy beat, this song could definitely become a great single in the future. I can already picture a music video inspired by lines like, “Be my NY when Hollywood hates me / You’re only as hot as your last hit, baby,” that visually reflect Swift’s dominance in the industry.
“Ruin the Friendship” — A poppier version of a “Folklore” deep cut, the vibe of this ode to “what might have been” is perfectly curated for coffee shop study playlists. Swift’s delivery throughout the bridge — when we find out the subject of the song has unfortunately passed — makes my heart stop on every listen.
“The Fate of Ophelia” — The album’s opener writes an alternative perspective of Shakespeare’s Ophelia, who “might’ve drowned in the melancholy” if not for her lover, and has been stuck in my head all weekend. Aligning with the best of Swift’s discography, this groovy track stands out as the most genuinely romantic, and in my opinion, the strongest one on the album.
Ultimately, “The Life of a Showgirl” feels like a flimsy execution of a truly intriguing concept. The production is strong, and I certainly will be returning to many of these songs on my playlist, but the depth of the lyricism fails to match the level of Swift’s previous work. The album is at its best when it embraces Swift’s natural sensibilities rather than adopting an alternate persona, and I hope to see more Swift-penned tracks in this direction in the future.
Rating: 3/5 stars