Swifties around the world have been patiently waiting for what Taylor Swift’s next era would sound like, and the wait ended on Friday, Oct. 3 with the release of “The Life of a Showgirl.” Swift collaborated with producers Max Martin and Shellback, who worked on “1989” and “Reputation,” for this album and created 12 new tracks that are certified bangers.
With any Swift drop, the general public is always going to have something to say, whether it’s that the lyrics are too pretentious or the production sucks. When you’ve been in the industry for as long as Swift has and are growing in success, that hate is just a part of the job. But on this album, she doesn’t care anymore. She’s happy, unbothered and baking bread, and that comes through in the music.
The first track, “The Fate of Ophelia,” is inspired by “Hamlet.” It immediately sets up the album to be full of songs about being in love that’ll make you want to get up and dance. It also reimagines what could’ve happened to Ophelia if she hadn’t been surrounded by men who drove her mad.
“Elizabeth Taylor” was the first song written for the album, and it takes inspiration from Taylor’s life but mixes it with Swift’s. It talks about fame and love and how those two intertwine. It’s about the anxieties of getting into a new relationship and hoping that it’s forever set to amazing beat drops.
“Opalite” is pop perfection, simple as that. Ignoring the lyrics, the production itself is so dancey, I dare someone not to bop around to this song. The story behind the song is that Opalite is man-made opal, which led to using it as a metaphor in a song about making your own happiness when life feels dark.
It was revealed a few days before the album’s release that “Father Figure” would be an interpolation of the George Michael song of the same name. This song is fully inspired by getting her master recordings back and the mentor-mentee relationship she had with Scott Borchetta, and the power dynamics in the music industry. Some of my favorite lyrics come from the key change in the final chorus, where the narrative flips and Swift becomes the so-called “mentor.”
“Eldest Daughter” has gotten mixed opinions because, she uses internet slang like “bad bitch” and “savage,” which takes a lot of people out of the song, and it’s disappointing because it’s such a raw and emotional song. She talks about the internet and how people are expected to have these perfect and cool personas online, when she’s not that; she’s the eldest daughter who’s fiercely loyal and doesn’t want her tough exterior to crack. The piano got me instantly and the bridge is some of her best work, with lines like “We lie back / A beautiful, beautiful time-lapse / Ferris wheels, kisses, and lilacs / And things I said were dumb / ‘Cause I thought that I’d never find that.”
In “Ruin The Friendship,” someone dies, and Abigail, Swift’s high school best friend, is mentioned. It’s a reminiscence of high school and how being young can make everything feel so big, when telling someone you like them usually wouldn’t be the end of the world. It’s one of my favorites from the album, and I think it helps put in perspective why Taylor seemingly jumps from relationship to relationship; she knows how much it hurts when you leave things unsaid.
“Actually Romantic” is a gag, and I’m obsessed. Everyone knows who this song is about, but with that, I don’t think it’s just about one person. It really is just saying to all these people who claim to hate Swift and have this one-sided beef with her, yet can’t stop talking about her, that she doesn’t think about them — but is flattered that they put so much energy into thinking about her.
“Wi$h Li$t” is just her telling us how in love she is, as she should honestly. Another personal favorite of mine. I love that she’s basically saying I hope you all get what you want, but this is what I want. The way she sings “Boss up, settle down, got a wish (Wish) list (List) / I just want you” in the chorus scratches my brain perfectly. The beat is so good, and I love how she sounds; it’s another one you just have to dance to.
One of the most underrated tracks is “Honey.” The concept of the song is having these pet names you hate because of the context they’ve been used towards you, but then having someone come into your life and making them mean something completely new and heal those wounds.
The title track closes out the album perfectly. Swift said that after she wrote the song, she needed Sabrina Carpenter on it because of how she encapsulates the song and navigates the industry so perfectly. The song tells the story of a fictional showgirl not shying away from telling a fan what her life is truly like and in turn, the fan goes through with it and becomes a showgirl too. It’s such a theatre-esque song; it’s so full, and the production is perfect.
This album is pop perfection to me, and it gets better with each listen. There are complaints that her pen isn’t here anymore, but I implore listeners to read the lyrics in this album because Swift is still a lyrical genius, even if she isn’t writing about wanting to kill herself. I’m so happy to see her having so much fun exploring this era, and I’m so excited to see what else might come from it.
Rating: 5/5 stars