The haters gonna hate, hate, hate, hate, hate. Taylor Swift’s latest album, “The Life of a Showgirl,” is a pop triumph.
Released on Friday, “The Life of a Showgirl” is Swift’s 12th studio album. The project comes less than a year after the singer-songwriter concluded her two-year-long Eras Tour and is a glance behind the curtain of Swift’s life beyond the glitz and glamour of touring — or showgirl — life.
Instead of the wistful introspection that graced her past four albums from “folklore” to “The Tortured Poets Department,” Swift instead serves up joyful gushing. And rightfully so — She’s in love!
Produced alongside Max Martin and Shellback, the minds behind hits like “Blank Space” and “I Knew You Were Trouble,” “The Life of a Showgirl” marks Swift’s welcome return to pure radio pop. And after half a decade of subdued production, Swift finally has bass and drums backing up her vocals, emphasizing her masterful writing and lilting melodies.
Compared to “The Tortured Poets Department,” “The Life of a Showgirl” is more concise and to the point. It features only 12 tracks and one of Swift’s shortest album runtimes — second only to her debut project. Yet, the brevity is what makes this album shine. Max Martin and Shellback’s touches can be seen throughout. By doubling down on more comprehensible melody arrangements and simpler verses, Swift is certainly back in her mid-2010s pop era.
For perhaps the first time, Swift selected one of her album’s best tracks to be the lead single (note the mediocre “Shake It Off” and “ME!”), the romantic and Shakespearean song “The Fate of Ophelia.” Supported by what might be Swift’s best music video since “cardigan” — “The Fate of Ophelia” rewrites the story of the heroine Ophelia from “Hamlet” as Swift is saved from drowning by her lover. The song’s head-bopping drum lines and breathy vocals work together to create a beautiful tune. A crescendo in the song’s final chorus is the cherry on top.
Touches of inspiration from showgirl and music eras of the past can be found across the project, most obviously in “Opalite,” where swinging iterations of “oh-oh-oh-oh” recall ’50s girl groups, adding a fun and catchy flair.
“Father Figure” interpolates George Michael’s song of the same name, turning the father figure into one of power rather than love. The production of “Actually Romantic” is reminiscent of Avril Lavigne and 2000s rock girl albums.
A Taylor Swift album would not be complete without lyrics that make you think harder, and “The Life of a Showgirl” is no outlier. “I’d cry my eyes violet” from the song “Elizabeth Taylor” and “I pay the check before it kisses the mahogany grain” from “Father Figure” exemplify Swift’s unique lyricism.
Swift also dives deeper into country-style writing in “Ruin The Friendship” and “The Life of a Showgirl (feat. Sabrina Carpenter).”
The cheeky “Wood” is an adorable (and slightly scandalous) ode to breaking superstitions and, ahem, sex. NFL tight end Travis Kelce has certainly made his mark on Swift’s music — yet instead of football puns, we now have … well, just listen to the lyrics and deduce the message yourself.
With a Jackson 5-inspired guitar backing and clever turns on common phrases, “Wood” is tongue-in-cheek, playful and full of pure joy. It’s made to be sung along with and danced to while doing your makeup.
And maybe that’s the point of “The Life of a Showgirl.” Beyond the hours spent performing, there’s other things in life that will make you want to continue to dance offstage.
Despite all of its strengths, “The Life of a Showgirl” is by no means Swift’s lyricism magnum opus. Categorized by Swifties as “glitter gel pen” songs, the album’s lyrics are significantly less complex and not as metaphoric. The “Eldest Daughter” lyrics “But I’m not a bad b***h / This isn’t savage” do serve a purpose in using online slang, but don’t quite hit the mark. In a heartfelt song about brave facades and letting one’s guard down when in love, there must be a better way for Swift to convey her message.
The infectious production of “CANCELLED!” is reminiscent of Swift’s “Reputation” era, but some lyrics feel a bit inept for a 35-year-old. “Welcome to my underworld” would have fit when Swift’s image was intentionally angsty, but now, it’s a bit odd.
Regardless, “The Life of a Showgirl” shines in more places than not. Perhaps an influx of negative online comments is influencing others to think poorly of this project.
The album’s final and titular track, “The Life of a Showgirl (feat. Sabrina Carpenter),” includes Swift and Carpenter in conversation with a fictional showgirl named Kitty. The singers are in awe of Kitty and aspire to live a life similar to hers, but Kitty warns the two of the hardships of being a showgirl, telling them: “You don’t know the life of a showgirl, babe / And you’re never gonna wanna.”
It’s no secret that Swift and Carpenter are world-class showgirls now. Despite pursuing the showgirl path themselves, through this song, Swift indirectly tells listeners that life in the spotlight is no easy feat.
People expected “The Life of a Showgirl” to be flashy and grandiose, and maybe Swift’s photoshoots and marketing campaign for the album pointed towards that, but she was trying to tell us something bigger.
Maybe it’s what happens behind the scenes — the love, the nostalgia, the drama, the mundane, the common happenings of everyday life — that truly matter.
Maybe that’s what the life of a showgirl is all about.
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