Recommended tracks: “The Fate of Ophelia,” “Eldest Daughter,” “The Life of a Showgirl”
Artists you may like: Sabrina Carpenter, Gracie Abrams, Olivia Rodrigo
Once it was announced that Taylor Swift would be collaborating with 1989 producers Max Martin and Shellback on her newest album, fans were expecting big pop hits such as “Blank Space” or “Style.” Moreover, the cinematic title, The Life of a Showgirl, and its promotional images hinted at grand, dramatic productions filled with Swift’s signature catchy hooks. Instead, the new LP is a subdued mid-tempo record with soft-rock-influenced tunes that provide a peek at her journey to finding love as one of the most recognizable entertainers in the world.
The opening track, “The Fate of Ophelia,” instantly sets the sonic direction of the record with a bassline reminiscent of Foster the People’s “Pumped Up Kicks.” Swift laments about her loneliness before meeting her lover with a laid-back yet ever-building chorus, singing, “You dug me out of my grave and / Saved my heart from the fate of Ophelia.”
Likewise, in “Elizabeth Taylor,” she expresses doubt over finding real love in Hollywood, asking the late-showgirl herself if her relationship will last. Titled after the iconic actress, the song introduces a cinematic aspect with its piano and string opening, while its mellow chorus explodes with a drum beat as Swift sings, “I’d cry my eyes violet, Elizabeth Taylor / Tell me for real, do you think it’s forever?” In the follow-up, “Opalite,” she gets her answer, celebrating the discovery of her soulmate in a shimmering soft-rock number.
Swift flips the script in “Father Figure,” supposedly claiming she will be the father figure to a business partner who reminds her of a young version of herself. In the explicit chorus, she sings, “I’ll be your father figure / I’ll drink that brown liquor / I can make deals with the devil because my dick’s bigger.” With an interpolation of George Michael’s song of the same name, the track peaks towards the end with an orchestral instrumentation packed with smooth harmonies that lead to an unexpected key change.
“Eldest Daughter” is an immediate highlight with a stripped-back piano accompaniment as Swift opens with “Everybody’s so punk on the internet.” Her emotional vocal delivery shines with vulnerability as she confesses she might not be as “cool” as other people on the internet, but promises to never break her vows and leave her partner, singing, “But I’m not a bad bitch / And this isn’t savage / But I’m never going to let you down.” In contrast, the next song, “Ruin The Friendship,” although a sweet love letter, falls short with an over-explored theme of graduating from friends to lovers.
Reminiscent of Olivia Rodrigo in the guitar-driven “Actually Romantic,” Swift seemingly calls out a certain bratty popstar, opening with, “I heard you call me ‘Boring Barbie’ when the coke’s got you brave.” With biting lyrics drenched in sarcasm, Swift proves she isn’t afraid to stand up for herself.
In the dreamy ballad “Wi$h Li$t,” Swift outlines aspirations that most people would want, such as an extravagant, luxurious lifestyle. However, on her wish list is something more pure: “I just want you, have a couple kids, have the whole block looking like you.” Meanwhile, in “Wood,” she picks up the pace with a funky bassline and bright guitars. Here, she exudes positivity with double entendres as she brags about her partner, singing “And, baby, I’ll admit I’ve been a little superstitious / The curse on me was broken by your magic wand.”
Bouncing back to a public figure perspective, in “CANCELLED!,” she addresses online discourse regarding her friends’ character with a Reputation-esque chorus similar to Lorde’s “Yellow Flicker Beat.” In the bridge, she sings, “They stood by me before my exoneration / They believed I was innocent / So I’m not here for judgment, no.” Nearing the end of the record, “Honey” almost feels misplaced with its R&B-influenced beat. However, its catchy chorus sneakily becomes a grower.
Finally, the title track, “The Life of a Showgirl” featuring Sabrina Carpenter, is a fun stomp-clap jam with an anthemic sing-along chorus, reminiscent of the Jonas Brothers‘ “Cool.” The country-infused piece is an obvious choice for a Sabrina Carpenter feature and her twangy vocals, while its whimsical bridge and outro fully encapsulate tone of the album, making it the perfect closing song.
Few songwriters in today’s age are capable of writing a hit like Taylor Swift. Her unique approach to personal, detailed lyricism and earworm melodies has influenced an entire generation of artists. Although The Life of a Showgirl could have committed to bolder production choices at times, it remains a thoroughly enjoyable listen with a subtle, mellow mood that might not live up to its epic title, but still shows clear signs of an artist dedicated to her craft as a storyteller.
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