Taylor Swift, the consummate showgirl, is recently back from what has been the largest tour in music history but is still able to dive right back into the studio. This larger-than-life, ever-present persona influences ‘The Life Of A Showgirl’ – her twelfth studio album – which presents a listening experience that is at times radiant and at other times burdensome, lacking the precision of her earlier works.
The opening track, ‘The Fate Of Ophelia’, begins with piano notes that pulse before it bursts in with gritty bass lines combined with organ for a sultry take on early 2000s funk-pop revival. It departs from any sound associated with Swift before, evoking memories of Duffy’s ‘Mercy’ or Adele’s ‘Rumour Has It’, amplified by her sultry lower register vocal.
Much of the album’s creative essence is rooted in ‘The Fate Of Ophelia’, which is also reflected in the original cover art portraying Swift submerged in a bathtub, inspired by the tragic figure of Ophelia from Shakespeare’s Hamlet. Ophelia's fate serves as a symbolic representation of societal pressures, grief, and male dominance—topics that Swift explores through her lyrics in ‘The Life Of A Showgirl’. Unlike Ophelia, however, Swift emerges victorious. The album is marked by Swift’s signature confessional style, poetic lyrics, and a playful chorus peppered with 'bro-cabulary': “pledge allegiance to your hands, your team, your vibes.”
Somewhere between orchestral pop and the driving snare-drum rhythm of ‘Reputation’ – the last album featuring Max Martin as producer – ‘Elizabeth Taylor’ presents a disordered composition that articulates Hollywood's myths and secrets. Swift’s darkly romantic song echoes the ‘Reputation’-era hit ‘…Ready For It?’ with the line: “He can be my jailor Burton to this Taylor.” ‘Opalite’ seems destined to become a ‘pop song of the summer’ contender for next year, with its catchy acoustic guitars, energetic bass, and captivating hook. Concluded by a delightful bridge showcasing Swift's upper vocal range, ‘Opalite’ is certainly one of the notable highlights of ‘The Life Of A Showgirl’—or gems, if you will.
For the first time, fans witness Swift embracing an R&B-inspired sound on melody-driven songs like ‘Honey’. Unlike her previous shifts from country to pop that revealed her versatility, R&B seems less fitting for Swift's sound, revealing the nuances of her voice in a genre heavily reliant on expression and musicality. On the other hand, the light, smooth-pop ballad ‘Father Figure’ incorporates elements from George Michael’s classic song, providing Swift with space to vocalize. It lays a foundation for lyrics that challenge societal expectations on women, even if the execution falters: “I make deals with the devil because my dick’s bigger.”
‘Father Figure’ is a critique aimed at Scooter Braun, who acquired Swift’s body of work without her consent in late 2019. This track acknowledges Swift's capabilities as a songwriter, reclaiming her creative independence; her voice radiates hope in the song's final chorus as she shifts to a new key and tempo. In contrast, ‘Ruin The Friendship’ nods to her country roots, a nostalgic tribute tinged with remorse for not pursuing a romance with a deceased close friend.
In what seems to be an explicit dig at fellow pop artist Charli xcx, ‘Actually Romantic’ serves as the album’s biting diss-track, with its aggressive guitar driving a retort to perceived snide remarks from Charli. Swift attempts to frame the attention her inspiration has given her as flattery: “I mind my business, God’s my witness that I don’t provoke it…” However, you may wonder if this is all there is—the response feels slightly misplaced, and the song’s sound palette lacks vibrancy. As far as diss tracks go, it doesn’t compare to ‘Meet The Grahams’.
As the album continues, the filler becomes more apparent, failing to reach the heights of Swift's previous creations as one of this century's defining artists. The spirited Motown-inspired track ‘Wood’ embodies the Showgirl notion, showcasing Swift’s bold vocal delivery during the recording. However, the lyrics verge on being cringeworthy: “his love was the key that opened my thighs,” anyone?
Concluding an album with the title track usually signifies creative confidence, but ‘The Life Of A Showgirl’ – featuring Sabrina Carpenter – doesn't quite bring clarity to this varied collection of songs. Listening again, it feels akin to a showgirl trying on multiple outfits; styles vary, yet there's a lack of the emotional depth found in her recent work. Was it deliberate that many songs on this album appear to reinterpret earlier eras? Was this meant to be a nod to her recent tour? While it’s a diverse album, at times you find
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Taylor Swift, being the consummate showgirl that she is, has just returned from the largest tour in music history, yet she remains ready to head