The launch of Taylor Swift's twelfth studio album was bound to ignite spirited discussions. Within just hours of its release, ‘The Life Of A Showgirl’ faced allegations of a lack of originality, overt messaging (particularly related to comments on fiancé Travis Kelce’s masculinity), and poor sportsmanship, reigniting an existing lyrical rivalry with British artist Charli xcx, notably through one of the album's standout melodies. Kept under tight security to prevent leaks, the public was not ready for some of the album’s surprising collaborations. And by "the public," we mean everyone. It’s well-known that ‘The Life Of A Showgirl’ set a record for the highest number of presales on major streaming platforms, ensuring that Taylor remains relatively shielded from critiques, both within her dedicated fanbase and beyond. In many respects, this album was destined for success long before it was officially released; thus, it begs the question of whether it truly matters if it’s good. However, as time passes (which could take a while, especially with the involvement of Travis’ ex Kayle Nicole), its main critique persists: This isn't the triumphant return of catchy pop hits that was anticipated. Nevertheless, it isn't bad either. Instead, it feels somewhat constrained by its own buildup, shaped both by Taylor and her collaboration with previous successful producers Max Martin and Shellback [‘Red’; ‘1989’; ‘Reputation’]. Its relatively simple soft pop sound lacks any noteworthy hit.
Yet, this aspect presents an interesting point. Taylor enjoys a privilege that few artists can boast, even those aspiring to reach her level of stardom. There doesn't have to be a standout single; there’s no need for extensive pre-release promotion or a fifteen-second TikTok teaser. The definition of what qualifies as a “banger” (in Taylor's own terms) is reshaped, even as ‘CANCELLED!’ attempts to carve out its moment. This is why some fans will praise her seemingly childish rebuttals while others will criticize them (‘Always Romantic’), and why her sugary, love-infused joy may uplift some listeners (‘Eldest Daughter’; ‘Opalite’) while leaving others dissatisfied (‘Wood’). While we may have witnessed Taylor produce stronger songwriting than in ‘The Life Of A Showgirl,’ it seems that now more than ever, she is creating music for her own enjoyment rather than for anyone else.
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A casualty of its own introduction.