After the onset of her pandemic Grammy-winning album, “folklore,” Taylor Swift made her indelible mark as a powerhouse songwriter. Fans of the singer-songwriter, who refer to themselves as “Swifties,” especially those from her debut years, attest that the 35-year-old pop star always had the flair for building cathedrals with her words alone. Songs from her junior album Speak Now like “Innocent,” “Dear John” and “Enchanted” prove she has had that skillful knack ever since.
Since “folklore,” Swift has churned out eight full-length albums — four re-recordings of her previous work and four new ones — and it can’t be easy making music while ensuring each one is sonically and lyrically a magnum opus.
Across the deepest nooks and crannies of the internet, Swifties share varying opinions about her newest work, “The Life of a Showgirl.” Some love it, while others are hopeful for brighter days ahead.
One review from The Guardian, written by Alexis Petridis, noted: “More startling still is the distinct lack of undeniable hooks and nailed-on melodies. The rest floats in one ear and out the other: not unpleasantly, but you might reasonably expect more given the amassed songwriting firepower behind it, and Swift’s claims of ‘keeping the bar really high.’”
A number of fans on X also expressed feeling blindsided by the disconnect between the showgirl aesthetic (think “Moulin Rouge” and fishnet stockings) and the orchestration of the songs, which leaned toward wistful soft-rock and synth tones that weren’t particularly reminiscent of showgirl entertainment.
Here are some more thoughts on the album:
Thematically, the cabaret/showgirl concept befits Swift’s brand
True to the core, Taylor Swift is a showgirl. Her year-long, blockbuster Eras Tour global stadium run is proof of that. She knows what the crowd wants — whether that means bringing her NFL player boyfriend out or singing a surprise song from the vault — and she knows what gets her the most roses. She performs live with elaborate choreography for three hours straight. Who can get more showgirl than that?
She’s an immortal force to be reckoned with: God complex or fact?
At the bridge of the title track, Swift sings, “And all the headshots on the walls of the dance hall are all of the bitches who wish I’d hurry up and die, but I’m immortal now, baby dolls.” Is this cocky or is it fact? Swift undoubtedly has the music industry in tight reins, both from her stardom and her astounding talent. But does that truly give her the upper hand over those who came after her, and is it enough reason to be boastful of her infamy? Also, for someone who claims she’s a feminist and a “girl’s girl,” she uses the word “b*tches” a lot in this album. There’s a noticeable character misalignment there.
Her comeback collaboration with lauded producers Shellback and Max Martin was the highlight of this album
Swift’s collaboration with the duo goes back to her “Red,” “1989” and reputation eras. Think popular hits like “We Are Never Ever Getting Back Together,” “Wonderland” and “Dancing With Our Hands Tied.” The Max Martin and Shellback flair wins out in this record as well, with “Opalite” and “The Fate of Ophelia” reminiscent of Swift’s signature 1989 synth-pop streak. Production-wise, the record is sonically cohesive.
Poetry does not equate to rhyming everything
Swift has a thing for end rhymes, one of the oldest tricks in the book. Though it works in some cases, it falls short in others. Fans often notice her tendency to rhyme “car” and “bar” in her songs. Thankfully, there are minimal — though not absent — end rhymes in The Life of a Showgirl.
No one can question the pop phenomenon that is Taylor Swift. But like every single human being on earth, she is bound to burn out with her constant rollout of releases. Her lyricism in “folklore” and “evermore” — raw and intentional —has yet to be replicated in present works. Sometimes it’s okay to admit that even the best English teacher might need a sabbatical or a writing retreat to get her spark back. S