Taylor Swift – “The Life of a Showgirl”

This past year has been remarkable for Ms Swift. She wrapped up The Eras Tour, reclaimed ownership of her masters, and is now engaged — something that, given her track record, once seemed nearly impossible. So it’s no surprise that this album is full of joyful ballads and love songs. Taylor’s having fun, and she’s dragging us along for the ride. This record isn’t the tortured poet cousin of Folklore or Evermore; it’s Reputation’s cheerful sister — cheeky, flirty, and a little deranged in the best possible way. Think less writing in lowercase about heartbreak and more screaming ‘I love my boyfriend!’ with a megaphone.

The album features songs that are sonically fresh for her but still unmistakably Taylor Swift. Max Martin and Shellback return to produce another record full of bops — having previously collaborated on Reputation and 1989 — to craft what might well be the soundtrack of a decade. However, the album has split listeners into two camps: those who loved it instantly, and those slowly warming to it. As a fan, I was a little disappointed, because I know what she’s capable of — and this album just isn’t quite that. Swift overhyped it so much that many were expecting… more. I suppose we have to learn to appreciate her even when she’s head over heels in love and, most importantly, happy.

If there’s one thing she always nails, it’s picking the lead single. The Fate of Ophelia (also the opener) is an absolute bop. Swift kicks off the show with a Shakespearean wink and a romantic rewrite of tragedy. Where Ophelia once drowned, Taylor swims. The song blends Folklore’s poeticism with Midnights’ insomnia — except these sleepless nights aren’t from heartbreak but from love. Fans expected a mournful ballad given Ophelia’s fate, but instead it’s about how Travis Kelce saved her from drowning in melancholy.

The next track doesn’t land as well. Elizabeth Taylor feels like Reputation’s nachos reheated. It’s not a bad song — just nothing new or exciting. Perhaps that’s because some of us expected it to engage more with the life of the actress, rather than Swift crying her eyes violet.

Before release, she clarified that the album wasn’t about a showgirl but about her life. In keeping with that, the record divides neatly into two themes: love, and what it means to be a woman in the public eye. Swift’s never been so in love (or so unabashedly horny) and we love to see it. Wi$h Li$t is one of her simplest yet most romantic songs to date. You might think the artist who has everything would have nothing left to wish for (she’s a billionaire, after all) but while people often long for material things, her only wish is for her lover.

The following track, Wood, sounds like Jackson 5 meets Taylor Swift. It’s funky and sexy in that wink-wink, ‘I know what I’m doing’ kind of way. And yes, it’s probably the most openly sexual song she’s ever recorded — which is saying something for the woman who once wrote “only bought this dress so you could take it off.” But a girl isn’t always horny; sometimes she just wants someone to call her ‘honey’ in a way that isn’t condescending, disrespectful, or sexist. It’s another fun track that doesn’t break new ground but will definitely get you dancing.

It’s well known that Swift’s fifth tracks are always heart-wrenching, and Eldest Daughter is no exception. It’s one of her most intimate, stripped-back songs — just her, a guitar, and a piano. She deliberately uses trendy Gen Z words — hot take, bad bitch, savage — to admit she’s “been dying just from trying to seem cool.” In doing so, she captures the struggle of all eldest daughters who feel the pressure to be perfect. Yet, despite her insecurities, she promises that even if she’s not the coolest, she won’t let down her partner — the youngest son.

Another romantic track, though not aimed at Kelce this time, is Ruin the Friendship. It’s peak chaotic Taylor energy — fun and impulsive. It sounds like texting “what if…” at two in the morning. But then it twists, revealing that the song is addressed to someone who’s no longer here. Swift sings: “And my advice is to always answer the question / Better that than to ask it all your life.” This one will definitely ruin a few actual friendships this autumn.

But don’t worry, it isn’t all heartbreak and chaos. Opalite arrives as a shimmering, Christmas-y reminder that happiness can be man-made. The metaphor is clever: opalite is an artificial stone that still shines — symbolising that joy doesn’t have to be natural or effortless; it can be built. The song recalls The Fate of Ophelia in its theme of self-reinvention, closing the narrative loop: from drowning to designing your own destiny. It’s soft, sparkly, and serotonin-infused.

The other side of the album explores the struggles a showgirl faces — including being cancelled by the public. She’s something of an expert in that department — remember Reputation and what inspired it? Hello, KimYe. Now she takes control with Cancelled!, a pep talk for her friends who’ve been through public backlash — and it’s surprisingly wholesome. Instead of playing the victim, she reclaims the label, turning it into a badge of honour. “And now you know exactly who your friends are / We’re the ones with matching scars.”

We’ve already mentioned that this year she regained ownership of her masters, but it hasn’t been an easy road. Father Figure is a direct attack on the music industry and its power dynamics. She was once the rookie artist who allowed herself to be deceived; now she’s the father figure fighting for the rights of others. The grand finale, The Life of a Showgirl, features the voice of a new generation — Sabrina Carpenter — who now makes her living “being pretty and witty.” It’s the only track that truly unpacks the album’s glittery title, warning new artists that the life of a star isn’t as beautiful as it looks — even the prettiest spotlight burns hot. But it does so like an old-fashioned musical: sweetly and cheerfully. The perfect ending to a new era.

Taylor Swift is at a point in her career where she can’t please everyone; you either love her or hate her. Those who hate her ask how she got here, but the answer is simple: when she releases something, the world stops and listens. That doesn’t happen with anyone else — whether you like it or not. This album is nothing we haven’t heard before, and people are piling on her for not surprising us and for releasing something that, even I admit, is weaker than some of her previous work. But she doesn’t have to prove anything anymore.

Let’s remember she’s the same artist who gave us Folklore and last year’s The Tortured Poets Department. Here’s the thing: not every song on The Life of a Showgirl is a masterpiece. Some are playlist keepers, and some… aren’t. And that’s fine! Not every album has to cure heartbreak or reinvent pop. Sometimes, it just needs to make you want to dance in a sparkly outfit and text your ex “lol nvm.” Because The Life of a Showgirl is funny, messy, lovely, ridiculous — and kind of perfect for a world that takes everything (including Taylor Swift) far too seriously.

Oh, and before I finish — if you’re one of those people who spends more time criticising her online than listening to your favourite artists, she’s got a love letter for you. It’s… Actually Romantic.