I’ll admit it: I am not a “Swiftie.” I would describe myself more as a casual fan. I particularly enjoyed her “folklore” and “evermore” albums. But since she has delved back into classic pop with her 2022 album “Midnights,” I’ve felt part of what I enjoyed about Taylor Swift drift away. In her latest album, “The Life of a Showgirl,” Swift displays all the glitz and glam of her life without giving the songs any actual depth, making the album sound as if she’s just playing a caricature of herself.
Of all the songs on the album, the ninth track, “Wood,” has the upbeat, poppy vibe I associate with classic Taylor Swift. The song is silly, filled with innuendos and jokes detailing her fulfilling relationship with Kansas City Chiefs star Travis Kelce. She references her fiancé’s podcast, “New Heights,” claiming he’s reached “New Heights of manhood.” The song exudes Chappell Roan’s and Sabrina Carpenter’s campy, sexual style, but to some, Swift’s attempt misses the mark given her clean-cut persona. Despite liking “Wood,” I understand the complaints about the album, and many of the other songs make me feel similarly dissatisfied.
Judging from reactions I’ve seen to the album online, many are not fans. In “CANCELLED!” Swift speaks on her frustration with cancel culture and fair-weather friends, declaring that she’d rather have friends who’ve been cancelled too. This song is one I agree she should have tweaked. “CANCELLED!” seems to be about Brittany Mahomes, who received hate online for showing support for Donald Trump even after his disparaging comments towards Swift. I find it confusing that Swift celebrates this attribute of her friend when it directly hurts her image and angers her fanbase. Within the song, I am equally puzzled by her poor lyricism, asking, “Did you girlboss too close to the sun?” which sarcastically ignores the real reasons behind the backlash and immediately dates the song upon release.
“Eldest Daughter” also has similarly baffling lyrics, with Swift referencing “trolling” and “memes” within the first verse. The track describes Swift’s struggle to seem cool, claiming, “I’m not a bad b—, and this isn’t savage.” Technically there isn’t anything wrong with referencing modern slang in songs. However, it certainly limits the ability for her audience to enjoy those songs beyond their release as the terms become outdated. Probably the most egregious example lies in the lines, “Every eldest daughter was the first lamb to the slaughter, so we all dressed as wolves and we looked fire.” Taking a potentially well-written line and ending it in a term that doesn’t match stylistically ruins the whole pre-chorus.
Another issue of mine is that the interesting concepts that the album’s imagery brings do not match the content of the songs. Out of the twelve songs on this album, I’d argue only two have “Showgirl” lyrics or sound.
The lyrics themselves feel as though Swift is writing based on the perceived idea of her life. With only a little more than a year since her previous album, it makes me wonder if that time was enough to develop artistically. This entire album feels half-baked, including the songs I liked.
To end on a positive note, the second track, “Elizabeth Taylor,” is one of the few songs that best evokes the showgirl imagery of the album’s photoshoot. The legendary Hollywood actress became infamous for her multiple marriages, and Swift faced similar backlash for her dating history. However, in this song, she sings about the possibility of being with someone forever, worrying that her relationship won’t last that long. The best section of the song is the bridge where Taylor reassures herself, “All my white diamonds and lovers are forever,” with moody repetition. Even if her current relationship doesn’t last forever, like Elizabeth Taylor, the world will always remember Swift for her successes and relationships.
There is a point where I feel like people are looking for something to hate. Oftentimes, critiques toward Taylor Swift can bleed into misogyny, like discussing her relationships over her artistry, but that doesn’t mean all criticisms should be washed away. Given how much money people have already spent on this album, it makes it that much harder to listen to a billionaire complain that she’s too successful, through mediocre lyrics at that. As a listener, I’m frustrated with this album because I know Taylor Swift can write a better one.
Rating: 2/5
