“The Life of a Showgirl” Hones Taylor Swift’s Power

Taylor Swift’s new album, “The Life of a Showgirl,” has garnered some pretty polarizing opinions from all fans. The general consensus: you either love it or hate it. Personally, I enjoyed the album, but let’s break it down. 

The album only has 12 songs, which is Swift’s shortest album since her self-titled debut album released in 2006. “The Life of a Showgirl” sold 2.7 million copies in the first weekend, according to Billboard. She also took over the box office, releasing a movie in theatres for one weekend. The movie, which is titled the same as the album, is a documentary-style film about the creation of the album and its first music video. 

One solid thing throughout the album is the production. Max Martin and Shellback, two famed producers, make their first appearance on a Swift album since “reputation” (2017.) Fans have missed these two, and it’s safe to say they did not disappoint in their comeback. 

“Showgirl,” however, has received very mixed feedback about its lyricism. It differs greatly from some of her recent work, such as “The Tortured Poets Department” and “folklore.” In the new album, Swift utilizes some “internet” language in the album that people do not like. One example of this is the album’s fifth track, “Eldest Daughter.” 

Many people are disappointed in the song’s lyricism, believing Swift missed the mark. However, I believe that’s exactly what the song is about. Throughout “Eldest Daughter,” Swift describes how she is “too cringe” for everyone online and coming to terms with that. She also sings about how she pushed people away and missed out on things because of this desire to please everyone. The “cringe” and “millennial” lyrics are what drive her point home. The song’s themes are in comparison to being an eldest daughter, and this is what makes the song so heart-wrenching. 

The first three songs, “The Fate of Ophelia,” “Elizabeth Taylor” and “Opalite” showcase Swift’s lyricism well. “The Fate of Ophelia,” the album’s lead single, and “Opalite” are both upbeat pop anthems, while “Elizabeth Taylor” is a bit sultrier and jazzier in the verses with a strong, darker sound in the choruses. Despite being upbeat, the lyrics are a strong indicator of her writing abilities.  

The sixth track, “Ruin the Friendship,” also showcases Swift’s storytelling abilities. She begins by singing through the eyes of a high school girl who has a crush on a friend, but she’s too afraid to say anything. Then, the listener gets whiplash in the third verse, as Swift reveals this happened in real life, and the boy she had a crush on died a few years after she left her hometown. This song sticks with you after listening. 

One standout song on the album is the fourth track, “Father Figure.” The song is an interpolation of George Michael’s 1987 song of the same name. However, instead of it being a love song, Swift used the term “Father Figure” as a creative writing prompt, as she said in the movie. With a sultry tone and mafia-themed language, Swift tells the story of a mentor and an ingenue in the midst of a power struggle.  

I find myself screaming along to this song in the car, especially with the key change in the last chorus. Also, one of my favorite lines is in this song, in which Swift sings, “Mistake my kindness for weakness and find your card canceled.” 

There are several tongue-in-cheek moments in the album as well. “Actually Romantic” describes how she finds it endearing that someone who hates her spends so much time talking about her. The song “Wood” also displays her wit. To paraphrase what Swift said in the movie, it’s about superstitions… and nothing else. 

However, the album does have low points. “Honey” is the 11^th track on the album, and arguably the weakest. I enjoy the song, but the lyrics fall a little flat for me. However, the story is sweet, as Swift sings about how different terms of endearment have been used to criticize her in the past, but her lover repurposes those terms in a positive manner. 

The last track, the titular track, is one of the standouts of the album. It really captures the showgirl feeling, incorporating a musical theatre sound. Fans have even likened the bridge to “The Greatest Showman” (2017.) 

The outstanding portion of this song (and the album) is Sabrina Carpenter. Carpenter is a prominent showgirl of our age, and this song fits her perfectly, both vocally and in description. Swift wrote the perfect part for Carpenter, and their voices blend smoothly on the track. 

“The Life of a Showgirl” has both high and low points, but I think the high points stand out much more than their counterparts. The album is very upbeat and dance-worthy, and it’s for those who enjoy a little sparkle in their lives.