By Alena Bitonti
Arts & Entertainment Editor
“You don’t know the life of a showgirl, babe.”
Fourteen-time Grammy Award winner Taylor Swift released her newest album, “The Life of a Showgirl,” on Oct. 3.
Swift announced her 12th studio album with a countdown on her website that ended at 12:12 a.m. on Aug. 12, followed by her appearance on the “New Heights” podcast the following day.
“New Heights” is co-hosted by Kansas City Chiefs tight end Travis Kelce and his brother Jason. Swift has been dating Kelce for over two years, with their relationship beginning in the summer of 2023. The couple recently announced their engagement via Instagram.
On the show, Swift revealed the album title, cover art and gave fans a glimpse into the album’s creation.
“This album is about what was going on behind the scenes in my inner life during this tour, which was so exuberant and electric and vibrant,” Swift said.
The showgirl aesthetic that was prominent throughout the album’s marketing felt disconnected from the actual sound of the record. Instead of the pop spectacle mixed with a theatrical, jazzy swing that was easy to expect, the album leans into a more straightforward pop production.
Leading up to its release, Spotify hosted a pop-up event in Manhattan from Sept. 30 to Oct. 2, with celebrations continuing afterward through “The Official Release Party of a Showgirl” premiering in theatres only from Oct. 3 to 5.
The 89-minute film includes the music video for the lead single, “The Fate of Ophelia,” and lyric videos for the album tracks, each introduced by Swift herself.
The 12-track album was produced by Max Martin and Shellback — two Swedish hitmakers behind some of Swift’s most notable songs, such as “We Are Never Ever Getting Back Together,” “Blank Space” and “Shake It Off.”
Martin and Shellback’s return to Swift’s discography should have signified a return to her most standard pop albums, such as “1989.” Instead, both the record’s production and lyrics brought a lot of mixed emotions and results.
The album begins with the first lead single, “The Fate of Ophelia,” whose title sounds like it could have been pulled straight from “The Tortured Poets Department,” her 11th studio album released in April 2024. While the metaphors and emotional depth of TTPD are still present, the writing feels more elementary than her previous work, a pattern that continues throughout much of the record.
Despite this, “The Fate of Ophelia” stands out as one of the stronger tracks. It’s immediately catchy, though fans have noticed its sonic similarity to “Cool” by the Jonas Brothers. This familiarity makes it easy to enjoy and a destined radio hit, but also raises questions about originality in a lead single that is meant to define the era.
Another standout on the album is the third song on the tracklist, “Opalite.” The song begins modestly but builds into a chorus that’s catchy, upbeat and layered with harmonies. Like much of the album, it is about her relationship with Kelce.
It’s clear that Swift is in a more positive place in her writing, enjoying a happy and healthy romantic relationship and moving away from songs about heartbreak. In “Wi$h Li$t,” she sings about her dreams for the future. “I just want you, huh / Have a couple of kids, got the whole block looking like you… / Got me dreaming ‘bout a driveway with a basketball hoop.”
Two tracks on the album, “Father Figure” and “Wood,” feature language we don’t typically hear from Swift and surprisingly risqué lyrics that push the boundaries of her usual style. In “Father Figure,” she sings a provocative line about power and confidence in her relationships, while in “Wood,” she uses suggestive imagery to convey intimacy in a more daring way than fans are used to hearing from her.
Back in June 2024, British singer-songwriter Charli XCX released her critically acclaimed album, “Brat.” One song from the record, “Sympathy is a knife,” is speculated to be about Swift. Now, almost 16 months later, Swift appears to take a dig at Charli with her song “Actually Romantic.”
The song opens with the lyrics, “I heard you call me “Boring Barbie” when the coke’s got you brave / High-fived my ex, and then you said you’re glad he ghosted me / Wrote me a song saying it makes you sick to see my face.”
Throughout the track, Swift turns the idea on its head, exploring how it feels flattering to know someone is constantly thinking about you, even for the wrong reasons. The diss ultimately falls flat, coming across as mean-girl energy over something that may not have even been about her in the first place. Although what really went on behind the scenes remains a mystery.
The album closes with the titular “The Life of a Showgirl” featuring Sabrina Carpenter, another standout on the record. The song tells the story of a woman named Kitty, who “made her money being pretty and witty.” While the lyrics are fairly simple (and even laughable) they serve as a metaphor for Swift’s own experiences in show business.
Swift explained the meaning behind the lyrics on Magic Radio, saying, “It’s a song about meeting one of your idols and instead of being what you thought they’d be, they warn you against following in their footsteps because they want to be honest with you about how hard this industry is. And you do it anyway.”
The track was the perfect ending to this album, giving the sense that Swift is closing a chapter of her life after her massive successes on The Eras Tour. The song’s outro even incorporates her voice and crowd noises from her final show in Vancouver, bringing the record to an emotional close.
The album might not be Swift at her most poetic, and the sound isn’t quite the spectacle the marketing promised. Still, several tracks are undeniably catchy, and Swift delivered a fun pop album that Swifties will definitely be singing along to.
