REVIEW | What is Too Prolific? An Honest Review and Commentary on Taylor Swift's 12th Studio Album: The Life of a Showgirl
Photo Credit: Refinery29
Finally, what everyone’s been waiting for, Taylor Swift’s brand new album: The Life of a Showgirl! It’s been a long time coming, hinted at with very carefully-placed clues (that only the most psychotic of Swifties can decipher) and A LOT of orange glitter. Swift announced the album in mid-August on New Heights, a podcast run by her fiancé, Travis Kelce, and his brother.
Immediately, the world was submerged by visuals and marketing promoting the album. The theme introduced was very burlesque and over the top — with a 1930s Vegas feel and a lot of teal and orange. For this album, Swift worked with Max Martin and Shellback, who had also produced 1989, Reputation, and Red — all tried and true pop pieces.
Previously, Swift had been working with producers Aaron Dessner and Jack Antonoff, who produce more indie folk and 80’s synth sounds. For instance, she worked with these producers on her last album, The Tortured Poets Department, which was released just shy of a year and a half ago, leaving little time between then and her newest album. The Life of a Showgirl has also received tons of negative reception online, sparking the question: how much content is too much? At what point is quality compromised for quantity? Our expectation for this album was an upbeat pop piece full of classic Taylor Swift glitter gel pen songs. But is that what we received?
The Fate of Ophelia – 8.25/10
The album starts strong with the lead single “The Fate of Ophelia,” a catchy, spunky hit. Swift takes a different angle on this love song. In the past, she seems to intertwine love with anxiety or dominance, but on this track, she’s simply telling a story about how she was saved from loneliness and despair. “And if you’d never come for me, I might’ve drowned in the melancholy," Swift sings. “You dug me out of my grave and saved my heart from The Fate of Ophelia.” “The Fate of Ophelia” is a reference to Shakespeare's tragic character Ophelia, a young noblewoman who went mad after Hamlet rejected her. It’s implied that she threw herself into a creek and died. Swift was so consistent with the metaphor throughout the verses, chorus, and bridge, landing the hit a solid 8.25. This song carried our hopes high and the vibes even higher.
Elizabeth Taylor – 7.5/10
In this love song, Swift uses Elizabeth Taylor, a well-known actress from the 1940s to 1960s, as a lens into her own life. Swift and Elizabeth both parallel each other, as they have lived under a constant limelight, with their personal lives — particularly relationships —being picked apart. They are showgirls in a sense, always putting on a performance for those around them. A lyric that stood out was “‘be my NY when Hollywood hates me.” Taylor is notorious for her strong connection to New York City, and it is often used as a muse or focal point in her music. The way she dramatized her story, as well as the production, made for a very cohesive listen, putting “Elizabeth Taylor” at a 7.5.
Opalite – 6.5/10
“Opalite” is a glitter gel pen song – a term coined by fans about her upbeat and lighthearted songs – about choosing happiness. Swift utilizes the analogy of opalite, which is a synthetic opal, while singing, “You had to make your own sunshine.” Sonically, this song scratches your brain perfectly; it makes you want to dance in circles around your room. The “oh oh oh ohhhh” falsetto run in the chorus is very appealing to the ear. “Opalite” remains at a solid 6.5, as there isn’t anything outstanding or new in terms of lyrics or musical concepts, but sometimes that’s what comes with a catchy pop song.
Father Figure – 7.75/10
This song is a direct take on the master/protegee relationship from the perspective of the “Father Figure.” The concept is derived from the reality of the music or show business industry, speaking to the fact that affection can be built based on fame and money. Swift sings that “this love is pure profit, just step into my office.” She talks about a younger and fresher person taking one’s place while the others age out of the industry — everything has an expiration date. She says, “And to fulfill your dreams, you had to get rid of me.” Swift really managed to tell a great story with fantastic imagery. Particularly, the bridge sends chills down the spine.
Eldest Daughter – 4.75/10
Taylor Swift is known for her infamous track fives, a gut-wrenching song packed with a punch of heartbreak. Some examples of this include “All Too Well” off Red and more recently “So Long London” from TTPD. The bar was set high. The song itself was disappointing — half-baked at best, and all over the place. We found no strong narrative lacing the song together. Swift starts by singing about how difficult it is to maintain a public image because our society rewards nonchalance and apathy. The second verse then takes a turn, expressing how eldest daughters are the first ones to be let down. Swift finally ends by stating she never believed she was going to find the one. Many of the lyrics felt cringe, with lines like: “we all dressed up as wolves and we looked fire” and “I’m not a bad bitch and this isn’t savage.” The piano at the start is enjoyable. The production feels like a classic track five, but the lyrics don’t.
Ruin the Friendship – 6/10
This track feels like a time capsule. It’s like being transported back to Fearless Swift’s 2008 breakout piece. This could be fresh off the discography right next to “Fifteen” with the mention of Abigail (Swift’s childhood best friend) and the upbeat synth. Although the song was reminiscent of an era, the storyline is interesting, to say the least. She sings about regretting not kissing a guy with a girlfriend after learning that he passed away. Conceptually, the song just isn’t quite there. However, that doesn’t mean it isn’t catchy. It’s the type of song you might spot on the occasional playlist or nod your head along to when it comes on blaring in a retail store. We found it to be a solid, passable track.
Actually Romantic – 8/10
The track begins with a common chord progression heard in many popular songs. The production is lovable nonetheless; it’s catchy, and the ad-libs are perfect. In terms of the lyrics, Swift starts off saying, “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.” We think it’s a direct reference to Charli XCX, a popular singer who opened for Swift’s 1989 World Tour. On top of that, Charli is well acquainted with Swift’s ex-boyfriend Matty Healy. Healy is the lead singer in the band the 1975, which also includes Charli’s husband, George Michaels.
Swift goes on to sing, “Wrote me a song saying it makes you sick to see my face,” which is most likely in reference to Charli’s song “Sympathy is a knife” on her latest album, Brat. On the track, she talks about her insecurity regarding another woman in the industry, likely Swift. Another lyric alluding to Swift in “Sympathy is a knife” could be, “Don’t want to see her backstage at my boyfriend's show/ fingers crossed behind my back, I hope they break up quick.” However, we find it sad that it’s speculated to be about Charli XCX. There is no need to put another woman down in the industry, especially over a song where Charli is being vulnerable over her insecurities. The lyrics are catchy, the production is great, but the intent is extremely disappointing
Wi$h Li$t – 9.25/10
A throwback to reputation?! That was on every Swiftie’s wishlist. In this bop of a song, Swift expresses how everyone has a wishlist often lined with things like “Balenci shades” and “that bright life under chopper blades,” but for her, all she wants is to settle down and have a couple kids. The delivery and production of the line, “Boss up, settle down, got a wish list,” is really euphonious. The transition between the bridge and the last chorus is heavenly and sets this song over the top.
Wood – 6.75/10
“Wood” starts as your typical endearing poppy love song, but very quickly dissolves into a lot of insinuation about Travis Kelce's manly parts. With lyrics like, “Redwood tree, It ain’t hard to see, His love was the key that opened my thighs,” “The curse on me was broken by your magic wand,” and “To know a hard rock is on the way.” It would be a lie to say this isn’t incredibly catchy, but the tackiness counteracts it significantly.
CANCELLED! – 3.75/10
“Did YOU girlboss too close to the sun?” Yep, that pretty much sums up the cringe factor on this track. Swift talks about liking her friends “cancelled.” Who she’s referring to exactly is up for debate. Swift portrays herself living in this super scary, all-consuming world, singing “Welcome to my underworld, where it gets quite dark.” This whole song kind of feels like some sort of artfully done satire.
Honey – 5/10
Honey? More like simple syrup. The song is about reclaiming the term of endearment, “honey.” Swift was used to the word “honey” being used towards her in a passive-aggressive or rude tone, but now the word is a sense of comfort. When her partner uses it, she says, “you can call me if you want because I am the one you want.” Sonically, the song is very reminiscent of the Lover album. But overall, it sends a similar narrative that “Wi$h Li$t” of wanting to settle down with your person. It doesn't add anything new to the album, but it is a cute song nonetheless.
The Life of a Showgirl – 7/10
This last track concludes the album and holds the namesake. Swift chose to feature Sabrina Carpenter on the second verse, which was perfect. Carpenter is definitely regarded as a modern-day “showgirl.” This was a really nice wrap to the album, between the vivid storytelling of quite literally the life of a showgirl, and the sound excerpt from the final night of the Eras Tour. It was an excellent mixing of media and really the cherry on top.
The album as a whole starts stronger than it finishes. Swift isn’t the underdog anymore, not that she ever truly was. But when she's writing from that perspective, from the level that she's at, with the millions she's pulling in, it feels fake and out of touch. Not to mention the marketing of the album feels extremely materialistic, almost like she’s taking advantage of her fans with the overwhelming amount of vinyl and compact disc variants that hold no real difference besides the cover design and piles of merch. It’s like a cash-grab. However, it wasn’t negative all the way. There are actually quite a few bangers on this album, and we’re looking forward to this next era of Taylor Swift’s life.