Album Review: Life of a Showgirl

The album cover of The Life of a Showgirl . By Taylor Swift

Nearly 2 months of anticipation built as Taylor Swift geared up to release her 12th studio album, “The Life of a Showgirl.” Originally announced on her beau, Travis Kelce’s podcast, “New Heights”, the album captures the pop icon’s high-profile relationship with the NFL star, while detailing a rumored feud with a fellow pop star, perhaps a long-lost high school crush, and what it feels like to *finally* find what’s been on her Wi$h Li$t.

Swift is at the center of all writing on this album, as we see through her entire discography. She was accompanied in the studio by two producers who have ties to some of the Pennsylvania native’s most iconic eras. Max Martin and Shellback are credited as producers on the albums Red, 1989, and Reputation. In this new and sparkling moment for Swift, she leaves the synth beats of Jack Antonoff behind as we hear dazzling vocals, drums galore, and bright, warm guitar.

The leading track sets the stage for 42 minutes of dancing, windows down, stereo blasting, straight good vibes. In The Fate of Ophelia, Swift puts on a masterclass in lyricism combined with the driving pop sound. Who better to find a way to intertwine Shakespeare with a groovy beat, I would hear at the club. The song shares exactly how Kelce may have saved Taylor from her dreaded “Prophecy,” saved her from the fate of Ophelia.

“All that time I sat alone in my tower, you were just honing your powers, now I can see it all. You dug me out of my grave and saved my heart from the fate of Ophelia.”

Track two, Elizabeth Taylor, Swift reveals her possible fears of ending up like the iconic movie star, who had 8 husbands. She poses the question, “Do you think it’s forever?” Like themes in Midnights and THE TORTURED POETS DEPARTMENT, Taylor Swift alludes to trading fortune and fame for someone she loves, trusts, and who loves her. Behind a dark, driving beat is the sad reality Swift feels she lives as arguably the most famous musician on the planet.

“What could you possibly get for the girl who has everything and nothing all at once?”

If you aren’t already up and dancing, Opalite is sure to move you from your station. The chorus can only be defined as “shiny” as Taylor shows us all the ways Kelce has illuminated her life. In an interview following the release, Taylor said that the title was inspired by Kelce’s birthstone, the opal. Opalite is a manmade opal. Swift says that, like the manmade stone, Kelce has been proof that happiness can also be manmade.

Taylor Swift in ornate attire poses dramatically under a vibrant red light, showcasing a list of song titles projected beside her.

“It’s alright. You were dancing through the lightning strikes, sleepless in the onyx night, but now the sky is opalite.”

My jaw hit the floor as I heard Father Figure for the first time, and it gets better and better with each listen. A surprise writing credit to George Michael is necessary, as the sounds of his iconic song of the same title can be heard in the chorus. While the jury is still out on the exact subject of this song, one can speculate that Swift could be referencing her relationships with men and making them household names when they stand next to her. Another theory suggests this track references her mentorship to younger artists like Gracie Abrams, Sabrina Carpenter, and Olivia Rodrigo. Speculation aside, Swift solidifies that she is “The Man” in this soon-to-be hit.

“All I ask for is your loyalty, my dear protege. I’ll be your father figure.”

Taylor Swift is infamous for her track 5’s on each album. Each one is arguably the most devastating of the album. While I agree that this theory rings true on The Life of a Showgirl, it is intertwined with a joy that is not heard on other fifth tracks across her discography. Eldest Daughter is the most acoustic, stripped-down song among the twelve, as we hear Taylor and her piano, and nothing else. The story of an eldest daughter, plagued with damage throughout her life, tells her love, “I’m never gonna let you down.” By the end of the song, we hear the Grammy-award-winning artist tell us how being the eldest daughter is the perfect match for the youngest child. (Travis Kelce is the youngest child in his family.)

The song invokes a range of feelings, all at once, a skill not all songwriters have. Her high register and sweetness in her tone made this a sweet ode to Travis and a relatable ballad for every eldest daughter.

“I have been afflicted by a terminal uniqueness. I’ve been dying just from trying to seem cool.”

Regardless of *what* happened to this schoolgirl crush held by Taylor Swift, Ruin the Friendship seemingly takes us back to Swift’s high school days. She sings of jealous girlfriends, second period, prom, her childhood friend, Abigail, and flying back home. Acoustic guitar, bass, and drums take us on an airy, floating trip back in time as Swift advises us not to die wondering, but rather ruining the friendship.

“Staying friends is safe, doesn’t mean you should.”

A rumored diss track takes shape in Actually Romantic. Perhaps about fellow pop star, Charli XCX, Swift seems flattered by the obsession of another woman. She teases about how sweet it is that this person has spent so much time on her. Charli XCX is currently engaged to the drummer from The 1975. In the early summer months of 2024, Swift entered a relationship with Matty Healy, the lead singer of the band. As detailed in THE TORTURED POETS DEPARTMENT, the two had a rather bland goodbye.

“I heard you called me ‘Boring Barbie’ when the coke’s got you brave, high-fived my ex, and then you said you’re glad he ghosted me.”

The pop music template was followed on Wi$h Li$t. A spunky beat accompanies lyrics comparing the hopes and dreams of others to Swift’s. While the masses dream about “bright lights and Balenci shades,” Swift says, “I just want you.” You’ll be dancing along as you hear about the hoop in the driveway for she and Kelce’s future children. While the song feels repetitive towards the end, it is an exciting change from the lyrics of Swift’s loml, where she says, “You shit talked me under the table, talking rings and talking cradles. I wish I could unrecall how we almost had it all.” I can’t help but feel happy for Swift, who says she’s finally found her person.

Taylor Swift in a sparkling red outfit embodies the essence of "The Life of a Showgirl," text surrounding her while she lays in a captivating pose and dramatic lighting enhancing the allure.

“They deserve what they want. I hope they get what they want. I just want you…Please, God, bring me a best friend who I think is hot.”

Swift took a page out of Sabrina Carpenter’s book with Wood. This fun tune is flirty, suggestive, and feels much different from her previous “spicy” songs. Let’s just say, Taylor is quite happy with Travis, even referencing his podcast with the line, “New Heights.”

“It’s you and me forever dancing in the dark. All over me, it’s understood, I ain’t got to knock on wood.”

CANCELLED! takes us darker, reminding me of Reputation. Perhaps prompted by her friend Blake Lively’s recent doxxing, track 10 feels like it belongs on a pop rock album. Swift sings of the scandal and rumors that swirl around her and the people closest to her. The song also points out the glaringly obvious problem that is cancel culture.

“It’s a good thing I like my friends canceled. I like them cloaked in Gucci and in scandal.”

In the home stretch, we get to see lovey-dovey Taylor. Not a fan of pet names, it seems one person has won her heart and has earned the right to call her honey, lovely, sweet heart, and sweetie. In Honey, bad memories are in the past for Taylor as she steps into a new relationship where he “redfines all of those blues.”

“If anyone called me ‘Honey,’ it was standing in the bathroom, white teeth. They were saying that skirt don’t fit me and I cried the whole way home…When you say ‘Honey,’ summertime spritz, pink skies, you can call me ‘Honey’ if you want.”

Ending with the title track, The Life of a Showgirl ft Sabrina Carpenter, Swift and Co. take us behind the curtain into the glamorous, miserable life of fame. This is the song you will hear on the radio and the one you can’t get out of your head. Sabrina’s voice and style are showcased beautifully in this song and the storytelling is elite. At the end of the song, sounds and crowd noise from the final night of The Eras Tour in Vancouver can be heard. This is Swift’s nod to the journey that served as inspiration for this album.

“But you don’t know the life of a showgirl, and you’re never, ever gonna.”

Overall, I enjoyed this album from start to finish. I consider myself a Swiftie, but I do think this is some of Taylor’s strongest work vocally. This album is sonically cohesive and lyrically spunky. While it could be a bold prediction now, this is a serious contender for Album of the Year at the Grammys in 2026. Swift has outdone herself on what she calls a “self-portrait” album.