As Taylor Swift’s The Life of a Showgirl steps into center stage, millions have flocked to witness the international superstar’s latest era. In entering this new era, Swift has embraced the 1920s flapper (or showgirl, if you will) aesthetic. Much like what the unconventional women of the prohibition era faced, this album has been met with both praise and discontent.
The Life of a Showgirl is becoming infamous for some of its lyrical choices, contrasting with the exquisite word choices present in The Tortured Poets Department. I believe the controversy is rooted in the song “Eldest Daughter.” While this song speaks to the very real truths and hardships that accompany a large online presence, it was my least favorite track. Lyrics such as “punk,” “trolling,” “memes,” and “comments” are hard to take seriously and seem so out of place with the serene and vulnerable soundtrack. As an eldest daughter myself, I was anticipating this to be one of my favorite tracks. Instead, this song feels unnatural since Swift has previously responded to online criticism with an optimistic approach in songs like “You Need to Calm Down” and “Mean.” Especially since later in this album she responds to Charlie XCX’s criticism with frivolity in “Actually Romantic.”
“Actually Romantic” is a very peculiar song. The sound and beat was executed so well and has cemented itself as one of my favorites on the album. This song is a response to Charlie XCX’s criticism of Swift and her song, “Sympathy is a Knife.” While I think some aspects of this song are just petty, overall I think it works well as a light-hearted and humorous response, despite having some interesting word choices.
This album introduces a new side of Swift’s lyricism. I was dumbfounded by some throw-away lines in “Wood” and “Actually Romantic.” Swift is known to use intricate metaphors when discussing more explicit topics. In these songs, she speaks more bluntly, which came as a shock to most listeners. At first, these lyrics were a bit amiss, especially because I wasn’t expecting them but I also don’t think Swift should be heavily criticized for this, considering Sabrina Carpenter has been well-loved and celebrated for using frequent innuendos. After a bit of warming up to these songs and recovering from my initial shock, I’ve been able to appreciate their catchy beats and fun nature.
Despite the controversy surrounding this album, there has been a positive reaction to “The Fate of Ophelia,” “Elizabeth Taylor,” and “Opalite.” All three tracks are masterpieces and great opening songs. Lyrically and sonically, these songs start the album off strong and set the tone for this new era. Swift adds allusions to Shakespeare and historical figures that add depth to the music and prompt listeners to research these famous women, adding an interactive element to the album.
One of my absolute favorite pieces of this album is the bridge of “The Life of a Showgirl ft. Sabrina Carpenter.” It has a theater-like feel that I would love to hear more of. I think the theater sound fits so well for this song which takes place in a fictional theater or show setting. If she continues in the theater direction in the future, I would be extremely content.
While this new album has flipped the imagery of The Tortured Poets Department on its head; whether it’s the dramatic social change of the 1920s or the emergence of a new era, change is often positive when one has an open mind.