The Taylor Swift I fell in love with is back.
A longtime “Swiftie,” I was raised on the heartbreak tales and storytelling of the once-country singer. Her transition to pop on “Red” and “1989” solidified her spot as one of my top artists.
Over the years, Swift has experimented with a folksy and softer sound in “Folklore” and “Evermore” before embracing twinkling pop in “Midnights.” “The Tortured Poets Department” was a divisive album with most fans either loving or hating it. The Eras Tour and release of the “Taylor’s Version” of many of her earlier albums brought her older hits back to the mainstream.
Entering a new era, the complexity of “The Life of a Showgirl,” with breathy background vocals, layered acoustics, warmer synths and matured lyricism, makes for a compelling album.
With the help of past producers Max Martin and Shellback, Swift harkens back to the bright and fun energy of “1989” with most of the songs linked by driving percussion.
The opening song of the album, “Fate of Ophelia,” immediately caught my attention with its Shakespearean literary reference, a faster tempo and beautifully hushed and piano-focused bridges.
By adding more weight to instrumental elements such as acoustic guitar, piano and violin, the blended sound of pop and soft-rock helps the album stand out while hinting at past eras.
There are moments of a “Reputation”-esque edge in songs “Elizabeth Taylor” and “CANCELLED!” “Elizabeth Taylor” captures a darker tone and heavier kicks as Swift delves into the impossible balance between fame and love.
“The girl who has everything and nothing at once,” Swift sings.
“CANCELLED!” is an anthem of defiance echoing the rebellious attitude of “Look What You Made Me Do” but framed around the damages of cancel culture. The quiet, suspenseful guitar intro gives it almost a spooky feel before giving way to the sharp drums and resonant violin.
“At least you know who your friends are. They’re the ones with matching scars,” Swift sings.
Recently engaged to Travis Kelce, Swift is back in touch with her “Lover” feelings on tracks like “Honey,” “Wood” and “Opalite.” While touching on heartfelt moments, Swift also uses humor and innuendos to avoid sappiness.
Missing from the album are her typical heartbreak anthems, but Swift speaks to emotional experiences in “Father Figure,” “Eldest Daughter” and “Ruin the Friendship.”
While I was expecting “Eldest Daughter” to be more of a ballad, following the trend of the fifth track on her previous albums, the upbeat pop tone takes precedence.
“Ruin the Friendship” does not disappoint, reminiscent of the high-school stories from “Fearless” and “Taylor Swift” with imagery of corsages and classes. The song feels like the older sister to “You Belong With Me,” beginning with two friends who seem to have mutual feelings for each other but one is in a relationship. After growing up and growing apart, there is a major shift when a death is revealed, leaving so much unsaid.
“But I whispered at the grave, should’ve kissed you anyway,” Swift sings.
In an unusually concise album, Swift delivers 12 polished, purposeful tracks that instantly draw in listeners and refuses to let go until the last note.
The final song “The Life of a Showgirl,” featuring Sabrina Carpenter, describes the growth from a fan to being the star on the stage. At first from the perspective of someone in the crowds, the fan is cautioned by her idol about the harsh realities of show business.
“The more you play, the more you pay,” Swift sings.
The subdued boom-clap beat and dramatic flares of the song build up to the fan realizing her dreams and singing about her own life as a showgirl. The song carries a warm feel and gesture of gratitude to past audiences and current listeners.
