It is worth pointing out that Swift has been making music, touring and facing the pressures of fame for almost twenty years now. This is album number twelve. To expect constant innovation and knock-your-socks-off artistry from somebody with such a resume is almost to dehumanize them. As much as we love to declare the sky to be the limit, there is only so much that one can create before everything melts together and their ideas fall short of impressive. 

That being said, ”The Life of a Showgirl” is far from Swift’s best work. It lacks the poetry and relatable genius of Swift’s established songwriting style, instead choosing to dabble in more of a slapstick humor. As for the sonic elements, it is a boring album instrumentally. The flashy, lively basslines spread throughout are much-appreciated treats sticking out from the underwhelming music that comprises most of the album, but they are hardly a saving grace. There were few risks taken, resulting in a rather mundane soundtrack for this showgirl.

“The Life of a Showgirl”

The title track is undoubtedly the most exciting song on the album and it is unfortunate that it comes at the very end, though being the closer was the only logical fit. It’s a look backstage, as the glittery costume is torn off, offering raw reflection, confession and warning of the price of fame. It is the song with the most character and gifts the listener the theatric melodrama that the other tracks thirst for. It contextualizes the album, essentially saying “you can hate all you want, but you will never understand what it took to get here.” Sabrina Carpenter’s feature serves as further testament and, though none was necessarily needed, gives more credibility to the claims that Swift makes. It is a tune whose only fault is overshadowing the rest of the record. 

“Eldest Daughter”

”Eldest Daughter” is the album’s greatest letdown, as the glimmers of what could’ve been just barely shine through the cracks of Swift’s somewhat outdated internet slang and generally bland choice of storytelling. It was almost a beautiful mourning of childhood and confession of adult stressors, but her decision to state that she is “not a bad b***h and this isn’t savage” is an awkward diversion from what the listener anticipates. Similarly, the sheep-in-wolf’s clothing metaphor was about to be great, but then she ends it by saying “we looked fire.” The vision is there, but it is disappointing from a songwriter who has historically been articulate and imaginative in expressing honest emotion. 

“Actually Romantic”

Perhaps the most discussed song is theorized to be a diss track towards an industry peer. What goes on behind the scenes is unknown, but taken on strictly a surface level, ”Actually Romantic” is an unreasonably harsh and uncomfortably self-confident attack. At the risk of sounding like a broken record, the record is broken. The instrumental is hardly separate from that of any beginner musician trying to gain traction on TikTok with their “did I just write the song of the summer?” prods. It is cheap and not at all what is expected from one of the most well-respected artists in the world. 

“Ruin the Friendship”

”Ruin the Friendship” comes off as an attempt for Swift to relate to her young listeners with frequent nods to high school. We get it, you’re dating a football player, but using prom and other teenage experiences to talk about the relationship feels a touch unnecessary. Especially when the previous album already had a song titled “So High School” that was written about the same guy. Swift knows she is much older than her primary audience, but the “how do you do, fellow kids?” approach only makes her stand out instead of blend in. 

“CANCELLED!”

Swift loves to play the anti-hero role — Made especially clear with an older song of hers called “Anti-Hero” — and ”CANCELLED!” encapsulates that. The track can be confusing at first, seeing how strongly she pushes the villain narrative when she is widely held to be one of the most beloved artists of this generation, but it portrays a crucial aspect of a celebrity’s life. Swift’s “Reputation” era is not forgotten and this song speaks to the controversy and criticism that she has experienced. It may not totally work on its own, but it moves the greater storyline along. 

Most songs on ”The Life of a Showgirl” did not generate a paragraph’s worth of thought, but it would be unfair to exclude them in order to fully review the album. Here are some brief notes on the remaining tracks:

“The Fate of Ophelia:” Narration style makes this a proper introduction.

“Elizabeth Taylor:” Packed too many references into one song.

“Opalite:” Simple, upbeat, fun. 

“Father Figure:” Unexpected line in the chorus. The vision is there, though.

“Wi$h Li$t:” Kind of funny but it’s catchy. 

“Wood:” Interesting topic, interesting way of talking about it.

“Honey:” How nice it is to be in love.

Taylor Swift most likely is not going anywhere for a long time, but the response that ”The Life of a Showgirl” received is an indicator that she is no longer as connected with her audience as she once was. 

It can be hard to comprehend a star as massive as Swift, but it is vital to remember that she, like the rest of us, is a being bound by her own humanity. The album disappointed many listeners and sits below the bar that she set for herself, but it is unrealistic to demand that each piece of her work be perfect — especially this deep into her career. Much of Swift’s fan base has grown up listening to her music and is oblivious to a world where she is not a hitmaker, but it may be time to admit that the show has to eventually come to a close.