Taylor Swift released her 12th studio album, The Life of a Showgirl, on 3 October. The album, which she described as “the record I’ve been wanting to make for a very long time”, was met with divided opinions. While some said it was fun and her best album to date, others felt the ‘showgirl’ concept didn’t work or criticised the production and songwriting.

She worked with only two producers on the album: the Swedes Max Martin and Shellback, who she had previously worked with on some of her biggest pop hits such as ‘Shake it Off’, ‘Blank Space’, ‘Style’ and ‘Delicate’. So when she announced that the 12 tracks on the album were all going to be “bangers”, expectations were sky-high.

Nearly a year after concluding the massive Eras Tour and almost ten years since working with the two producers, Swift felt they brought a more mature and experienced perspective to the table. To be honest, I felt that in some parts of the album this was not the case.

As a long-time Swiftie and an attendee of the Eras Tour, I can relate to her music like that of no other artist. To me, the vulnerable storytelling of her last album, The Tortured Poets Department (TTPD), perfectly captures heartbreak, introspection and the feeling of forcing yourself to move on. Sonically, TTPD and The Life of a Showgirl sound quite different, with the latter being energetic and upbeat, and TTPD having a more toned-down and melancholic sound.

Although Swift’s album Midnights (2022) is sonically similar to Showgirl, to me it’s of much higher quality in terms of lyrics and storytelling. Many fans online claim they miss Swift’s folklore and evermore (both 2020) style music, which are stylistically similar to TTPD with fictional storylines rather than autobiographical narratives.

@thewickedwitchofthewood♬ The Life of a Showgirl – Taylor Swift

I disagree with this take even though folklore and evermore are highlights for me too. Most of my favourite songs from Swift are on her all-pop albums, such as 1989 (2014), reputation (2012) and Midnights, which is why, for me, the slight disappointment in the album comes from the lyrical content.

Highs and lows of Showgirl

The lead single, ‘The Fate of Ophelia’, is a high point. The catchy chorus and danceable beat make it instantly enjoyable, and the music video is outstanding.

Inspired by Ophelia from Shakespeare’s Hamlet, the line “you saved my heart from the fate of Ophelia” repeats throughout. In the play, Ophelia famously drowns herself after a mental breakdown, so being saved from this fate reflects a strong love that leaves listeners smiling.

The next track, ‘Elizabeth Taylor’, named after the British actress and the ultimate showgirl, is another favourite. It’s classy and intense in production. With these two opening tracks though, I personally didn’t feel the promised glimpse into what “life behind the curtain” was like for the popstar during the Eras Tour.

Lyrics such as “Every joke’s just trolling and memes” seem shallow compared to those of other track fives, like that of ‘You’re on your own, kid’ from Midnights, with “There were pages turned/ with the bridges burned/ everything you lose is a step you take”.

Track seven, ‘Actually Romantic’, sparked heated debates between Swift and Charli XCX’s followers. The song seems like a dig at Charli (though Taylor herself has never confirmed it), which left me disheartened because I admire both artists. On Charli XCX’s 2024 album Brat, many suspected that ‘Sympathy is a Knife’ was about Swift.

With lyrics like “This one girl taps my insecurities/ don’t know if it’s real or if I’m spiraling” and “I couldn’t even be her if I tried”, Charli’s song seems a very personal one about feeling insecure and vulnerable.

Thankfully, the album ends on a high note. The closing and title track, featuring Sabrina Carpenter, tells the story of a fictional showgirl named Kitty, leaving the narrator to question whether it’s worth working in the entertainment industry. When Swift sings “I’m married to the hustle/ and now I know the life of a showgirl/… wouldn’t have it any other way”, it is a heartwarming ending that celebrates the life she’s chosen.

To sum up how I feel about this album is difficult because I love Taylor Swift’s music and know nearly all her songs inside out. Having so much of her past work to compare it to, this doesn’t quite reach the same level of artistry.

Still, songs such as ‘Father Figure’ and ‘The Life of a Showgirl’ stand out and show the album’s potential. While I have mixed feelings, others might consider it Swift’s magnum opus. Personally, I will keep listening to and enjoying this era as I wait for what comes next for Taylor Swift.