Taylor Swift Punches Down In ‘Life Of A Showgirl’ – The Boston Courier

After months of anticipation, the curtain has lastly been pulled again to disclose Taylor Swift’s “The Life of a Showgirl.”

The album arrived on Friday at midnight, delivering upbeat-sounding songs with lyrics that may gas fierce web debates for just a few weeks. There are pop star beefs, candy odes to falling in love, meditations on fame and references to Travis Kelce’s “magic wand.” (Sure, that’s proper.) The singer has left behind the obsession and sprawl of “The Tortured Poets Department” in favor of 12 shimmery tracks that clock in at a good 42 minutes.

Swift first introduced the brand new album was coming in August, becoming a member of her now-fiancé, Travis Kelce, on his “New Heights” podcast along with his brother, Jason Kelce, to disclose the album paintings and focus on her newest period.

The singer mentioned the album mirrored what she “was going through offstage” whereas acting on her record-breaking Eras Tour in 2023 and 2024. After steadily collaborating with Jack Antonoff and Aaron Dessner on her albums since 2020, Swift determined to workforce up as soon as once more with producers and songwriters Max Martin and Shellback, who labored along with her on components of earlier albums “Red,” “1989” and “Reputation.”

“I wanted the album to feel the way my life felt,” she mentioned on the podcast, later including, “My main goals were melodies that were so infectious that you’re almost angry at it, and lyrics that were just as vivid but crisp and focused and completely intentional.”

With any Swift album launch comes a flurry of rapidly dashed-off reactions, every making an attempt to have the earliest, most definitive phrase on what Swift is making an attempt to say this time and the way nicely she executes it. It’s a difficult process. First impressions usually show finicky; a few of Taylor’s tracks simply want time to completely rise like a well-kneaded loaf of Funfetti sourdough.

However there’s no time for that. That is present enterprise, in any case — so listed here are our sizzling first takes on the highs, lows and lyrics of “The Life of a Showgirl.”

Alexandra: Within the opening monitor, Swift invokes Shakespeare with a Hamlet allusion. She sings about being saved from the destiny of Ophelia, a personality who loses her thoughts and kills herself after being spurned by her potential husband. It’s a unfastened comparability, and with lyrics like, “You dug me out of my grave and/ Saved my heart from the fate of Ophelia/ Keep it one hundred on the land, the sea, and the sky/ Pledge allegiance to your hands, your team, your vibe,” I suppose the one who saved her from madness is Travis Kelce.

So far as her opening tracks go, this one is ok and units the tone for what’s to return sonically and lyrically.

Jillian: “Pledge allegiance” jogged my memory of “Salute to me, I’m your American queen” from “King of my Heart” and made me nostalgic for “Reputation.” However we’re in a distinct period! And this does really feel like a becoming monitor to transition from “The Tortured Poets Department” to “The Life of a Showgirl” — “And if you’d never come for me/ I might’ve drowned in the melancholy,” she sings. We’d nonetheless be down dangerous, cryin’ on the gymnasium, if Travis hadn’t raved concerning the Eras Tour on his podcast.

A: This tune on the album feels essentially the most paying homage to Swift’s earlier work with Max Martin and Shellback, and never simply because she beforehand referenced Elizabeth Taylor on “…Ready for it?” (on the album “Reputation,” additionally produced by Martin and Shellback). I additionally assume it’s essentially the most enjoyable and attention-grabbing of any songs on the album, with a feisty refrain monitor that feels paying homage to “Reputation.” Once more, Swift’s popular culture references are muddy – she sort of throws Taylor’s identify in haphazardly, largely simply utilizing her as a comparability of their eye colours, I assume?

J: “Cry my eyes violet” within the refrain intrigues me, recalling the road “My knuckles were bruised like violets” from Swift’s tune “The Great War.” Right here, Swift is drawing comparisons between herself and the actor who famously married seven occasions. She’s believed she had perpetually with somebody earlier than, and needs to know if it’s for actual this time, realizing how she’ll be perceived if it ends.

A: This tune is kind of simply “Bejeweled” half two, sonically and energetically. Swift writes about popping out on the opposite facet of the trials and tribulations of relationship to an “opalite sky.” It does what she wished the tune to do, but it surely does really feel like a rinsed and recycled model of one thing that she has written earlier than.

J: “I had a bad habit of missing lovers past/ My brother used to call it/ Eating out of the trash.” OK, Austin Swift, I didn’t know you had chew like that! (Additionally, why did this line make me want for an idea album instructed from the attitude of a raccoon?) This was the primary tune that grabbed me on my preliminary pay attention of the album. It’s breezy, it’s dance-y, it’s opalite. It’s not revolutionary, but it surely’s enjoyable.

A: With the resurgence of George Michael’s “Father Figure” in 2024, because of the film “Babygirl,” Swift capitalizes on the timeliness with an interpolation on her personal album. She sings of appearing as a father determine to an up-and-coming artist who finally betrays her. Her behavior of brusque lyricism continues as she states, “I’ll be your father figure/ I drink that brown liquor/ I can make deals with the devil because my dick’s bigger,” which finally evolves into “I was your father figure/ We drank that brown liquor/ You made a deal with this devil, turns out my dick’s bigger” later within the tune.

In what looks like the primary of two songs on this album that punches down at different feminine singers, this one is seemingly geared toward Olivia Rodrigo, who was as soon as taken in by Swift earlier than their relationship appeared to rapidly bitter. If true, it’s a wierd search for a 35-year-old Swift to brag {that a} 22-year-old Rodrigo will probably be “sleeping with the fishes before you know you’re drownin’.”

J: Oh, I used to be READY for this one after I noticed George Michael on the writing credit. And … this ended up falling sort of flat for me. It’s an attention-grabbing, artistic train for Swift, fashioning herself as a sort of mob boss, however I don’t know if this one needed to go away the drafts. Perhaps it is a pure evolution of the concepts she sang about in “The Man” again in 2019 — she has all the energy and swagger she dreamed of, but it surely’s turned her vindictive. The reactions I’ve scanned appear pretty break up on who it might be referencing — is it Rodrigo? Or perhaps Scott Borchetta, the file label CEO who wouldn’t promote Swift her masters? The instrumentation right here is attention-grabbing, not less than. That is one I may see myself coming round to simply as a result of it gained’t get out of my head.

J: “Everybody’s so punk on the internet,” Swift croons on the opening line of this extra toned-down piano monitor. It all the time feels misplaced to me when she references web lingo in songs, like catching a Starbucks cup in a shot of a interval drama on TV, and this tune is chock filled with it.

It’s additionally an odd selection to start out off the tune itemizing all her laments about fashionable vernacular and interplay, however hold her hat on the time period “eldest daughter,” which feels very 2025 on-line discourse. She performs with some intriguing concepts — ”I’ve been bothered by a terminal uniqueness,” for one — however there isn’t sufficient scaffolding to carry them up right here.

A: I used to be scared this tune could be dangerous PR for eldest daughters (as one myself), but it surely seems it’s barely about eldest daughters in any respect! Observe 5 on Swift’s albums tends to be necessary and spectacular songs on her albums, an emotional catharsis or storytelling at its peak. Think about my shock when this monitor 5 turned out to be a static piano ballad about overcoming the percentages of being bullied on the web, that includes the actual lyric “But I’m not a bad bitch, and this isn’t savage.”

J: Swift takes us again to highschool once more, singing a few crush she by no means acted on. For me, this has one of many catchier hooks of the album — ”ought to’ve kissed you anyway” — as she conjures pictures of promenade and teenage worries. The manufacturing feels so odd to me all through this album on the primary few listens — it feels secure and formulaic in quite a lot of locations, like the primary concept an AI would spit out while you ask it for a beat. Am I lacking Jack Antonoff’s affect? However regardless of that, I feel I’ll be returning to this one.

A: In objectively messy steering, Swift writes on this tune: “My advice is to always ruin the friendship / Better than regret it for all time.” It jogs my memory of “So High School” on “The Tortured Poets Department” or “Timeless” on “Speak Now (Taylor’s Version)” — on this period of her life, Swift appears particularly nostalgic, lamenting about misplaced love. It’s an attention-grabbing monitor to incorporate in an album that largely focuses on discovering the love of her life.

J: Taylor Swift has usually used her pen to chew again at her bullies, doing it most efficiently when she playfully admonished a dismissive critic on “Mean.” Her celebrity-beef oeuvre, although, has not gained me over as a lot, and I’m afraid I’ve so as to add this one to that record. Messy drama apart, the factor that drove me loopy on this tune was her tentative, muddled singing of “It’s making me wet” on the bridge. If you happen to’re gonna put that line in an album, say it together with your chest. Swift has thrown meat to an insatiable discourse machine with this tune; I can already see the miles of headlines this one will generate. I’m simply left excited about the Swift of a number of years in the past who presciently lamented, “All of my enemies/ started out friends.”

A: The day earlier than the discharge, I noticed a leak of those lyrics on Twitter and thought, “There’s no way.” Seems, it was actual. On this alleged response to Charli XCX’s “Sympathy is a knife,” Swift snarkily sings about supposedly residing in Charli’s head rent-free. However is there not irony in writing, recording, and producing a complete tune about one other lady’s obsession with speaking about you? Swift tries to claim her unbotheredness, however ultimately, she comes off petty.

This response is unusual, contemplating “Sympathy is a knife” is extra about Charli’s inside panorama and the way the thing of her tune makes her really feel. Whereas Swift’s “Actually Romantic” is a direct barb, giving off the imply lady habits she is making an attempt to criticize.

J: What do you get the lady who has every thing? A basketball hoop in a driveway, I assume. There are some components that work right here — the cadence she makes use of on the road “Boss up, settle down, got a wish list” is satisfying, and I sort of love when she sings, “I made wishes on all of the stars/ Please, God, bring me a best friend who is hot,” as a result of identical, lady. Nevertheless it’s a little bit bit onerous to swallow {that a} billionaire isn’t additionally seduced by the trimmings of wealth she lists off in these lyrics. You’re telling me there isn’t a single pair of Balenci’ shades in a closet in certainly one of her many properties?

A: I proceed to be fascinated by the irregular title stylings she consists of for a few tracks on her latest albums. On this “I’m not like other girls” monitor, she asserts that whereas others may search materials objects and prestigious awards, she simply needs to stay a quiet life along with her love. This is able to be a plausible story if Swift was not a billionaire who money grabs with unique data, merch and an costly tour. It’s OK to need these issues! Nevertheless it’s disingenuous to maintain pushing this narrative of craving simplicity when her life is persistently antithetical to that declare.

A: Maybe an indication of naivete from me, however the implication of this tune went absolutely over my head upon first pay attention. I really can’t wrap my thoughts round the truth that the most important pop star on the planet references her soccer fiance’s bro-ey podcast by identify within the lyrics of this tune — after which refers to his dick as a “Redwood tree.” Genuinely, what’s going on?

J: I assume it is a tune that may develop on me as soon as I recover from the truth that there’s a full monitor about how unimaginable Travis’ dick is on this album. The Jackson 5-esque styling isn’t my favourite, both, however I do assume the idea is cute: all the superstitions and talismans you hope will deliver you luck don’t matter while you discover the one who’s best for you.

J: OK, that is one tune I can image as an enormous, dramatic manufacturing on a stadium stage — which is enjoyable! I truthfully hoped this entire album could be full of giant, bombastic bangers, and at this level within the album, there hasn’t been a ton. It’s enjoyable and campy within the vein of “Vigilante Shit.” I want, although, there was an precise grappling with the concept of cancel tradition, and the way so usually the general public figures on the middle of it find yourself having profitable careers no matter something they’ve carried out. It’s positively a option to facet with the canceled on this one.

A: As Jill has talked about with different songs on this album, I’m in full settlement with how the titles of those songs really feel at odds with the content material of the songs. I do assume these are purposeful thoughts video games on her half, making an attempt to throw individuals off the scent (since she releases the monitor titles earlier than the album), however the distinction feels significantly off in “The Life of a Showgirl.” In what I assumed could be a lament of her critics, Swift as an alternative writes a tune wherein she condemns cancel tradition as an entire. It feels surprisingly reflective of our political local weather that one of many largest voices in music sings about having fun with being mates with individuals who have been “canceled.” Cancellation is a spectrum, and by supporting those that have been canceled as an summary idea, it comes off that she sides with those that have been canceled for very reputable causes.

J: On this tune, Swift performs with the concept of being referred to as “honey” and “sweetheart,” and the way usually they’re used patronizingly — till somebody comes alongside and adjustments the that means of all of it. “You can call me honey if you want, because I’m the one you want,” she sings over lilting piano and a somewhat-basic drum beat. There was a second in the course of this tune the place I needed to pause and rewind to verify that I used to be certainly listening to a clarinet and flute — justice for the highschool band woodwind girlies!

A: I do just like the subversion of this tune, taking again a phrase that has been weaponized in opposition to her. Melodically, the tune may be very easy — total, in listening to this album, I used to be struck by how primary the music is persistently all through. I do know she’s able to extra!

J: If there’s one factor Swift loves to jot down songs about, it’s that fame isn’t all it’s cracked as much as be — and but she’s perpetually caught in it now. There are some evocative pictures right here — the showgirl character comes out of the stage door “glowing like the end of a cigarette” and warns the lady fawning over her that she’s “softer than a kitten” and couldn’t deal with the showbiz life. It’s enjoyable, and Sabrina Carpenter sounds implausible on this monitor (although her presence does simply make me consider how a lot hookier I discovered “Man’s Best Friend” when it first got here out). And I do know you may take artistic liberties in songwriting, however I’ve to level this out as a result of Swift referred to as herself an English trainer on Instagram — what’s “legitly”?

A: Within the title monitor, Swift (with assist from Carpenter) invents a personality of a seasoned showgirl who teaches Swift the fact of what it means to be within the highlight. It positively is essentially the most theatrical-sounding tune, which is what I wished extra of from this album. Carpenter gives essentially the most attention-grabbing and highly effective vocals on all the album, which actually places into perspective how shockingly easy Swift sounds in her personal songs. I’m unsure why Swift selected a theatrically themed album to current quieter and breathier vocals, but it surely doesn’t fairly work.

A: I wasn’t fairly certain what to anticipate from this one — I had difficult emotions about “The Tortured Poets Department” and I really feel sort of perplexed about “The Life of a Showgirl.” I don’t assume it’s providing something new or totally different to Swift’s discography, and I ponder if that’s a product of churning out work on the heels of an enormous tour and album launch simply final 12 months. There’s no strain to be releasing new work within the midst of her already busy life, and I feel her imaginative and prescient is getting muddled because of this. I don’t know what Swift wished to painting on this album, and I don’t actually assume she is aware of both.

J: This album is making me understand I’m extra comfy with a Swift who tells us every thing she feels, obsessively and messily and barely unhinged — a part of why “The Tortured Poets Department” drew me in, or why songs like “Mastermind” or “Mirrorball” are amongst my favorites in her catalog. I really feel a bit held at a distance once I take heed to “The Life of a Showgirl.” She’s not pulling again the curtain a lot as distracting us with feathers and sparkle. She’s in a cheerful relationship, and she or he needs to guard it (but in addition inform us she’s “ahh-matized” — go lady). I feel these songs will develop on me, as Swift’s all the time do, however I don’t assume it’s prone to snatch the crown of “Folklore” or “Reputation” and be certainly one of my high albums. And perhaps it wasn’t meant to. If nothing else, I’m grateful to have extra of her songs to pore over and dissect.