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By Elliott Stone / Staff Reporter
Despite a negative fan response upon its release, Taylor Swift’s “The Life of a Showgirl” is one of the most ambitious and captivating pop albums of the year. The album reminds listeners of Swift’s ability to push boundaries and reinvent herself. Swift embodies the “showgirl” persona and all of its highs and lows.
The opening song, “The Fate of Ophelia,” begins with heavy piano chords and synth that are reminiscent of the sounds of Swift’s earlier album, “Midnights.” The lyrics compare Swift’s condition to that of Shakespeare’s Ophelia in “Hamlet.” While Ophelia was doomed by her relationship, Swift cleverly contrasts this idea by saying she was saved by her romance with Travis Kelce. This is one of my favorite tracks because of the way she takes a dark situation and turns it into something hopeful and fun.
After the album’s release, conversation skyrocketed about the album’s seventh track, “Actually Romantic.” Fans have speculated the song could address a feud between Swift and Charli XCX, which began with rumors that Charli XCX’s“Sympathy is a Knife” referenced Swift.
Swift boldly responded to these rumors in “Actually Romantic” with the line “Highfived my ex and then you said you’re glad he ghosted me.” Addressing the issue head-on was a brave move for Swift, one that shows she is unafraid to stand up for herself.
Swift’s album is a showstopper. Songs like “Wi$h Li$t”and “Honey” explore her dream of a quieter life, while songs like “Elizabeth Taylor” explore Hollywood’s obsession with reputation and scandal. I admire her ability to confront taboo topics that other artists might avoid.
Beneath the sparkle, she reveals vulnerability, resilience and the struggle of balancing public and private life. Having followed Swift’s career for years, I find her newfound strength and confidence refreshing. It is a personal album that blends theatrics with reflection and offers listeners a glimpse into stardom.
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By Max Wright / Staff Reporter
Music can be weird, amazing or interesting. But worst of all, music can be like that of “The Life of a Showgirl”: boring and forgettable.
Going into the album, I had high expectations. Although pop music rarely finds itself on my playlists, I have a lot of respect for Swift and have thoroughly enjoyed several of her albums in the past, such as “Speak Now” and “folklore.”
Unfortunately, this project’s lack of defining characteristics and memorable moments create an album that goes in one ear and out the other.
The first half of “The Life of a Showgirl” completely fails to make any kind of impact, featuring songs like “Opalite,” which is so bland it left me counting down the seconds until it ended. The best Taylor Swift instrumentals bring her narratives to life, but the bare minimum drumbeat and uninspired vocal melody of “Opalite” conjure nothing but images of boiled chicken and unseasoned broccoli. There is a recurring phenomenon throughout the album of a track having one intriguing component but falling short on other criteria.
One example of this is the lively, syncopated rhythm of “Wood,” which gave me hope for an enjoyable song. Unfortunately the lyrics about Travis Kelce’s “redwood tree” and “magic wand” immediately threw all potential enjoyment out the window.
The penultimate song, “Honey,” is certainly a highlight and a huge step up lyrically. Swift sings about the contrast of her treatment in the past, with words like “sweetheart” used condescendingly, as opposed to her current relationship with Travis Kelce. It is a bit cheesy, but I find it to be an incredibly endearing love song. Unfortunately, the song does not escape the plight of completely boring instrumentals, so I can’t say it truly competes with the best of Swift’s work.
Although there are some promising moments and a moderately strong finish, “The Life of a Showgirl” simply lacks the sophisticated writing and catchy melodies that made Taylor Swift a star.
Published November 2025. Digitized 2025.
