I didn’t intend to review Taylor Swift’s new album as there have already been hundreds of published reviews. I simply wanted to listen to the album and see where Taylor was at musically, lyrically and sonically in her career arc. But in reading all the national trade reviews about her album, most left me empty and uninformed about THE MUSIC. Most reviews I’ve seen have instead focused on which songs are about Travis Kelce, which could be about Blake Lively or a diss at Charlie XCX, or a past relationship. While that certainly can be the inspiration of her writing, I care more about the final product; music production, instrumentation, and song construction combined with compelling lyrics.

I try to listen to new music the same way today as I did when I was 15. You put on the album, bounce around a few tracks, hear what immediately grabs you, then listen to the album, track one to track last, in its entirety, as the artist meant it to be heard. And along the way, discover which songs are hits that you’ll want to hear over and over, which songs are not hits but may be a personal favorite to the listener, (Rob Thomas/Matchbox 20’s “Rest Stop” from their “Mad Season” album was always one of those “non-hit” favorites for me), and which songs, while still nice, seem like album filler (think: “Pretty Maids All In A Row” from “Hotel California”).  Simplified: Which songs are hits, which are favorites, and which may remind me of another song from another era of music history. And with that, here’s my song-by-song “don’t overthink it” review of Taylor Swift’s “The Life of a Showgirl.”  

Read more: A Different Kind of Album Review: Taylor Swift – “The Life of a Showgirl”

1. “The Fate of Ophelia” Great album intro. Not too fast, not too slow, with a quirky hook and chorus. Very listenable. Obviously, the story of Travis Kelce pursuing her and the developing relationship. (Okay, I DID go into what inspired the lyrics). I’m surprised a bit by the simpler instrumentation.

2. “Elizabeth Taylor” If anyone can identify with Elizabeth Taylor, it’s Taylor Swift. Being loved, adored, and loathed by many, all at the same time, simply because she is popular. As for the MUSIC, just two songs into the “Showgirl” album, I’m getting the sense that this is not an album recorded for days in a studio with a band. Which makes total sense as it was recorded while on the road during her “Era’s” tour European leg.  Today’s technology allows for any song to be recorded anywhere you have enough room to set up the needed instrument, mixer and efx units, along with a laptop/pc. And that’s not bad. Billie Joe Armstong recorded his version of “I Think We’re Alone Now” in his bedroom during covid, and it sounds as if it was done in a studio. “Elizabeth Taylor” is a proper song in the proper place to continue the theme of the album. A song only Taylor could have written.

3. “Opalite” A great return to tempo for track 3. The hook is powerful and the background vocal “Ha Ha’s” and “Oh-Huh Huh Huh” harken back to 60’s Supremes songs. I could totally see “Opalite” being acted out in a stage production, or being featured in a “Grease” type or Hallmark movie. But Hmmmm…is Taylor’s music going a little Yacht Rocky? We shall see. Or rather hear.

4. “Father Figure”  The first thing you think when listening to this song is how much of it will actually be derived or sampled from the 1987 George Michael. The answer? Not much. The borrowed chorus and hook is super-subtle.  Again, a nice song, with simple instrumentation. Four songs into the album now, and I’m wondering when the JUMPY HOT track will show. And yes, this album, with its up-tempo keyboard heavy approach is venturing even more into Yacht Rock territory. Which makes total sense…Taylor’s music and personal life is maturing into that stage and era.

5. “Eldest Daughter”  The piano intro of “Eldest Daughter” soooooo reminds me of the guitar into of Bread’s “Everything I Own,” but in a lower and (I think) minor key. Click the link and see if you agree! With the exception of the “I’m not a Bad Bitch” lyrics, this song would have fit perfectly on Taylor’s Folklore or Evermore albums. Who knows, she may have been noodling around with this musical chord progression during those albums, and just needed to match it up with the right lyrics. Some songs are written in fifteen minutes. Others take years. The Rolling Stones’ “Start Me Up” was song that was left off of their Some Girls album, but it was eventually reconstructed and released three years later on Tattoo You. To me. “Eldest Daughter” may be the “Landslide” of this album. And if you listen to the lyrics, it appears that once Taylor gets married, it will be forever.

6. “Ruin The Friendship” OMG…earlier I had mentioned how I was  wondering if Taylor was venturing into Yacht Rock territory. Well, “The opening of “Ruin…” answers that question with an emphatic YES, as it is totally influenced by the opening drumbeats and riffs of Player’s “Baby Come Back.”    Even the rounding and overlapping vocals over the last 45 seconds of the song have 1970’s soft rock written all over them. But, please don’t take this as it being a bad thing…it’s fantastic. Any artist that emulates the music that came before they were even born should be commended, such as Bruno Mars’ Silk Sonic being a huge shout out to groups like The Stylistics, and Chi-Lites. And again, though I said I would concentrate more on the music and less on the lyrical inspiration, this song is based on a long lost kiss that never was, but could have been, and now it’s too late. Read more here.  

7. “Actually Romantic” I believe that at its heart and basis, “Actually Romantic” is an alternative rock song. Imagine the soft solo guitar intro instead being played on a grinding guitar with an overall harsher production. What you then have is a Green Day or west coast alternative pop-rocker. For Taylor, it’s a cutesy 2:38 song. And it’s great!

8. “Wi$h Li$t” The lyrics are a clever commentary of being a star yet being grounded. Or trying to stay grounded. Taylor’s wish list for the rest of her private life, set to a nice easy beat. While I’m trying to continue concentrating on describing the music and production without getting too heavy into Taylor’s love life, but with “Wi$h Li$t,” it’s almost impossible not to do so, as the lyrics overpower any of the music. The lyrics are the production, in this case.

9. “Wood” An up-tempo song when it was needed most to continue the album pace, but still not a jumpy song like “Shake It Off.” Again, “Wood” contains so many odes to 70’s music production, from the opening funk-guitar strumming riff sounding like a slightly slower tempo version of  The Jackson Five’s “I Want You Back”  to the soft rock solo drum drops. But the lyrics here are…um…”Taylor-risqué” and right up front. This is a song that will be tough for an adult to discuss with their young daughter or niece.  I let you look up the lyrics to see why.

10. “Cancelled” If ever Taylor Swift was going to lend a song to a James Bond soundtrack, this should be it. “Cancelled” is dark, murky, fantastic pop. When the hook hits, with the rolling drum production behind (check the moments 2:40 and 2:50 into the song chorus), it’s totally Bond-like. The lyrics “And now you know exactly who your friends are…You know who we are…We’re the ones with matching scars” would fit perfectly fading into the second scene of a Bond movie after the requisite opening scene chase present in every Bond film.  More wildly random thoughts on “Cancelled;”  a) This is the second song on “…Showgirl” that I feel with different production and a slightly edgier/driven guitar could be a huge Alternative song. I could totally hear Haley Williams and Paramore taking this song to an even darker area. b) I’m so happy that Taylor chose the British English spelling of “Cancelled” with two “l’s.” I’ve always preferred it to the American English version of “Canceled.” Speaking of that, I’ve always wondered why some airlines/airports use one “l” while others use two on their flight information boards. I’m betting that someone, somewhere found out that using the shorter word allowed them to pack an extra column of info on those giant boards near the gates. I told you these thoughts were completely random!

11. “Honey” “Honey” put a smile on my face because it hit me as a song that would have fit nicely on any of any Taylor’s early albums with country/pop-ish guitar-based production. Could have been a sister song  to any of her earlier works with lyrics like “Our song is the slamming screen door…” “Honey” is timely for any one of any age in a budding relationship. A bright, positive, medium-tempo pop song optimally placed between the previous harsher “Cancelled” and the final title track song.

 12. “The Life of a ShowGirl” ft. Sabrina Carpenter From the instant the first lyric kicked in, I felt the vocal was mixed a little more prominently and “up” than on any other song on the album. The lyrics seemed more clear and identifiable, and with good reason, as if there was a song that was the story of Taylor’s professional career, and what it could be like if you wanted to follow her in her shoes, this is it. IMO, this is Taylor’s mentor song, as if to tell those coming after her what to watch out for. And what a Beatle-esque ending with her Eras Tour audio on the fade out: “Give it up for the band…the dancers…”.  “…Showgirl” is a perfect album close song. I seriously doubt that this is Taylor Swift’s last album. But I think it will be her last in a while, as anyone who has followed her career can see her branching out into everything and anything from movies, to other forms of performing arts to managing other artists and helping shape their careers.

Best three songs on the album:  

• “Cancelled”
• “The Fate of Ophelia”
• “The Life of a Showgirl”
• “Opalite”
• “Wood”

     (I know that’s five, not three, but that’s just how good this album is)

Most clever lyrics: You can find one, or six, in just about every song.

How I would describe this album to someone who knows nothing about Taylor Swift or her music: “The Life of a Showgirl” very much reminds of me of Carole King’s “Tapestry” in that you can put it on and let it play while having a dinner party and everyone will hear a song they love, identify with, or will be singing the chorus of for the rest of the night. I can’t put it in the “Tapestry” class just yet, as so many “Tapestry” songs have become American pop standards over the past fifty years. (Ask me in 2055 if “…Showgirl” can then be considered such a legendary album. I hope you are here to ask, and I’m here to answer!) But, every song on “…Showgirl” has the same powerful message, sound, and memorability as those on “Tapestry” do. “The Life of a Showgirl” also reminds me very much of K.D. Lang’s 1992 “Ingenue” album for it’s beginning to end listenability, as in you never want to skip a track.

Random Rob Thought: I thought it was interesting how every song save for the title track has a cold ending with a declarative final lyric. To me that is Taylor saying “The writer is in control, and this song-story has ended.” The title track and album finale being the only song with a fade-out seems to speak toward “This song-story is NOT over. There is more to come!”   

Final Rob Thought: I am always amazed at how an artist can take real life happenings, or things that they observe happening to others, and turn them into lyric and song. Songwriting is an art. Singing is an art. Producing music and playing instruments is an art. Most artists are GOOD at all these things, and GREAT at one of them. The GREATS, the ICONS, the LEGENDS are GREAT at ALL of them. Taylor is all that. She could perform this entire album solo on acoustic guitar, and the songs wouldn’t miss much.

I’ve always called Taylor Swift the female Bruce Spingsteen, my reasoning being that from 1973 to 1987 Bruce appealed to mainly males aged 15 to 35 who felt disjointed and were trying to find themselves and their life-purpose. Taylor appeals to mainly females aged 12 to maybe as late as 45 who feel disjointed, are trying to find themselves and their life-purpose.

Bruce’s sound and writing vision changed during his “Tunner of Love” / “Human Touch” / “Lucky Town” album era. The Wall of Sound production from recording at The Power Station in NYC was replaced by a more stripped down, less produced sounding band, and his writing was affected by his personal issues and feelings, including divorce from his wife, and semi-divorce from the E Street Band. Taylor’s “…Showgirl” writing is likewise influenced by her personal issues, but in the opposite direction, as in engagement and future marriage.     

As far as my comparing some of the songs on “…Showgirl” to Yacht Rock, again, that’s not a slight or a bad thing. It’s a great thing. At some point in their career, established artists make an album with production heavily influenced by the music their parents listened to. In 2020 I was lucky enough to interview Shawn Mendes about his “Wonder” album, and remarked that when I listened to the album I got the same feeling I did when listening to a Beach Boys/Brian Wilson production. He responded (paraphrasing) “That’s exactly the mood I wanted! During Covid I listened over and over to about 20 or 30 of my sister and parents old vinyl albums, and the Beach Boys were highly among them. I think musical tastes are formed by what music was in your house growing up.” So True! If I ever get to interview Taylor, I’ll ask her if her parents have an extensive Yacht Rock collection!

Final Final “The Life of a Showgirl” Rob Thought: This album is so good, so complete, that I will be buying a proper digital copy, or maybe even a vinyl copy of the album to add to my collection. And that’s saying a lot considering that I have not purchased an album in at least three years, and as a 50+ male am not the target audience of the music or content. I would urge you to buy it as well! This is an album you may want to listen to for the next decade, and get joy from every time you hear it.