On October 3rd, Taylor Swift dropped her twelfth album, The Life of a Showgirl. With 12 tracks, it’s her shortest album to date, a sharp contrast from the 31 songs of her prior release. It was produced by the masterful Max Martin and Shellback, who were a part of Taylor’s most iconic works: Red (2012), 1989 (2014), and Reputation (2017). Yet, instead of another smash-hit, The Life of a Showgirl is thematically repetitive, lyrically bland, and sonically average.
Swift draws on the worst aspects of her recent discography: outdated internet slang, unimaginative storytelling, gimmicky one-liners, and tongue-in-cheek references to her football player fiancé. The result is an album full of forgettable songs and a whole lot of disappointed fans. Although she moved away from the synth featured in her past two albums, the refreshing change in production doesn’t make up for the lyrics. Songs like “Actually Romantic” and “Ruin The Friendship” begin with fresh instrumentals–but as soon as Swift begins to sing, the song loses all credibility. Her lyricism is stilted and childish, with no real emotional effect. As a whole, the album feels rushed and unneeded. “CANCELLED!” comes off as tone deaf, “Honey” could’ve been condensed to a single verse, and “Eldest Daughter”’s attempt at heartfelt vulnerability is overpowered by tacky online lingo.
However, there are a few diamonds in the rough. The first three tracks, “The Fate of Ophelia”, “Elizabeth Taylor”, and “Opalite”, deliver catchy, pop choruses with creative production. These tracks manage to (mostly) avoid the awkward wordplay littered throughout the rest of the album. Later, “Wood” combines an infectious joy with playful lyrics (as long as you don’t think too hard about the muse). An honorable mention goes to the titular and final track, a much-anticipated collaboration with Sabrina Carpenter. The song borders on theatrical, and both singers’ vocals shine through sub-par storytelling.
But the songs that stick out in Showgirl still pale in comparison even to the weakest on Swift’s previous albums. One can’t help but wonder why her signature poetic lyrics, layered with double meanings and personal references, disappeared in the making of her most recent release. Many fans have been quick to blame Swift’s recent engagement and newfound happiness, citing a lack of heartbreak as the reason for the unremarkable songwriting. However, many of Swift’s previous albums, most notably 2019’s Lover, prove that she is more than capable of writing hit songs while in a loving relationship. It’s more likely that Taylor Swift has simply reached a level of success where she is no longer striving to create high-quality music.
Whatever the reason, there’s only two possibilities for the result. Showgirl could be just a blip in the grand scheme of her discography, soon to be overshadowed by future greatness. Or, she’ll continue in this direction, and Swifties will have to face the fact that the best of her art is behind her.
This article also appears in our November 2025 print edition.
