When Taylor Swift announced her 12th studio album, “The Life of a Showgirl,” she did not do it in her usual grandiose fashion, like she did with “The Tortured Poets Department,” (“TTPD”) which she revealed at the 2024 Grammys. Instead, she joined her now-fiancé Travis Kelce and his brother Jason on their “New Heights” podcast for a two-hour casual discussion about her new project, immediately giving the album a different, more lighthearted feel than her previous releases.

Still, fans expected Swift’s thoughtful songwriting to be at the center of the record; many anticipated a “1989” style of production (since Max Martin and Shellback were the producers) with a “folklore” level of writing. Additionally, an in-depth look into the Era’s Tour and her overall experience with fame was expected.

This is not exactly what listeners were met with on the album’s Oct. 3 release date. 

Inklings of the “showgirl” lifestyle were implemented, but much of the album centered around Swift’s romance with Kelce. The production was also less reminiscent of “1989’s” timeless, cohesive pop sound than expected, featuring some soft rock elements and even a 70s-style track. 

The most surprising aspect of “The Life of a Showgirl,” however, was its lyrics, many of which were either related to internet culture, simple or sexually explicit – a major deviation from Swift’s previous albums, especially the recent “TTPD,” which was filled with complex, emotional songs, or her critically acclaimed album “folklore.”

It was a fun, upbeat project, but at what cost?

The opener and lead single, “The Fate of Ophelia,” discussed the saving power of true love over a catchy drum beat. The lyrics were loosely connected to the title’s Shakespeare reference, but still mainly about Kelce, with Swift “pledging allegiance” to his “team.” 

Track two, “Elizabeth Taylor,” is one of the few songs that fit into the “showgirl” theme. Intense yet luxurious production is coupled with lyrics about seeking genuine love as one of the most famous people in the world. Swift hopes to maintain this relationship, admitting that she’d “cry [her] eyes violet” if she lost it, providing a vulnerable look into the impact fame has on her romantic endeavors. 

“Opalite” is another cheerful pop installment and is the most similar to “1989” hits. Swift sings about creating and finding happiness, even after a challenging time in her life, providing an inspiring, positive tone. 

After the strong introductory tracks on “The Life of a Showgirl,” the album becomes much more inconsistent both lyrically and sonically.

“Eldest Daughter,” the much-anticipated track five, contains some of the most questionable lyrics on the entire album. Swift says she is not a “bad b*tch” or “savage,” and references memes and trolling throughout the song. This removes the timeless element that many of her other track fives have. It also feels a bit on the nose in contrast to her more poetic lyrics.

“CANCELLED!” has a similar issue, in addition to having a lackluster production. The phrase “girl-bossed too close to the sun” is used in relation to Swift’s celebrity friends who have faced backlash, once again dating the track immensely. The rest of the lyrics do not make up for this line, feeling cheesy and somewhat tone deaf. The production sounds like leftover, outdated elements of “Reputation,” leaving much to be desired. 

“Actually Romantic,” a shady anthem believed to be about Charli XCX, contains humorous, albeit petty, lyrics about “haters.” Swift says the subject of the song insults her when she is “coked out,” and compares her impact to that of a “toy chihuahua.” Although she is not new to themes of revenge in her music, this is one of the harshest diss tracks in Swift’s discography, leaving a bitter impression for some fans and critics. 

The most regressive lyrics in the album come from “Wood,” however.  It makes not-so-subtle or clever allusions to Kelce’s sexual performance, and even mentions the “New Heights” podcast by name. It seems as if Swift was trying to emulate Sabrina Carpenter’s innuendo-heavy music, but it was not done as effectively. The jazzy ’70s production was new for Swift, but it was held back by the unsavory lyrics.

Prior to the closing track, the rest of the songs on “The Life of a Showgirl” are solid but not standouts or particularly memorable. 

The album ends with the title track, which features the aforementioned Carpenter. As the title suggests, it is about the celebrity lifestyle. Both artists shine vocally, and the production is reminiscent of musical theater songs, which ties in nicely with the song’s theme.

“The Life of a Showgirl” is certainly not Swift’s most lyrically impressive album, instead being filled with mainly upbeat, sometimes silly tracks. She is definitely happier than she was when she wrote “TTPD,” but did this joy result in lazy, shallow songwriting?