Flair Magazine By Hedayat Reda
Ever since she went on fiancée Travis Kelce’s podcast announcing her new album, we have anxiously been awaiting Taylor Swift’s latest– completely unexpected– piece of work, her 12th studio album: The Life of a Showgirl. After giving it an initial listen, this Flair editor, and self-proclaimed die-hard Swiftie, was all set to make a neutral and somewhat biting review (for a Swiftie, neutral is as close to negative as it gets), until I found myself singing my least favourite song on the album– “Elizabeth Taylor”– in the shower. Clearly, I needed to rethink this. She really does put narcotics in all of her songs.
It’s hard to put into words the plethora of feelings this album evoked, but the first notes reeked strongly of… disappointment. It’s a lot more, and less, poppy than expected. After her description of this as ”the album she’s waited a long time to make” for its conciseness and compactness on “New Heights”, I recall a heated debate in the group chat with my girlfriends: What does this mean? Less Taylor? More Taylory Taylor? We didn’t know what to expect.
Will she still resonate without the sad, angsty, heartbreak? Is there such a thing as a worthy follow up to TTPD (The Tortured Poets Department)? And the inevitable, does the short track-list mean mind-blowing or …uninspired?
The album opener “The Fate of Ophelia” is dramatic, upbeat, and perhaps one of the stronger tracks on the album– with a catchy refrain and her tell-tale poetic but modern writing style. It is a love ballad, in a way, in which– it appears–Travis has saved Taylor from Ophelia’s fate (Ophelia goes mad with grief in Shakespeare’s Hamlet). The video that accompanies this song underscores the playful drama that Swift imbibes in her songs, elevating it into a proper production and cementing this as the track to associate with this new era. “Elizabeth Taylor”– the song I take the most issue with– goes on to revive the reference style that Swift immortalized on TTPD, in which she alludes to famous Hollywood figures and compares her life to theirs. But with lines like “I would trade my Cartier for someone to trust” and “all my white diamonds and lovers are forever/ In the papers, on the screens and in their minds” Swift disappointed me. The luxe lifestyle and sad starlet stereotype lacks resonance and feels bad-tasting in the midst of a real genocide. It is only with the advent of “Father Figure” that the album begins to turn slightly darker, bringing back the edgy and powerful Taylor. A song reminiscent of smoky nights and smooth silk, this is definitely one of my favorites on the album.
I feel I need to mention “Opalite” here, as well. After my 27th listen or so, I can confidently say I dig this song’s vibe, but it was not a homerun for me –at first. Fun and hypnotic, I like the use of precious stones as descriptors and the line “eating out of the trash” that Swift uses to describe her relationship to her ex-lovers is my new favourite situationship characterization, but it’s missing …something. Depth?
On “Actually Romantic” Swift takes a sarcastic tone to love, mocking a lover who seems to have penned verses in her honour. An unexpected cuteness/snarkiness characterizes this lilting melody. I can’t say that “Eldest Daughter” or “Ruin the Friendship” particularly moved me. Decent songs, but nothing to write home about. There is something peculiar I noted in a number of songs on this album (“Wi$h Li$t”, “Eldest Daughter”, “Wood”…) which is that Swift seems to have interspersed much of her generally deep songwriting with colloquialisms like “girl boss”, “Balenci shades”, and “f*cking lit”. The effect, which I imagine is supposed to be witty or fun, seems rather unimaginative to me. “CANCELLED!” recaptures the somewhat dark and biting tone that speaks drama, making us all wonder the obvious: is this a reference to Blake Lively? Who is she talking about? “Honey”, is my favourite track on the album. Surprisingly sweet on an album that lacks sweetness, her proclamation that her lover can call her “honey” because he gives the word a “different meaning” is charming, without being cliché. It’s a song you want to sing again and again.
The real showstopper of the album, for me, is definitely her duet with Sabrina Carpenter, on the album’s namesake. A song that gives you all you want in a Taylor Swift piece: great storytelling, fun melody, a touch of melancholy, and a touch of inspiration. There is a magical thing that happens when her voice and Carpenter’s come together– a true harmony. I would definitely love to see another collaboration from those two.
I know – the more you read this review the more you can’t figure out if this is a great album, or what. I am definitely conflicted. I have strong critique points concerning the shallowness of the content covered, but the melodies and writing have definitely ensnared me. All in all I would say the album gave me teenage diary vibes, mixed with axe-to-grind poetry. My personal take? I would take sad Taylor over happy Taylor any day, as unhealthy as that is. Maybe it’s me? (I’m the problem, it’s me…).
Put it on if you feel like immersing yourself in some American dreams and drama. Put it on if you’re feeling a little bit extra and want to dance to something. Maybe avoid, if you want your soul to be moved. We give it a 7/10.
