[instrumental]
Like many, I grew up listening to and singing Taylor Swift. My sister and I spent hours making up dance routines to her songs. Something about the upbeat rhythm and sparkling city imagery of the album 1989 captivated eight-year-old me.
So, when Swift announced she’d be breaking her recent pattern of slow ballads for her new album, The Life of a Showgirl, I was hopeful. On Travis Kelce’s podcast, she promised “bangers,” songs full of infectious melodies and vivid lyrics.. Unfortunately, The Life of a Showgirl feels like an artist writing for her audience instead of herself. Every song sounded like a cheap version of Blank Space with impossibly shallow lyrics.
After my first listen, I couldn’t help but think: Has Taylor Swift finally run out of things to say?
My conclusion: no, she has not.
[instrumental]
Swift said there were only twelve tracks on this album, because she was favoring quality over quantity. But perhaps true quality is impossible to achieve while releasing an album every year and relentlessly pandering to audiences.
I did find songs like “The Fate of Ophelia” and “Opelite” to be very enjoyable, but the lyrics were so far beneath the standard Swift herself set in previous albums.
Critics said her last album, the Tortured Poets Department, was too monotone. So, she made this album tirelessly upbeat. People said her last producer, Jack Antonoff, was dragging her down. So, she traded him in for Max Martin and Shellback, who worked with her for some of her most acclaimed albums, including 1989 and Reputation.
Gone is the experimental Taylor Swift who switched from country to pop and pop to folk, despite widespread doubt. Gone is the Taylor Swift whose lyrics were a reflection of her lived experiences, instead of a reflection of what she thinks audiences want from her.
We are now left with someone who baits audiences with her personal life in place of fostering a real connection with fans. Song titles like, “CANCELLED!” and “Ruin the Friendship” clearly alluded to her rumored friendship breakup with Blake Lively, despite the lyrics proving differently.
[instrumental]
I was most excited about the song “Eldest Daughter.” I hoped it might be reminiscent of Harry Styles’ song Matilda or Conan Gray’s song Family Line. Songs with deep messages about family dynamics.
I cannot even describe how disappointed and confused I was with the superficial lyrics about internet hate. It seemed like the song title was meant to reel in listeners, despite her not actually having anything to say.
Throughout the album, the lyrics remained consistently corny. In place of the many deeply romantic love songs Swift has written, we are left with lyrics like “Girls I don’t need to catch a bouquet to know a hard rock is on the way.” The closest she gets to the serious political commentary she made in her song “Only the Young,” is when Swift seemingly quotes Candace Owens saying, “Did you girlboss too close to the sun?”
[instrumental]
I truly think Taylor Swift still has the capability to release a good album with profound lyrics, but it may be time to step away from the spotlight for a little bit to regain the authenticity she once wielded.
In the meantime, I’ll continue obsessively streaming Folklore. Sahana Unni, WNUR News.
