Music review: The Life of A Showgirl

From Shakespeare’s tragedies to feather boas, and more

In music, there are often times when an artist’s direction changes so slowly that differences are not noticeable until someone actively brings them to our attention. Other times, however, the changes are fast-moving, quick, and dare we say…Swift.

On Oct. 3, Taylor Swift released her twelfth studio album, The Life of a Showgirl. The new album, with its shiny and glittery vibes, may cause whiplash when compared to the manic monotone that pervades the themes of her 2024 album, The Tortured Poets Department. So, now that the album has been listened to 1,300 times, it is time to debrief.

Showgirl represents a true shift from Swift’s last two studio records, Midnights (2022) and The Tortured Poets Department (2024). Unlike the former albums, which were written during Swift’s six-year-long relationship with British actor and model Joe Alwyn, Showgirl is full of energy and potential, signifying a shift that suggests the superstar has found her light again. 

The energy of the album is in part related to significant changes in Swift’s life: her relationship with Travis Kelce, tight end on the Kansas City Chiefs, as well as the return of the master albums and the legacy of The Eras Tour. 

Certain tracks on the album, such as The Fate of Ophelia, Opalite, Wi$hli$t and Wood have the rumoured common denominator of fiancé Kelce being the muse. Which, honestly, is refreshing compared to songs on Poet’s Department such as: Fresh Out The Slammer, Down Bad, or loml (abbreviated slang for ‘love of my life’ or ‘loss of my life’). All three songs share the common themes of grief and sport melancholic lyrics like,

My friends tried, but I wouldn’t hear it
Watch me daily disappearing
For just one glimpse of his smile

(Fresh Out The Slammer, The Tortured Poets Department, 2024

These lyrics describe Swift as she attempted to save her fragile six-year relationship with Alwyn. 

In contrast, Showgirl begins with The Fate of Ophelia, a song influenced by the untimely demise of the young Shakespearean heroine, Ophelia, who is fated to drown after being rejected by her lover, Hamlet, and the death of her father, Polonius. 

In her version, Swift takes the place of Ophelia, who, unlike in the stage production, is ultimately saved from drowning by an unnamed hero, presumably inspired by Kelce. 

And if you’d never come for me
I might’ve drowned in the melancholy
I swore my loyalty to me, myself and I
Right before you lit my sky up

All that time
I sat alone in my tower
You were just honing your powers
Now I can see it all (see it all)
Late one night
You dug me out of my grave and
Saved my heart from the fate of
Ophelia

(The Fate of Ophelia, The Life of a Showgirl, 2025

Although Swift’s love life is generally an exciting topic for fans, what is even more exciting is the growth of her career, including the return of her master albums. 

The controversy began in 2019 when her original record label, Big Machine Records, was sold to Ithaca Holdings. As a result, Swift was contractually stripped of the sole ownership of her albums, her art, and the very chapters of her own story.

Rather than accept her fate, Swift took action and started the process of re-recording her original works, now known as Taylor’s versions. What followed was a tireless legal battle between Swift and Ithaca Holdings owner Scooter Braun, which ultimately led to Swift repurchasing her master albums from Shamrock Capital in 2025. 

The return of her beloved original albums is also a recurring theme in TLOAS in songs like Father Figure, Actually Romantic, and Eldest Daughter. In these three tracks, Swift describes the power associated with her success. 

“I saw a change in you (saw a change, saw a change in you)
My dear boy
They don’t make loyalty like they used to (not like they used to)
Your thoughtless ambition sparked the ignition
On foolish decisions which led to misguided visions
That to fulfill your dreams
You had to get rid of me
I protect the family”

(Father Figure,  The Life of a Showgirl, 2025)

This is where some interpretation may be required. In Father Figure, Swift mentions protecting her family. Some online fans believe that this song is one of her social criticisms, similar to the themes of other tracks like The Man or Lover, which describe the tireless criticism female celebrities endure that male celebrities simply do not experience. Others, however, contend that the song would best be examined in the context of Swift’s life, suggesting that the “family” referenced in the song exists as a representation of her master’s albums, creations that the artist may view as her children.

With the release of The Life of a Showgirl, Swift took to social media to reveal her docuseries that takes Swifties through the behind-the-scenes of the Eras Tour. This docuseries will premiere on Disney+ on Dec. 12.