I’m not mad — I’m just disappointed.

With the midnight hour came the release of yet another Taylor Swift album. One the megastar previously touted as a record she’s been “wanting to make for a very long time.”

“The Life of a Showgirl” promised to encapsulate the gaudiness of life in the spotlight, with all the glitz and glam in the funky theme of orange and teal.

And I must say, I had high expectations heading into Swift’s 12th era. But Swift’s latest work has left me frustrated and, frankly, slightly confused.

With such an extensive and detail-oriented marketing push since Swift announced the album in August — including numerous countdowns on her website, elaborate costumes in photoshoots and revealing collaborations with the New Heights podcast hosted by Swift’s now-fiancé, Kansas City Chiefs tight end Travis Kelce, and his brother, retired fellow footballer Jason Kelce — Swifties might’ve thought the star was promoting her magnum opus.

i’m genuinely so confused about the photoshoot for the life of a showgirl? like none of these pictures encapsulate the album

— m ???? (@taylorswiftliar) October 3, 2025

Swift is most lauded for her intricate lyricism, which typically includes countless references to literature, pop culture and previous tunes from her discography in creative ways.

“The Life of a Showgirl” absolutely succeeded musically thanks to producers Max Martin and Shellback, but ultimately, it failed to deliver the unfiltered, raw peek behind the curtain of superstardom that Swift promised her fans lyrically.

the life of a showgirl has some of the most abysmal writing i have heard from this lady. i haven’t been so unimpressed by an album in so long. how did we even get here

— bre (@aantlerqueen) October 3, 2025

Much of the album’s lyrics were petty and superficial, while many fans anticipated an honest look into the entertainment industry from Swift’s unique perspective.

nothing i’ve heard from this album is giving showgirl ?

— ant (@eusexuant) October 2, 2025

Don’t get me wrong, “The Life of a Showgirl” started off extremely strong. Let’s get into it.

Here are my honest reactions to each of the 12 new tunes:

‘The Fate of Ophelia’

The soft piano chords opening this “showgirl” album, followed by a powerful synth beat just felt so right to me. Not to mention, I was already hooked by the Shakespeare reference in the title.

My first thought was that this feels like a Selena Gomez song, a little similar to the vibes of “Naturally.” The chord progression in the refrain is unique and not one often seen in Swift’s discography.

From the get-go, it seemed to me the album would draw on themes from Swift’s previous eras but also provide a distinctly different sound. “The Fate of Ophelia” is definitely 1989-coded, though.

‘Elizabeth Taylor’

Again, the second tune felt like it fit right in with “The Fate of Ophelia.” The album was feeling cohesive at this point.

“Elizabeth Taylor” does offer the storytelling Swift promised would be reminiscent of her “Folklore” era. Admittedly, though, I can see how this song might be more of an acquired taste for some Swifties.

I thoroughly enjoyed the poignant contrast in the verses compared to the refrain, though.

‘Opalite’

This song is just incredible; there’s no other way to put it. I knew this would be in my top three, if not my No. 1 pick by the end of the album. “Opalite” was my first WOW tune of the album.

There’s a certain nostalgic quality and country roots that makes this song stand out. It’s always a good album when Swift highlights her Nashville influence and successfully writes a catchy bridge.

I laughed out loud at this line: “I had a bad habit of missing lovers past / My brother used to call it “Eating out of the trash.”

‘Father Figure’

At first, I admittedly thought this was the first flop of the album.

But after a second listen, it’s really growing on me — especially the refrain. The bridge and key change were fantastic as well. Swift interpolates, rather than samples, George Michael’s 1987 hit “Father Figure” within the tune.

“Father Figure” is giving “Midnights,” though, which admittedly was not my favorite Swift album.

‘Eldest Daughter’

Absolutely no. Why was I laughing during a Track 5?

“Eldest Daughter” isn’t even in a comparable league to Swift’s legendary Track 5s like “All Too Well” or “You’re on Your Own, Kid.” The attempted use of trendy words like “fire,” “savage” and “trolling” honestly fell flat compared to what the song could’ve been with such a punchy title.

The bridge is the only part that remotely attempted to save this tune, redeeming it somewhat in my eyes. But I definitely still felt let down.

This is the beginning of the album’s plummet, in my opinion.

I don’t have a ranking except that #12 is eldest daughter

— Eggsquisite Armantè M.F.A ❤️‍???? (@ExquisiteWill) October 3, 2025

‘Ruin The Friendship’

This song feels so elementary to me for Swift’s 35 years of lived experience — almost distastefully so. It’s definitely a theme for the second half of the album (one that’s not so “showgirl” and cohesive).

now seriously what about that album is giving “showgirl”?????? Like it’s stripped back pop songs with the same tiktok sound back to back. There’s nothing original about it and I’m not even being a hater, it’s just the reality. She has made those songs already.

— ‎‏ً (@SirCecred) October 2, 2025

The “second period” line is so cringe, and the bridge is actually bad on this, which is so rare for Swift. I’m also not a fan of the runs she sings at the end of some of the phrases.

The upbeat and spunky vibe is catchy, but it’s giving “So High School.” Swift’s promotional pictures were extremely mature, but this song works against that intention, in my opinion.

In a heartbreaking twist, Swift sings about serious grief she feels for the person she used to be friends with. It’s a jarring juxtaposition to the song’s happy vibe.

‘Actually Romantic’

This tune is allegedly a diss track against popstar Charli XCX, creator of “Brat.” (Yes, from brat summer). But if it was supposed to be diss, it’s not a good one.

First of all, the “tacky” line is, in itself, tacky. “Actually Romantic” feels very needlessly petty. I’m sad I feel this way because the melody is fun and similar to Olivia Rodrigo’s sound. The intro also sounded like Wheatus’ “Teenage Dirtbag.”

‘Wi$hLi$t’

Within the first few seconds, this song brought me back to “Glitch” from Swift’s “Midnights” album, which I personally think is the worst song in her discography.

I tried to keep an open mind, and the lyrics to this were somewhat better and more mature than the last two tunes.

“Basketball hoop,” though? Who ever thought we’d hear that in a Taylor Swift song? Also, girl, what are we trying to do with the dollar signs in the title? Again, I feel like it’s trying too hard to be trendy.

‘Wood’

Folks, we’re back. This song has the best funky fresh vibes, and the beginning sounds so much like the Jackson 5’s “I Want You Back.” Epic.

I do think this song was Swift’s attempt to break into Sabrina Carpenter’s realm of hypersexualized songs, which she excels at. Did Swift? I’m not so sure.

“Dress” on Swift’s “Reputation” album does a better job of this because it’s more subtle.

‘CANCELLED!’

Another absolute no for me. Again, musically, this feels like it belongs on “Reputation.” It’s fantastic musically.

Lyrically, I’m sorry, but it’s awful. It seems Swift tries to fit in as many popular terms and references as she possibly can, including “girlboss.”

This is not the singer/songwriter Swifties grew up with.

No Taylor Swift song has ever rubbed me the wrong way more than cancelled has……

— Dream Girl (@tays_dreamgirl) October 3, 2025

‘Honey’

I honestly don’t have much to say about this. Hopefully, a few more listens will offer me more clarity.

The lyrics are better on this and feel more like Swift’s typical braiding at least. “Honey” makes sense to me.

I also really liked the jazz influence on this, including the flute sample.

‘The Life of a Showgirl’

(ft. SabrinaCarpenter)

Now this is what we were all waiting for. The title track offers the true “showgirl” experience Swifties have been craving.

There were musical theater chord progressions. There was country music influence. There were key changes. There was Sabrina Carpenter. (Who got to sing a whole verse, mind you.)

Not to mention, we got a Broadway-esque bridge. Fantastic. “A Chorus Line” come to life. I also loved the somewhat melancholy vibe the song offered.

This feels like the rightful epilogue of a story, or an encore to your favorite performance. This was Swift’s masterful lyricism at work, finally. It was definitely in my top three.

So, what does “The Life of a Showgirl” actually entail for Swift — who is arguably the most influential singer/songwriter of the century? It looks like Swifties still don’t know.

Disclaimer: It is 3 a.m., and all of my opinions are subject to change after a good night’s sleep. Stay tuned.

so I’m not gonna tweet about how this album sounds like Trolls World Tour because I know how strong tayvoodoo is and I’m sure in 3-5 weeks it’s gonna randomly start sounding like gospel

— jonny (@suitejonny) October 3, 2025

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