“I used to have this dark fear that if I ever were truly happy and free, being myself and nurtured by a relationship, what happens if the writing just dries up?” Swift, who is known by critics for “only writing songs about her exes,” expressed to Greg James on BBC Radio 1. Unfortunately, many Swift listeners believe she has accidentally fulfilled this prophecy.
Taylor Swift, debatably this generation’s most famous pop star, released her latest pop album Oct. 3, 2025. Fans and haters alike had high expectations for this record, following the release of “The Tortured Poets Department,” the melancholy masterpiece that lived up to its poetic name in spring of 2024. Expectations did not match reality when the album was released, leaving fans disappointed in the quality of songwriting on the latest tracks, which has reportedly decreased compared with previous releases. The first letdown to hit listeners was that “The Life of a Showgirl” was advertised to fit the aesthetic of a 1950s theatrical flapper, with bold colors, statement lace pieces and a surplus of feathers. Upon listening to the first few tracks, listeners will find the songs resemble more of an upbeat, pop vibe from a modern woman in love, as opposed to the “life is not as glamorous as it seems” theme most expected. There are few mentions of life in the spotlight throughout the album, aside from “Elizabeth Taylor,” which alludes to the namesake 1950s actress, and the title track “The Life of a Showgirl” featuring Sabrina Carpenter. While the album does not fit the theatrical aspects of the showgirl theme that was expected, it connects to the aesthetic in deeper, alternative ways. “Showgirl” is simply used as a metaphor for the spotlight Swift is currently experiencing coming off of the peak of “The Eras Tour,” and the “life” aspect means it offers an inside look at her love life, from more of a behind-the-scenes perspective, rather than Swift playing a showgirl character.
The more prevalent issue that left listeners upset with the album was the lyricism. Swifties and critics alike found the lack of profound rhymes and gut-wrenching metaphors to be a decline in quality from past albums, failing to consider the fact that this record presents an entirely different, upbeat and poppy mood compared with the deeply emotional perspectives found in fan favorite classic ballads on “folklore” and “evermore.” Disappointment was particularly found in track five, “Eldest Daughter” which contains weak, dated lyrics such as “Every joke’s just trolling and memes…but I’m not the baddest and this isn’t savage” similar to “Did you girl-boss too close to the sun”— yes, that is a real lyric– in “CANCELLED!”
It is worth noting that this album was produced by Max Martin and Shellback, who both worked with Swift back during her “1989” and “Reputation” days. Swift’s albums since then were produced by Jack Antonoff, who is known for his synth-pop style, which lacks real instruments.
The key thing critics forget to consider when giving their opinion on the album is the fact that, since it is brand new, they are not yet used to it. Of course, it is going to sound unlike anything else she has released because it is entirely new music. When “Midnights” came out in 2022 and “The Tortured Poets Department” released in 2024, critics responded similarly to how they are to “The Life of a Showgirl,” so it is best to give an album time to integrate into mainstream music before judging it too harshly.
