LONDON, UK – The anticipation for the next era of Taylor Swift was palpable, but after absorbing her highly anticipated new album, The Life of a Showgirl, we have to call it straight: there’s a fundamental disconnect between the luxury aesthetic and the music on this wax. It's a pure Taylor Swift album at its most recognisable, but that comfort comes at a price, as the expected sonic evolution—the kind of innovation Beyoncé always seems to be experimenting with—is unfortunately absent.
When you drop the needle on a new LP, the artwork and the vinyl experience need to match the music to a T. The high-class artwork, coupled with the initial limited-edition pressings, drew us in, yet the music itself is primarily a revisiting of the Lover sound. The disconnect between the high-concept visual aesthetic and the music portrayed is stark; the standard album cover, which fans noted resembles the John Everett Millais painting of Ophelia in the water, promises a descent into tragic, dark drama. Instead, we got a pop / soft-rock paean to domestic bliss.
This is because the album feels like a dabble of eras mixed into one, thwarting us back into 1989, Speak Now, Red, or even Fearless eras on some songs. Whilst we hoped for a music evolution toward more of a grown-up, mature sound to match the Showgirl theme—a dark reputation 2.0—the album is unfortunately a sonic step back. This may be explained by the fact that the album was recorded during the Eras Tour, but it doesn't excuse the lack of forward momentum. This problem surfaces acutely on the title track, "The Life of a Showgirl" (featuring the cheesy pop of Sabrina Carpenter), which delivers the softest side of the story rather than the cinematic turmoil promised. The domestic details laced throughout the album feel too slight and small-scale for the grand, dramatic scope the showgirl theme demanded.
The biggest frustration is that the lyrical concepts are often brilliant, but consistently undercut by the musical delivery. The reunion with producers Max Martin and Shellback resulted in a safe soft-rock template, which feels constrained by the familiar sound.
The lyrical brilliance shines through in tracks like "The Fate of Ophelia," where the lyrical resurrection of Shakespeare’s tragic heroine is genius. Swift rewrites the tragedy through an emotional lens, turning Ophelia’s spiral into a powerful narrative of survival and resurrection, where the speaker is 'dug out of her grave.' Similarly, "Father Figure," where she discusses industry power and seizing control. The lyric: "I can make deals with the devil because my dick’s bigger this love is pure profit, just step into my office"—is some of the album’s sharpest work, analysing how Swift flips the outdated male power dynamic into her own source of control over the industry. Yet the soft production dulls the serious, powerful statement these tracks should have been. Even "Elizabeth Taylor," where Swift struggles with fame and asks the legendary star, "Elizabeth Taylor, do you think it’s forever?," referencing the high-end celebrity locations of Portofino and the Plaza Athénée, is hampered by the background's lack of edge.
Where the album is flawless, however, is in its high-concept drama, proving Taylor is the reigning queen of the lyrical feud. "Actually Romantic" gives us the blistering tea on the alleged drama with Charli XCX: "I heard you call me 'Boring Barbie' when the coke's got you brave"—a clear jab at the aesthetics of Charli's Brat album. This is where the album delivers that raw, unforgiving sense of petty teen drama. The lyric is instantly justified given Charli has long been accused of glamourising drug use, and Taylor's track is a direct retaliation to Charli’s previous lyric, "don’t wanna see her backstage at my boyfriend’s show," perfectly weaponizing the narrative of betrayal. Equally strong is "CANCELLED!," where she references the Icarus myth and the viral phrase "I fear I may have girlbossed too close to the sun," before fiercely declaring loyalty to friends like Blake Lively amid the controversy surrounding her film It Ends With Us and grounding the track in high-stakes Hollywood loyalty.
Now, let's be crystal clear: we love Taylor Swift. We have been spinning this magnificent slab of wax all afternoon, and it sounds utterly satisfying. We even snagged the highly coveted THE LIFE OF A SHOWGIRL: BABY, THAT'S SHOW BUSINESS EDITION (LAKESIDE BEACH BLUE SPARKLE VINYL) version. The record has already earned its permanent place in the ODDWAX vinyl collection, but we can't help feeling that the potential for a truly iconic, dark chapter was sacrificed for comfort. Unfortunately, it’s an Ok good enough pop album but doesn’t scream enough 'and baby, that’s show business for you..' side that clearly we are craving for.
