…And Baby, That’s Show Business for You : A Review

A review of Taylor Swift’s 12th album, The Life of a Showgirl.

Taylor Swift’s 12th studio album, The Life of a Showgirl, dropped on October 3rd, and I’ve had it on repeat all weekend.

I remember staying up with my dad during the initial teasers, refreshing her website obsessively, waiting for the cover to finally appear. When it did, it was a sunset-orange lock. This move was so cryptic, so Taylor and honestly completely unexpected. The rollout was classic: Easter eggs, social posts, multiple countdowns keeping everyone on edge.

The album was fully announced on the New Heights podcast with Travis Kelce and his brother Jason, who revealed the tracklist and cover art. The visuals lean into orange and mint green, a playful palette that immediately sets the tone. Compared to her past work, this one feels experimental, and I’m still processing the color scheme.

Since release, Swift has rolled out several fan experiences, and I was lucky enough to attend a few: the in-theater premiere of The Fate of Ophelia music video, behind-the-scenes looks at the lyric videos and the Nashville Starbucks pop-up.

After a weekend like that, I’m more than ready to share my thoughts on what is quickly becoming one of her most talked-about albums - and this go round, not all the talk is positive.

Fate of Ophelia – 8/10

“Don’t care where the hell you’ve been / ‘Cause now you’re mine”

Turning Ophelia’s tragedy into a euphoric, danceable anthem, this track hits hard. The beat is funky, the production bold, and the video choreography heightens the excitement. It gave me the same rush as the first time I heard Lavender Haze. Pure joy from start to finish.

Elizabeth Taylor – 9/10

“Babe I would trade Cartier for someone to trust”

This track is pure glamourized anxious-avoidant. Taylor captures the push-pull of wanting someone while holding back, layering it with her obsession with old Hollywood icons, and it lands beautifully. The beat drop hit me out of nowhere in the best way and definitely added to the feeling of this song. I wish she made a music video for this one I think it deserves that visual drama.

Opalite – 7/10

“Never made no one like you before / You had to make your own sunshine”

Opalite might be the album’s most playful track. It glows with a subtle, Christmasy shimmer without ever feeling seasonal, and the opal metaphor for self-love and crafting your own luxury lands perfectly. The song sticks with you, happy without trying too hard, and honestly, it reminds me of Electric Touch from the Speak Now rerecording. Bonus points because opal is my favorite stone.

Father Figure – 6/10

“You’ll be sleeping with the fishes before you know you’re drowning”

This track dives into power imbalance and manipulation. Taylor writes from multiple perspectives, which is smart, and the lyric about making deals with the devil because “my dick is bigger” is absolutely iconic. But the production doesn’t fully land to me. The George Michael Father Figure sample had so much potential, yet it feels underwhelming here. The concept is strong and the lyrics hit, but the song never quite reaches the heights it could. It’s a good idea executed with untapped potential.

Eldest Daughter – 8/10

“I’m not a bad bitch, this isn’t savage”

This track nails the pressure of growing up firstborn. Taylor captures the tension of needing to be strong while still staying empathetic, and the perspective resonates personally. Some of the lines, like “bad bitch” and “savage,” have received backlash online for feeling corny, but I see it as intentional - it’s about being on top until the trends move on, and suddenly you’re “outdated.” The song isn’t her strongest track five, but it’s sharp in concept and energy, and I connect with it on a deeper level than I expected.

Ruin the Friendship – 9/10

“My advice is to always ruin the friendship / Better that than regret it for all time”

This track completely caught me off guard. The ending lyric hit like a curveball and flipped the entire vibe of the song. Taylor encourages taking risks and embracing discomfort when it comes to platonic to romantic love.  It’s easily one of the album’s standout tracks - heartbreaking, tragic, yet undeniably beautiful. I can’t stop thinking about it after every listen, and the Gallatin Road reference broke the third wall because I literally live down the street.

Actually Romantic – 5/10

“No man has ever loved me like you do”

Taylor dives into petty humor here, seemingly taking shots at Charli XCX, but the lyrics don’t fully land. Some lines are clever, yet the punches feel soft, and the chihuahua toy purse lyric is more distracting than funny. With the context, this could have been so much more, but it lands as fun and catchy without much staying power. I love the beat, and I relate on a deep level - experiencing someone’s intense dislike can feel almost intimate - but the song doesn’t quite capture that intensity.

Wi$hLi$t – 4.5/10

“Have a couple kids, got the whole block looking like you”

This song imagines a quiet, personal future with someone, free from expectations and external pressure. I like the concept, but the tone feels off. Like it’s sweet and doesn’t carry the obsessive undertone hinted at by the dollar signs in the title or the main section of the chorus. The verses could have used more bite to make the track compelling. I do appreciate this subtle, clever side of Taylor’s raunchiness, which is more restrained than on the following track.

Wood – 4/10

“His love was the key that opened my thighs”

This is Taylor’s raunchiest song yet, and it’s funny and super awkward while still catchy. But it feels blunt rather than clever, lacking the charm that could have elevated it. At the theater premiere, I laughed because the song is so straightforward, yet Taylor seemed almost too shy to fully commit to the subject matter. She’s exploring sexuality here, which is great, but the delivery still feels experimental - I mean she literally wrote “Dress.” It’s enjoyable, but not one of her stronger tracks. I will say though I audibly went, “Good for her!” when I first heard it.

Cancelled! – 6.5/10

“It’s a good thing I like my friends cancelled, I like them cloaked in Gucci and in scandal”

BANGS. This song is pure Reputation-era energy. I love it because it fully channels Gossip Girl, which is why it seems to hint at Blake Lively. Some lyrics fall flat like “did you girl boss too close to the sun?” But after some digging, I found out Candace Owens apparently said something about Taylor and Blake, so the line works as a direct quote. The beat is absolutely infectious, and the track explores celebrity life and cancel culture in a way that actually lands.

Honey – 6/10

“And when anyone called me ‘lovely’ / They were finding ways not to praise me”

Honey is clever in how it addresses pet names being weaponized as subtle insults. The concept is unusual and feels fresh. I’ve never heard a song approach this before. Again with this track, the production doesn’t fully elevate the lyrics, which is a missed opportunity, but the track is still enjoyable and gives a light, contemplative break on the album.

Life of a Showgirl (ft. Sabrina Carpenter) – 6/10

“Now I make my money being pretty and witty”

The title track is campy and clearly inspired by musical theater. Sabrina Carpenter is the perfect collaborator, bringing glamour and charisma that suit the showgirl theme. The track is quirky, a little scattered at times, and feels like a Broadway pop number full of energy and personality. I also hear hints of “Cool” by the Jonas Brothers. It’s a strong closer for the album’s concept and could easily exist in a Greatest Showman-style world.

Overall

The Life of a Showgirl is messy, but in a way that works. It’s not Taylor at her most polished or cohesive, but it’s so her. It’s less a continuation of her past work and more a dive into a side of Taylor that’s happy, experimental, and unafraid of being loud.

Even when execution falters, her creativity and willingness to explore sexuality, celebrity culture, obsession, and identity make the album engaging. Some tracks, like Ruin the Friendship and Elizabeth Taylor, shine unexpectedly, while others flirt with ideas that could have been deeper. It’s uneven but never boring, with moments that delight, and sometimes even frustration.

Ultimately, The Life of a Showgirl is a statement: Taylor is experimenting, playing, and leaning into her theatrical side. It isn’t her deepest or most refined work, but it proves she can still surprise and challenge listeners. For now, I’d give it a 6 out of 10 - solid, with standout tracks and enough quirks to make it distinctly Taylor.

Stream Taylor Swift’s The Life of a Showgirl and tell me which track stands out to you!