This post was updated Oct. 9 at 9:04 p.m.
Taylor Swift is putting on a new show.
“The Life of a Showgirl,” released Oct. 3, is the singer-songwriter’s 12th studio album. Although the album was met with mixed reactions, from its lyricism to sampling and production, Swift’s ability to create an earworm is undeniable. Celebrating a new addition to the “Lover House,” the Daily Bruin is deep diving into the latest release to find its strongest elements.
Continue reading to find out The Bruin’s favorite tracks from the superstar’s new album.
“The Fate of Ophelia”
“The Fate of Ophelia” is to Taylor Swift what Hamlet is to Shakespeare: Iconic.
As its lead single, “The Fate of Ophelia” opens Swift’s 12th studio album with an upbeat dance number that tells the story of a swoonworthy romance incongruent with the tragic tale its title suggests. For much of the song, Swift prepares herself for a fate that runs the same course as Hamlet’s Ophelia – using imagery such as, “I sat alone in my tower” and, “I might’ve drowned in the melancholy” to highlight the hopelessness of being lost in love – until she’s suddenly saved.
The heroine meets her hero, who drags her out of the depths of her sadness, and the song takes on new life, like a heart restarted. Riding this newfound momentum, Swift declares, “Pledge allegiance to your hands, your team, your vibes / Don’t care where the hell you’ve been (Been) ’cause now (Now), you’re mine,” putting together a catchy tune that leaves previous heartbreak in the dust. Through this song, Swift boldly brings her own twist to a literary classic, rewriting the ending into one that promises a “sleepless night.”
While it isn’t Swift’s first time drawing inspiration from Shakespeare – and it may not be her last – it certainly is her freshest take yet.
– Bettina Wu
[Related: Winner Takes All: Grooving through Icon Award winner Janet Jackson’s legendary albums]
“Elizabeth Taylor”
For Swifties hoping for a true showgirl anthem, no number is more iconic than “Elizabeth Taylor.”
The second track on “The Life of a Showgirl” – named after the late Hollywood legend, who won two Academy Awards and was married eight times – is the album’s best indication that Swift’s latest collaboration with Max Martin and Shellback was worthwhile. If Swift and her team are seeking to maximize this era’s success, “Elizabeth Taylor” should follow past smashes such as “Blank Space” and “Cruel Summer” as a track two turned full-fledged single.
Not only does “Elizabeth Taylor” contain the most memorable chorus on the entire record, it also delivers upon the tall order of recapturing the angst and passion of “reputation” highlights such as “Don’t Blame Me” and “Delicate.” The themes of the track are not new to Swift’s discography as she laments, “Tell me for real, do you think it’s forever?” But Swift’s approach to this longing is fresh, and her ear for melody is expertly attuned when she sings, “Been number one, but I never had two / And I can’t have fun if I can’t have – (Uh).” The exaggeration of the “uh” syllable in particular is a genius move that deepens the song’s wistfulness and lust.
By fusing her own story with one of cinema’s most renowned stars, Swift has crafted another classic pop song for the ages.
– Reid Sperisen
“Opalite”
On “Opalite,” Taylor Swift has created a pop track rivaling those of “1989.”
Swift described “The Life of a Showgirl” before its release as delivering infectious melodies alongside “focused and completely intentional” lyrics – and “Opalite” delivers on all of those promises. The album’s third track is deeply fun, starting with Swift singing over a soft guitar as she describes her failed past relationships. The song then picks up into a disco-like chorus as Swift details what it’s like to have finally found “the one,” comparing years of storms to finally seeing an opalite sky. Swift, at times, sounds like she is directly reassuring her 2024 self who wrote “The Prophecy” – a song off of Swift’s last record, in which she sings over plucky instrumentation about believing she might never find “someone who wants her company.”
Opalite’s pep doesn’t come at the sake of Swift’s storied lyricism – she keeps it witty, leading off the song by comparing her “lovers past” to “eating out of the trash.” With a contagious chorus, a fresh beat and inspired lyrics, it’s not hard to tell that Swift is back to working with Max Martin and Shellback, whom she collaborated with on her biggest pop hits such as “Blank Space,” “Style” and “22.”
While “The Life of a Showgirl” features several other pop hits, no track reaches the heights of “Opalite.”
– Alexandra Crosnoe
[Related: Winner Takes All: Revisiting the timeless magic of Disney songs for Disneyland’s 70th anniversary]
“Ruin The Friendship”
“It was not an invitation,” and “Ruin The Friendship” is not as glittery as its gleaming production.
The sixth track on “The Life of a Showgirl” opens with the classic Swift lyrical style of specific, illustrative lines that still manage to be relatable through the evocative feelings they capture. Lyrics such as “Have fun (Mm, mm) / It’s prom (Mm, mm)” and “Don’t make it awkward in second period” set the song in Swift’s high school years, a glimpse of adolescence that stands out among the album’s more mature content.
However, the third verse reveals that beneath the breezy ambience lies a tragedy. Swift’s voice, light and “Fearless” era-reminiscent through the rest of the song, turns soft and vulnerable as she sings, “Abigail called me with the bad news / Goodbye / And we’ll never know why.” The song is speculated to be about the same person as “Red (Taylor’s Version)” song “Forever Winter” – Swift’s high school friend who died at 21.
In an album full of glitz and glamour centering stories of Swift’s fame and love life, “Ruin The Friendship” brings it back to the raw heartbreak of loss that never truly heals.
– Amelia Chief
“Wi$h Li$t”
In a society overwhelmed with desires, Taylor Swift simply has one wish.
Serving as the eighth track of her 12th album, “The Life of Showgirl,” “Wi$h Li$t”smoothly slides into this album’s narrative by comparing current society’s wants and the artist’s one wish.
From the first notes, she narrates the wishes of the world, “yacht life,” “baby face” and “complex female character” – cutting right into the different cultural values reflected in individuals’ lives. On this track, she expresses herself confidently, knowing that she only wants one thing: love
The song contrasts the depths of her personal inclination to settle down, embracing the new chapter of her life, including marriage and family. Sonically, the song is a smooth lyrical expression of wanting one thing. Her voice is supported by a higher octave, echoing how her one wish has inspired her future dreams, such as a more intimate life out of the spotlight. After many years of touring the world and breaking records, Swift is secure in her desire for this new chapter.
Among this album’s many stars, “Wi$h Li$t” has captivating sounds and expressions of personal desires, taking the superstar spot.
– Makayla Sandoval
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