As the clock struck midnight on October 3, 2025, fans of the longtime female pop artist Taylor Swift had a new album to obsess over: The Life of a Showgirl, released to document Swift’s experience on The Eras Tour across five continents, 21 countries, and 51 cities. Swift announced her 12th studio album while guest appearing on a New Heights podcast episode hosted by her fiancé, Travis Kelce, as fans were quick to notice the amber album cover hidden in the back of the recording room.
Swift announced both the release date and 12-song tracklist during the episode, and, as expected, viewers were not hesitant to criticize its length, given her previous album of over 30 songs. The full tracklist for The Life of a Showgirl comprises “The Fate of Ophelia,” “Elizabeth Taylor,” “Opalite,” “Father Figure,” “Eldest Daughter,” “Ruin the Friendship,” “Actually Romantic,” “Wi$h Li$t,” “Wood,” “CANCELLED!,” “Honey,” and “The Life of a Showgirl (feat. Sabrina Carpenter).”
To be fully transparent, I do not consider myself a total “Swiftie” to the point of plastering my room with Eras Tour posters and lining my shelves with each of her albums’ vinyl variants, but I appreciate musical talent just as much as the next person. From belting out the lyrics to “Shake it Off” in the car when I was little to now admiring the beauty of the poignant stories she tells, reviewing one of her albums is, personally, long overdue.
The Fate of Ophelia
I don’t intend to overexaggerate, but “The Fate of Ophelia” proves itself to be one of the most dynamic songs in Swift’s discography. The “fate” that Swift mentions refers to the tragic drowning of Ophelia, a character from Shakespeare’s Hamlet, due to isolation and a lack of love from those around her.
Swift paints this tragedy beautifully by portraying something or someone that saved her from this fate. By analyzing the lyric “And if you’d never come for me / I might’ve drowned in the melancholy,” fans have speculated that she is referring to Kelce and their two-year relationship, but I believe she is referring to something greater: her fans. The Eras Tour saved her life, which is exactly why “The Fate of Ophelia” makes for a perfect opening track.
Elizabeth Taylor
“Elizabeth Taylor” gives off the feel that Swift stole it from her Reputation album and stuck it at the top of The Life of a Showgirl just to be petty, and that is exactly why I love it. The synth bass and piano overlay are dramatic but not overbearing, leading the way for the “beat drop” moments that capture Swift’s spectacle. The song’s imagery is on point, with one of my favorite lyrics being “That view of Portofino was on my mind when you called me at the Plaza Athénée.” This is my favorite song on the album by far.
Opalite
I became more skeptical of Swift’s lyrical mind after first listening to “Opalite,” and I have to say, I am still skeptical. I knew I was in for an interesting four minutes after hearing “I had a bad habit of missing lovers past / My brother used to call it ‘eating out of the trash.’” However, I found myself dancing not even a minute in.
With its upbeat pop tempo, “Opalite” sounds like waking up as a kid on Christmas morning, giving off the same energy as impatiently waiting to open presents. If a glitter bomb exploded into a song, “Opalite” would be it, and although not a holiday tune, it is definitely going on my December playlist.
Father Figure
“Father Figure” is the type of song that makes you look at the imaginary camera in the corner of your living room like you’re in The Office, because some of the lyrics are genuinely questionable. The reverb creates an unsettling amount of tension and contends the song as a multilayered masterpiece; however, I don’t believe it fits with the album’s concept. The relationships that Swift refers to could easily be discussed outside of the “showgirl life,” and I don’t see how they relate to the Eras Tour. This song isn’t the worst, but definitely not the best.
Eldest Daughter
I wholeheartedly relate to this song as an eldest daughter, as it was powerful for Swift to recount the pressure and responsibility she felt not just on the Eras Tour but as the firstborn. This song contains the most emotional depth we have seen from Swift since the release of The Tortured Poets Department, with the lyric “Every eldest daughter / Was the first lamb to the slaughter” affecting me to my core. “Eldest Daughter” may not be as catchy as “The Fate of Ophelia” or “Opalite,” but its relatability is astounding.
Ruin The Friendship
“Ruin The Friendship” is more bare in terms of production and instrumentals, and while it is relieving to not be overpowered by heavy synths, this record lacks substance. Also, similar to “Father Figure,” I don’t see how this song relates to Swift’s life as a showgirl. She sings, “Have fun, it’s prom / Wilted corsage dangles from my wrist,” so how this relates to the Eras Tour is beyond me. I still don’t know how I feel about this one.
Actually Romantic
“Actually Romantic” is playful, lighthearted, and snarky all in one, and I enjoy it more with each listen. Fans have speculated that the song is a diss at British singer Charli XCX in response to her dissing Swift in the song “Sympathy is a Knife.” Swift pokes fun by singing “Like a toy chihuahua barking at me from a tiny purse / That’s how much it hurts,” refusing to validate the so-called “one-sided” attention from Charli XCX. The fact that two successful women can have “beef” through their music still makes me laugh, but I was glad to see Swift stand up for herself.
Wi$h Li$t
I don’t agree with the people who argue that every one of Swift’s songs sounds the same, but after listening to “Wi$h Li$t,” I admit that they have a point. This song sounds like her entire Lover album and isn’t breathtaking in terms of production, but concept-wise, Swift is genuine and hopeful. My favorite lyric is “Got me dreaming ‘bout a driveway / With a basketball hoop,” so perhaps Swift was intentional about the song’s simplicity to match her future goals. “Wi$h Li$t” is sweet, and I hope Swift gets everything she desires.
Wood
The consistency of the snare drum and background vocals in this song motivates you to the point of skipping around your house to pretend you’re in a musical. With the lyric “Fingers crossed until you put your hand on mine,” “Wood” is the epitome of airy, happy-go-lucky music; although, similar to “Father Figure,” I raised my eyebrow at some of the lyrics. This song makes for great “dancing in the kitchen music,” only if you don’t read into the lyrics too much.
CANCELLED!
After “Elizabeth Taylor,” this is my second favorite song on the album due to its Reputation vibe and emphasis on heavy, punchy beats. The synths are “in your face” in the best way possible, perfectly articulating the “cancel” culture that Swift discusses: “It’ll break your heart / At least you know exactly who your friends are.” This song is produced and executed to perfection, and if you like “I Did Something Bad” or “Ready For It?” off of Reputation, you will most certainly bop your head to “CANCELLED!”
Honey
In my opinion, this song sounds very similar to “Wi$h Li$t” and would honestly work better as a Lover track instead. While yes, it is nice to see that Swift has found the love of her life, it becomes repetitive when you constantly listen to stories about Kelce. While the lyrics “You can call me ‘honey’ if you want / Because I’m the one you want” are sweet, they aren’t pivotal. This song adds no depth to the album and is probably one of my least favorites.
The Life of a Showgirl (feat. Sabrina Carpenter)
“The Life of a Showgirl (feat. Sabrina Carpenter)” is the perfect closing track, as it gives off The Greatest Showman vibes paired with the bittersweetness of the Eras Tour ending once and for all. Swift is sentimental and honest by singing “You don’t know the life of a showgirl, babe / And you’re never gonna wanna,” and it was the perfect decision to include the soft tones of rising artist Sabrina Carpenter to balance out Swift’s low-pitched vocals.
Oddly enough, the best part of the song occurs within the last twenty seconds. Swift recorded the ending farewell from one of her live shows and included it to signal a “final goodbye.” I was nervous while initially listening, as hopefully Swift is not saying goodbye to her career in general, but perhaps only time will tell.
Overall, I rate The Life of a Showgirl three and a half out of five stars. The album certainly has its productional and lyrical flaws, but the concept is phenomenal, as it truly feels like Swift is closing the curtain and slipping into the showgirl persona for one last time. To live as a showgirl means to live not only for yourself but for your fans, which Swift masterfully portrays. Listen today to The Life of a Showgirl; it is streaming on all major music platforms.
