The internet was taken over this morning by none other than Taylor Swift, as she dropped her 12th studio album, The Life of a Showgirl. She’s had quite the year already, both professionally and personally. She bought back her masters just a few months ago, got engaged to American football player Travis Kelce and announced a brand new album that was just released in the UK this morning. Naturally, we’ve already listened, consumed, danced and discussed all things showgirl. Here’s the team’s reviews of The Life of a Showgirl:

First impressions

Swift is at her sassiest with this album. She’s departed from the slow, melancholy vibe of her last three albums and gone back to the era that first cemented her as a pop star. For millennials and Gen Zs who grew up on her music, it might feel a little nostalgic, but with a bolder edge to her that we haven’t seen before.

This is Taylor at her boldest yet: In this album she’s sassy, clever and not taking any prisoners.

But while the album has won the hearts of most of the team, some were disappointed. “If there’s one thing Swift knows, it’s how to craft a pop track. My thoughts might make me sound like a hater, but I’m not – I just think there are two very different sides to her music styles, which is part of what makes her so interesting and such a loved artist. My favourite albums are Folklore and Red, so I can admit this one just isn’t for me. Honestly, it’s my least favourite album she’s ever released, even though I know plenty of people will love it.

Normally, I listen to an album straight through and then revisit it with notes, but with this one, I couldn’t bring myself to.

Caitlin, Senior Campaign Success Manager

Too many songs blurred together, and the lyrics felt more cringey and surface-level than clever. Overall, this was my most underwhelming album of the year, which is disappointing because I really wanted to love it.”

The lyrics

This album might be shiny and glitzy on the outside, but the lyrics are still classic Taylor Swift. Her fondness for taking inspiration from the past continues – she goes Shakespearean on this one in The Fate of Ophelia, a reference to Hamlet, and while on Tortured Poets, she has a song called Clara Bow, this one features a track called Elizabeth Taylor, where she makes some not-so-subtle digs at Hollywood.

A little savage, a little sexy – the “E” for Explicit on the tracks is there for a reason. She calls out ex lovers and ex friends, the show biz industry, Hollywood – nobody is spared, which makes it fun to really listen to her lyrics.

Andrea, Contributing Food, Culture & Lifestyle Editor

There are some savage lyrics in there. “I heard you call me ‘boring Barbie’ when the coke’s got you brave,” that the internet sleuths have deciphered is an alleged dig at Charli XCX. Or a now-favourite, “Like a toy chihuahua barking at me from a tiny purse, that’s how much it hurts.” The song feels like a continuation of thanK you aIMee, a track that quite obviously references Swift’s feud with Kim Kardashian.

Vibe check

Swift’s long-time collaborator, Jack Antonoff, was not featured as a producer on this album. Instead, Max Martin and Shellback, who worked with Swift on Reputation, are credited as producers. While her previous album, The Tortured Poets Department, was more melancholy, drink-wine-alone-in-your-flat, sad-girl-pop, this one is the kind of album that inspires dancing, whether you’re still in your break-up era or not.

You can tell she’s pulled from some fresh musical references this time and is trying some new styles. I’m also really into all the imagery she’s leaned into — that whole vintage showgirl vibe is such a fun direction.

Kitty, Social Media Director

I wasn’t sure what to expect with the new album, but I’m really enjoying it so far – the energy is great, especially in the earlier songs, and a marked shift from Tortured Poets.

Natasha, Digital Editor

Our favourite (and least favourite) tracks

The Fate of Ophelia is a seriously fun song and very dance-worthy. Sabrina Carpenter sings a whole verse in the final track, The Life of a Showgirl, and we have a feeling that’s going to be on repeat in the office. Father Figure is another banger, with some sultry vocals and Swift leaning into some “daddy” energy. Honey and Wood don’t quite make for repeated listening, and Wood, especially, feels a bit cringe, with the sexual innuendos that give a listener a bit too much information.

Unlike TTPD, which took a few listens to warm up to, The Life Of A Showgirl was love at first play, zero skips. The cherry on top was the last track, in collaboration with Sabrina Carpenter: a brilliant way to wrap the album that tells the tale of an experience that marked both of their lives. Just brilliant.

Nicole, Senior Graphic Designer

The verdict

The album is overall quite fun, and it makes for easy, enjoyable listening. But in an era of serious pop-stardom, when women in pop have possibly never sounded better, the album doesn’t quite hit as hard as we might have expected. With artists like Chappell Roan, Sabrina Carpenter, and yes, Charli XCX, releasing internet-shattering albums over the past few years, this one is definitely pleasant listening, but doesn’t quite compare to what the other pop queens have put out recently. And of course, Swift’s greatest competition is her previous work – and when we’re talking of pop bangers, it’s hard to put out something that can compete with other dance-pop albums like Midnights and Reputation.

If the album had come out in 2023, it might have been a different story. But Carpenter has already used those tongue-in-cheek, provocative metaphors, and Swift has already dissed celebrities she has beef with in her lyrics, making it feel less impactful when she does it all over again. Are we still listening? Yes, of course. It’s shiny, it’s glittery, the lyrics make you giggle, and the storytelling is still all there.

If what Swift writes in track two, Elizabeth Taylor, is true (“you’re only as hot as you’re last hit, baby”), then yes, Swift is, of course, still hot. We love the switch back to dance-pop, the beats are catchy, and the album artwork is just what you would want to see in a “showgirl” album. The album proves that Swift is no “boring Barbie”, and she’s definitely inspired some Halloween costumes. But we have a feeling it’s album #13 that’s going to be the big one.

Culture, Music & Theatre

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