Who is obvious to the heir to Taylor Swift? Her 12th album, The Life of A Showgirl, offers the answer. This is Taylor Swift.
Her last album, the “Department of Inquisitive Poets”, ended with the warning “Clara Bow”, an allegory, which seemed to assume that her stay at the top of the cultural mainstream was inherited from the stars of the past, like that, she could soon take her place. In 2025, there is something to choose from: consider the full theater theater film Chappella Roan, the fiery feminism of the punk-pop-up Olivia Rodrigo, the impudent sexuality of Sabrina Carpenter. In difficult topics, Friday's “Life of the show -games” is best illustrated in the title track, Swift claims that the club has not passed, but rather shares. Because she will not go anywhere.
“And all the shots in the head on the walls / dance halls belong to B …“ / Who would like me to hurry and die, ”she sings with winking,“ but I am now immortal, children's dolls / I can’t if I tried. ” It is noteworthy that if she has a selected successor to someone else, this is the only feature of the album: Carpenter, who sings on scalpes closer to his recently accepted Twang. The mournful glyssando from Lap Steel – the most strange moment of the album – arrives only with the presentation of the Carpenter. The Western genre is the past of Swift and the future of Carpenter.
Reflections and bicycle
If Swift is together combined with a carpenter, she also learns from her. Carpenter drove the market on dense pops using PERT, provocative messages; Swift does the same with the human swagger of George Michael-in-polishing the “Father's Figure”, which mentions the protege, and the bizarre “wood”. (Carefully veiled lyrics PG-13: “His love was a key / which opened my hips,” she sings. “Girls, I don’t need to catch a bouquet / to know that hard rock is on the way.”) Intercular, sensual, sensual advertisements … And a direct link to the groom of Travis Kels.
This time, this time, in a double album, this time in its endless vinyl versions this time in its endless vinyl versions does not appear in a double album, but instead, in its endless vinyl versions, the “Life of the Dancer” basically fulfills its promise to the pop-bangers up the pace to borrow its own vernacular. Fans should not wait for the long-awaited “reputation (version of Taylor)”, because “the life of the show game” comes out of its essence. But this time, with great affection, as a more plausible era of the “lover”.
Swift has long learned criticism and answered them in its art, most directly in the “reputation” of 2017. Here she is again concerned about her perception, formulated from -with prosperity, magnificent production on “canceled!” Or Elizabeth Taylor. On the latter, she sings: “Hollywood hates me / you are only hot, like your last blow, baby.” With the exception of this time, her love acts as an anchor. “I can’t have fun if I can’t,” she flirts.
Welcome (back) to Sweden
For Life of a Showgirl, Swift registered the Swedish producers of Max Martin and Shellback, a hit, with whom she collaborated in 2014 Red 2014, 1989 and, of course, “reputation”. In particular, there is no frequent producer Jack Antonoff. This is a wise solution: in past years, Swift, Shellback and Martin's Pop changed not only its career trajectory, but also the genre itself. Before “we never return together”, the loss of Edm in the middle of the pop -hut was unimaginable. After that, the style will dominate for half the decades.
The “Tanfggerzhir Life” is not so seismic, but there is an addiction and unique swiftisms: acute wit and thick literary links in glass pop -crippers. Where such a song as “Opalite”, if he were undertaken by another performer, will lose his weightlessness under his wolves, Swift manages to fainted. Complex, opalescent harmony and vintage swing give a song, adaptably, almost overflowing quality.
And there are BOPs, such as the undeniable newcomer of the “fate of Ophelia” with its synthesizer of the 1980s and the vocal delivery “Summer sadness”.
There is also a treasury of delightfully cited lines, as expected. “Please, God, bring me the best friend who, I think, is hot”, she manages to make light in “midnight” -wi $ h li $ T, a wonderful song about the ordinary romance and suburban fantasy “A couple of children … an access road with basketball hoops”.
Dictionary of dancing
The dense Swift vocabulary is on the full display, often full of charm. But sometimes it is a bulky, general criticism of the “Department of Inquisitive Poets”, for example, when it overcomes “our thoughtless ambitions caused ignition of stupid decisions that led to erroneous visions” in the “Father -Figure”, instantly overestimating a smart letter from a smart cadence.
Or she is too fashionable. For example, the colloquial “eldest daughter” mentions “trolling”, “memes” and “comments”, immediately encountering. But in soundness, this is a thoughtful acoustic ballad with an email move, in which Swift fights his “terminal uniqueness” and deep devotion to a loved one. It goes well with something like a carelessly cruel, pop-pop, affected by “actually romantic.” It is difficult not to hear some short Haley Williams in a distorted oratic vocal in the “Song Code” or “Boygenus” in her harmony: another example of how Swift stretched from those on whom she had an influence – and entered her tours.
Swift said that the “dancer’s life” is intended in order to embody its “tour of eras” is a single global phenomenon, a canonical event in the history of pop, which in more than three hours of execution was a sensory explosion. On these 12 tracks, she approaches the luster and glamor with humanity and humor. She does not waste time waiting on the wings. So, let the show begin.
___
“Life of dancing”, Taylor Swift
Four out of five stars.
Repeated: “The fate of Ophelia”, “Fighty”
Skip: “Dear”
For fans: witty single-line, cocktails served in crystal glasses, Las Vegas, Highs
