After a mess, manipulation.
This is one way to understand the new album of Taylor Swift “The Life of A Showgirl”, on which the largest music star offers a dozen poppes for only 18 months, remote from last year and emotionally unstable. ”Department of torture poets.
This earlier LP, which contained 16 tracks before Swift expanded it by another 15, was perhaps the most controversial from the singer’s career for two decades; Of course, he accumulated sales and streaming numbers – at the moment it is really too large to fail – but his mixed technique is among the taste, and even some fans seemed to migate Swift, which throughout its vigilance about the cruelty in the public eyes, used to a certain level of idleness.
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So, here is Showgirl, its 12th studio LP, for which she moved away from her old creative partner Jack Antonoff In order to cross with Max Martin and Shellback, two hit of Swedish producers-songs who helped her a pure transition from the country to pop music in the mid-2010s with blockbusters such as Red and 1989.. Swift said she made a new album when in the summer of 2024 she wandered around Europe Writing a tour of the eraWhat explains the name, even when he asks all kinds of questions about her psychotic labor ethics.
And let's be clear: these three can create a hook as neatly and skillfully – like a suit, like everything in business. Unlike confusing “wrapped poets”, who gave only one pop-radio monster in the hot 100th “two weeks”, “Showgirl”, most likely, will be disconnected, not least, the “fate of Ophelia”, which rides a random new Katya. (Look at them, children.)
As a part of psychological portrait painting – a structure, for the better or for the worst, with which Swift taught us to interpret its music – this collection of skillfully adapted BOPS does not correspond to its predecessor; “Showgirl” is felt as a retreat from the bright bloodshed of “tortured poets”, which captured a woman whose amazing success forced her to speak on certain toxic truths.
This is because she was in a healthy romantic relationship with Travis Kels, the NFL star, which she is married to? Someone hates his ideas about how happiness is bad for the authors of songs. Nevertheless, it cannot be denied that in the texts of Swift about love here there are not enough depths that she mined in melodies, which, as it is believed, were inspired by the vile, like John Mayer and Matti Hili.
“Please, God, bring me the best friend who, I think is hot,”-somehow she sings in the electronic “List of desires”, which tells all the reliable and dreams that she did before she finally met the Mr. of law; “Wood”, a kind of number of children, which, it seems, Martin aimed at his franchise “Trolls”, producing in erotic spicy sensations from a guy waving “new heights of masculinity”. (If you missed this, I am sorry to say that this is a link to Podkast Kels, on which Swift recently appeared and threw a bar about her groom – “He may have not read Hamlet, but I explained it” – that she really had to save the “fate of Ophelia”.)
In another place, she makes familiar complaints about the punitive experience of a celebrity, as in Elizabeth Taylor-“Often it is not so glamorous to be me”-and canceled! ”, Which looks like“ reputation ”, which looks like a“ reputation of the Got-Nirvana ”.
And then there is a sour “actually romantic”, which, apparently, is a reaction to “Charlie XCX is a knife”, in which Charlie expressed her fears compared to Taylor in a pop scene with zero soumas; Swift comes out of several funny lines about Chihuahua and Cocaine, but completely abandons the feeling of empathy, which made it such an icon for each pop songs that is suitable for it.
What is good about Showgirl? “Opalite” is a magnificent melody with mild rock about overcoming the old instincts-“I had a bad habit of letting lovers into the past / my brother called him“ garbage food ”-while“ Urine friendship ”was looking at the fact that she had to write about her teenager. Both songs travel coolly in the style of Fleetwood Mac, which feel new for Martin and Shellback, which throughout the album rely more than you expect live instruments. (Hang with a “list of desires”, if you can, for the line of the bass of the killer that appears in the second verse.)
Swift has repeatedly sings her inheritance and inheritance on this album: “Father Figure”, which interpreases the classics of George Michael in the late 80s, is told by a mentor who betrayed his protege; Title track in the Broadway, which closes the album using a function from Sabrina CarpenterShowbiz sopebult from naive with a new face to all -knowing cynicism tracks the aspirations.
Maybe these songs are a way to tell us that she knows that “the life of the show -girl” is not as sharp as she could be. Let's see if this is carefully as it should have been.
