Which tracks from Swift’s twelfth studio endeavor stand out as the finest?
Taylor Swift’s twelfth studio record, The Life of a Showgirl, has finally arrived, and naturally, the world is abuzz with opinions.
As soon as the Grammy-winning artist initially revealed the undertaking back in August, devotees instantly started to ponder and concoct theories concerning the album’s potential sound and the story it might convey. This marks her initial album creation amidst her romance with her now-fiancé, Kansas City Chiefs Tight End Travis Kelce; how would Swift’s experience of discovering her soon-to-be partner for life impact the autobiographical lyrics she’s famed for? The Life of a Showgirl similarly reunited Swift with acclaimed producers Max Martin and Shellback, who were instrumental in creating her 1989 pop masterpiece over a decade prior. Swift’s dedicated fanbase has expressed in recent years that, even after the lyrical brilliance of prior ventures like Folklore and Evermore, they still crave some of the singer’s more lighthearted offerings.
Taken as a whole, The Life of a Showgirl delivers Swift’s most candid perspective on navigating life as a globally celebrated pop icon, oscillating between the joys, the challenges, and the bewilderment inherent in living and loving under scrutiny. Further ahead, Harper’s Bazaar editors provide a ranked listing of all 12 songs from the fresh album.
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12 | “Eldest Daughter”
“Eldest Daughter” embodies the sentimental load of being a firstborn and extends those teachings onto a relationship Swift yearns to cherish. The composition possesses every element required to become a standout track five: a poignant piano composition, vocals as sharp as shards of ice. However, while it triumphs in terms of sound, its lyrics falter. The initial verse’s critique of indifferent Internet customs feels jarring, not quite aligning with the mournful rhythm she performs alongside. Every time I find myself getting immersed in the song, I’m abruptly disrupted by yet another unsettling statement, like the chorus’s illogical “I’m not a bad bitch, and this isn’t savage.” — Chelsey Sanchez, digital editor
11 | “Father Figure”
A song that stirred up considerable debate prior to the album’s launch, “Father Figure” drew inspiration from George Michael’s 1987 acclaimed song bearing the same title. Experimenting with the roles of the paternal figure, defender, and household head, Swift intertwined appealing melodies with powerful lyrics to craft a narrative of faithfulness, treachery, and the exploitation of influence—portraying a man in command who pledges to provide for his protégé, contingent upon her obedience.
“We were overjoyed when Taylor Swift and her group reached out to us earlier this year concerning the potential incorporation of an interpolation of George Michael’s timeless song ‘Father Figure’ into a completely fresh track bearing the same name, intended for her forthcoming album,” George Michael Entertainment disclosed today preceding the song’s debut. “Upon hearing the track, we readily consented to this partnership between two remarkable artists, confident that George would have shared our sentiment.” — Sophie Wang, weekend editor
10 | “CANCELLED!”
If there’s one idea Miss Swift is acquainted with, it’s being cancelled. She almost dedicated her entire Reputation record to that concept. Here, she’s offering a few carefully selected words for those critics attempting to disparage her or the individuals she associates with. Bring on the criticisms! she seems to proclaim. “Good thing I like my friends cancelled / I like ’em cloaked in Gucci and in scandal,” she says. For Swift, she understands which companions will remain steadfastly by her side despite any public judgment directed at herself. “Welcome to my underworld / Where it gets quite dark / At least you know exactly who your friends are / They’re the ones with matching scars.” — Joel Calfee, assistant editor
Mert Alas & Marcus Piggott
9 | “Wood”
With a funky, Jackson 5-influenced beat, Swift enters with one of her most unabashedly amorous tracks thus far. In “Wood,” she’s unmistakably singing about her fiancé, Travis Kelce, with whom she envisions herself “forever dancin’ in the dark,” all attributed to the fortune they’ve cultivated themselves. Swift elaborates on how all her superstitions proved futile when it came to matters of the heart—making wishes on celestial bodies, treasuring fortunate coins, and (here comes the double meaning) knocking on wood. Furthermore, the humorous absence of subtlety persists. She references redwood trees, enchanted wands, solid rocks… you grasp the essence. — J.C.
8 | “Wi$h Li$t”
In “Wi$h Li$t,” Swift reverts to her relentlessly idealistic, unabashedly saccharine persona, reminiscent of her Lover period, yet in a manner that showcases maturity and a newfound willingness to express precisely what she seeks in romance. In it, she acknowledges that the lavish allurements of the music realm no longer hold enchantment for her; rather, she simply wishes to establish roots in the suburbs alongside her beloved and nurture a family. And why should that be perceived negatively? She articulates, “Have a couple kids, got the whole block looking like you / We tell the world to leave us the fuck alone and they do / Got me dreaming ’bout a driveway with a basketball hoop.” — Rosa Sanchez, senior news editor
7 | "The Life of a Showgirl”
In the namesake track, Swift melds the narrative lyricism evident in albums such as Folklore and Evermore with the climactic production characteristic of pop-inclined records like 1989. Featuring Sabrina Carpenter, the composition cautions eager newcomers to remain vigilant regarding the obscure underbelly of celebrity and the performance profession. They collectively express in the refrain: “You’re sweeter than a peach / But you don’t know the life of a showgirl, babe / And you’re never, ever gonna / Wait, the more you play, the more that you pay.” Nevertheless, Swift concludes the song on an affirming note, underscoring that—regardless of any hardships associated with fame—she wouldn’t exchange her platform for a conventional existence. — C.S.
6 | “Opalite”
Within “Opalite,” Swift commemorates the reality that she has ultimately encountered a partner equipped to aid her in forgetting all her prior relationships (and that individual in question is, undeniably, Travis Kelce). “I had a bad habit of missing lovers past,” Swift conveys at the track’s inception. “My brother used to call it, ‘eating out of the trash.’” However, now, alongside Kelce, Swift’s somber skies have morphed into something resembling opalite—a creamy, radiant glass gem. According to resources like Crystal Gemstone Shop, opalite embodies a manifestation of spiritual connection, appearing as a suitable selection for the metaphor at play. Apparently Swift has never sensed a stronger bond with another. — J.C.
5| “Ruin the Friendship”
Through its subtle guitars and Swift’s tender vocals, “Ruin the Friendship” evokes the tenderly amorous songs that shaped her initial albums. Similar to a “Hey Stephen” or a “Sparks Fly,” the track presents her nostalgically recalling a friendship and lamenting her failure to assume a risk by kissing this boy she once knew during her high school years. Appears innocent enough, yet Swift executes one of her signature deceptive maneuvers when she reveals toward the conclusion that the boy she formerly knew has tragically died. As she journeys to pay respects at his burial site, Swift entreats her audience to consistently embrace the romantic opportunity, for one can never know the duration of their shared moments with another. “My advice is to always ruin the friendship / Better that than regret it for all time / Should’ve kissed you anyway.” — JC
Mert Alas & Marcus Piggott
4| “Honey”
There is truly nothing comparable to a Taylor Swift love song, and this composition resonated particularly powerfully. Granting us entry into her connection and the manners in which it redefined love for her, the artist explored concepts of reliance and fresh starts by way of the subject of affectionate nicknames. Evocative of “Begin Again,” a universally favored selection from her 2012 Red album, it radiated hopefulness and honesty from its initial verse. Following years of perceiving “honey” used as a derisive term in passive aggressive remarks intended to undermine the recipient, she reclaimed it for herself, singing, “You can call me ‘honey’ if you want. Because I’m the one you want. You give it different meaning.” Furthermore, through its exuberant rhythms and jazz-inspired breaks, the sonics mirrored her lyrics, culminating in a thoroughly butterfly-inducing song. — S.W.
3 | “Actually Romantic”
Setting aside any speculations regarding the target of this song’s cutting remarks, I thoroughly relish “Actually Romantic.” The song taunts one of Swift’s antagonists, whose endeavors to unsettle or even affront the vocalist barely succeed beyond amusing her. As a matter of fact, Swift responds to the insults with the exaggerated delight of a guardian reacting to a toddler’s antic. This stands as one of those exceptional tracks where Max Martin and Shellback’s vibrant, textured production approach truly shines, the head-nodding guitar strumming complemented by Swift’s punctuated delivery of audacious lyrics such as “Like a toy chihuahua barking at me from a tiny purse / That’s how much it hurts / How many times has your boyfriend said / ‘Why are we always talking ’bout her?’” — C.S.
2 | “Elizabeth Taylor”
Elizabeth Taylor notably experienced misfortune in matters of the heart. The legendary actress was wed eight times to seven distinct men, and Swift might be alluding to her personal struggles with romance through a comparison to the Oscar victor. Here, she implores her love not to inflict heartbreak upon her. “And if you ever leave me high and dry / I’d cry my eyes violet, Elizabeth Taylor,” she sings. (Certain individuals have contended that Taylor possessed inherently violet eyes, and Swift’s eyes, despite their blue hue, would transition to purple as they redden from tears. Notice the subtlety?) Swifties are keenly aware that this isn’t the inaugural instance of Swift referencing the Old Hollywood icon, having previously likened herself to Taylor on the Reputation track “…Ready for It?” as well. And resembling Taylor, she’ll ultimately be celebrated for her artistry in the distant future—not the men she shared affections with. — J.C.
1 | “The Fate of Ophelia”
What a captivating means of commencing the album! This was not the sole occasion on which Swift rewrote a Shakespearean theatrical work—and it probably won’t constitute the final one. From the onset of her career, she was applying her distinctive Swiftian interpretation to timeless narratives—famously bestowing “Romeo and Juliet” with a cheerful resolution through one of her earliest successes, Fearless’ “Love Story.” In this instance, Swift empathized with Hamlet’s Ophelia, who drowned following her experience of her lover’s dismissal and the revelation of his murder of her father. Here, nevertheless, Ophelia gets retrieved from the waterway, dehydrated, and warmed with the assistance of a true love. An upbeat pop song featuring literary allusions? Swift found herself in her element with this one. — S.W.