In Defense of Taylor Swift’s The Life of a Showgirl 

This article is written by a student writer from the Her Campus at Bucknell chapter and does not reflect the views of Her Campus.

Taylor Swift’s new album is finally here, and the feedback on the singer’s artistic choices is quite mixed. I’ve heard everything from the album being “too millennial” for Gen Z audiences to people claiming that Swift has lost her talent for songwriting altogether. Though it seems that the internet is putting most of the blame on Taylor’s now-fiancé, Travis Kelce. One interesting comment I’ve been seeing about Travis and his influence on Taylor is that he is like what Jeremiah is to Belly in the popular show The Summer I Turned Pretty. If you’re familiar with the series, you would know that the character of Jeremiah is widely criticized—especially in the latest season—because he doesn’t take things too seriously and, in some ways, holds Belly back from finding herself. Without getting too off track, I would say that this comparison should obviously not be taken too literally, but it does speak to the broader idea that relationships can affect one’s view of the world, and for an artist, this could mean that their work might change.

While I most certainly admit that I was not really expecting all that The Life of a Showgirl (TLOAS) was, I think it’s important to mention Taylor’s previous pop album, Lover. Much like the title suggests, when Taylor wrote Lover, she had finally found herself in a long-lasting, stable relationship with British actor and songwriter Joe Alwyn. Tracks like “ME!” featuring Brendon Urie of Panic! At the Disco, and “You Need to Calm Down,” were upbeat, colorful, and full of optimism. It was a pop era soaked in pastel colors and self-assurance. And in a way, TLOAS echoes that spirit again—because once again, she is in love.

Of course, this new album is not Folklore or The Tortured Poets Department (TTPD)—nor should it be. Those albums were written in a completely different emotional landscape. Folklore felt like a quiet cabin in the woods, TTPD like an open diary full of heartbreak and reflection. TLOAS, on the other hand, feels more like sunlight after a long winter, it’s almost like daylight, (if you get the reference). It’s not trying to be profound or devastating; it’s trying to be free. And whether people like that version of Taylor or not, it’s still an honest reflection of where she is now.

As a self-proclaimed sad-music lover, I understand why some fans prefer her moodier work. I do too. But being able to appreciate Folklore doesn’t mean dismissing TLOAS. They are two completely separate expressions of the same artist, and that’s the beauty of Taylor Swift—she refuses to stay the same. The expectation that every album should carry the same tone, depth, or emotional turmoil is unrealistic. Artists evolve, and so does their art.

I should also clarify that I’m not a die-hard Swiftie. I didn’t attend the Eras Tour or camp out for tickets, but I’ve always admired what she stands for. The constant criticism she faces says more about the way society treats women in the music industry than it does about her artistry. It seems that every few years, Taylor becomes the internet’s favorite target again—too emotional, too commercial, too happy, too sad. There’s always something to pick apart.

Some people have even speculated that certain tracks on the new album take jabs at other artists like Olivia Rodrigo or Charli XCX. Whether that’s true or not, I think it highlights a recurring issue: women in music are constantly being pitted against one another. Taylor was once the young rising star going up against established names, and now that Sabrina Carpenter, Gracie Abrams, and others are taking center stage, the same cycle is repeating—but this time, she’s being cast as the villain.

In the end, my opinion is simple. You can love the new album or hate it, but either way, it’s still a piece of someone’s life being shared through music. Give it another listen if you’re curious—especially “The Fate of Ophelia,” which I can’t get out of my head—or skip it if it’s not your style. Music has always been subjective, and that’s what makes it beautiful. Taylor Swift doesn’t owe anyone the same version of herself over and over again. She’s growing, she’s experimenting, and most importantly, she’s happy. And honestly? Let the woman be happy.