Breaking 250 million global streams on its first day on Spotify, Taylor Swift has done it again, breaking records with another album release (HITS). Released on October 3rd, 2025, “The Life of a Showgirl” came out about a year and a half following “The Tortured Poet’s Department.” Coming from “The Tortured Poet’s Department,” an album connected to heartbreak and melancholy, many Swifties have said they are not ready for a more upbeat album. Now that it’s out, though, how does it compare to expectations?
Especially as a result of Swift’s engagement to NFL player Travis Kelce on August 10th, 2025, Swifties correctly predicted that many songs referenced their relationship and reflected her excitement to be engaged (CBS News). Because this is a large shift from her heartbreak in the previous album, many felt the album would almost feel like emotional whiplash. While it is a large shift, any album in Swift’s discography is bound to be filled with meaning and easter eggs.
In response to this change in mood, Emma Wang (11) shares “‘The Life of a Showgirl’ showcases a completely new set of emotions from ‘The Tortured Poet’s Department,’ depicting a new chapter in Taylor’s life. It can be assumed by anyone that she was experiencing lots of hardship while writing most of ‘The Tortured Poet’s Department,’ so I believe it is healthy that she has returned to her famous ‘glitter gel pen’ style of lyricism and production.”
Starting with the title and lead track, “The Fate of Ophelia” is a reference to Shakespeare’s Hamlet, where his lover Ophelia drowns after going mad, betrayed by her lover and grief-stricken. Similar to Swift’s position following her break-up with Joe Alwyn, she felt grief-struck, but she is ultimately saved by Kelce from “The Fate of Ophelia.” In the lyrics, she confirms her use of numerology when she sings “Keep it 100,” which references the addition of 87 – Kelce’s jersey number – to 13 – Swift’s signature number (People). Despite not listening to Swift’s music as much, Ryan Leu (11) can share, “I enjoy her ability to blend Shakespeare’s work with her own.” Also, the music video references Kelce, as a hotel room number 87 can be seen as Swift passes by, catching a football (Page Six).
Second on the tracklist, “Elizabeth Taylor” is another reference, this time to the Hollywood actor Elizabeth Taylor, who drew fame and infamy. As a result of her success, similar to Swift’s, her relationships were often put on display for the public, which is where she gained her infamy. Coming from her engagement, Swift seems to ask one of her fellow stars whether her current relationship will be the one that won’t shrink under the spotlight. The song focuses on the anxiety Swift and many other celebrities experience as their relationships are scrutinized, but ultimately, she feels her love will survive the stage’s bright lights (Elle).
While “The Life of a Showgirl” is decidedly a shift from “The Tortured Poet’s Department,” it would not be Swift if she didn’t connect this album to her previous album. An example of this can be seen in “Wood,” which is seemingly a response to her hopelessness in “The Prophecy.” “The Prophecy” is a somber work where Swift admits her fear that, regardless of how much she wishes, prays, and waits, no one will stay with her forever. Rather than begging on her knees, though, she says even with all the symbols of bad luck, she doesn’t need to “knock on wood” or wish on a falling star because she makes her own luck. In “Wood,” she breaks her own prophecy of being loveless rather than waiting for her prayers to be heard.
This pattern of making her own luck in her relationship with Kelce is also seen in “Opalite.” Opalite is the man-made version of Opal, a stone that shines green and orange in the light and is Kelce’s birthstone. Swift states, “I thought my house was haunted; I used to live with ghosts,” seemingly a reference to her past relationships and how they have affected her. Rather than having a dark sky, she has a sky of Opalite, of a freedom she and Kelce made for themselves.
Besides romantic songs, Swift also addresses the stealing and returning of her master’s with “Father Figure.” In this work, she refers to her current self as a father figure as she fought to get her master’s back. She mentions how “that to fulfill your dreams… You had to get rid of me,” but immediately retaliates as she emphasizes that those dreams would not exist without her. Thus, she says they “pulled the wrong trigger,” and as the father figure, she protects the family, her empire of music.
While these are far from the only songs worth listening to, every song deserves its own listen and interpretation. As such, last but not least, the song which shares its name with the album, “The Life of a Showgirl (feat. Sabrina Carpenter),” is the final song on the album and the final one to be covered. Collaborating with her fellow showgirl, Swift and Carpenter explore the price of stardom and how it isn’t as glamorous as it seems. They discuss how the industry discredits their work, receiving just as much hate as love, and how it isn’t the life those who idolize the industry should strive for. While Swift admits she is exhausted, she and Sabrina both sing to be “married to the hustle” and embrace their lives, and they have become the role models they once looked up to (Today).
Overall, regardless of genre, Taylor Swift never fails to deliver her signature “mastermind” style lyrics. Even without a melancholy situation to use as her muse, Swift manages to add meaning behind every word she writes, highlighting her emotions and sharing them with her fans. “The Life of a Showgirl” is undoubtedly a success by numbers and another success for her career as she shares the joy of her engagement and sparkle as a showgirl.
