Again? It’s nothing!
When Taylor Swift, in which she was a guest with her fiancee Travis Kelce, dropped that a new album would soon be released, only a year after The Tortured Poets Department, it was not surprising on the one hand, since one was already getting used to a certain publication density of the megastars. On the other hand, there was immediately tension in the air. When exactly does the album come? What now? Where is it thematic? Which narrative perspective will she take this time? Life of a Showgirl. Yes, on this topic, you quickly specified, the much -vaunted should have enough to report. Because: “Show” and “Girl”, right? The new album is not that much in advance.
Recommendations of the editorial team
Obviously, Swift had found the time to reflect on conditions and events in the personal area during her Eras tour. But, dense on the plane, behind stages, in hotel rooms? As “small” you shouldn’t think of the situations on tour, the best -known person in the world has long no longer had to deal with the normalities of being on the road. Not with suitcases, costume care or tour rider. These time robbers are eliminated, why not use the gaps to take creative energy and adrenaline inspections directly and on site?
Or, in Taylor’s case, the “silver -glittering cloud”, so the idea that always suddenly hovered in front of her head? (In private jet, for example, with which she, often criticized, rightly, rightly, I think that even the shortest routes can be covered). Beautiful, sublime ambition, a solid attitude to art, open -ended but concentrated writing. Swift is sorted and at the same time energetically on the move. Schlendrian is not. Why too? It is always, continued with everything. Swift loves business life as much as its art does not waste their time. All fields are played. Some may be foreign to be a business romantic and lyrical, you should respect it anyway and precisely because of this.
Cause if i what a man then that’s
When the cultural scientist and teacher at the University of Bamberg, Prof. Dr. Jörn Glasenapp, last year, made it out of his personal fan perspective, in the form of a lecture (“Taylor Swift and the old white men”)) the view of older, male musicians to analyze the “phenomenon” Swift, many, including me.
In the previous years, also non-swifties, the impression had always gained the impression that the bewilderness of some of their male colleagues, with whom they had to accept the success and fame Swift, encompassed again and again in “poisoned praise”, as Glasenapp calls it. It was clearly no longer to stop “down”. And when folklore during the pandemic, a real favorite album was also released and even a second Evermore, many of them finally went steeply.
Not enough (almost successfully replaced it) that Kanye West once had come to judge, who had to maintain a VMA and who did not (winner swift, because after the violent removal of her micros during her thank you speech, also thought about the trophy excitement on an open stage) but also other old (not only white) men. Aggressive envy erection. Fear of one’s own loss of meaning, which had long since been unnoticed by them.
Swift: The greatest understanding of pop mission since Elton John?
Blurs Damon Albarn claimed, for example, that Swift would not text and write himself (asked about it directly, in the form of an Insta post, he had to withdraw this statement). Blumpfeld’s Jochen Distelmeyer wrote in the German “Rolling Stone” of Swift’s “Cometable Rise”, which, so to speak, passed without reason (Glasenapp, after reading the article, it was already 18 successful years behind the artist. And of the “unsightly ambition” of the “unadorned talentless” musicians, who are more likely to be able to convey empty phrases instead of transporting real feelings. Swift is “the greatest understanding of pop mission since Elton John”.
Glasenapp describes Distelmeyer and all similarly argumentative critics, as “Ardonistic Checker”. Ardonistic, among other things, because, like Theodor W. Adorno, “the contemptuous look at music lovers of popular music” is common. Here, bubblegum and surface are assumed, although a second look at this music, its textual quality and density, would also be worth it if you personally prefer to put yourself under the needle with something else.
Ryan Adams even started to cover the album in 1989 to add something here and there to even “improve”. He had already done that before, but at Swift the undertaking got a taste. Adams called “Sidewriting” and immediately drove the album out of everything pop-like, easy, made it into a desolate indie work of male cuts. Because of high art and such. A paternal reimbursement movement that was not longed for, except perhaps by those who were repeatedly accused of sexual assault, which Adams were repeatedly accused of …
Dave Grohl, Pissuropers of the Foo Fighters, even let himself down to the following during a concert: “We call our tour the› Errors Tour ‹because I have the feeling that we had more than just a few than just a few damn mistakes. Only a few. That is because we are actually playing live”. Handmade music from robust testosteronies presented, is still the real Jakob. Thinks Dave. Subsequently, Swift comments as follows at the end of her next concert in the Wembley Stadion: “Thanks to every single member of my band, every single member of our crew, my band, which will play live for you for 3.5 hours this evening, they deserve it so much.”
Cause it’s actual sweet all the time you’ve spent on me
All of them, and many others, cheerfully served those misogynic tongue, which should always prevent them from being used to be used on the female side of the highway. Nobody is taken away by anyone if you always deliver great things yourself, get yourself to the start. But beforehand it makes sense to see that it is now cringe to exhibit young women as pure decorative elements in videos and to make them look like they have nothing better than to adhere to the shrinking or to make them tasty by their being around, old and new target groups. Women want and can show their beauty, their bodies, but decide how and when it should happen. And in what connection. Again: Nobody prevents the papigeneration from staying from itself Fresh (there are numerous examples), but important things are also played on the side track, is played according to your own rules.
There can’t be enough music enough. They can give them at the same time. And everyone should be allowed to participate. For years, new, previously underraned segments of the Female-Empowerment have been played through, penetrating and rinsing at finally storytelling texts that have their origin in country songwriting, the living environments of Flinta and, yes, also and especially those of the queer community. Swift took and take everyone on their own development trip and does the big dolly parton, which has been reduced to breasts and wigs for decades and who has only been granted for some time to be one of the greatest musicians of our time. And both can: Country and Pop. Don’t cry work.
The fact that the Damons, Daves, Jochens and Ryans of this world feel excluded is not Taylor Swift’s, but their own. If you only look at and describe and describe the male gauze of a offspring of an offended ex-chart striker in business, or consider them as a läppische, annoying competition, you will be out at some point. Chance of listening to empathic listening and self -critical reflection – that’s so easy. And so sad.
And now: The Life of a Showgirl
The first of the twelve tracks delivers swift without any ifs and buts. “The Fate of Ophelia” offers a trendy Hamlet cover, but Ophelia is saved here instead of drowning. He did it. Who is that? We can only guess … the piece is extremely taylor -like and of course also offers one of its famous “bridges”. Relatable! With “Elizabeth Taylor” a funny name word game that Swift has ever started will be resumed. Elizabeth Taylor, often accused of multi -men, may only want one, according to the story. This life problem is musically powerful here and depicted with pressure.
The best piece of the album is “opalite”. It has slight and airy from the late Fleetwood Mac. Also as far as the empowering moment is concerned: “Sleeplees in the onyx night but now the sky is opalite”. “Father Figure” is a tribute to George Michael, “Ruin the Friendship” uses the means of the yacht rock and gives the regret that not “more” making a friendship from a friendship. In “Actually Romantic”, Swift takes male dumplits and assumes romantic feelings because they invest so much time in dealing with them. A great trick that withdraws the power with a refrain that flows into success.
“Wood” could be another hit, Sixties-Vibes give him looseness. The beginning is pleasantly reminiscent of “ABC”, the great song of the Jackson Five. “Honey” seems to be a love song for her fiance Travis Kelce and in the title piece Swift really describes what it means to be famous. She is supported by Sabrina Carpenter, who partly opened for Swift on the last tour. Casual hand claps, guitars help to relativize the overly romantic view of a life on stages and in the spotlight.
With this album, Taylor Swift does not reinvent herself, but, as so often, she refers to personal experiences that have not escaped their fans because they have been repeatedly snatched from the artist’s privacy. Swift gets back through her life by writing her view of things lyrically. Maybe that’s your really big strength. She is simply a brilliant copywriter. With the help of producers Max Martin and Shellback, she will do a lot again.
What’s next?
Now it is married. I assume a very traditional ceremony, to which the whole toxic consumption will not receive an invitation. And then a child determines. She can feed it. She can promote it and build start stalks. What many forget: Swift is already 35 years old and grown up. She wants everything. She gets everything. It is the greatest star of the whole fucking world. Face that, insulted guitar buddy. And if you don’t want to or cannot, at least be said: this fact tastes sweet and bitter, sour and salty. Everything at the same time. You have to bake that first, in a single human life.
This review first appeared in the MusikExpress 12/2025.