The term “genius” often comes up when people talk about Taylor Swift’s deeply personal lyrics.
In fact, she even has her own college course at Harvard.
Quite a bit of money has been invested in her image.
I’ve always seen her as a bit of a poet—her ability to rhyme “know it” is impressive. Still, her raw, emotional style really draws people in.
To make fans weep in their rooms, as she did with “folklore” and “Evermore,” takes a unique talent.
But this time, the critics seem more like those who simply dislike anything she does.
Color Me is perplexed by the media’s response to Swift’s latest, somewhat unusual album, “The Life of a Showgirl.”
Rolling Stone gave it a perfect five stars, and the New York Times featured it as a critic’s choice.
Some of the reviews appear to be written out of fear, looking like they were penned under pressure to not offend her.
Now, I feel compelled to say—her new lyrics focus on both quality and artistry. They come off as a mix of clichés, cheeky sex humor, and some awkward celebrity rivalries, which feels a bit forced rather than authentic.
Swift’s usual emotional insight seems to have been replaced by a childish need for attention—except for those catchy hooks and memorable lines. It’s almost like she’s trying to start some drama with Charli XCX.
In one song, she references a comment made about Charli, saying something like, “I heard Cokes called you ‘Boy Barbie’ when he got brave.”
It’s all a bit petty.
This is a “diss track,” but if I break it down, it seems Swift comfortably throws shade.
She’s wildly successful, engaged to an NFL star, and worth a staggering $2.5 billion. If someone thinks she’s boring, well, that hardly seems to matter!
In another puzzling track, she expresses admiration for her old friends, hinting at some past drama resurfacing.
She asks, “Have you gotten too close to the sun?”—which feels a bit cringy, honestly. She could easily sell t-shirts that are popular with millennials.
The reference to Icarus is a stretch—ick.
Then there’s a line that boasts, “D-K is big so you can do business with the devil.”
At this point, I had to take a moment and cleanse my palate with a classic like “Love Story.”
This isn’t the only moment on this album that hints at the awkward sexual humor she’s leaning into.
In a song called “Wood,” she talks about her fiancé in undeniably suggestive terms.
It starts innocently enough with, “Forgive me, it sounds cheeky,” before veering into more blatant territory.
“Redwood tree. It’s not difficult to see. His love was the key to open my thighs.” You can see where this is going.
Subtle, right?
But if she’s going for campy humor, “Wood” makes you wonder if that’s really her strong suit. Remember when she used to focus on more meaningful lyrics?
It’s true that men have a long history of writing about sex in their songs. And yes, women should embrace that too—just look at Nicki Minaj, Sabrina Carpenter, and Cardi B. But let’s be real: a crude joke about anatomy isn’t exactly going to place you alongside Emily Dickinson. No one ever put Sir Mix-a-Lot in the same category as a profound poet.
So, the “showgirl life” doesn’t seem to be panning out as quickly as one might hope. Maybe her next album, number 13, will bring back some of that spark.
You know?
