A Queer Reading of “The Life Of A Showgirl”

First disclosure I should get out of the way, I’m writing this review as an unapologetic Swiftie.   I like Taylor Swift’s music going all the way back to her first country album, and I really respect Swift as a writer, poet, and songwriter. I covered the queer readings of her last album The Tortured  Poets Department, and I’m excited to be listening to the new album live and giving my queer hot takes and instant responses. I am always on the lookout for queer themes in pop culture, and my love of Taylor Swift’s lyrics is no exception. Taylor Swift’s lyrics that feature feminism, women’s empowerment, BIG feelings, deep longing, secrets, and longing are themes that many queer listeners, and especially lesbian listeners, have deeply resonated with over the years. Whether you’re a party song fan or like her deep, brooding poetry, there’s something in her “eras” for you, and this album had it all. 

My anticipation for this album has been next level. One of my partners and I have been trading Taylor Swift easter eggs (those details hidden in the album reveal info) nonstop for weeks, making predictions about the album, and had plans to stay up and listen live together despite living in different countries. Getting ready for the release, I have made my friendship bracelets to wear to the movie, which, of course, I have tickets to go see for this weekend. Even one of my dogs has gotten in on the excitement. Overall, my initial take is that this album is witty, witchy, sexy and smart. Even the songs I didn’t love were growing on me by the second listen. Here are some of my favorite gay moments in The Life of a Showgirl on first listen: 

The Fate of Ophelia

This is the song that starts it all off and is an instant hit. The poetics are giving a deep lesbian library core. Honestly, this song really makes me want to re-read classics to fully get all the depths of metaphors at play. “I’m no longer drowned, nor deceived all because you came for me, you saved my heart from the fate of Ophelia.” This is a deeply romantic song for anyone who has been waiting to find themselves, and the kind of love they have been looking for. Also, no pronouns, so instantly queerable.

Father Figure

A standout on the album for me for sure, was “Father Figure.” The song is absolutely an unapologetic tell-off to the music establishment that tried to control Swift earlier in her career. It’s also an explicit reference to George Michael’s iconic song. He is listed as a songwriter on the song as Swift incorporates portions of his song in this new showgirl interpretation. Honestly, the gender-f*ckery of “Father Figure” is amazing and makes it delightfully queer to hear Swift sing. “I’ll be your father figure… I can make deals with the devil because my dick’s bigger” Yes, please more lyrics like this! 

⁠Eldest Daughter

I think this might be my favorite song on the album.  I love the way it brings together the scars and longing alongside the spark of new beginnings that I think a lot of queer listeners can identify with. Something I love about a lot of Swift’s lyrics is how gender neutral they are and that lends to the queering potential of songs like this. It’s tender and smart and going to be on repeat for me. 

Actually Romantic

This song is steamy, and I highly recommend watching the kaleidoscope-style album video art on Spotify. The album art twirls pictures of Swift until it looks like there are two girls coming together in a very vaginal style of abstract art I appreciate. Then of course there is the great line with some delightful queer undertones – “no man has loved me like you do.” It’s very flirty and sexy, and I feel like this is a song we’re going to be hearing on a lot of queer playlists for a while. 

⁠Cancelled! 

This song has all the witchy lesbian vibes going for it. “Did you girlboss too close to the sun?” A lot of us can relate to that! This song will likely connect with any lesbian who has ever been called ‘too much.’ It’s also one of those songs that hit me hard with knowing who your people are, and who’s going to be in your corner no matter what: “At least you know exactly who your friends are / they are the ones with matching scars.” This is a top condender for best song in the album for me

Honey 

This one is all about redefining yourself as a person and a loved one, and starting over. “We could play house/ we can bed down” and “you could be my forever night stand”— perfect for playing while driving that U-Haul! 

As I finished my review, I discovered there is a whole side of the internet unhappy with the album. People are seeing this as solidifying her as an out-of-touch, capitalist, straight, businesswoman singing about being rich. Accurate, though not really a surprise. Criticism of the album is also centered around the way Swift uses some of the songs to punch back (or maybe down) at people in her past who have critiqued her and whether that was inappropriate to do now, or defending friends who are controversial or perhaps deserved to be cancelled for their politics. There is also the understandable argument that the glitz of the album could come across as out of touch with the financial struggles and realities of everyday women struggling to make ends meet, not jetting across the world and living in luxury.

At the end of the day, Swift has always been a lightning rod of big feelings.  People love her or hate her. As an artist myself, I know you can’t make everyone happy — for all the people who have loved my novels and given them glowing reviews, other people wrote reviews hating them and saying I was an embarrassment to queer and trans people. Ultimately, is it a radical album? No of course not, and if you’re looking for lesbian feminist politics in action, you’ll probably be happiest sitting this one out. But if you’re looking for some fun, take-back-your-life pop music, I’m still going to recommend it.