Words by Annie Barber
Photos from TAS Rights Management
Album cover by Mert Alas & Marcus Piggott
Ever since Taylor Swift made a surprise cameo on a Law & Order: SVU skit during the Emmy’s earlier this month, fans have been desperately trying to decode her cryptic message: “Saccharide, Ares, from the vineyard, North or South.” It is undoubtable that there are many other easter eggs in the video that fans have missed and will continue to uncover over the years, but some of what she has been quietly planning has finally been revealed today. Swift is one of the most renowned artists of the 21st century. In the two decades that she has been releasing music, she has gone from strength to strength and broken a staggering amount of records. Her twelfth studio album, ‘The Life of a Showgirl’ was no exception. Almost a year on, she has decided to revisit her Showgirl era, treating fans to four new dazzling tracks that prove why she is one of the world’s biggest artists.
On the much anticipated ‘Patient Zero’, Swift indulges her revengeful side. Though she seemingly stretches out an olive branch to a previous lover’s new partner, she is scathing of her past beau. With lines like “I know he charmed your family and friends / And you thought it’s ‘cause he loves you / But it’s ‘cause he loves how everybody else loves him,” she is refusing to hold back or sugarcoat things. Beginning with a violin which makes an appearance throughout, the song has a hybrid theatrical-pop feel, making it a singular track within Swift’s discography and a departure from her usual sound.
‘Cleveland!’ combines that same unbridled honesty with an upbeat, infectious sound. It has echoes of ‘Opalite’, with its fun vibe. Fans have already likened the spoken bridge to that of her 2019 song ‘ME!’ which she ended up removing from the recording following some criticism. It is nice to see that, all these years later, she is less swayed by public opinion. In fact, that is the very subject of the track’s lyrics, in which she professes her love for now husband Travis Kelce and hits back at the onslaught of criticism she has been subjected to over the years, declaring that she no longer cares what others think. The song combines a mix of her innermost feelings and thoughts, with a takedown of the public’s obsession with her personal life.
With ‘Pink Clouding’, Swift reflects on another past relationship, but this time with warmth. It is pop-perfect and reminiscent of the ‘1989’ Vault tracks in parts. The soaring choruses and haunting harmonies make this song very mesmerising. The bridge is a particular highlight, with Swift relying on her signature ‘and another thing’ structure, listing off her regrets about how the relationship ended.
Of the four tracks, ‘Babylon’ steals the show (pun intended). Swift is at her best when she leans into her storytelling skills, and this song is a perfect example of how her introspective and vulnerable lyricism makes her music so relatable. From the first verse, it is clear that Swift’s talents are not beginning to rust. With lines like “The casino doesn’t like when you run the tables/ And though the box is wrapped up nice, it’s just a cage to you / Those electric fences buzz / The stallion flees the stable,” her iconic poetic lyricism is on full display. Not unlike ‘Ruin The Friendship’ from the standard edition of the album, ‘Babylon’ combines layered instrumentalism and angelic melodies, making for a gentle and touching track.
There is a tendency for people to view pop music as shallow and one-dimensional, but Swift has proved time and again that this is not the case. She continues to push herself at a stage in her career in which most other artists begin to stall and become predictable. As a long time listener of Swift, it has been a pleasure to watch her journey unfold; from releasing her acclaimed debut album in 2006, to achieving chart-topping success in the 2010s and 2020s, she somehow continues to get better. This latest iteration of her artistry, in which she is as sure of herself as ever, has resulted in some of her most exciting music yet.
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