Taylor Swift’s The Life of a Showgirl is out now. The good news is that Taylor is a stand-alone industry and a monoculture, which means that everyone has an opinion on her life and her music. On Thursday, leaks of TLOAS were being widely circulated online, and the Swifties were already in the trenches and fighting with everyone. The thing is, 90% of the music industry is in awe of Taylor and fearful of her enormous power. Which probably explains why even though early listeners of TLOAS are disappointed, the mainstream media’s reviews of the album are glowing and extremely positive. Variety and Rolling Stone led the way in praising the album and calling it yet another perfect classic. The Guardian’s critic was more honest, and this is the review getting much more play, some highlights:
There are albums for which vast success seems preordained, and then there is The Life of a Showgirl. The podcast on which Taylor Swift announced the release of her 12th studio album – her fiance Travis Kelce’s ordinarily sports-focused New Heights – garnered half a billion views, breaking a record set by Donald Trump’s appearance on The Joe Rogan Experience in the process. A “launch event” film, featuring the kind of lyric videos and backstage footage that anyone else would release on YouTube, is instead set for a theatrical release in more than 100 countries: in the US alone, it sold $15m worth of tickets in 24 hours. The album itself has been pre-saved more than 5m times on Spotify, breaking another record in the process. “I’m immortal now,” Swift sings on the title track, which seems less like an extravagant boast than a statement of fact.
In contrast to last year’s The Tortured Poets Department – which by the time she’d finished releasing expanded editions and bonus tracks, was nearly two and half hours long – it offers a crisp 12 songs in 40 minutes. Her recent collaborators Jack Antonoff and Aaron Dessner are nowhere to be seen. Swift made The Life of a Showgirl in between Eras dates with Max Martin and Shellback, the Swedish duo who co-wrote and produced her most forthright pop bangers of the 2010s: Shake It Off, Blank Space, Don’t Blame Me, Bad Blood.
But anyone anticipating something similar from Showgirl is in for a shock: the fizzing electronic pop of Reputation and 1989 is conspicuously absent. Instead, its primary currency is breezy, easy-on-the-ear soft rock: acoustic guitars, misty synth tones, subtle orchestrations and breathy backing vocals. Wood’s laid-back take on disco recalls not the sweaty hedonism of the dancefloor but the late 70s moment where four-to-floor rhythms and chicken-scratch guitar temporarily invaded the oeuvres of west coast singer-songwriters.
More startling still is the distinct lack of undeniable hooks and nailed-on melodies. The songs are well turned, but in terms of genuinely memorable moments, Showgirl evinces just one killer chorus (Elizabeth Taylor), some impressively unexpected key changes on Wi$h Li$t and the authentically heart-tugging Ruin the Friendship, which finds Swift returning to her home town for the funeral of a high school boy she regrets not dating. There’s a fantastic chord sequence on Actually Romantic, but, alas, 37 years ago Frank Black wrote a very similar one for Where Is My Mind? by Pixies, a song you can literally sing along to Actually Romantic. The rest floats in one ear and out the other: not unpleasantly, but you might reasonably expect more given the amassed songwriting firepower behind it, and Swift’s claims of “keeping the bar really high”.
Cancelled! deals with the Kim-and-Kanye-adjacent controversies that beset Swift in 2015 and 2016, and Father Figure concerns former label boss Scott Borchetta, both in needless-to-say-I-had-the-last-laugh style. There are some spiky lines here and there – “you made a deal with this devil / turns out my dick’s bigger” snaps Father Figure – but they don’t really click. Perhaps that’s because Cancelled! and Father Figure revisit very well-trodden ground, while eviscerating a rival when you’re the world’s most successful pop star is, by default, punching down, even if she did apparently call you “boring Barbie” behind your back.
Then there’s Wood, a song that, metaphorically speaking, drunkenly clambers on a table in Wetherspoons pub with a skew-whiff bridal veil on its head and an L-plate around its neck and favours everyone in earshot with a loud paean to the size of her fiance’s penis, which it variously describes as his “magic wand”, his “redwood tree” and his “hard rock” (there is also a regrettable degree of punning on the word “cocky”). Of course, Swift is perfectly entitled to write about whatever she wants, TMI or not, but there’s no escaping the fact that comparing her partner’s knob to a magic wand constitutes weak writing from someone who made her name, at least in part, by being a sharper, wittier, more incisive lyricist than her peers.
In fairness, Wood is one clanging misstep on an album that isn’t terrible: it’s just nowhere near as good as it should be given Swift’s talents, and it leaves you wondering why. Perhaps romantic contentment simply writes whiter than vengeful post-breakup bitterness, or perhaps it wobbles your judgment. Perhaps it was rushed. Or perhaps its author was just exhausted, which would be entirely understandable. Even the immortal, it seems, sometimes need to take a break from pop’s constant churn and unceasing clamour for content.
The fact that it’s not full of more revved-up songs is what surprised me, given the name of the album and Taylor’s return to working with Max Martin and Shellback. I was expecting upbeat pop bangers, and not… this. I also don’t understand Taylor’s need to churn out albums every year, especially when it certainly feels like she’s running out of good material. That’s the larger point though – Taylor’s in such rarefied air, she believes/knows that her fans will buy every single song, every album, every variant she sells, regardless of quality. Every artist makes dumb songs – very few artists release all of their dumb songs because they feel the need to churn out an annual album. I’m including some reactions below, and Taylor’s new IG post full of Showgirl pics.
oh my god???? pic.twitter.com/729fJfeZhN
— Bil (@KillingSwiftly) October 3, 2025
lol https://t.co/a78pUaSvCU pic.twitter.com/quyrERr07R
— grace spelman (@GraceSpelman) October 3, 2025
you know what? maybe joe alwyn did write some songs on folklore
— m 🌊 (@taylorswiftliar) October 3, 2025
miss showgirl thinks she’s Kendrick Lamar but in reality she’s the dean of the English department at Lea Michele university
— Carrie Wittmer 👻 (@carriesnotscary) October 2, 2025
Photos courtesy of Taylor Swift’s IG and screencaps courtesy of Magic FM.
My favourite tracks are The Fate of Ophelia, Elizabeth Taylor, and CANCELED! The rest of them are meh, although I’ve thought that before about her albums (e.g. Evermore and TTPD) and they’ve grown on me so my mind might change. I’m laughing at the thought of Travis walking into the Arrowhead locker room and hearing his team mates listening to Wood though.
I’ve been a fan since I was 14, and I’ve gotta be honest: this is probably my least favorite TS album. The Fate of Ophelia and Elizabeth Taylor are great, but otherwise it seems like there’s kind of a lot of filler. The stuff you don’t release until your 40-year anniversary box set. She’s better than this, and I feel like the album could’ve been so much better if it wasn’t a “squeeze in time between tour dates” thing. Still love her, still support her, but…yeah. Meh.
I’m not a Swift fan or hater and listened to a few songs and I’ve not found any of the songs particularly compelling. I may go back and listen to the Actually Romantic because I didn’t know about Charlie XCX association.
Isn’t Cancelled about Blake & how she still friends with her? That’s what it sounded like to me.
I’m disappointed. Folklore, Evermore and many tracks on the extended TTPD were amazingly written and produced, most songs on this album are like something we’ve heard million times and the production seems soo flat. Even when the song seems like it would have a potential if Aaron Dessner produced it, Max Martin manages to make it as boring and repetitive as possible. He had so many radio hits in his life that now he seems to just use the same boring beats and samples all over again and just lacks passion and creativity. And Wood seems like a Sabrina Carpenter reject with those “edgy” lyrics – it’s just soo below Taylor’s songwriting talent. She’s made a massive progress since Shake it off and now she took a leap back. Your fiance has a big dick – we heard it, Joe Alwyn too, congrats I guess…
Wood is CRIIINNNGGGEEE, good Lord. I think I literally muttered “girl…come on…” to myself as I was listening to it.
I love this album. I love that it reflects her mood while on this massive tour, finding love with a grown ass man and embracing the hustle. Is it Folklore? Absolutely not. Is it honest, heartfelt and a little funny & a little melancholy? Yep.
Im not a famous person by any stretch but I work somewhere that people deem a “dream job” but it’s basically just work so my favorite song is the title track because yeah… thank you for the lovely bouquet.
To me it seems like she’s threatened by all the newer, younger talent which have totally different vibes from her. She’s being extremely ugly and vindictive (about Charli xcx) but at the same time she’s copying Sabrina Carpenter and Charli xcx. My thoughts were the same CRRRRRIIINNNNGE and LOOOOSER and VINDICTIVE mean girl. She was on top of the world with Eras. Why do this??????
@notasubject yes!
‘Your fiance has a big dick – we heard it, Joe Alwyn too, congrats I guess…’
Watch it magically shrink in her description if they break up
I really wanted to like this album but… it’s not her best work. That’s the most diplomatically I can put it.
I like Honey and Life of a Showgirl and that’s it. It’s not her best, that’s for sure. Her Lover album is my favorite of hers.
Never mind The Pixies, I’m genuinely waiting for all the conversation about how ‘Wood’ (which I did enjoy and it made me chuckle) sounds exactly like ‘I Want You Back’ by the Jacksons… like so much so that I thought my Apple Music had gone on a tangent.
Which, given the remix of We are Never Getting Back Together where its just the track for I Want You Back, is….interesting.
There is certainly a survival bias with Max Martin. People only remember the hits, but he also had lots lots of misses. I don’t know why Taylor made Max a big part of promotion campaign. I mean, I understand that it was smart marketing-wise, but surely they knew that this isn’t his best work after listening to it or getting other people’s opinions before publishing? Since his name was on almost every marketing post, people really expected a tight work like 1989 and that might have increased people’s expectations. Anyway, I am sure it will sell like hotcakes at the end of the day and that is the important thing for Taylor’s publisher.
*I meant for my comment to stand alone.
I’m not a Swift fan or hater and listened to a few songs and I’ve not found any of the songs particularly compelling. I may go back and listen to the Actually Romantic because I didn’t know about Charlie XCX association.
Isn’t Cancelled about Blake & how she still friends with her? That’s what it sounded like to me.
I guess it could be but she wrote and recorded this before that happened.
I’m already tired. “But just don’t click if you don’t like her.” I know. I do. I totally do it to myself 😂
I haven’t listened to it but from what I can tell from reading the reviews and comments there’s not a lot songs with a chorus to sing along to? Which is fine. But I miss fun catchy songs that I can sing long to. Apologies if I’m misrepresenting the album. If anyone wants to rec me some songs from the album that I might vibe to, feel free. 1989 was always my fave but I’m older so.
Okay, I listened to a few and it was fine, not bad. Life of a Showgirl was pretty good and I’m a Sabrina fan. Honey was cute. Fate of Ophelia was pretty good. I didn’t love Elizabeth Taylor though and thought I would just for the title, lol. The vibe feels muted if that makes sense which isn’t a bad thing. A tired showgirl vibe I guess which seems to be the point. A little melancholy.
I didn’t mind Wood but I think that’s mostly bc it sounded like MJ sampling. It was cheesy but whatever. So it wasn’t all melancholy. I didn’t love Cancelled! Overall though, I liked Life of a Showgirl most. That’s probably the one that I would re-listen to the most. It’s synthy pop but it’s kinda got a a kind of a country vibe.
Oh boo. I was hoping for something in the 1989, Lover, Reputation flavor. If this isn’t that, eh. Ah well, catch you on the flip, Taylor!
Anyone have any fun, poppy suggestions? Upbeat? Preferably female artists; a few years ago I realized I mostly listened to guys and after some reflection I thought that sucked. I loved MIA but if she comes out with anything new I can’t in good conscience purchase it.
For me, it absolutely has those vibes. I really enjoy the album. I think it is fun and poppy and great vibes.
Try out the artist Jax. She sang “To All the Boys I loved Before” but has so many other fun and funny bops!
I’ve really enjoyed Renee Rapp’s most recent album Bite Me; there are more upbeat songs that have a singable chorus and impressive vocals on it.
I’ve been on a big Laufey kick as of late. Love her heavy jazz influence, and she writes some great upbeat, silly, girlie songs along with wrenching, “ugly-cry while stuck in rush hour traffic” songs.
Chappel Roan and Sabrina Carpenter have both put out really fun poppy records
No one else comes close to those two for me lately – though I’m enjoying Olivia Dean, she’s got a different vibe, which is almost a miracle in this market.
Jade! She just released her album Thats Showbiz Baby
Maybe I’m trash and have no musicality, but I love it. I do think it’s upbeat and poppy, which is why I love it. I HATED Midnights and Evermore. A lot of the Jack Antonoff stuff is not my fav. It’s slow and boring and one note to my ear. Again….maybe I’m just the bubble gum pop trash that people hate, and I just don’t get music. Lolllllll.
You’re not alone, I love it too! I think it is a fun listen and I need some fun! I’m depressed about the state of the world all of the time and was hoping for something less melancholic than her more recent albums have been. I enjoyed those albums but I also enjoy bubble gum pop trash. Sometimes things don’t need to be so serious. 🙂
Add me to this, I loved evermore and I love this. It is pop and silly and fun. But the writing is there, if you listen to eldest daughter and ruin the friendship and claim the writing isn’t there then we didn’t listen to the same album.
I loved it, first listen.
Wow, those tweets are something else. I’ve never seen her own fan base come at her like that. I do think that people were thinking 1989 part 2 for the grown ups, with her going back to working with Max Martin instead of Jack Antonoff, so some of the disappointment at no ” hooks” maybe because of that. I’m not a Swiftie at all, but I really did like Midnights because my niece is a big fan and played it all the time, and it made me revisit some of her earlier work. Doesn’t sound like I’ll be rushing to listen to this one with her.
Please note cancelled is seemingly about her support for her friend Blake Lively, the subject of a smear campaign. Very clearly, it’s not subtle.
I had this issue with TTPD too, that the first listen I was like / they al sound a bit the same, the same vibe, but the more I listened (with a copy of the lyrics in hand as my hearing is flawed) I loved it more and more with each listen.
A whole lot of the album is about how much she loves Travis, including wood, a nsfw kinda song.
But here’s the thing about music – it is so simple, in that the music you love is the music you react to- mostly emotionally but sometimes physically – some stuff just make you dance.
So, to each their own.
Nobody has to like it,
I’ll be listening to it all weekend.
This is ultimately the correct take. I’m glad many fans are enjoying it, and no one should be trying to shout them down or telling others not to bother with it. And those of us who didn’t care for it should also be free to say so without being attacked, and then move on. I’m going to give it a few more listens to see if it grows on me, but if not, what I said here will probably be the last time I mention it, and I’ll just go back to her previous work that I preferred and wait for the next album.
I really appreciate that this is a pretty safe space to talk about what we liked or didn’t about the album and trust that everybody on both sides will be respectful. I just dread the fact that the more unhinged Swifties and the people who think TS is awful and talentless are probably going to be the ones getting the most attention elsewhere on the internet. Ugh.
It’s funny to me because almost all of the negative reactions remind me so much of how people critiqued “Reputation” which went on to be a cult phenomenon.
I feel the same about hearing it once or twice just thinking it is ok, but the more I listen, the more I really like it….a lot.
Remember how Jared that album was and now people won’t shut up about.
I personally loved it, it’s different but I like that she mixes it up. However, not everyone will like that so it may not be the album for everyone and that is ok.
Maybe that’s why she rushed this one out? Because the other one was all about that Healy person, who by all accounts, was straight trash, so she wanted to put something out about her “forever” love.
I really enjoyed the album socially but lyrically the last 4-5 tracks didn’t work for me. That being said, there are some GREAT songs on it. I will be listening all weekend and I’m thankful that we get the joy of listening and dissecting another album from here.
Opalite and Elizabeth Taylor are catchy.
I think she should take some time off for real and live life and wait until she’s truly inspired to write again. I think maybe Folklore and Evermore were so good because she was forced to slow down with COVID and be introspective.
She needs a break, IMO. I know she’s built a reputation for prolific, but it’s obvious she’s burning out a bit. Most everything since Evermore has been fairly weak lyrically, and even Lover was fairly hit or miss. Midnights was fine but very one note and musically homogenous. The rest? Mostly forgettable. Like, they’re FUN, but they don’t wind up on my repeat list for the most part. Which is, to be fair, mostly how pop culture works, but it is a shame because some of her early pop work was genuinely good.
It won’t matter, of course. She’ll still sell, and that’s fine, but I think it would be good for her to take an extended honeymoon and relax a bit.
I prefer my Musical 🎼 🎶 faves (Depeche Mode/Sade/Maxwell) releasing schedule which is about every 5 years or so…gives me an opportunity to miss them…discover new music and gives THEM an opportunity to rest…regenerate…and come out with some ✨️magnificent✨️ 🎶…because I know that album is generally going to come with about 18 months of them supporting that project via tours/media blitz…etc…
I don’t wanna hear from Taylor or Beyonce AGAIN until 2030😝
It’s been 16 years since Sade dropped a new one!! she had been great about releasing something every 5 to 10 years so this has been a very long wait.
This is an amazing album, no it’s not folklore or evermore but she made it clear it was different. But the writing is still fabulous and at the levels of those albums. It isn’t 1989 but if it was everyone would bitch about that and say how she’s to old for those types of songs. People just want to trash her.
Folklore and evermore are my faves but honestly this is joining them.
I’ve always thought Taylor was incredibly overrated. Her strength is her songwriting, not her performance ability or her vocals. If the music and lyrics aren’t clever, I imagine I’ll probably skip this since there’s little else I appreciate when it comes to her catalogue.
It has great lyrics and catchy hooks. I would give it a listen, it might not be for you but I thought it was fantastic. And had IMO all the things you’re wanting.
I’m with you. I like a bunch of her writing so I wait (sometimes in vain) for another voice I like to cover it (whether it be an actual signed band or a youtube musician) because I just don’t like her voice. And usually my covers put a bit more of a rock edge to it.
Are there a lot of people into those kinds of covers? Because rock/metal versions of TS songs are actually something I’ve been doing for almost as long as I’ve been a fan of hers! I play guitar and several other string instruments, and challenging myself to do genre twists was kinda like a stepping stone before I felt confident enough to compose something entirely my own. I used to have a YouTube channel with some of my bluegrass covers of rock and pop songs, which is basically part of the bluegrass tradition at this point, but I never thought to share my TS rock covers because I didn’t think anyone would be interested in listening past the novelty of a song or 2.
Miranda, I don’t know about a lot but I know there is at least me! Like I said I really can’t stand her voice but like some of the lyrics to some of her songs. We Came as Romans, Our Last Night, For All Those Sleeping did IMO great covers of her songs that I prefer to hers.
I overall loved the album, thought it was a vibe. I think people thought it would be very 1989 and rep and it is and isn’t. Like it’s a specific vibe like those but it’s not as in your face.
I will say for me the lyrics And her writing was top notch. I don’t love wishlist as much as I’ve seen others, it’s probably my least favorite but otherwise I love this album.
The writing on eldest daughter and ruin the friendship was so good I cried to those songs then went back to bopping.
It isn’t for everyone, but no album is I’m a long time Renaissance hater (and I know that’s unpopular), but IMO it’s a great album.
I do wish we lived in a time where people could just like or not like something and not look for clout on the internet. (I do realize I’m commenting on a website so a bit of a hypocrite on my part).
This is pretty easily her worst album. Taylor is such a strange artist, because she’s become the biggest pop star in the world, but she really isn’t a pop artist. 1989 was lighting in a bottle. She is largely a singer songwriter. She’s a guitar and lyrics artist. The best songs on TTPD (Guilty as Sin, LOML) were in that vein. Theres none of that on this album. Shes trying to make “bops” while still being a lyricist and it is not working. Her lyrics are only getting dumber and more cringe as she tries to fit them to the pop production.
The only thing that makes me want to SCREAM in those tweets is “maybe Joe Alwyn did write Folklore”. GIRL. If you are going to attribute her success to a man, at least attribute it to Aaron Dressner, the professional f*cking musician.
I love you!! Because right? No that ex of hers wasn’t why those albums were good it was her and her writing mixed with Aaron’s brilliant production. If that man was so great at writing I think he’d have done it.
But yeah don’t give her success too a man and if you must live in that misogyny at least pick a relevant man to the album.
I do wonder if some of these people just have realized that maybe they like folk more than pop and that’s why they like evermore more?
Thank you! Look, I’m a gal who really likes Folklore. I would actually say it’s my favourite. But I came of age during the Canadian indie folk revival: the other albums didn’t stand a chance.
I also don’t consider myself a big Swiftie, but sometimes, the critics really show their ass and I have to stand up her not just as a women, but as a professional artist. Her actor boyfriend, while very handsome and taciturn and blue eyed and serious (in a way I bet you wish Taylor was and you imagine all artists should be) didn’t suddenly become an accomplished musician, sitting in his living room over the pandemic, feeling inspired. Making music is hard. Making all art is hard. It’s labour, it requires experience and practise and skill to be good and people (and yes, now I’m talking about all of us non-Taylors struggling out here) should be paid for it. You may hate Taylor, but making music is her work-job. She wrote f*cking folklore. Alongside Aaron Dressner, who also DOES THIS FOR A LIVING.
Exactly @not Mika! And yes what you do is so hard (I could never) and you deserve to get paid. I think people just want engagement on Twitter and the best way to do that is slam or praise Taylor.
But totally agree give the credit to the musicians who have done the work.
Best of luck to you! I know it will happen.
This is so interesting to me because in my real life, everyone loves it so far. I love it too, I’m on my third listen. It’s cohesive, it feels like 70s disco, little bit campy, got some beats to dance to. Eldest Daughter made me cry, Elizabeth Taylor has the best sound to me. I really liked the title track The Life of a Showgirl.
I didn’t like TTPD at all at first and so many people hated on it as being long and rambly and all the songs sounded the same. With time it became beloved.
This album makes me think that she is happy in love, truly, and I love that for her. And I’m enjoying listening to it. But sure, it’s probably not for everyone. Perhaps the bar is sky high? I think it is great.
I’m a Swift fan since 2009 and I liked the album. To me it was the opposite of TTPD which felt like a very big block of sadness. I liked most of the tracks, I didn’t mind ‘Wood’ but I think she writes better when she’s more subtle i.e. False God and Guilty as Sin.
Experienced Swifties are already used to these types of reactions, I mean TTPD / Anthology was also panned and its lyricism is unmatched in my opinion. To each their own.
There should be more discussion of the song ‘Wood’ which is literally about Travis Kelce’s dick. This song is absolute cringe. Embarrassing. Swift cannot do sexy.
I am not a hater but I’m not a big fan as this isn’t my genre. I do like a few songs tho. I say this because what I’ve heard of the album is absolutely mediocre stuff I wouldn’t ever go out of my way to listen to.
I was reading some of the posts and comments on Twitter this morning. Even some of her loyal fans think this album is mediocre compared to her previous albums and are now asking themselves how much influence Joe had on her others. Its prob though still going to sell a lot. I agree with the comments above, Sabrina, Gracie, Olivia(who had a record breaking crowd at Lolla’s in Chicago a month or 2 ago), Billie, etc there are a lot of talented female artists/musicians.
I listened last night and had similar sentiments. It didn’t have a strong cohesive drive. Definitely the underlaying retro and soft wash was there. The magic that makes you want to jump into the next track was missing. The first two tracks were solid and then it lost its strength until Wi$h Li$t. Honestly, by Wood ,I was not paying as close attention to the lyrics so I liked that track. It had a good groove and the album was stronger through the end.
It felt like an album for the Swifties who wanted some tracks based on Travis. I can’t see myself listening to in totality again. Something I did with Brat, stilllll do with Brat or Maggie Rogers. constantly.
Listened through 4 times. I am in love with the Fate of Ophelia, Elizabeth Taylor,
Opalite…OK, Maybe I love it all. Never fell in love with Fortnight but I think The Fate of Ophelia was a good choice for the lead single. I am a fan of Reputation, Lover, Midnights, FolkMore, 1989, and TTPD and I am going to love this, too. Call me basic or whatever, I do not care.
I’ve had a tough week, so listening to this is going to be my reward tonight. Maybe I’ll open a bottle of Meghan’s rosé, too.
perfection! you deserve it!
Haven’t listened yet so.. can’t really say anything except .. after the Eras Tour.. how exactly would she surpass that?
I mean – not a next great step maybe .. but it’s a step .. just a step.
We’ve been howling for her attention since last December and she gave us some. Right?
Anyway.. Looking forward to listening. Thank you Taylor.
I just waded into page six and the funniest thing related to TS there is that one small article abt KK debuting something related to Elizabeth Taylor and it is pushed so far down, drowning in all things TS. I took great pleasure in scrolling over it. 😆
Here’s the thing about albums. Not every one is going to be as successful as others (though this one will clearly sell just based on the fanbase) nor is every album going to be the peak of critical acclaim.
The thing about the toxic Swifties is that if you say any of her work is less than genius they will go after you. So you’d be hard pressed to find a critic who says with conviction “compared to her other albums this one is utter crap.” (Not saying this one is. I’m not a fan, I didn’t listen to it, just saying.)
I am a Metallica fan. St Anger was their worst album. There will ALWAYS be an album of any artist that is the “worst” or “least liked.” That’s okay.
I’m an even bigger fan of Shinedown. I love all their albums. If I had to rate them, Amaryllis would be the last ranked as their weakest. doesn’t mean I don’t love the band and their music.
I’m getting unintentionally long winded but I hope someone gets my point lol.
Why these female singers have to be dressed like “show girls” or more accurately, “strippers” is my question.
I got to listen to a few songs on her new album and some songs are catchy and pretty good, some are a little cringe. Have to agree though TS new album seems to be more like Sabrina’s S&S or Man’s Best Friend themes, but Sabrina’s a bit better with this type of music(I also love Sabrina and my favorite is still EICS- which should have had as much recognition, but S&S was really a breakthrough for her worldwide ). Like I said earlier there’s lots of very talented female artists, Gen Z has come out with a lot of excellent female talent(I actually love all of them, they are so good). The big 3 were at Lolla in Chicago and the European festivals this past summer inc at Glastonbury (was able to stream some of the festivals inc lolla in Chicago and Berlin). They drew huge crowds, I mean huge crowds. Olivia had a lot of praise at both Glastonbury and Lolla(in Chicago she broke crowd records being the headliner). They already have this much worldwide attention and a huge audience and they’re just in their early 20s. Sabrina is headlining Coachella next year and tickets sold out fast for both weekends. Sabrina’s album last year also broke all kinds of records in the UK. Is TS new album in response to all the new female artists success worldwide – maybe as she likes to stay on top.