How The Life of a Showgirl: The Encore Is Over-Hated

Written by Louise Geri

Even as a die-hard Swiftie of fourteen years, I can admit when Taylor Swift misses. Granted, that didn’t happen until The Life of a Showgirl dropped last year, but I felt insane telling people Taylor Swift had released a new album I didn’t love.

I wasn’t expecting much when the deluxe edition of the album, cleverly dubbed “The Encore,” was announced on Wednesday. The four new songs don’t align splendidly with the standard album's sound, but otherwise, The Encore is pretty good.

I enjoy “Patient Zero.” Beautiful pop sound, good concept. Swift talks to the latest ex of someone who had played her. The lyricism is great – “He’s bathing in your reflected light on a free solo social climb.” My only note is that the chorus opening line, while a good lyric, is wordy: “If you wanna party with somebody who might know about the devil on his shoulder under his halo…”

But generally, people’s reasons for disliking the song are silly. Apparently, it’s too millennial cringe to say, “Let’s get into it!” and then deliver a harsh read of someone, as Swift does in the bridge. I don’t think it’s that deep.

I think the more controversial “Cleveland!” is also generally a good song.  I’ll grant those who dislike it a few things. The instrumental sounds a little like music that would be in Super Mario Bros., which I’m not a fan of. Also, “My baby likes what he likes,” has a similar effect as Stella Lefty’s viral lyric from hit song “Boston,” “I like it when you’re nice to me.” They’re both kind of empty, obvious statements. Then Swift tops it off with an extremely corny speaking part in the bridge, “You only need to find one person in this entire world who doesn’t find you completely insufferable, and I have an important announcement to make: I found mine!” Nonetheless, the song is a banger if you don’t take it seriously. Like yes, “This is the love of my life!”

A more generic pop song perhaps, but I really like “Pink Clouding.” Swift recalls the bad relationship she had with someone who met her “at a cursed time” after a toxic ex turned her into a temporary player. The song feels more like her earlier albums, opening with choral vocals reminding me of the orchestral intro to “Miss Americana & the Heartbreak Prince” (2019). And ugh, the transition from the chorus line, “Years later, I still wonder how to tell you sorry,” to the ad-lib at the end, “I hope you’re so happy now.” Stunning.

As is “Babylon.” It’s an interesting song I interpret as an analysis of what it means to choose your career over your family. Swift discussed this previously in “Midnight Rain” (2022), but this time, it seems to be from a man’s perspective. She stuns me with her imagery-filled metaphors. The song is banger after lyrical banger. “Though the box is wrapped up nice, it’s just a cage to you,” wow. “Twenty watches in the safe, cause your time is money/love is ice upon the ladder that you have to climb,” double whammy. “The self-harm of never being where you are,” wowowow.

I may disagree with many popular opinions online surrounding this deluxe edition, but I think many can agree Swift could use a break. These four songs are an upgrade from the standard Life of a Showgirl album, but they don’t show much development in terms of general sound. Swift is still creating good music, but being on the long-term post-Eras Tour high, perhaps it’s time for her to take some time off and come back even stronger.