Sugden

143 having a friend now

1.5/5 https://www.slantmagazine.com/music/taylor-swift-the-life-of-a-showgirl-the-encore-album-review/

Her first red score coming

Fiona and its not even close

Once upon a time, in a timeline far, far away, there was a verbose country upstart from Pennsylvania who dreamed of becoming so big that no one could touch her. When Taylor Swift released "Mean" in 2010, she could still plausibly position herself as the David to the media's Goliath, a hearty little engine that could—and would—make it all the way to the top. Yet now, bigger than ever, Swift has never sounded more bogged down in criticism and less assured in her strengths. Nowhere is this as apparent as on "Cleveland!," the nadir of The Life of a Showgirl: The Encore: the latest new variant of the best-selling first-week debut in modern music history. Buried within production situated somewhere between Dear Evan Hansen and a Kohl's holiday playlist is an idea aligned with Swift's greatest work: Love turns the average into the extraordinary. A trip to her hubby's "home" (helpfully contextualized in "Babylon" as "where you're from") in the canonically normal Ohio city might as well be a private tour of Versailles. But Swift is too mighty now to get swept off her feet. "Cleveland!" remains firmly committed to the defensive snarl of Showgirl songs "Actually Romantic" and "CANCELLED!," transforming what might have been a sweet love song into an exercise in self-flagellating spite. While Travis is ostensibly trying to show her where he grew up, her song's narrator is furiously name-searching on Twitter, collecting a laundry list of digs against herself: can't dance, "dressed like trash," "only a four," fake, annoying. She stops short of calling herself "a *****," but not a "*****." None of that's supposed to matter, of course, because she's found the love of her life, which Swift defines in a shell of a spoken-word bridge as the "one person in this entire world who doesn't find you completely insufferable." She wants us to know she wants for nothing. But it's tough to see the bar this low. PitchforkTaylor Swift: “Cleveland!”Read Hattie Lindert’s review of the track.

These four songs sound like four Taylor Swift songs. But a Taylor Swift song can mean anything at this point: no distinct identity, the name alone acting as the connective tissue. Swift is slowly folding in on herself like the people stuck in Backrooms. She's become a predictable, bordering-on-bland caricature, falling further behind a pop zeitgeist that's growing more niche as it whizzes past her. Four more songs only make that disconnect harder to ignore, and the encore sounds a lot like the show we just sat through. https://consequence.net/2026/09/taylor-swift-the-life-of-a-showgirl-the-encore-review/ 58/100

These lashings

I mean it was pretty obvious

The way the 2 40 are the only ones that count for metacritic Her first red album coming

I think her problem is that she writes these lyrics and then tries to fit them in instrumentals that dont fit them at all. She should think of the music more not just the lyrics. Patient Zero is a great example of this, half of the time it sounds like she trying to fit the words into the song.

You know it is

Not sure how she managed to make songs worse than the ones in the standart version but she did

Another album my god...

Why no one is even reviewing this