Taylor Swift has undergone numerous transformations throughout her two-decade career, evolving from the guitar-strumming star of her 2006 debut to the introspective storyteller of albums like Folklore and Midnights. Her recent Eras tour solidified her status as a defining figure in contemporary entertainment, especially following her engagement to NFL star Travis Kelce. Now, after a brief break, Swift is introducing her twelfth album, The Life of a Showgirl, featuring a vibrant new persona.
Collaborating with renowned Swedish producers Max Martin and Shellback during her 2022 European tour, Swift describes this project as a celebration of her “joyful, wild, dramatic” life in the spotlight. The album offers a glimpse behind the scenes of her previous tour, with imagery highlighting her adorned looks—complete with jewels, tights, and elaborate headdresses—that reflect the glitz and glam of show business.
Drew Nobile, a music theory professor at the University of Oregon, notes that Swift’s ability to adopt different personas is a hallmark of her artistry. The choice to embody a showgirl resonates well, as it aligns with her acknowledging the duality of her celebrity—balancing the allure of fame with her genuine self. The album title itself suggests that beneath the sequins lies a real woman, showcasing the complexities of her public persona.
This artistic expression aligns Swift with a long tradition of female pop stars drawing from the showgirl culture. Legends like Shania Twain and Kylie Minogue have each incorporated elements of this tradition, reclaiming it to convey themes of empowerment and solidarity. The showgirl legacy, originating from 19th-century Parisian cabarets, speaks to societal progress and women’s increasing visibility in performance arts—a legacy that continues to evolve.
Alison J Carr, an author and scholar, emphasizes the significance of showgirls, noting they represent the “pleasures and anxieties” of their time, and are never merely about spectacle. Historically, showgirls were skilled performers, often classically trained dancers who handled demanding stages and intricate costumes. Swift’s commitment to excellence mirrors these skills, recalling her rigorous preparation for the Eras tour with daily rehearsals and extensive dance training.
Lou Anne Chessik, a former showgirl from the iconic Las Vegas revue Jubilee!, acknowledges that Swift embodies the spirit of a showgirl through her professionalism and artistic talent. Chessik founded the Showgirl Legacy Foundation to preserve the history and significance of showgirls and appreciates Swift’s homage to this art form.
While contemporary pop stars like Swift have significant financial backing, the historical perspective of showgirls often comes from a place of self-creation and resilience. Carr suggests that as Swift capitalizes on her immense success, she should consider giving back to the showgirl legacy, as many performers today face precarious circumstances in the entertainment industry.
Ultimately, Swift’s rise as the solo showgirl redefines the narrative, embodying not only the glamour but also the hard work, solidarity, and empowerment that characterizes the best of showgirl culture. Her success serves as a reminder that the power of performance lies not just in the spectacle, but in the connection forged between the performer and the audience, inspiring a new generation to embrace their own brand of excellence.