Swift sets the tone for The Life of a Showgirl immediately with “The Fate of Ophelia.” The song, which is the album’s lead single, is largely narrative-based, a calling card for the 35-year-old singer. It’s a groovy-set recounting of the song’s protagonist, Hamlet’s Ophelia. It’s mellow but catchy, leaning more Midnights or The Tortured Poets Department rather than her more classic pop albums, contrary to what some fans were expecting given her reunion with hitmakers Max Martin and Shellback.

“Oftentimes it doesn’t feel so glamorous to be me,” Swift belts out only 20 seconds into the album’s second track. It’s a bold statement and perhaps the thesis behind this album. “Elizabeth Taylor” continues the singer’s tradition of describing what she’s feeling about her own relationship with fame through famous women of the past – see Tortured Poet’s finale “Clara Bow.” “Elizabeth Taylor” is a highlight of the album and will certainly go down in Swift canon as a quintessential track.

A throwback to the dreaminess of Midnights, the album’s third track, “Opalite,” hooks you in from the first second. While the first two tracks were more mellow, track three seems to pick things up a bit. “Life is a song it ends when it ends,” stands out as a line listeners will likely find themselves repeating to themselves, intentional or not.

Well, there’s a first time for everything, and “Father Figure” certainly introduces a new word into the Swift canon: “I can make deals with the devil because my dick’s bigger.” The song, which features an interpolation of George Michael’s 1987 hit of the same name, seemingly imagines Swift as the father figure of her own mafia – “We protect the family” and “You’ll be sleeping with the fishes” serve as two examples. The song sits at the same table as her Lover-era song “The Man.” It’s also insanely catchy and a little bit unhinged, which just might be the perfect pairing for this era.

Any Swift fan knows that it’s time to break out the tissues for track five. But “Eldest Daughter” takes a different approach to the introspective nature that typically embodies the coveted spot on her albums. Unlike the heartbreaking “So Long, London” and nostalgic “You’re on Your Own, Kid,” “Eldest Daughter” finds Swift putting down the warrior exterior she’s (frankly been forced) to put on over the years. “I’m not a bad bitch and this isn’t savage” she sings on the song’s chorus. It’s hard to place this in the rankings of past track fives, but it shouldn’t be counted out.

What starts out as a classic high school-themed love song takes quite a turn into the tragic on the bridge. Name dropping her long-time best friend, Abigail, Swift’s song about the youthful indecision of “ruining the friendship” with a crush ends up being a warning to take a chance when it’s revealed the love interest has died. “With so much left to say / It was not convenient, no / But I whispered at the grave / ‘Should’ve kissed you anyway,’” Swift croons to end the bridge. Moral of the story, in the words of Swift: “My advice is always ruin the friendship / Better that than regret it for all time.”

A spiritual follow-up to Tortured Poets’ “thanK you aIMee,” Swift’s Showgirl-era diss track is the most deliciously unhinged track of the album. Much like “thanK you aIMee,” she stays away from the straight forward distain, instead dressing in gratitude and, in this case, romantic ramblings that the unnamed subject – although fans have already speculated who this one might be about – would spend so much time thinking about Swift.

“I heard you call me ‘Boring Barbie’ when the coke’s got you brave” just might be the most wild Swift song opener, but the bridge, of course, is where she shines. “It’s kind of making me wet,” just might be the most jaw-dropping Swift lyric ever.

For long-time Swift fans, “Wish List” might just be the most emotional track of the album, but not for the reason you’re thinking. In the wake of a public engagement, this romantic song – which Swift spends the chorus musing that the only she wants is her love – is extremely endearing. “I just want you (Baby) / Have a couple kids, got the whole block looking like you,” she sings on the chorus.

One of the grooviest tracks on the album, “Wood” is exceptionally fun and another declaration of love – but also very much lust. “He ah-matized me and openеd my eyes / Redwood tree, it ain’t hard to see / His lovе was the key that opened my thighs,” Swift coyly sings over and over again in the song. But perhaps the most giggle-worthy line: “Girls, I don’t need to catch the bouquet / To know a hard rock is on the way.”

Prepare for the slew of Instagram bio changes to “Something wicked this way comes” (this writer might be included in that group). “Cancelled!” is delightful and juicy, and it will go down in history as the first time Swift has used the phrase “girl boss” in a song. Swift’s no stranger to the critical eye placed on women in the entertainment industry – she wrote a whole album about it – and this song is the latest and greatest entry into that group.

“Good thing I like my friends cancelled” is guaranteed to be stuck in your head after just one listen. The pre-choruses of the song are the standouts, delivering some quintessential Swift lyricism: “Did you make a joke only a man could? / Were you just too smug for your own good? / Or bring a tiny violin to a knife fight? / Baby, that all ends tonight.”

“You could be my forever night stand, honey.” This adorable and sickening-in-love lyric is just one of many. “Honey” is the most honest and earnest proof that Swift is seemingly over the moon. It’s actually the type of song you’d expect a recently engaged person to release. It’s adorable, endearing and, pardon the cheesy pun, sweet as honey.

A true collaboration with pop star Sabrina Carpenter, the finale, the titular “The Life of a Showgirl,” is the perfect ending to this album. In some ways, it feels like Swift is closing a chapter with this song, which she very well might be. After the immense success of The Eras Tour, it was hard to imagine where Swift could possibly go next. But it seems like she’s ready to put that chapter of her life to bed. The album, which she wrote while touring, literally ends with a clip of Swift at The Eras Tour saying good night and closing the show, reflecting that she’s ready to step into a new chapter of her life and career.