Not everyone wants The Life of a Showgirl.
The Conservateur, an online publication dubbed as “Vogue, but for Trumpers,” delivered a scathing review of Taylor Swift’s new album, TLOAS, to its thousands of trad-curious followers on Wednesday.
The MAGA-magazine slammed Swift’s 12th studio album, released Friday, for its “vulgarity” and “indecent” songs.
“Eight of the twelve tracks are explicit—not just in language, but in posture,” wrote Isabelle Redfield, a former White House intern and Conservateur cofounder.
“Gone is the wry diarist of the high school cafeteria; in her place is a woman insisting on her own vulgarity, as if daring us to look away.”
Launched in 2020, the right-wing outlet was dreamt up by a group of Gen Z women with backgrounds at Fox News and the Trump campaign, with the idea being that conservative women lacked representation in so-called “woke” media.
The Conservateur has since built a following of nearly 300,000 on Instagram alone, counting MAGA’s youngest girl boss, White House Press Secretary Karoline Leavitt, among its ranks.
Content ranges from commentary in defense of Sydney Sweeney’s controversial American Eagle ad to profiles on late conservative activist Charlie Kirk. There’s also a robust lifestyle collection with articles including “Charleston, South Carolina: Where Faith and Civil Society Flourish” and “What I Learned Binge-Watching The Apprentice.”
The outlet reportedly brought in 1.7 million page views last year. Cofounder Jayme Franklin told Axios that their Instagram account gained 40,000 followers in the three days following Trump’s election.
Describing themselves as “style aficionados and conservative politicos,” the editorial board says they set out to ignite “a countercultural revival among women” during a time when young people are increasingly skewing right.
Over the years, Swift has found herself at odds with that very revival. Republicans have attacked the musician for endorsing Democratic candidates, with President Donald Trump writing “I HATE TAYLOR SWIFT!” on Truth Social last September after the superstar endorsed Kamala Harris in the 2024 election.
But when Swift announced her engagement to NFL star Travis Kelce in August, the right-wing struck a very different note—celebrating the announcement as a “blow to the woke movement,” promoting natalism, and spinning theories that Swift was secretly leading a right-wing lifestyle, despite her long history of being an outspoken liberal.
Although, it appears The Conservateur isn’t buying into such theories. While Swift did make several references to marriage in her latest album, Redfield argues “these milestones mean nothing if they don’t come with maturity and its fruits: poise, grace, forgiveness, and self-assuredness.”
“Fear not, feminists, The Life of a Showgirl has none of that,” she quipped.
Redfield went on to mourn the “innocent girl” with a “small-town” sound that Swift, 35, conveyed in her earlier years—nearly two decades ago.
“We can pretend Swift’s latest work represents ‘artistic growth.’ But we should also be honest: what our girls listen to matters—what we listen to matters,” Redfield wrote.
She added: “The words they memorize, the women they emulate, and the cultural ideas they internalize will shape them for years to come. And somewhere along the way, Taylor Swift stopped being an artist we could trust with our daughters, mentees, and even ourselves.”
Redfield might not trust Swift, but it’s clear her opinion isn’t exactly the consensus. On Wednesday, Swift broke the record for the biggest first-week numbers ever recorded for an album, ousting Adele’s 2015 release 25, Variety reported.
The Daily Beast has reached out to Swift’s team for comment.
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