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To announce her latest album, “The Life of a Showgirl,” the showstopper herself, Taylor Swift, crashed her three-time Super Bowl champion boyfriend Travis Kelce's podcast on Wednesday, August 13th.
The feature-length, conversational feast between pop culture’s favorite power couple and the Kansas City Chiefs tight end’s brother and co-host, former Philadelphia Eagles center Jason Kelce, subsequently broke the Internet.
Initial reports determined 1.3 million viewers were watching "New Heights" live via YouTube as the interview aired from 7 p.m. onward. By Thursday afternoon, it surpassed the most views the No. 1 sports podcast has accrued for a single interview, with over 10 million tuning in compared to the 8 million that streamed the 2023 episode featuring Jason’s wife, Kylie, as a special guest.
Swift recapped how Travis’ shameless public declaration of romantic interest in her two years prior piqued her curiosity. As the floodgates opened with multiple mutuals of theirs going to bat for Travis’ high character in addition to his colorful persona, Swift saw in her famous admirer a safe and similar soul.
Throughout her appearance, she characterized Travis as someone "straight out of a 1980s’ John Hughes movie"—who also happens to know exactly what it means to be a world-class entertainer ever engulfed by the physical demands and mental grind of the endless spotlight.
Moreover, Swift also confirmed she didn’t know squat about sports, especially football, before Cupid’s arrow went ahead and sent her screaming back to Arrowhead Stadium for performances that weren’t her own.
A gushing Travis repeatedly indicated that he was “the luckiest man in the world” as he and Jason attentively listened to Swift emotionally translate her master recording reclamation saga.
When Swift wasn’t smitten about catching Kelce, planting easter eggs, baking sourdough and raising kittens, she would reflect with great ease and exhale, the once-tortured poet now ready to pump out focused, streamlined dance-pop hits like its 1989.
For “The Life of a Showgirl,” Swift plugs a title track collaboration with Sabrina Carpenter. She also reunites with “Red” and “1989” producers Max Martin and Shellback, signaling an expected departure from the Jack Antonoff sound synonymous with her last few “eras.”
Still, she did stipulate the new record—the photographic artwork for which was spicily shot by the same crew used for “Reputation”—would flaunt storytelling comparable to 2020’s Grammy Award-winning “Folklore.”
Swifties the world over are more than ready for it. Who better to find something to rhyme with orange than its newest champion stepping through the other end of that not-so-coincidentally colored door after all come October 3rd?