Taylor Swift – Opalite

Written On Days Off Between Stadium Shows, It Peaked At Number Two

Taylor Swift released “Opalite” as the second single from her twelfth studio album The Life of a Showgirl on January 12, 2026, to French radio stations. The song had already been released as part of the album on October 3, 2025, and by the time of its official single release, it had climbed to number two on the Billboard Hot 100—where it remains, blocked from the top spot by “The Fate of Ophelia,” the album’s lead single. In the Philippines, however, “Opalite” hit number one, inspiring a viral dance trend that swept TikTok, YouTube, and Instagram. The song topped charts in multiple territories and broke records on February 6, 2026, becoming the most-viewed music video in 24 hours on both Spotify and Apple Music. What nobody expected was that Swift had written and recorded the entire album between stadium shows while conducting the highest-grossing tour in history.

The single reached the top ten in the UK, Germany, Australia, Switzerland, Norway, the Netherlands, and Singapore, while cracking the top twenty in Belgium, Spain, France, and Brazil. It peaked at number four on the Billboard Pop Airplay chart. The album The Life of a Showgirl became Swift’s twelfth consecutive number-one album and her most concise pop record since 1989—just twelve tracks with no deluxe edition or vault songs, a deliberate decision to keep what Swift called “the bar really high.” Critics praised the song’s breezy, infectious chorus. USA Today’s Bryan West described the melody as “as addictive as a narcotic,” while Variety’s Chris Willman called the refrain “a sheer pheromone rush.”

Swift wrote the song inspired by her relationship with NFL player Travis Kelce, whose birthstone is opal. But the title refers to opalite—an artificial, man-made version of the gemstone. As Swift explained on The Tonight Show with Jimmy Fallon, “Just like they can do man-made diamonds, they can do man-made opal. It was interesting imagery and a cool metaphor for: Life isn’t always going to give you what you want, you’re not always going to get your way, you’re going to get your heart broken, things are going to fall apart.” The lyrics use gemstone metaphors to contrast painful past experiences as dark “onyx” nights with current happiness as a bright, opalescent sky. Swift described it as a song about forgiving yourself for past relationships that didn’t work out and giving yourself permission to not have everything figured out. Kelce later called it his favorite song on the album during his New Heights podcast.

The album was recorded in mid-2024 at MXM Studios and Shellback Studios in Stockholm, Sweden, during the European leg of The Eras Tour. Swift would perform three consecutive stadium shows, then use her three days off to fly to Sweden and record. “I was physically exhausted but so mentally stimulated and so excited to be creating,” she told the Kelce brothers. Swift reunited with producers Max Martin and Shellback—the Swedish duo behind her biggest hits including “Shake It Off,” “Blank Space,” and “Style”—after an eight-year gap. The three worked alone with no other collaborators, which Swift said felt like “catching lightning in a bottle.” The song opens with a looping acoustic guitar jangle before exploding into a disco-styled chorus with bouncy basslines, layered harmonies, and vintage swing beats. Critics noted ABBA and Ronettes influences, with the production deliberately evoking a retro, 1970s European pop aesthetic.

The Life of a Showgirl marked Swift’s return to pure pop after the indie-folk experiments of folklore and evermore and the confessional darkness of The Tortured Poets Department. Released on October 3, 2025, through Republic Records, the album captured what Swift called “the most infectiously joyful, wild, dramatic place I was in in my life.” It featured guest vocals from Sabrina Carpenter on the title track and incorporated string orchestrations performed by Swedish musicians. The album’s creation had been a long-term goal—Swift wanted to be “as proud of an album as I am of the Eras Tour.” The result was her most provocative and glamorous visual aesthetic yet, with a flamboyant showgirl-inspired art direction shot at the Los Angeles Theatre in Downtown Los Angeles.

The music video premiered exclusively on Spotify and Apple Music on February 6, 2026, before hitting YouTube two days later—a strategic move following YouTube’s withdrawal from Billboard’s chart methodology. Swift recruited an all-star cast including Irish actor Paul Mescal (who joked about wanting to be in a Swift video on The Graham Norton Show), Eddie Murphy, Spike Lee, and Jodie Turner-Smith. Set in the 1990s, the video features Swift as a lonely woman attached to her Pet Rock, making friendship bracelets and performing karaoke with the unresponsive stone before discovering the transformative “Opalite” spray. The video was filled with Easter eggs referencing other album tracks and featured scenes filmed at the Whitgift Centre shopping complex in Croydon, UK.

For a song written between stadium shows during the biggest tour in music history, “Opalite” achieved something Swift has mastered throughout her career—turning personal vulnerability into universal pop perfection. The song that Travis Kelce called his favorite became a global phenomenon, inspiring dance trends, breaking streaming records, and proving that even at the height of her powers, Swift could still find new ways to make the whole place shimmer. As she sang in the bridge: “This is just a storm inside a teacup / But shelter here with me, my love.” Sometimes the most powerful moments come not from grand declarations, but from choosing to create your own sunshine when life doesn’t give you what you want. In Swift’s hands, artificial can be just as beautiful as the real thing.