It Really Has Been a Long Time Coming… 

It's really not often that a concert leaves me without words or a useful thought for over a week. Regular gig-goers will be able to relate to the feeling of “post-gig depression”. That feeling after a concert you’ve been waiting for, for so long finally being over; the band leaving the stage and the house lights coming back on. That is a feeling not foreign to me. But to be speechless and with nothing going on in my brain except the genius lyrics and graphics of the concert I just witnessed? That’s rare. 

The crazy vortex of Taylor Swift that has encased the world for the last 18 months has been virtually impossible to escape. Whether you’re a lover, critic or even a hater; it was impossible to go about your day without feeling the hype of the Eras Tour. Announced in 2022 after the release of Taylor’s 10th studio album, 4th self-owned album and Grammy winning, ‘Midnights’, I don’t think anyone back then would have thought the tour to follow would gross over 1 billion dollars, have over 150 shows and perform to over 9.9 million fans. With a stage bigger than an A380 Commercial Jet and a show going for over 3 hours; the Eras tour became THE show to see and Melbourne was the luckiest; hosting Taylor’s biggest show of her entire career at the MCG, performing to 96,000 people. 

Approaching the MCG on February 16, no one needed a map to find their way. The sea of glitter, sequins, red lipstick and cowboy boots lead the way. It was clear that this concert meant the world to every single person who went, and the effort put into costumes was unlike anything I had ever seen before. From replicating the costumes Taylor wore on stage, Kansas City Chiefs jerseys, fans dressing as Taylor’s film characters from 2010 film ‘Valentine’s Day’ and even a fan dressing as the black chair Taylor dances on during the song ‘Vigilante Shit’. Further, the effort put into the friendship bracelets fans handed out and traded with each other inside and outside the stadiums. Even at the train stations and on the public transport. Each bracelet hand-beaded with song titles, lyrics and unhinged references in honour of Taylor’s song ‘You’re On Your Own, Kid’ in which she, quite literally, sings the line “so, make the friendship bracelets”, referring to taking every moment in life and living it your way. Swifties know how to take something to the next level. 

The irony leading up to Taylor taking the stage was absolutely not lost on die hard fans. Silence fell as a clock appeared on the screens, counting down from 2 minutes to the sound of Lesley Gore’s classic ‘You Don’t Own Me’. Then, a slow, eerie echo track began playing. Featuring all of the album titles sang and spliced with the words “it’s been a long time coming”. From under 4 gigantic silk fans, Taylor finally appeared and the sound of the crowd crying, screaming, cheering and fully forgetting to breathe could’ve been heard from the other side of Melbourne. 

Taylor opened the show, appearing in the centre of the stage in a pink, sparkly, handmade, Versace bodysuit with the first of her ‘Self-Owned’ albums: ‘Lover’. Let me tell you; the crowd was ready. Leading up to the first bridge of the show, everyone took a deep breath, then with every single cell in their body; they screamed “I’m drunk in the back of the car….!!”. The Lover era was colourful, sparkly and the perfect way to start such a show. An era filled with such positivity and light featuring feminist anthems such as “The Man”, “You Need To Calm Down” and “The Archer”. No one was ready for the level of hype that was pouring through the crowd and after just 6 songs; the era was over. 

Due to it still being daylight in Melbourne and the sun still shining on the MCG, it was hard to grasp the detail in the lighting but that was made up for with the incredible graphics on the screens and stage and though it was still light, nothing was lost during the Fearless era. Taylor Swift's first hit album welcomed her to the stage with golden sparks pouring from the top of the stage, both real and projected. This moment felt like it was designed specifically for the millennials who had been there from the start. Simple but effective, Taylor belted out classics; Fearless, You Belong with Me and finishing with universal favourite Love Story. Even people in the crowds who felt they were dragged along; the dads, partners and best friends were able to absolutely belt out those lyrics and sing their hearts out, but it felt like this era ended as fast as it started. 

As Taylor left the stage once again, the crowd was left to catch their breath. Meanwhile, pine trees seemed to magically grow from the stage and the illusion of an autumn chill floated through the stadium. We were entering the Evermore era. The second of Taylor’s ‘pandemic’ albums filled with golden orange vibes and the sound of crunching leaves. Taylor entered the stage again in a stunning cottage-core yellow corseted dress designed by Etro. She floated around the stage singing 5 of her Evermore songs completed with the brilliance of her dancers complimenting her lyrics. Finally, the graphics and lighting were becoming clearer. The opening of ‘Willow’ has an obvious ‘witchy’ vibe but Taylor took it to the next level, bringing dancers in velvet, emerald, green hoods and golden orbs out. As the orbs moved around the stage, the light was reflected in the stage graphics, highlighting the detail in the choreography and cues followed by the dancers and the designers. Did we feel like we had just joined a cult? Absolutely. Was it everything we dreamed of? Absolutely. 

Evermore is an album unlike any of Taylor’s other albums and after singing ‘Marjorie’, (The most beautiful dedication to her grandmother, which even includes a sample of her grandmothers voice. For those playing at home). Taylor moved to a beautiful moss covered piano hidden under a large Willow tree like shelter. She sat at the piano and serenaded the audience with a harrowing rendition of ‘Champagne Problems’, followed by 96,000 people cheering and clapping for around 3 minutes. I feel like this is when it really hits everyone. This is the biggest show Taylor Swift has played in her entire life and she is playing the music she wrote and the music she now owns. Reduced to tears, Taylor sat silently at her piano, taking out her earpiece and quietly taking in the love of her fans. “Taking a mental photograph” as she calls it. If Taylor hadn’t started talking over the cheering after a solid 3 and a half minutes; I have no doubt the choir of 96,000 fans would’ve just continued screaming all night; and fair enough too. 

The atmosphere in the stadium completely shifted after the piano heavy, sombre lyrics of the ‘Evermore’ era ended and Taylor left the stage. Fans didn’t even have time to wipe their tears and take a breath before a giant snake flashed on the screens and began to hiss. The heavy bass and scratching track of ‘Ready for It…’ woke the stadium. No one can listen to the Reputation album without feeling like a ‘Boss. Ass. Bitch’. By now, the sun was down and the lights flashing to the sound of the bass made you feel more things than one. It was abundantly clear that this era was a true favourite of the crowd as they absolutely sang their hearts out. Props to the MCG and audio team; even with 96,000 people inside the stadium and 30-40,000 people outside screaming the words at the top of their lungs, there was not one moment in the entire show that Taylor’s voice was overpowered by the fans. Even though only 4 songs of the Reputation album were played; I felt like after those 20 minutes, I had been to church. The Rep era is one that even Taylor describes as “whatever that was…” but in 2023/2024, has become the angry but loving soundtrack to our lives. Hearts were beating fast, sweat was pouring, everyone was out of their seats and over 96,000 people were entirely ready to scream “Why? CAUSE SHE’S DEAD!”.

The whiplash of the shift from the heavier Reputation era to the fairytale-like Speak Now era hit like a brick wall. The battery powered light up wristbands given out before the show went from red and white to a deep, soft purple and Taylor appeared in an absolutely huge, purple, stunning gown that can only be described as the dream dress for any 4-year-old dreaming to be a Disney Princess. The stadium felt like it went from anger and snake symbolism to absolute glitter, sparkles and wonder. The Speak Now era, though short, felt magical. Only 2 songs from Speak Now were played, however, the simple stage set up was absolutely perfect. Taylor took to the stage completely alone, without dancers or singers, butshe didn’t need them, her presence was everything and more. After singing fan favourite, Enchanted, Taylor’s band including lifelong band members such as Paul Sidoti, joined her and the stage rose to bring all members of the band to the same level, a symbol so simple, yet so meaningful. She sang the lyrics “I’ve had the time of my life, with you” in a love song written to her bandmates and fans, thanking them. Once again, tears flowed. Once the pick strummed the last few cords, Taylor held up her blue koi fish guitar and began walking back to the stage entrance, turning to look over her shoulder; clearly mirroring the cover of Speak Now. 

To be clear, I 100% don’t believe Taylor has any bad albums; but one that didn’t hit me in the heart nearly as much as Taylor’s fourth album; Red. It was a very different sound from the other albums she’d previously released, and it didn’t tingle the bones. However, the Red era during the Eras tour was honestly one of the most fun. Red is the album that you can absolutely scream with your entire heart. Amazing break-up songs that are just ready to get the blood pumping. Opening with ‘22’, the Red Era genuinely takes you back to being a late teenager, singing in your bedroom. The absolute joy that radiated around the stadium was unmatched by any other Era. Skipping down the long catwalk-like stage, covered in sequins and surrounded by dancers drowning in ‘fire truck’ red outfits, Taylor finally makes the end of the stage and knelt down. A little girl, maybe nine-years-old and absolutely bawling her eyes out while singing, stands face to face with her idol. She gives Taylor the biggest hug as Taylor says, “I love you, thank you so much for coming” and gives her the Gladys Tamez designed black bowler hat, given to one deserving fan every show. This darling girl looked like she couldn’t believe what was happening and sweetly gave Taylor a friendship bracelet she had handmade, which Taylor wore for the remainder of the show. Next song ‘We are Never Getting Back Together’, which, in my opinion, is the best breakup song (besides Since You’ve Been Gone by Kelly Clarkson’). As Taylor reaches the bridge and proceeds to say the absolutely iconic line “so he calls me and he’s like ‘I still love you’ and I’m like we are never getting back together…” and fan favourite, dancer Kameron Saunders absolutely screams, in the best Australian accent “YEAH NAH”. A line he changes for every show.

Closing the Red set, Taylor, absolutely dripping in red and black sequins, asks if the crowd has “about 10 minutes”. A song that is one of Taylor’s most heart wrenching and relatable, ‘All Too Well’, originally released as a 3-minute song then re-released on Taylor’s Version with extra verses to make it 10 minutes long. Only recently released, yet the crowd couldn’t have gotten a single word wrong. 

As we once again reached the end of another Era; by now the crowd took every break to rest. Sitting on their chairs and sculling any water or drinks nearby. We were wrecked. Shoes were kicked off and slid under chairs, but we only had around 90 seconds before it kicked off yet again. 

Taylor Swift has openly said how incredibly proud of ‘Folklore’ she is. An album much unlike her priors and written during the Covid-19 pandemic. Folklore was the first of Taylor’s albums to take a complete shift from country music and pop to folk/indie. Secondly, Folklore completely differs from Taylor’s remaining catalogue as it doesn’t centre around her life at all. After performing ‘The 1’ on a moss-covered rooftop of a tiny cabin frame in a green floaty, dream-like dress; Taylor speaks about Folklore and the image she had of it in her head. She stated that she wanted to create characters and challenge herself to write from a completely different perspective. Presenting; ‘the teenage love triangle’. Sitting on the steps of her ‘folklore cabin’, then floating around the stage in some kind of angelic state, Taylor sings ‘Betty’, ‘August’ and ‘Cardigan’, three songs about the same story, from the perspective of three different teenagers. This particular Era highlighted the absolute genius of Taylor’s lyric writing and storytelling. Taylor tells the story of the ‘Last Great American Dynasty’, played out by her dances in stunning colonial ballgowns and telling the story of a divorced woman who gets married to a rich man, then blamed for his death and treated as the ‘mad’ widow by the townsfolk; a narrative women know all too well. Taylor also destroys the heart as she falls to the floor to scream the lyrics to ‘Illicit Affairs’, followed by the painful rendition of ‘My Tears Ricochet’. I feel like Folklore was written for the older Swifties. The Swifties who have lived a life and are able to look at it in retrospect and reflect on themselves and the hurt they may have experienced. As an album, it is flawless. As an Era, it is flawless. As poetry, it is flawless. 

Everyone in the stadium is starting to feel the same thing at this point; “we are almost finished”, and that thought is terrifying. After so many months of anticipation, we are only in this stadium for one more hour. Taylor quickly makes that thought slip everyone’s mind though when she comes out with her absolute, most nostalgic Era of all; 1989. The stage covered in neon lighting, Taylor appears in an amazing tangerine orange two-piece Roberto Callavari set with matching (of course) Louboutin boots; dripping in sequins and coloured beading. 1989 came out when no one expected; the media hated Taylor Swift and would do almost anything to turn anyone against her. So; Taylor released her most popular (so far) album. The synth pop beats of 1989 along with the killer lyrics of ‘Style’, ‘Blank Space’ and the absolutely ICONIC ‘Shake It Off’ made the 1989 Era so incredibly fun. I don’t remember even watching the stage because I was so busy dancing. I don’t think I even know a person in my life that doesn’t boogie even a little bit to ‘Shake It Off’ and the entire 1989 era shares that vibe of feeling completely comfortable being yourself and being so incredibly unapologetic about it that all the hate in the world around you just melts away. The 1989 era was so perfectly tied together with neon strip lighting, dancers riding the stage in light up bicycles and even smashing up a projected car on the screen with golf clubs thanks to perfectly timed choreography and graphic design. There was nothing about this entire show that felt boring or drab. Every element felt completely magical and futuristic. 

Before the huge finale of the latest era ‘Midnights’, Taylor brings the crowd together to sing two secret songs that could be any song from her 18-year career that aren’t already in the setlist. She takes a moment to talk about her music and what it means to her, further thanking the fans, new or old, for giving her the space, opportunity and support to explore different ways to write and make music. On Friday, Taylor teased a new song on her album to be released later this year, ‘The Tortured Poets Department’. ‘The Bolter’. And as she looked at her piano, her emotion went from excitement to somber and honest, as she verbalised how much she “needed to write this album” and described her songwriting as a “lifeline”. A way to cope with her life. And though for Taylor, writing her songs is a lifeline; for the 96,000 people inside the stadium and the 20,000+ people outside the stadium, listening to Taylor’s music is their lifeline. Taylor charmed the crowd with 2012 hit ‘Red’, the title track from said album on a beautifully crafted acoustic guitar but then moved to an old piano, handpainted with whimsical anemone flowers. Which are said to symbolise a forgotten love, but excitement for the future. Oh, the symbolism. On the piano, for the first time ever, Taylor played her absolutely heart destroying newest release, ‘You’re Losing Me’. There was not one dry eye in the house and personally, hearing this song live; it kind of changed me.

That’s the thing about Taylor Swift’s lyrics. The clearest thing to see at the Eras Tour was the amount each word means to the people listening. Many tattoos were seen around the stadium including lyrics from every album and symbols pointing towards song titles and references. For someone who has lyrics permanently marked on their skin; the emotion that must come from those lyrics and the meaning that resonates with that person, choosing to wear them for the rest of their existence, must be beyond what most people believe. During select songs throughout the show, women of all ages were even brought to physical tears listening to the gut wrenching emotion displayed through Taylor’s lyrics and melodies; one woman even having to sit during a song because the raw emotion felt was too much. For music to have an effect over hundreds of thousands, if not millions, of people, to that extent is something we usually associate with “classic” artists like Leonard Cohen and Elton John. But for a 34 year old woman, living alone, with her cats, to deliver absolute poetry and art set to catchy tunes that get stuck in your head and change your life; this is 100% clearing a path for women to absolutely triumph within the international music industry. 

By 10pm, the whole crowd had been standing for two and a half hours. The cowboy boots were certainly kicked off and the red lipstick was fading. But we weren’t done. Not by a long shot. Taylor’s newest released, grammy award winning album, ‘Midnights’ was our final era. Kicking off with ‘Lavender Haze’, we were introduced to this era with giant purple clouds rolled in by the dancers. And I’m not going to lie, these purple clouds did look like a primary school paper mache art project. But hey, they had to run out of budget at some point. The clouds were easily forgettable by the modern beats introduced during ‘Lavender Haze’. Effortlessly, Taylor flowed into her next song. The anthem of 2022, ‘Anti-Hero’. Accompanied by a hilarious but profound graphic of her, stomping through a city like a Godzilla-esque monster. Followed by ‘Midnight-Rain’ which included a magical costume change from an oversized deep purple Oscar De Larenta sequin shirt to a stunning navy blue, gem encrusted, corset bodysuit. Then it was time for the moment I had been waiting for. The moment that would make any straight woman question her sexual identity. ‘Vigilate Shit’ is the ultimate revenge song and gives anyone who listens a sense of strength and sexiness similar to that of ‘Chicago’s classic ‘Cell Block Tango’. Oof. The choreography and stage set up for ‘Vigilante Shit’ made me feel… um… things. I didn’t think I would be able to recover. The hot flashes were too much. But we returned to the fun playfulness of the Midnights era with further performances including ‘Bejewelled’ and ‘Mastermind’.

Then, just like that, we were at the last song of the night. In absolutely gorgeous, fringed jackets, Taylor and her dancers, wearing all colours of the rainbow, belted out ‘Karma’. One of the strangest, but most fun songs on the ‘Midnights’ record and an iconic song to end one of the most incredible nights I’ve ever experienced. I absolutely cannot put myself into Taylor’s shoes and imagine singing to a crowd of 96,000 people for a second. But towards the very end of the final set, it was clear that Taylor couldn’t believe what was happening either. Taking a final moment to soak in the cheers and smiles of every single person in that stadium, before exiting for the final time with confetti falling to the floor in 10 colours. 10 colours to represent every one of her 10 albums. 

Glitter was on the floor, girls carrying their shoes out to the lobby and it came time to soak in the atmosphere one last time. 

In a world that can be scary and feel like it is ‘too much’ for a lot of people; the Eras tour genuinely felt like an escape. It felt like the world absolutely melted away and for just over 3 hours, you were alone, with 96,000 people, singing at the top of your lungs. In this day and age, I feel that is needed. With the Australian Eras tour now over and Taylor headed to Singapore, all the local swifties are slowly returning to reality with the memories of one of the most special nights in their hearts and the glitter in their hair slowly washing out. 

Never in my life have I felt safer in a crowd. Never in my life have I felt safer as a woman and never in my life have I felt before like I could be 100% unapologetically myself. 

Thank you, Taylor. 

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