Elvis Presley. Michael Jackson. Taylor Swift. All three artists share a unique trait within their own phenomenal success but Swift mania, in my humble opinion, supersedes them all.
Taylor Swift played the second night of her four sell-out Sydney shows for her 'Eras' tour; the hottest ticket in town as she came onstage just after 7.30pm on a cool, summer Saturday night (24 February).Following a fan tradition of the humble Mexican wave, which would make the biggest cynic smile, it was show time for the 34-year-old songstress whose back catalogue is a mash-up of eclectic, indie and a strong pop flavour.
Diehard fans started losing their minds when the opening of Dusty Springfield's 1964 cover of 'You Don't Own Me' (originally performed by Lesley Gore) began to play as a nod to the famous, ongoing business fight Taylor's had with Scooter Braun over the rights to her music catalogue.
Suddenly it was Taylor's time to grace the stage and oh boy, didn't she just do that. Opening with 'Miss Americana & The Heartbreak Prince' from her 'Lover' album (2019) it was time to sit back and watch the show.
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I've personally seen one other Swift concert and was lucky enough to have been chosen to meet Taylor in the Rep Room, an experience within itself to offer her fans a 'money can't buy' meet and greet after the show. Taylor was kind, professional and above all else, completely invested in the conversation she was having with the person in that moment.
One thing I've been proud to witness as both a woman and a writer is Taylor's strength and determination to dominate a somewhat 'boys club' within the music industry. Addressing this narrative via her song 'The Man', which was song three on the set list, had everyone up on their feet including the reluctant fathers of young teenage girls that had this writer grinning from ear to ear.
Over the next three hours, Taylor covered the different Eras of her varied career. Everything from her sweet-as-pie pop anthems to the indie-folkish slower ballads, Swift's stage presence kept everyone's attention – from eight-year-old Swifties to fifty-three-year-old men who only know that she's currently dating NFL player Travis Kelce from Kansas City Chiefs, a US football team who recently won the Super Bowl.
Addressing the 82,000 crowd at Accor Stadium, Taylor acknowledged how lucky she was and how nice of us that we could be anywhere this Saturday night and we chose to spend it with her.
"These songs are written about my feelings, my life or maybe imaginary stories that I created in my head," she told the crowd as she began the guitar strums of her poignant, beautifully elegant song 'Lover' from the album of the same name, released in 2019. An incredible moment to witness were the sets of loved-up couples looking deep into one another's eyes as they sung the lyrics through tears to one another.
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Up next was the country-era of 'Fearless', a strong Shania Twain-influenced feminist album. A huge feat considering Taylor was only 18 at the time, writing songs about love, life and everything in between.
Following the transition between country and indie, it was now time for the 'Folklore' era. An eclectic and somewhat surprising Era for the songwriter as she used COVID to create an album full of fictional characters that represented their flaws and all.
If there's anything you take from the Eras tour, it is the set and stage design. Ranging from her varied music compositions, you're taken on a roller coaster of emotions; from elation to pure gut-wrenching misery as the songstress cruelly tugs at your heartstrings with biting lyrics such as 'but I can see us lost in the memory, August slipped away into a moment in time, 'cause it was never mine' from her song 'August' within the 'Folklore' catalogue.
Finally, it was time for Taylor to stop the tunes for a brief moment to recognise her adoring fanbase who affectionately call themselves Swifties'. "One of my favourite things about this tour is how you guys are incredibly creative and you kind of like create traditions and you're so connected with other fans from around the world," she said while slowly playing the piano.
Reflecting on her late grandmother Marjorie, who herself was a singer, Swift spoke highly of her fans and their dedication to carrying out tradition's city-to-city, country-to-country and being kind to her. "The last song was about [Marjorie] who passed away when I was 13 and it just really means a lot for you to do such nice things – sometimes you just GET me you know?" she said as she put her hands on her head and just had a 'wow' moment in front of the sell-out crowd.
She then went on to acknowledge that it was wonderful to be back in Sydney as it was the location where she filmed her '1989' tour (2014) also acknowledging her last visit was for the 2019 'Reputation' tour. "So, if you came to those shows or any other shows I've performed, thank you so much. I appreciate you coming to hang out with us," she earnestly said to make the fans feel like she was addressing them directly.
Acknowledging the 2020 COVID pandemic, Swift said she wasn't sure how she could tour with so much new material being released over that period, so she decided after a period of reflection to do a retrospective tour that covered the past and the present music.
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"We are currently in the 'Evermore' era and I'd love nothing more than to perform 'Champagne Problems' for you now," as Swift started playing the piano and the emotionally fuelled song begun. I watched a mother and daughter embrace as tears began to shed from both of their faces. This song broke their emotions for reasons unknown, but as a stranger watching from afar, it was a moment I'll certainly never forget anytime soon.
Changing pace, from a fashionistas point of view the fans certainly put on a display of originality, style and creativity. I witnessed so many fun, loud and bright costumes that I almost felt that I needed a lie down from the overstimulation!
One young girl had spent hours creating her own version of Taylor's Stevie Nicks-inspired jade green cloak and bejewelled it with hundreds if not thousands of tiny crystals. Two sisters had dressed identically in shimmery-white gold frocks and never sat down once as they cried, screamed and danced throughout the evening. Sisters, best friends and couples ruled the roost as collectively we all shared our own personal stories that made us feel so connected to the songwriter.
Next up was Taylor's 'Reputation' era. An album she is yet to re-release under her own songwriting rights, it's a powerful, revenge-fuelled album that even the most stubborn person couldn't resist getting down to.
Walking with confidence, Taylor's outfit change had occurred and suddenly a strong, independent woman with vengeance entered the stage wearing a multi-colored one-piece leotard and bedazzled boots as she entered the floor.
"Knew he was a killer first time that I saw him, wonder how many girls he had loved and left haunted. But if he's a ghost then I can become a phantom. Holdin' him for ransom," she sung with such power and attitude it would even intimidate Putin.
Slowly down the pace, but certainly not the drive was 'Delicate' and not a single person was seated as we all collectively danced to the bass-fuelled tune. Following the 'Reputation' era was a chance to cool down with some old-school Taylor as she entered her 'Speak Now' era, an easier-paced yet intense record with pop classics such as 'Enchanted' where the songstress came onstage in a marshmallow-puffy purple frock that would even make Barbie jealous.
It was now time to enter the sickly-sweet pop era of 'Red', which could've been a sell-out tour in itself due to the strong connection fans have with the album and in particular the ten-minute ballad, 'All Too Well'.
I witnessed two blonde sisters who looked at one another, grabbed each other's hands and began sobbing. Screaming the lyrics to one another with angst as they took turns to point at Taylor as acknowledgment she helped them during an obvious emotional event that had occurred during their 20--odd years on planet earth. Waving their hands in the air as they gripped each other's hands, they knew every lyric as they occasionally glanced at one another with intense eye contact teamed with a wipe every now and then to fix each other's mascara-soaked tears.
It wasn't time yet to put the Kleenex in the handbag as Taylor gently transitioned into the 'Folklore' era. Opening with 'The 1' Taylor's stage presence was toned down as she sung the emotionally fuelled indie tune laying down on a faux mossy grass bed.
The intense yet somber album explores more of the softer side to Swift. It's an album that's open to interpretation in that she creates characters and arcs instead of writing from purely a self-biographical point of view.
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Following 'Folklore', we were on the home stretch and the pop classics kicked in from the '1989' era. The bass surged with the infectious opener 'Style' followed by the confident anthem of 'Shake It Off', which even had the burliest, muscly dads dancing with their young daughters.
The crowd were then treated to two surprise songs as Taylor insists on choosing two from her back catalogue to perform on acoustic guitar and piano, respectively. First up on guitar was 'Should've Said No' from her self-titled debut album (2006) and on piano the fans were treated to a beautifully-toned down version of 'New Year's Day' from one of the remaining albums yet to be released as Taylor's Version; 'Reputation' (2019).
'Midnights', the latest in Swift's catalogue, dazzled the crowd with the 420-friendly tune 'Lavender Haze' as Taylor kept the crowd mesmerised with visuals of her sensually sprawled across soft grass and smoke billowing above her.
Beginning the home stretch, Swift made even the straightest woman question their sexuality as she performed 'Vigilante Sh.t' while straddling a chair and giving the crowd a sneaky look at a bedazzled custom-made Versace-made garter.
Following this performance and a required cold shower, she went back to savvy Taylor with 'Bejewled' and 'Mastermind'. The anticipation was felt throughout the stadium as we all knew what was coming. 'Karma'.
I could barely hear myself through the roars of screams singing along to the perfect anthem for those who have been unfairly treated by those who fail to have a backbone. "My pennies made your crown / Trick me once, trick me twice / Don't you know that cash ain' t the only price? / It's coming back around."
Swift sung with such force and strength to show that karma is indeed around us. Overall, an incredibly well-put together concert that I won't forget for a long, long time.
- written by Siobhan Baillieu
