06.23.23 – Photos by Jessica Fredette / Review by Kassidy Paige

The Twin Cities welcomed back Taylor Swift this weekend as she performed two sold out shows at the 70,000 capacity U.S. Bank stadium in the heart of Minneapolis. Fans represented their favorite Era in their outfit choice, evidenced by a stadium full of sundresses, glitter, and sequins. Swifties exchanged friendship bracelets while the seats filled and anticipation heightened – a tradition at Swift’s concerts.

Gracie Abrams received a warm welcome from Swift’s fans, opening her five song set with “Where Do We Go Now?” Dressed in ethereal all white, Abrams’ somewhat imperfect, shaky voice feels haunting and raw, an acoustic aesthetic elevated by the minimal production. Abrams performed “21” next, a song from her 2020 EP, minor, where she has made a competition of what crowd can yell “sorry” during the chorus the loudest – and prompt Minneapolis fans excitedly obliged. Abrams’ heartfelt connections with fans, excited waves and gracious laughter, make it obvious that she will only be going up from here. “Block me out,” “I should hate you,” and “I know it won’t work”, tracks from her most recent release, Good Riddance, closed out her short-but-sweet set.

A quick set change later, Norwegian indie-rock outfit, girl in red kicked things off with “You Stupid Bitch” – a notably different tone from Abrams’ sad-girl singer-songwriter vibe. Frontwoman Marie Ringheim’s characteristic cheeky banter and playfulness was an energetic relief – running around the stage while headbanging and riffing through the high-energy track. Transitioning to “we fell in love in october,” a song about Ringheim’s first gay relationship, made for a well-timed appearance alongside Pride weekend in the Twin Cities. Sprinkled among the eight song set were girl in red’s other indie hits, “bad idea!,” “midnight love,” and closer, “i wanna be your girlfriend.”

In what felt like no time at all, the countdown clock appeared at the two minute mark and the decibel level in the stadium soared. Hell hath no fury like a pent-up Swiftie – or something like that. It’s no secret that Swift’s fans are devoted, but nothing could prepare us for the cathartic experience that five absent years and four record-breaking new albums would bring (not to mention her re-recorded albums.) Whether you’re a first timer or a seasoned Swiftie, the Eras Tour is undoubtedly special. The sheer joy, anticipation, and euphoria are palpable – you can practically feel it in the air. You can definitely hear it. You won’t want to forget your earplugs for these shows, and it’s not because of the music.

As the countdown struck Midnight, dancers adorned in gigantic fans – half outfit, half prop – strut onstage. “It’s been a long time coming” echoes over the stadium and fans lose their minds. Swift emerges from beneath the billowing fabric at center stage, bringing the Lover Era to life with a medley of “Miss Americana & The Heartbreak Prince” and ”Cruel Summer.” Coming in at six songs, including “The Man,” “You Need to Calm Down,” “Lover,” and “The Archer” – making up one-third of the album’s tracklist – the Lover Era finally got the performance and stage time it deserved; an apt opening considering the thwarting of the Lover tour by Covid-19 back in 2020.

At times Swift seems almost doll-like, impossibly poised, her characteristic over-the-shoulder glance and expression – delight, surprise, awe – perhaps all three – giving her a Barbie-esque appearance. It’s one of the many indicators of the level of experience and professionalism that Swift embodies while commanding rooms more populated than most American towns.

From Lover to Love Story, next up was the Fearless Era. Adorned in a gold fringe dress and glistening smile, Swift played the title track on a sparkling acoustic Taylor guitar. Then leaving behind the guitar and making her way to the end of the massive stage for the first time, she caps off the Fearless Era with fan-favorites “You Belong With Me” and “Love Story.”

The Evermore Era set boasted life-size trees and a forested background, taking us back to what was for most an age of collective somberness, uncertainty, and isolation in the height of the Covid pandemic. Songs we learned with headphones in during unnerving periods of introspection were suddenly stadium anthems, a peculiarity that Swift highlights while explaining that she wrote her Evermore and Folklore albums without the expectation of ever performing them live. Swift sings the ghostly track “Willow” amidst a circle of cloaked dancers performing a witchy seance in the burning forest. “Champagne Problems” is played on a stunning moss-covered grand piano. Swift introduces her new keys player, Karina DePiano, ahead of “Tolerate It,” a theatrical performance where Swift acts out a dining room scene where she is begging for the emotional presence of her lover, closing out the Evermore Era.

In the starkest possible contrast, Reputation is up next – the first of the all-out dance parties, full of energy, choreography, and extensive production. This Era is bookended by “…Ready For It?” and “Look What You Made Me Do,” among the iconic bangers that made up Swift’s 2017 release. And you can’t forget the crowd chant, “1, 2, 3, Let’s Go Bitch!” that kicks into the first verse of “Delicate” – a Swiftie tradition originating from a fan at a May 2018 concert in Pasadena. How she narrowed down which tracks to showcase from this Era is beyond me – it’s one of my personal favorites. 

Speak Now was granted only one token appearance; “Enchanted”, sung in a fairytale gown amongst a virtual flower field and accompanied by twirling dancers – a detail that has sparked fan theories about possible changes to the Eras Tour setlist as the Speak Now (Taylor’s Version) re-recording is due for release in two short weeks.

Well over an hour into the show, it’s about this time in the set where you realize it’s time to rally because the night is just getting started. The Red Era chronicles scream-in-the-car hits “22,” “We Are Never Ever Getting Back Together,” and “I Knew You Were Trouble.” Swift cheekily asks if the crowd has ten minutes to spare, an intro that she seems to find as cheesy as I do, before playing “All Too Well (10 Minute Version.)” The light-up wristbands were a surprising highlight as the entire stadium lit up in twinkling autumn orange and poured their hearts out. I’ll admit, I cried during this one, and I know I’m not alone. 

In perhaps my favorite transition of the night, a stunning spoken poem version of “seven,” set to the sounds of a forest at twilight with chirping crickets and songbirds, Swift’s dancers are given the spotlight. Swift then gives an invitation we were all hoping for – introducing us to the Folklore cabin – a physical, moss-roofed cabin upon which she lays while opening with “The 1.” Covering half of the album’s tracklist, Swift’s fondness for the Folklore Era is obvious – a deviation from her usual auto-biographical songwriting in favor of novelist storytelling. Swift guides us through the entangled teenage romance involving James and “Betty,” serenading us with the melodies that compose their intricate narrative, and closing the chapter with “Cardigan.”

In the next energetic change of the night, 1989 brings us back to a state of carefree bliss. In what seems to be a never-ending whirlwind of circular references and foreshadowing, the first word  “midnight…” of the first song in this Era (“Style”) lets us know what’s to come next. This Era feels like summer days and road trips with friends. It’s bright, like a breath of fresh air, youthful love and heartache, broken friendships – mega-hits “Blank Space,” “Shake It Off,” and “Bad Blood” making the list – with hefty production value rivaling the 1989 World Tour itself. 

Honestly, the overall production on this tour is ludacris. No expense was spared from the gigantic stage, costumes to set-pieces, pyro to C02 cannons. The seamless transitions between, and within, Eras are testament to the remarkable teams, local and touring, that support Swift, and the massive undertaking that is the Eras Tour.

Appearing at the far end of the stage, Swift shares her gratitude for Lover’s recent increase in streaming and explains that the first surprise song was requested so much that she decided she had to play it – kicking off “Paper Rings,” which causes the crowd to absolutely erupt and scream every lyric, and exclaiming “Minneapolis, that was incredibly loud!” as the song comes to an end. Explaining the passion project behind re-recording her first six albums, she shares that the “most amazing thing happened… you guys decided that if it mattered to me, it mattered to you too,” before playing the second surprise song of the night, “If This Was a Movie (Taylor’s Version)” off of Fearless.

The time had finally come for the current Era: Midnights. An album representing the full span of Swift’s career; a revisiting of each Era; a return to a past life, only interpreted by an older, wiser artist. An album, and tour, that couldn’t have existed without the pandemic that derailed everything in the first place.  As everything seems to in hindsight, the Eras Tour suddenly makes sense. It is a perfect commemoration of the album itself, a series of trials, triumphs, and reflection. And that’s just the way it is with Taylor Swift – you’ll break your brain trying to decode where serendipity ends and her “Mastermind” begins. 

With the opening line “meet me at midnight,” Swift welcomes us to the Era with “Lavender Haze,” followed by “Anti-Hero,” sporting a shimmering T-shirt dress and fluffy jacket. In the final costume change of the night, and my personal favorite, Swift emerges from beneath the “Midnight Rain” umbrellas in a crystal navy bodysuit, matching garter, and sparkling knee-high boots. Swift’s growing artistic freedom and more mature fanbase are emphasized in the provocative choreography of “Vigilante Shit,” featuring an uncharacteristically sexy chair dance – a direction that I personally hope Swift embodies more in the future. It was really freaking fun. “Karma” closed the night, a fitting and returning theme throughout Swift’s seventeen year career. It’s a chance for one last dance party with 70,000 of your closest friends, so make sure to make the most of it.  

Do yourself a favor and avoid seeking out every possible spoiler. While the tour is undoubtedly special no matter how many times you see it, there is magic in the mystery and surprise. And while I know that it seems like I just shared a lot, trust me, there is much more that I didn’t. To be honest, even if you try, the show is constantly changing, from the nightly surprise songs, setlist changes, to evolving costumes. Swift’s unwavering commitment to making each concert experience extraordinary for every audience is a remarkable and standout feature of the Eras Tour. The record-smashing tour is history in the making, an experience that is both profound and multifaceted, continuously evolving right before our eyes with each city. 

The Eras Tour is not just a victory lap of Swift’s remarkable career (though there was plenty of that throughout the set.) The Eras Tour is a reflection of Swift’s growth as an artist, resilience to criticism, and powerful craftsmanship. It feels like a glimpse inside her brain, each Era chronicled, a celebration and homage to its impact on Swift, and all of us. Attending the tour feels like being welcomed into a cultural moment – a whirlwind evening that you’ll remember for the rest of your life – part concert, part theater. The Eras Tour is a gem and Taylor Swift is “Bejeweled.”