The length of Taylor Swift’s shows, and their emphasis on albums, might be suggestive of something more old school, but there are parts of the Eras Tour that feel developed for the algorithm.
against the label executive Scooter Braun, the owner of her masters, and began rerecording her first six albums. At an Eras Tour show in Nashville, she announced the impending release of “Speak Now ”, and the crowd spent the next several minutes screaming and sobbing—a remarkable display of excitement for an album that already exists.
As I arrived at the stadium, I began to worry that I had spoiled the Eras Tour for myself, having digested way too much content about the set list, the costumes, and the choreography. I was wrong. One thing that social media cannot properly capture is the transformation of a football stadium, typically a center of male aggression, into a sanctum of gleeful femininity. It was like the Women’s March, but with sequins instead of pussy hats, and probably the same number of male allies.
In line for the men’s bathroom, one girl asked me to guess her age. I said fifteen; turns out, she was twelve. “Your daughter is very precocious,” I told her mother, who nodded, solemnly. The twelve-year-old, who had never been to a Swift concert before, said she was hoping that Swift would bring out a special guest—Katy Perry, perhaps.
One of the most surprising elements of the concert was how some of the Swift songs that I’ve always found irredeemably cringe—for example, “You Need to Calm Down” and “”—were the most exciting to watch live.
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