When Taylor Swift performed for the first time in Melbourne 15 years ago, there were 900 people in the audience. The US megastar will perform for 250,000 people in Melbourne this week.
Love her or hate her, you can’t deny that. Australia is in the midst of Swiftmania. Ahead of the much-anticipated Australian leg of Swift’s Ellas Tour, Melbourne has been lit up with everything from a Swift-themed academic symposium to a Crown pop-up merchandise stand to a Flinders Street station projection welcoming Swift. Ta. Heading into town–it’s no surprise that the clock is striking 13:00.
You can feel the history. Dare I say, has any other musician since the Beatles caused such a frenzy? We’re talking about the seismic impact of cheering at her shows and the growing practice of Taylor gating, where ticketless fans gather outside stadiums to listen and sing together.
The highest-grossing concert tour of all time (all-time!), the Elas Tour was fascinating to watch from afar. Smartly designed for maximum engagement through the stages of Swift’s chameleon-like career. Each night, Swift performs essentially the same setlist, with the exception of two “surprise songs.” A concert film was released in October, so most fans know exactly what to expect (and learned all the dances and chants on TikTok).
The excitement at the MCG, the first of her seven Australian shows, was palpable and the atmosphere electric. The performance, attended by 96,000 fans, was the biggest show of her tour and career.
Thousands of strangers quickly become friends on and off the show. Young women exchange handmade friendship bracelets and compliment each other on their elaborately handcrafted outfits. I don’t think I’m the only one who feels their inner child heal. In Swift’s own words, it brings me back to my girlhood.
The show itself is an eye-opening spectacle that will leave you completely immersed. It’s three and a half hours long, but it flies by. The singer dips into each of her albums, except for her 2006 self-titled album (Justice for Her Debut!). These albums are represented by her unique costumes and personality. The dreamy hues of Lover, the golden tones of Fearless, the rustic pastoral folklore and Evermore, the gritty edges of Reputation, the princess gowns of Speak Now, the passion of Red, the metropolitan cool of 1989, and the passion of Midnight. Glitz and charm.
Each fan will receive a wristband that will flash colors to match the era. Moving platforms, staircases, intricate sets (a woodland séance in Evermore, a log cabin in Folklore), and a deft team of precisely choreographed dancers (internet sensation Kameron’s ever-enthusiastic performance) (including Saunders), there’s always something. I’m surprised. Fireworks, giant smoke machines, and pyrotechnics are standard at this stage of the course.
Swift is generous and a true performer. Many of her audience jokes are scripted, but the tears she sheds as she looks out over the large crowd after the champagne incident are undisguised. Her stamina is incredible and her voice is in great shape, but the two highlights of the night, the 10-minute version of “All Too Well” and the piano version of “You’re Losing Me ”’s live debut song, “Disbandment.” It’s a song so vivid and emotional that I almost forgot I was in a happy relationship as I was screaming along with my girlfriend and tens of thousands of others.
It’s pure joy. A big part of the Eras tour is fan service, from fan anthems Long Live (added later on the tour) to Easter Eggs and Swift’s iconic moments. fearless spin. In each night’s sweetest moment, a fan (usually a child) is handed a hat off Swift’s head during the 22-year-old’s performance.
This is a fan base where you can spot even the slightest differences in performance. Her one-note change on “The 1” elicits rapturous cheers, and her spirited shout in the chorus of “The Last Great American Princess” feels like it’s meant for just that. we.
Swift says the Elas tour is for new fans and those who have been with her since the beginning. Judging by the number of millennial mothers and their young daughters, it’s become a generational thing. The feeling is truly one of inclusivity and love, and this show somehow feels both huge and the most intimate thing in the world.
On the crowded road heading back into town after the show, a busker sang “You Belong With Me” and we sang along. The refrain of Swift’s “All Too Well” echoes in my head. “I was there, I was there.” When I woke up this morning, my wristband was still flashing colors on the bed.
