The Taylor Swift juggernaut rolls into London for its final show on the European leg of the all conquering Eras Tour. There are surprises…
THE SUMMER OF SWIFT
This has undoubtedly been the summer of Taylor Swift in Europe for varying reasons. There has been absolute tragedy, scuppered terrorist attempts leading to cancelled shows, special guest appearances, crowds registering on the Richter scale and Taylor Swift being relentless in her quest to be the best. She even released a new album midway through the tour!
Swift and her Eras Tour has broken countless records and for those that have been lucky enough to witness the spectacle, they know just how special these shows are. In London, there were also extra support acts announced.
RAYE
The honour of being support act on the last night of the tour falls to London singer, RAYE.
RAYE’s star has risen immeasurably in the last couple of years. Having cleaned up at the Brit Awards and released a live album from the Royal Albert Hall, supporting the biggest music star on the planet should be a walk in the park, right?
‘Can I see some hands in the air?’ RAYE shouts striding on stage barefoot in a sequin dress. With a brilliant nine piece band backing her, she throws herself into every song.
Vocally, RAYE sits somewhere between Amy Winehouse, Minnie Ripperton, Janelle Monae and Little Simz. Plenty of vocal gymnastics are on show; mostly during an inspired cover of It’s A Man’s World. The vocal range is impressive and RAYE sings on her knees, belting out every note.
RAYE’s indulgence is met with cheers of exuberance. Although the cover version is blistering, it is Ice Cream Man that leaves the mark. A confessed ‘sad song’, again, RAYE feels every note of the song. Thanks are offered for the crowds indulgence after the impassioned performance.
With her microphone dripping over her shoulder, RAYE gives a closing performance of Escapism. It’s another huge song that shows this artist could well be selling out venues like this in the not too distant future.
PARAMORE
Paramore are the perfect support act for this show. They blend a wide mix of styles in their music and know how to put on a show.
Two decades into their being, Paramore spend their time rifling through a selection of greatest hits.
Hard Times is a wonderful slice of upbeat pop. It is a million miles from the bands’ earlier ‘emo’ output. The calypso style of the music has the crowd on their side early doors. They follow with a cover of Talking Heads Burning Down The House. More recently, Paramore have worked with Talking Heads mastermind, David Byrne on a rerecording of Hard Times, but also on a Talking Heads tribute album. Coreography is borrowed from Byrne’s untethered American Utopia show as Paramore head down the huge stage runout. Williams works the crowd superbly as the band all move around the stage with huge smiles on their collective faces.
“This has been a career highlight – being a part of literal music history has been the best fucking summer of our life,” remarks Hayley Williams. Paramore and Swift have history so this pairing makes sense.
Still Into You is belted back at extreme volume…it is clear that Swifties are now Paramories?! Perhaps Paramore fans need a collective name. Forgiveness is Williams’ self confessed favourite Paramore song and Last Hope sees the singer giving it both barrels as the crescendo hits.
Whilst Hayley Williams skips, pirouettes and marches around the vast stage, the band are equally energetic. Many of Paramore’s songs contain great grooves. There are also the peaks and troughs of slower songs and fast songs. The Only Exception. The latter is tender and the emo anthem, Misery Business, flips the coin.
Again, the band march out into the centre of the stadium for the wildly funky Ain’t It Fun. This Is Why closes out the set in fine form and brings an end to Paramore’s summer with Swift with great success and a no doubt, a whole new army of fans.
taylor swift
As is tradition for The Eras Tour; Ice Spice and Lady Gaga ramp up the atmosphere over the PA before we meet at midnight with the clock striking the hour. Those backward of the stage see the performers taking their places – naturally, screaming ensues.
“London…we have arrived,” shouts Swift before the opening bridge of the evening. This being the 131st show of the tour, it is a well polished and slick show. Whilst being polished and slick, at no point are these performers dialling it in; they give their all, all night.
By now, most people know the script; a three and a half hour trip through all of Taylor Swift’s albums. It is a consistent show length, to this writers mind, only matched by The Boss.
THE MAN
Early highlights include the sultry Lover, the combative The Man and the fantastic You Need To Calm Down. Then it is back to high school with a trio of songs from Fearless. Swift dances and shimmies around with the band in a tassel laden gold dress. Her band join her; smiles plastered across their faces.
There is an air of jubilation and joy on stage as the band are closing out the European leg and will have some time off. Off the left and right of the stage are the band. They connect with the crowd in their proximity, throwing up reciprocal hearts and waves.
THIS IS THE BEST!
Red is one of the eras that has held a lot of weight on this tour. It is the album that started Swift’s transition from country prodigy to pop princess. In a nightly staged event, her ‘22 hat’ is gifted to a young fan. Whilst staged, it is no less sweet and emotional, especially for the chosen lucky lad in attendance. He beams as they exchange friendship bracelets and hug. It is truly a lovely moment.
Recognising the privilege of her standing, Swift talks about how people have made signs shouting out Shepherd’s Bush Empire shows back in the day. “This is the best! I’ve never had it this good.” All Too Well is a pulse pounding ballad that came into its own when Swift released her version of Red. 92,000 people sing along creating a mass choir.
LOOK WHAT YOU MADE ME DO!
Reputation is one of the most high octane parts of the show. Ready For It is a pounding electronic tour deforce and Delicate gives Swifties the chance to fill in missing words for Swift. Look What You Made Me Do was the moment where Swift really stepped up her pop game. It was a vibrant and dark comeback after 1989.
During the Folklore/Evermore era portion, Swift elevates the downbeat songs into glorious anthems. Champagne Problems is given a genuinely deafening reception. On an insane level. Taylor chants break out; the noise is louder than the music. August is a huge singalong and Willow is full of mysticism. Haunting choreography turns Wembley into a huge stage show rather than concert. The addition of the full band sound to the acoustic album version adds extra drama and greater depth.
SHAKE IT OFF
1989 is an all out pop fest. Shake It Off is arguably the greatest pop song of the 21st century and Style isn’t far behind. Throw in Blank Space, Wildest Dreams and Bad Blood, and you have a set that brings pure joy. During Shake It Off, the smiles on people’s faces is heartwarming with people linking arms with folks they have never met to dance together. It is a real show of freedom.
The Tortured Poets Department is Swift’s latest record and the European leg of the tour has a new era. I Can Do It With A Broken Heart is fast becoming one of Taylor’s greats; after the show, a brand new video airs on the big screen showing The Eras Tour from a different perspective. An undoubted highlight comes in the form of a guest appearance from Florence & The Machine. For the first time ever, the two sing Florida!!! If the crowd noise was deafening before, now, it is beyond that. The entire crowd lose their shit screaming, almost drowning out the song. It is complete bedlam.
SO LONG, LONDON
Premieres are clearly on Taylor Swift’s mind. During the surprise acoustic song set, she dials up So Long, London; a seeming lament of one of her previous relationships, but also a farewell to London after her record breaking 8 night stint at Wembley – becoming the first solo artist to play for this many nights at Wembley. 92,000 people over 8 nights. Incredible.
Another surprise comes in an appearance from musical partner, Jack Antanoff. Death By A Thousand Cuts is mashed up with Getaway Car. Wembley is bathed in green and pink and again, the crowd…bonkers. As Antanoff leaves the stage, Swift ruffles his hair and shares a hug. It is clear that the two have incredible chemistry.
MEET ME AT MIDNIGHT
To close out. Midnights bring everything back into technicolour focus. Anti-Hero is a highlight and Vigilante Shit is a raunchy burlesque workout. Karma is the song that ends this gargantuan run of shows. Ticker tape, fireworks, smiles, screams and thanks are all there in abundance.
For all the ups and downs of the summer, this night is a triumphant one. Taylor Swift has really grafted at her craft and repays her fans in spades with this historic show.
WHERE NEXT?
After such a monolithic tour that has scaled heights only a few have seen, where does Taylor Swift go next? No doubt, there will be more music and more tours, but it is hard to see this one being topped.
A woman of Swift’s nature will no doubt be thinking how she can top it. Good luck with that one, Taylor! We will look forward to the new era.
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