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Latin American tickets went on sale in early June 2023. Presale access was granted to Banco Patagonia clients in Argentina on June 5; around one million customers were reported to have queued for the 24,000 available presale tickets for the Buenos Aires shows, and over three million during the general sale. DF Entertainment served as Swift's tour promotion partner in Argentina; CEO Diego Finkelstein called the demand "unprecedented", based on which Perfil opined that Swift could fill the stadium 36 times if she wanted to. On the day of the show, more than 1 million users tried to get last-minute seats.
In Mexico, ticket presale was handled by Ticketmaster's Verified Fan program; registrations ran from June 2 through June 7, followed by a general public on-sale. In Brazil, previous Lover Fest ticket holders and C6 Bank Mastercard holders gained access to presales on June 6 and 10, respectively. Instantly after the announcement of the shows on June 2, people camped outside Allianz Parque to purchase physical tickets to the São Paulo shows that would not go on sale to the general public until June 12. The Mastercard presale tickets sold out in 30 minutes, with over one million customers queueing. On June 12, over two million users queued for the general sale online.
Asia-Pacific
=================
Tickets in Japan were sold by Lawson under their Loppi ticket system. Unlike other countries, all Japanese tickets were only sold as lottery tickets. The pre-sale for American Express card holders began from June 23 to 26, 2023, and pre-sale for Lawson began from June 27 to July 10. Due to the high demand, Lawson announced the second lottery pre-sale, which began from July 28 to August 3. The additional general sale took place on August 22, 2023, and immediately sold out.
In Australia, tickets were only available via Ticketek. Guardian Australia reported that the Australian leg was met with unprecedented demand as well. Within 12 hours, over one million people signed up for presale codes. American Express cardholders purchased VIP packages from June 26 to 28; the website crashed within half an hour, and all packages sold out on June 26. Following the scalping highlighted by Australian consumer organization Choice, the Victoria State Government declared the Eras Tour in Melbourne a "major event", a legal provision penalizing scalping and misleading advertisement in Victoria. Because reselling a ticket for more than 10% above the original price had already been illegal in New South Wales, the government investigated the ticket resale platform Viagogo after the scalping reports. On June 28, those registered with Frontier Touring Company gained access to a presale for which over four million users queued, setting a national record; tickets sold out within three hours. Ticketek stated it neutralized over 500 million bot purchase attempts during the presale. The public on-sale began on June 30, with tickets selling out that day. A second sale on November 10 sold out within two hours for Sydney and under one hour for Melbourne. A third sale for a limited number of tickets, including restricted view seats, occurred on February 13, 2024.
For the Singaporean shows, United Overseas Bank (UOB) cardholders in Singapore, Malaysia, Thailand, Indonesia and Vietnam had presale access on July 5, 2023, with over one million users in the virtual queue. The Straits Times reported that Swift's fans in Singapore and other eligible Southeast Asian countries began "scrambling" to sign up for UOB cards. Around 22 million users registered for access to the 330,000 available tickets during the July 7 general sale, which happened both virtually and via Singapore Post offices; tickets sold out immediately despite website crashes. Klook, an official experience partner for the Singapore leg, sold travel packages along with tickets, which were purchased by dozens of Filipino fans and instantly sold out. Marina Bay Sands sold tickets coupled with hotel stays and other experiences.
Europe
=================
The Lisbon shows went on sale on July 12 and 27, 2023, via See Tickets, with transferrable access codes mailed to registered users, who were limited to four tickets per code. Standard tickets for both shows sold out within 2.5 hours. Following popular demand for an additional show in Madrid, Spain, La Liga approved football club Real Madrid's request to move their match from May 26 to May 25, 2024, to make way for a second Eras Tour show at the Santiago Bernabéu Stadium on May 29.
Three million people queued for tickets in Germany, and 600,000 registered for the Warsaw shows. All 170,000 tickets for the three Vienna shows sold out within a few hours, marking the largest and fastest ticket sale ever in Austria. All 95,000 Zürich tickets sold out within 30 minutes. In Italy, two million people tried to access tickets for the two shows in Milan, per Italian organizers D'Alessandro & Galli.
In France, TF1 reported the highest demand ever for a presale. Angelo Gopee, head of Live Nation France, stated, "the demand is such that many have found themselves in a virtual queue just to subscribe to the mailing list which, potentially, will open access to the ticket office. From memory, we had never seen that in France". The Paris presale opened on July 11, 2023, to over one million queued users. Ticketmaster suspended both Paris and Lyon presales within an hour after reports of login glitches; they were rescheduled to July 17 to 21. Over 250,000 tickets were sold for the six French dates, with AEG France executive Arnaud Meersseman estimating Swift could have done twelve shows due to the overwhelming demand. According to RMC, the capacity for the four shows at Paris La Défense Arena was also increased from 41,500 to 45,000, meaning Swift will perform for 180,000 attendees in Paris alone.
Ticketmaster and AXS handled the United Kingdom sale. Those who had previously pre-ordered Midnights were able to access presales from July 10 to 12. London's Wembley Stadium officials described the demand for tickets as "unprecedented" and noted that waiting times were "longer than usual". Cardiff's Principality Stadium tickets were pre-sold on July 14. In addition to website malfunctions, Forbes reported widespread scalping of the tour's UK tickets, with immediate re-listing on sites like StubHub and Viagogo for extortionate prices. Viagogo responded that the demand of the tour's European leg is something the company had not seen "since the Beatles". The UK general sale took place from July 17 to 19. In Scotland, the City of Edinburgh Council granted organizers permission to increase Murrayfield Stadium's capacity from 67,130 to 72,990 for Swift's three shows. In Ireland, around 500,000 people registered for the Dublin shows. On account of the website crashes during the UK sale, Ticketmaster announced staggered on-sale times for Dublin on July 20, 2023; tickets sold out in minutes. The Irish Times highlighted that, unlike the UK, "the practice of reselling tickets above face value has been illegal in Ireland since 2021", so no scalping was reported.
Production
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The Eras Tour was produced by Swift's in-house tour production company, Taylor Swift Touring. The company hired around 90 trucks to haul staging, costumes and other equipment for the shows. Canadian production designer Ethan Tobman served as the tour's creative director. The Wall Street Journal stated, the tour is one of the most expensive and "technically ambitious" productions of the 21st century. Interior design magazine Architectural Digest named the tour Swift's "most ambitious" set design and praised its worldbuilding.
Stage and lighting
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The Eras Tour staging is expansive, made of digital displays. It consists of three separate stages connected by a broad ramp: a main stage with a giant, curved widescreen; a rhombic middle stage; and a rectangular stage that along with the ramp forms a T-shape at the middle of the floor. The stages feature various visuals and effects throughout the show. The tour's concept centers on worldbuilding, featuring a diverse set of props and performing styles to convey the varying moods and aesthetics of Swift's albums.
The staging is equipped with an in-built "hyperactive" hydraulic platform, with the main and middle stages having mobile blocks that manually rise from the center to form platforms of different shapes, and another car-like platform that is moved on the middle stage, driven by an operator seated within the platform but concealed from the audience. The tour's "massive" production is heavily inspired by Broadway theatre. It was described as a 4D cognitive experience, featuring pyrotechnics, laser lights, smoke machines, fire cannons, indoor fireworks, PixMob LED bracelets, and image projection technology, such as projection mapping.
Music and performance
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Designed as a tribute to Swift's discography across her career since 2006, the Eras Tour covers all of the styles of music that are seen in her 11 studio albums, including The Tortured Poets Department, which was added in the European leg of the tour after the album's release. These range from country and pop to folk and alternative rock genres. Some media outlets dubbed the Eras Tour the "greatest hits" tour of an artist still in her commercial prime. The set list placed a somewhat greater focus on albums Swift had not previously toured, including first-ever live performances of several tracks. According to the music journalist Alexis Petridis, the Eras Tour is a musically eclectic production, consisting of "dubstep-inspired, dark-hued pop; tweedy folk; monster-chorus-sporting anthems and acoustic guitar-driven songs that show her Nashville grounding".
The concert ensemble included 15 backup dancers, choreographed by Mandy Moore, and Swift's live band of six instrumentalists who have been touring with her since 2007 and four female backing vocalists. Moore was recommended by Swift's friend, American actress Emma Stone, who had worked with Moore on the musical film La La Land (2016). To prepare for the tour physically, Swift trained using a custom workout routine designed by personal trainer Kirk Myers; Swift sang the entire set list daily while running on a treadmill, trained in dance for three months leading up to the first show, and forwent the consumption of alcohol.
Fashion
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Swift's wardrobe at the Eras Tour was a subject of widespread media coverage. Her costumes and those of her accompanying dancers, as well as her microphones and guitars, paid homage to her 10 albums. They were inspired by previous performances, music videos, and public appearances, intended to align with the overarching themes and palette of the era Swift referenced in an act, showcasing the various sonic and visual aesthetics she had adopted in her career. However, crystals were a unifying fashion choice; costumes of every act were adorned with them.
Attire and accessories were mostly custom-made by fashion houses Swift had worked with before, such as Atelier Versace, Roberto Cavalli, Etro, Nicole + Felicia Couture, Zuhair Murad, Elie Saab, Ashish, Alberta Ferretti, Jessica Jones, and Oscar de la Renta. Swift wore variations of some costumes at different shows, usually paired with Christian Louboutin shoes. Swift's black fedora from "22" was designed by Gladys Tamez. Fausto Puglisi, a designer for Roberto Cavalli, stated that he took an "artisanal approach to craftsmanship" while customizing the outfits, claiming "everything must be eye-catching" when designing for concerts. He incorporated Swarovski crystals in the costumes Swift wore during the Fearless, 1989, and Reputation acts, which required over 170 hours of meticulous "hand-craftsmanship by skilled artisans" to make. The sequined tulle ball gown that Murad designed for the Speak Now act required "over 350 hours of atelier handwork". Ferretti used chiffon and micro-beading for the Folklore era dresses, while the Midnights Oscar de la Renta fringed bodysuit was hand-adorned with more than 5,300 beads and crystals.
StyleCaster regarded the Eras Tour wardrobe as Swift's best fashion collection for a tour. The New York Times' chief fashion critic Vanessa Friedman considered the Eras Tour a fashion show beyond merely live music and praised Swift's "fabulous" but purposeful wardrobe choices for setting the bar high for future concerts by other artists.
Concert synopsis
=================
A typical show of the Eras Tour lasted 3 hours and 15 minutes. It consisted of between 44 and 46 songs, grouped into 10 acts, representing each "musical era" of her discography. Each act was characterized by a specific color scheme, costume, and stage design, and transitions between acts were facilitated by on-screen interlude visuals and marked by costume changes with negligible intermissions.
March 2023 to March 2024
=================
The show commenced with the Lover act. A clock on-screen counted down to show time as Dusty Springfield's "You Don't Own Me" (1964) played. Surrounded by dancers in pastel-colored, fan-like tapestry, Swift emerged from the platform at mid-stage in a bodysuit and boots. She opened the show with the chorus of "Miss Americana & the Heartbreak Prince" leading into "Cruel Summer". Accompanied by dancers, Swift performed "The Man" and "You Need to Calm Down" in a sequined blazer, through a set emulating office cubicles. She then delivered the welcome note with the dollhouse from the "Lover" music video on-screen, depicting her various album eras. She played an acoustic version of "Lover" on the guitar with her band, backup singers, and dancers, followed by a stripped-down rendition of "The Archer" alone on the ramp. The second act, Fearless, began with the screen showing gold electric sparks raining down. Swift reappeared in a metallic fringed dress and country boots. She performed "Fearless" on the main stage, "You Belong with Me" at mid-stage, and "Love Story" on the T-stage, all alongside her band while her backup singers wore metallic gold and silver jackets and black jumpsuits.
The third act, Evermore, adopted a forest aesthetic. Swift began singing "'Tis the Damn Season" in a long gown, followed by a dark theme that leads to "Willow" in a "witchy" séance; she wore a cape and performed with dancers holding luminescent orange orbs. She continued with "Marjorie", then "Champagne Problems" on a moss-covered piano beneath an oak tree, concluding the act with Swift introducing her pianist Karina DePiano followed by "Tolerate It" with a male dancer at a dinner table reminiscent of Citizen Kane (1941). Snakes visuals and dimming lights started the Reputation act. Swift reemerged in a black asymmetrical catsuit with snake motifs. She delivered a high-energy performance of "...Ready for It?" with female dancers wearing black-dark red gothic leotards, "Delicate", and "Don't Blame Me" featured light beams and Swift on an elevated platform. She transitioned to "Look What You Made Me Do", which featured on-screen visuals of Swift from all of her eras trapped in glass boxes and dancers dressed in some of Swift's older looks. The act concluded with a snake slithering away on-screen.
The fifth act, Speak Now, began with an abstract mosaic of purple lights on the stage. Swift, in a ball gown, walked in from the screen and performed "Enchanted" with female dancers; since July 7, 2023, she also performed "Long Live" with her band. The color scheme changed to match the next act, Red; a female dancer opened a box that plays snippets of "Red", "Everything Has Changed" or "Holy Ground", and "State of Grace". Red balloons emerged, and Swift performed "22" wearing a version of the white T-shirt and black hat from the song's music video. Near the end of the song, she greeted a fan pre-selected from the audience, giving them the hat. Swift sang "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" with male dancers next, dressed in a red-black romper. She donned a red-black ombre coat next, and performed "All Too Well (10 Minute Version)" on a guitar, backed by the band. The act concluded with artificial snow falling.
Cottagecore dominated the seventh act, Folklore, introduced with a spoken-word interlude of "Seven". Onstage is a bucolic, A-frame cabin setup, similar to the one from Swift's performance at the 63rd Annual Grammy Awards (2021), on an elevated platform with a staircase. Swift performed "Invisible String" or "The 1" on the cabin's roof, "Betty" with her band, and "The Last Great American Dynasty" with dancers dressed in period clothing. She then sang "August", which transitioned to the bridge of a rock-tinged "Illicit Affairs", followed by "My Tears Ricochet" with female dancers wearing sparkly black long sleeved dresses and choreography resembling a funeral procession. Swift returned to the cabin to perform "Cardigan", ending the act with fireflies as the cabin retreated.
1989, the eighth act, commenced with the screen showing a neon-lit city skyline. Swift, wearing a crop top and skirt, sang "Style" with dancers dressed in black-and-white outfits. Moving to mid-stage, female dancers rode neon bicycles for "Blank Space" and used blue golf clubs to smash an animated Shelby Cobra car. She followed with "Shake It Off", performed as a robust dance party; "Wildest Dreams", backed with backup singers and clips of a couple in bed; and "Bad Blood", with female dancers and accentuated by intense pyrotechnics. It was followed by the acoustic set, where Swift performed two surprise songs on guitar and piano. In an optical illusion, a body of water developed around the piano and enveloped the stage; Swift then dove into the stage and appeared to swim underwater, along the ramp and toward the main stage.
The final act, Midnights, began with a wave from the illusion crashing against the screen; Swift woke up from a bed and climbed a ladder into a cloud. The lower screen split, and dancers carried out clouds as Swift reemerged in a purple faux fur coat, a glittery oversized shirt, and dark blue boots to sing "Lavender Haze". She removed the coat and performed "Anti-Hero" alongside a video of herself as a creature terrorizing a city. Dancers performed with umbrellas as Swift sang "Midnight Rain" and changed costumes, reappeared in a rhinestone-adorned midnight blue bodysuit. She then performed a "chair dance" choreographed for "Vigilante Shit", influenced by "sultry" burlesque and the 1975 musical Chicago. Swift followed with "Bejeweled", featuring moves inspired by the song's viral TikTok dance, and "Mastermind" with the entire dance crew wearing black robes. "Karma" was performed last, with Swift, backup singers, and dancers in tinsel-fringed jackets, closing the show with fireworks, colorful visuals, and confetti.
May to December 2024
=================
Starting from May 2024, Swift revamped the set list to include a new act with songs from her eleventh studio album, The Tortured Poets Department, released on April 19, 2024. "The Archer", "Long Live", "The 1", "The Last Great American Dynasty", "'Tis the Damn Season", and "Tolerate It" were removed from their respective acts to accommodate the album. The Speak Now and Red acts were brought forward as the fourth and third acts, while the acts for Folklore and Evermore, which are considered "sister albums", merged into one. The Tortured Poets Department act was placed between the 1989 act and acoustic set.
The Tortured Poets Department act featured predominantly black-and-white graphics, drawing from dark academia. It began with the screen showing pieces of furniture descending from the sky alongside paper pieces, which then transform into a deserted road and the furniture crash down. Swift appeared onstage in a white corset dress with handwritten lyrics and sings "But Daddy I Love Him" and parts of "So High School", alongside dancers dressed in white. She performed "Who's Afraid of Little Old Me?" on a moving glass-plated block and appeared to levitate in an illusion, which ended with the screen depicting an evil-possessed Swift. A UFO then appeared on screen and attempted to abduct Swift, who started singing "Down Bad" on the moving block that hovered over a digital galaxy. Transitioning to "Fortnight", the stage featured a "TTPD"-emblazoned bed and two female dancers dressed as nurses. Swift sang the song as she sat on a typewriter, across from a male dancer. She proceeded with "The Smallest Man Who Ever Lived", for which she put on a white marching band jacket as dancers marched beside her with drums. The act ended with a silent skit with two male dancers accompanied by enthusiastic jazz music, where Swift removed her dress to reveal a two-piece bodysuit, leading up to "I Can Do It with a Broken Heart".
At the end of the last shows of the tour, Swift exited the stage in the direction of a bright orange door on the screen.
Critical reception
=================
It's easy to compare one of Swift's stadium shows to something you'd see on Broadway—never has that been more true than for The Eras Tour. The setlist is cut up into acts, grouped by eras for each of Swift's ten studio albums. For each era/act, Swift went full-send into that album's look, feel, costume, color blocking, and more.
— David Waiss Aramesh, "Taylor Swift's The Eras Tour Is a 3-Hour Career-Spanning Victory Lap", Rolling Stone
The tour received "overwhelmingly positive" reviews from music and entertainment critics, who praised both the high-end spectacle and "polished artistry" of the tour. Billboard described the Eras Tour as "the must-see blockbuster of the year". Neil McCormick of The Daily Telegraph, Keiran Southern of The Times, Adrian Horton of The Guardian, Kelsey Barnes of The Independent, Ilana Kaplan of the i, and Erica Campbell of NME gave the Eras Tour total five-star ratings. McCormick called the show "one of the most ambitious, spectacular, and charming stadium pop shows ever seen", lauding Swift's musicianship, vocals, and energy. Southern declared the Eras Tour "a pop genius at the top of her game". Horton praised the "rapturous" music selection, concept, "extravagant" staging, and Swift's stamina and vocals. Barnes noted the tour as "a career-defining spectacle" with acts marking the shifts in Swift's artistry, while Kaplan commended the "unparalleled" showmanship, "spicier" choreography, camp styles, and "seamless" transitions between acts. Campbell praised the storytelling aspect of the show that ties all the 10 acts together, enhanced by staging, cinematic ambience and fashion. Australian Financial Review's James Thomson opined, "Swift works the massive stage like a master, cycling through countless costume changes and several elaborate sets, all while belting out 44 songs over three-and-a-half hours."