If there’s a city that knows a thing or two about fanaticism, it’s Liverpool.
Not since the height of Beatlemania (well, maybe Eurovision) has the city seen such fervour. In the weeks leading up to the pop sensation’s Eras Tour landing in Liverpool the city transformed in anticipation of her three-night residency.
Murals popped up all around the city, a full on Taylor Trail celebrating the different Era’s was installed, bars and restaurants changed their cocktail menus to be Taylor referencing and just about every venue advertised some sort of Swift themed event complete with cardboard cut-outs. Not only were Merseyrail distributing friendship bracelets but also extending their services, something the gig goers of Liverpool have been requesting for years.
Local news coverage has been 24/7, the Liverpool Echo turning into a fan site for all intents and purposes, publishing over 120 articles about Taylor Swift since 11th June including live coverage of all 3 shows. Hard luck for anything else even remotely news worthy happening in the region this week.
It’s a given that where Taylor Swift goes, Taylor-mania follows but it absolutely feels like Liverpool took this to a new level of engagement and obsession than the other cities hosting the previous 99 shows ever did. We’re forced to ponder why.
The conclusion we and others have come to leaves a bittersweet taste after what was an undeniably world class spectacle. Liverpool isn’t used to it. We don’t get global superstars performing here, not nearly as often as they should, and so when they do we squeeze it for every last drop.
In one of the 120+ articles the Echo published they quite rightly argue that on the evidence of the last week Liverpool should be in contention to host far more big names. The likes of which we are constantly overlooked for as artists decide on Manchester instead. Part of this does come down to the lack of a larger-capacity indoor arena of which Manchester now boasts two. What the article fails to do is admit the shortcomings of the city and the journalism itself.
The city came alive for Taylor Swift as if it was the first and only gig of the year. It wasn’t. Far from it. The city, it’s bars, venues and general infrastructure has proven it can and will engage with live music. What they need to do next is lower the threshold for what it takes to get them involved. Compared to Manchester, Liverpool’s gig calendar is barren. Artists openly talk about poor ticket sales here and chatty crowds. Venues closing is now a sad regular occurrence. We are a music city because of our past, if we were to judge it on our present we’d be shockingly inept despite the great wealth of musical talent we continue to produce.
The Liverpool Echo must also take a hard look at itself and the value it puts into music coverage and journalism. For an employed journalist to cover a gig for them they must attend and write up the review in their own unpaid time, incur any expenses regarding getting to and from the gig and submit the review within defined timescales (usually by the following morning). All to publish a review that is lucky ever to make it to the front page of the site or receive more than a courtesy tweet. When your business as usual live music coverage is reliant on the passion and sacrifice of the few that can be bothered to do it off their own backs, you’re hardly instilling value. Unless of course it’s Taylor Swift and they can harness the power of thousands of clicks across hundreds of articles home to the infamously irritating and intrusive Ad’s. Maybe if the regions largest publisher put a little more value into the live music scene and harnessed the reach and influence it has, artists and booking agents would be forced to turn their heads towards Liverpool a little more often.
Lessons learnt aside, on with the show!
More than 50,000 fans pour into Anfield on Thursday evening, some having been here since the early hours of the morning and almost all donning sequinned attire, glittery face paint, cowboy hats as well as all manner of custom tributes to Taylor and this, her 100th show of the Era’s Tour. The day has finally come and everyone is expecting to experience an era defining night.
A huge headline band in their own right, Paramore have the crowd living, belting and dancing as if it was their very own concert which is a rare occurrence for a support act. Mashing up their opener Hard Times with Blondies‘ Heart of Glass and following it up with a cover of Talking Heads‘ Burning Down The House is a genius move and both tracks are familiar enough to engage a vast majority of the crowd, especially those who may not be that familiar with Paramore themselves, though that population seemed to be in the minority as Misery Business is given the same anthem treatment as it got back in 2007. Simply, we’ve never seen a crowd so into a support act before and 45 minutes was far too short a time to spend together.
The days’ rain having now stopped the stage is squeegeed and prepared for the imminent arrival of the worlds biggest pop star. In a moment unique to a Taylor Swift concert the entrance of a wheeled, covered trolley sends the crowd in eye shot of it absolutely bonkers, most attendees now well aware of the tactics employed to get Swift onto stage. The screams directed to a innocuous box come close to being the loudest we’ve ever heard, for now.
The countdown appears and Anfield Stadium looses it’s hive mind. In all of our years of attending events we’ve genuinely never heard anything like it, in volume or pitch. If you’d told us at the time it wouldn’t even be the loudest moment of the night we’d have been sceptical to believe you. The show starts with a brace of songs from 2019’s Lover, Taylor having appeared mid walkway, initially shielded from view by her ensemble of dancers and their elaborate garb.
It’s immediately apparent that tonight will be unlike any concert we’ve seen before. There is a shared belief within the crowd that we’re present for a mammoth cultural event. The meticulous production design on show combined with Swift’s exceptional performance only compounds this belief. The way both set and artist seamlessly transition between genres, or eras, is mesmerising and incredibly impressive. From the pop-rock energy of Reputation to the introspective ballads of Folklore and Evermore, the show is a spectacular blend of musical styles, enhanced by dramatic flames, fireworks, snow and an enchanting cabin in the woods. The transitions never feel jarring, nor do they break the spell the one before cast. To take 50,000 people on such a journey within one show is a difficult thing to do well and so tonight is a masterclass.
Yet another difficult thing to achieve at such a large scale is intimacy. Though far from intimate, Swift’s interactions with her fans throughout the show nurtures a connection and feeling that she genuinely does see every one of us. She takes the time to go into great detail about every sacrifice her fans have made to get here tonight, from planning months in advance, travel plans, taking days off work and so on, to let us know she does not underestimate any of it. Humbly appreciative of everyone’s presence.
The most introspective and evocative moments of the night come from Taylor Swift’s pandemic-era albums, Folklore and Evermore. The songs are a result of Swift’s collaboration with Aaron Dessner from The National who are known for their melancholic melodies that beautifully complement Swift’s introspective lyrics, resulting in a deeply personal part of the show. It’s the emotional anchor of the night and our standout Era. It’s also the Era that firmly takes claim to the loudest moment of the night as the Stadium erupts into screams and applause as Taylor removes her ear-pieces and share an unforgettable moment.
This Era represent a significant shift in Swift’s song writing style, moving away from her usual autobiographical narratives to explore fictional characters and imagined scenarios. She makes a point of this before playing the song Cardigan, talking to the crowd about how she delt with the pandemic and just like the rest of us, got lost in music, film, the arts and… wine. These songs are her way of channelling all of that. Her own cinematic escapist universe, which became ours at a time when her fans really needed it. Cardigan stood out as one of the biggest sing-alongs of the night, with the audience joining in on its nostalgic and bittersweet lyrics. The song, which captures the enduring pain and beauty of a lost love, is a fan favourite and testament to Swift’s ability to create universally relatable themes through her storytelling. Given the average decibel level of tonight’s show, there are moments you could hear a pin drop during this one.
Betty offers a poignant tale of teenage regret and redemption, with its folksy, harmonica-infused melody taking centre stage. Champagne Problems, with its sombre piano and heart-breaking narrative of a failed proposal, showcases Swift’s knack for capturing complex emotional in her music.
This Era is pure escapism for Swift and her fans, this is also evident in the stage production choices. An overgrown cabin in the woods with Swift laying on the roof, hinting at her love of nature and the lakes. It almost feels like a Disney production and we mean this in the nicest possible way. It ties in to her comments about getting lost in the cinematic landscape of the arts in times of need. Like many, these provide comfort for the biggest star on the planet.
August, known for its wistful reflection on a summer romance, it brings a dreamy, melancholic vibe to the set, while Illicit Affairs delves into the secrecy and emotional turmoil of a hidden relationship, adding a layer of raw vulnerability to the evening.
My Tears Ricochet, a haunting ballad about betrayal and grief, and Marjorie, a tender tribute to Swift’s late grandmother, further underscore the intimate and personal nature of this Era. Willow, with its enchanting folk-pop sound, rounds out the performance. These tracks reflect a different creative phase for Swift making them an integral parts of the Era’s presentation.
The centrepiece of the night however belongs to the 1989 era. Showcasing some of the most iconic pop songs of this generation. Opening with Style, Swift oozes to a somewhat Miami Vice-inspired riff, the song perfectly captures the nostalgic and cinematic essence of 1989. Blank Space, with its biting commentary on media portrayal and its infectious melody has the crowd going crazy, throwing all the dance shapes known to man, again demonstrating Swift’s prowess in crafting pop anthems, these songs are going to last forever and then some.
The energy levels go up a notch for Shake It Off inviting everyone to join in a jubilant, carefree celebration, its exuberance and resilience making it her biggest song to date, we even have a shimmy-come-shake along to it, something we didn’t know was possible, the power of a collective experience at it’s finest. Wildest Dreams, with its dreamy production and poignant lyrics, offers a moment of introspection, while Bad Blood, despite its basic, bratty edge, still manages to rally the audience. These tracks, pivotal to Swift’s transformation into a pop superstar, highlight her ability to blend personal storytelling with universal appeal, solidifying her status as a defining artist of her age. A special tribute to Liverpool came in the form of the surprise song I Can See You, the music video for it having been filmed in the city.
The first night of Taylor Swift’s residency at Anfield not only broke attendance records but proved exactly why she enjoys the status of global pop megastar. Fan or not there isn’t a person alive who could see that show and come away with any doubt as to why she is the worlds biggest pop star and deservingly so. Her ability to connect with the audience through both her music and performance leaves no space for criticism, reaffirming her place as one of the most dynamic and talented musicians of our time.
As Taylor Swift continues her tour, Liverpool will remember these nights as a significant cultural moment. The lasting impact of them will be up to the city to decide, Taylor’s done her part.
Photo Gallery by Alex Cropper
Go Places Do Things 