It’s never been a better time to be a Taylor Swift fan. The popstar has been dominating headlines for the last few years with a consistent drip feed of new content, as well as tackling big issues within the music industry for artists such as the right to own one’s own creations. Following the release of her seventh studio album in 2019, Lover, the tour was cancelled due to the outbreak of COVID-19. During the pandemic Swift released two more albums, Folklore and Evermore, both in 2020, and began re-recording her first six studio albums to bypass her inability to purchase the masters to her original recordings. This all began to culminate with the release of her tenth studio album, Midnights, in 2022. Following the release of Midnights, Swift announced that her next tour wouldn’t be a typical one because four of her albums had yet to have been performed live. Instead, it would be a culmination and celebration of her first ten albums, and the seventeen years she has been releasing music. Titled The Eras Tour, Swift created a three-hour show that spans the entire legacy of her career in what has become the biggest selling stadium tour of all time. Now she has set her sights on cinemas around the world, releasing a filmed version of the concert, in what has become another record-breaking weekend for theatre chains globally following the release of Barbie & Oppenheimer earlier this year. But is The Eras Tour a flash in the pan success that’ll be swiftly forgotten (sorry, I couldn’t help myself)? Or has this megastars reach extended beyond the music industry and reshaping the way we watch films at the cinema?
Filmed over three nights at the SoFi Stadium in California, The Eras Tour collects some of Taylor Swifts biggest hits from all ten of her studio albums. Taylor Swift (2006), Fearless (2008), Speak Now (2010), Red (2012), 1989 (2014), Reputation (2017), Lover (2019), Folklore (2020), Evermore (2020), and Midnights (2022). Directed by Sam Wrench, the film presents an intimate look at one of the biggest concerts ever created by a solo artist.
I first started listening to Taylor Swift following the release of 1989. I did of course know a handful of her previous songs such as Love Story, 22, and We Are Never Getting Back Together, but 1989 was the first time I listened to a full album of hers. It wasn’t until the release of Folklore in 2020 that I really considered myself a full-blown fan, where I was swept away by the poetic storytelling of the lyrics and the vastly different direction she had taken by going for a more stripped back acoustic approach. I have since been a full blown ‘Swiftie’, and whilst I went into The Eras Tour wanting to provide as impartial perspective as possible, it’s kind of difficult to do that when I am the exact audience this film has been made for. But the important thing to note is that even though I had a great time because I am already a fan of hers, I think this film is excellent for a whole host of other reasons not specifically related to its content.
Filmed over three nights at the SoFi Stadium in California, The Eras Tour collects some of Taylor Swifts biggest hits from all ten of her studio albums. Taylor Swift (2006), Fearless (2008), Speak Now (2010), Red (2012), 1989 (2014), Reputation (2017), Lover (2019), Folklore (2020), Evermore (2020), and Midnights (2022). Directed by Sam Wrench, the film presents an intimate look at one of the biggest concerts ever created by a solo artist.
I first started listening to Taylor Swift following the release of 1989. I did of course know a handful of her previous songs such as Love Story, 22, and We Are Never Getting Back Together, but 1989 was the first time I listened to a full album of hers. It wasn’t until the release of Folklore in 2020 that I really considered myself a full-blown fan, where I was swept away by the poetic storytelling of the lyrics and the vastly different direction she had taken by going for a more stripped back acoustic approach. I have since been a full blown ‘Swiftie’, and whilst I went into The Eras Tour wanting to provide as impartial perspective as possible, it’s kind of difficult to do that when I am the exact audience this film has been made for. But the important thing to note is that even though I had a great time because I am already a fan of hers, I think this film is excellent for a whole host of other reasons not specifically related to its content.
First of all, this is a truly monumental moment in pop culture history. The Eras Tour is far more than just a greatest hits tour, because this is an exploration of her entire discography. Over the course of the North American leg of the tour Swift played every song she has ever released as part of these ten albums, and whilst the structure of the show is dependant on a number of key songs, there are a handful of songs that are swapped out each show.
The show is also divided up into the eponymous ‘Eras’, each one having their own distinct visual style through costumes, digital video displays, sets, and lighting. It’s a behemoth of a show clocking in at three hours, and the sheer scale and complexity of what you see is staggering to behold.
Each song truly feels like a moment. There isn’t a single one where it’s just Swift standing there singing, there’s always something happening whether it’s her interacting with the crowd, a visual display from the screens, some kind of choreography, or even costume quick-changes that feel like slight of hand magic tricks.
The production design is nothing short of incredible, and Brett Turnbull’s cinematography does all it can to show that off. The intricate chorography for the dances is on full display here with some playful interaction with the camera to boot, making you feel like you’re really there with them. You get a really close up look at the spectacular costumes, and just how detailed they are. The wider shots where it’s trying to fit as much of the stage in as possible are massive in scale, and usually show off the digital effects visible on the massive LED screens or on the stage itself. The sets are highly detailed and beautifully crafted, most notably the moss covered piano used for the Evermore Era, and the shack used for Folklore.
Wrench’s artistic liberties are subtle and fleeting. He definitely amplifies the digital effects for the sake of making them more impressive for a film audience. The most obvious use of this is at the start of the Reputation Era where a snake appears to engulf and constrict the catwalk that goes out into the crowd. But for the most part he keeps Swift, her dancers, and her band front and centre. Out of the three shows that were filmed he has picked the best possible shots from each one and strung them together to create this impressive visual showcase.
The only thing I would say feels like a let-down in terms of the content is that the film trims out some of the songs to hit a two hour and fifty-minute runtime, and some of these cuts are glaringly obvious. The Speak Now Era for example only consists of one song, Enchanted, and it feels jarring to have this huge transition into that Era only for it to then happen again just a couple of minutes later because some of the songs have been cut out. This isn’t enough to really dampen the experience of the film as a whole, but I feel like Wrench could have tried to make these cuts slightly less obvious.
The show is also divided up into the eponymous ‘Eras’, each one having their own distinct visual style through costumes, digital video displays, sets, and lighting. It’s a behemoth of a show clocking in at three hours, and the sheer scale and complexity of what you see is staggering to behold.
Each song truly feels like a moment. There isn’t a single one where it’s just Swift standing there singing, there’s always something happening whether it’s her interacting with the crowd, a visual display from the screens, some kind of choreography, or even costume quick-changes that feel like slight of hand magic tricks.
The production design is nothing short of incredible, and Brett Turnbull’s cinematography does all it can to show that off. The intricate chorography for the dances is on full display here with some playful interaction with the camera to boot, making you feel like you’re really there with them. You get a really close up look at the spectacular costumes, and just how detailed they are. The wider shots where it’s trying to fit as much of the stage in as possible are massive in scale, and usually show off the digital effects visible on the massive LED screens or on the stage itself. The sets are highly detailed and beautifully crafted, most notably the moss covered piano used for the Evermore Era, and the shack used for Folklore.
Wrench’s artistic liberties are subtle and fleeting. He definitely amplifies the digital effects for the sake of making them more impressive for a film audience. The most obvious use of this is at the start of the Reputation Era where a snake appears to engulf and constrict the catwalk that goes out into the crowd. But for the most part he keeps Swift, her dancers, and her band front and centre. Out of the three shows that were filmed he has picked the best possible shots from each one and strung them together to create this impressive visual showcase.
The only thing I would say feels like a let-down in terms of the content is that the film trims out some of the songs to hit a two hour and fifty-minute runtime, and some of these cuts are glaringly obvious. The Speak Now Era for example only consists of one song, Enchanted, and it feels jarring to have this huge transition into that Era only for it to then happen again just a couple of minutes later because some of the songs have been cut out. This isn’t enough to really dampen the experience of the film as a whole, but I feel like Wrench could have tried to make these cuts slightly less obvious.
There’s no denying that The Eras Tour is a film made for Taylor Swift fans, and that only Swifties will see it. However, I think that there’s actually a very good reason as to why the film should be seen by as many people as possible, and it’s kind of the same reason as to why Swift is re-releasing her back catalogue of music. Artistic ownership.
It’s no secret that Hollywood is angry with Swift for releasing her film when she did, because it’s had a huge knock-on effect to a number of planned releases, all of which were delayed avoiding a clash with The Eras Tour. The reason behind this is because when negotiations with Hollywood studios for the film rights to The Eras Tour fell through, Swift went directly to theatres. This cutting out of the middleman means that per ticket sale cinemas are taking away almost half of the money, with the rest going to Swift and her team. When you compare that to the standard studio model where cinemas earn almost nothing from the sale of a ticket, it’s easy to see why chains were eager to bump films like The Exorcist: Believer from their screens in favour of The Eras Tour.
This sets such a precedent for filmmakers going forward meaning that small indie films may not need to spend years in limbo with studios until it’s been turned into something completely different before it sees the light of day; and big-name filmmakers may be able to just go completely independent and take more of a profit to fund their next venture. How likely is that to happen? That remains to be seen, but if Taylor Swift can do it with a concert film, then the possibilities for traditional theatrical experiences are exciting. It’s a win for creatives, and a win for exhibitors, which really means it’s a win for everybody.
It's also an exciting time to be a music fan. Last year BTS released their latest tour theatrically and it did incredibly well at the box office, and Beyonce is looking to do the same in the near future and I can almost guarantee that’ll have a similar box office return to The Eras Tour. For so long concert films have been relegated to the straight to home video market which makes no sense because these are massive events designed to be enjoyed communally. I went to watch Eras at the BFI IMAX which is the biggest screen in the UK, and with such a large screen and sound system it’s about as close as you can get to actually being at the concert. People were singing, dancing, and having a great time. It was wonderful to be a part of, and I really do this that this could be the dawn of more concerts getting theatrical releases, which as someone who often struggles to justify the extortionate prices for live events (mainly due to fees from the likes of Ticketmaster) I can only see as a good thing as I’ll be able to enjoy these at a much more affordable rate. It’ll never replace actually being there, but it’s a great alternative.
There’s a reason why The Eras Tour film is making bank at the box office and dominating the news, and it’s because it’s worth talking about, and worth seeing whether you’re a fan of Taylor Swift or not. The breadth of Swift’s creativity ensures that there’s something for everyone ranging from her roots in country, to her gradual transition into pop, her experimentation with more electronic styles, her stripped back and more acoustic pandemic tracks, and her latest stuff with a low-fi chill vibe to it. Wrench’s direction brings a stadium sized three-hour concert to the big screen in a way that rarely feels like it’s condensing anything down. It’s big, it’s loud, it’s visually stunning, and it’s a hell of a good time.
But even if you’re not a fan of Swift, the real-world implications of the film being a success are cause for celebration with Hollywood studios being cut out of the equation and more money being shared between artists and exhibitors. Whatever you think of Taylor Swift, The Eras Tour is one of the most important films of the decade so far, and I would hope that more filmmakers will follow in her footsteps to improve the quality and diversity of the kinds of films we see, and finally give cinemas a proper cut of the tickets they sell.
It’s no secret that Hollywood is angry with Swift for releasing her film when she did, because it’s had a huge knock-on effect to a number of planned releases, all of which were delayed avoiding a clash with The Eras Tour. The reason behind this is because when negotiations with Hollywood studios for the film rights to The Eras Tour fell through, Swift went directly to theatres. This cutting out of the middleman means that per ticket sale cinemas are taking away almost half of the money, with the rest going to Swift and her team. When you compare that to the standard studio model where cinemas earn almost nothing from the sale of a ticket, it’s easy to see why chains were eager to bump films like The Exorcist: Believer from their screens in favour of The Eras Tour.
This sets such a precedent for filmmakers going forward meaning that small indie films may not need to spend years in limbo with studios until it’s been turned into something completely different before it sees the light of day; and big-name filmmakers may be able to just go completely independent and take more of a profit to fund their next venture. How likely is that to happen? That remains to be seen, but if Taylor Swift can do it with a concert film, then the possibilities for traditional theatrical experiences are exciting. It’s a win for creatives, and a win for exhibitors, which really means it’s a win for everybody.
It's also an exciting time to be a music fan. Last year BTS released their latest tour theatrically and it did incredibly well at the box office, and Beyonce is looking to do the same in the near future and I can almost guarantee that’ll have a similar box office return to The Eras Tour. For so long concert films have been relegated to the straight to home video market which makes no sense because these are massive events designed to be enjoyed communally. I went to watch Eras at the BFI IMAX which is the biggest screen in the UK, and with such a large screen and sound system it’s about as close as you can get to actually being at the concert. People were singing, dancing, and having a great time. It was wonderful to be a part of, and I really do this that this could be the dawn of more concerts getting theatrical releases, which as someone who often struggles to justify the extortionate prices for live events (mainly due to fees from the likes of Ticketmaster) I can only see as a good thing as I’ll be able to enjoy these at a much more affordable rate. It’ll never replace actually being there, but it’s a great alternative.
There’s a reason why The Eras Tour film is making bank at the box office and dominating the news, and it’s because it’s worth talking about, and worth seeing whether you’re a fan of Taylor Swift or not. The breadth of Swift’s creativity ensures that there’s something for everyone ranging from her roots in country, to her gradual transition into pop, her experimentation with more electronic styles, her stripped back and more acoustic pandemic tracks, and her latest stuff with a low-fi chill vibe to it. Wrench’s direction brings a stadium sized three-hour concert to the big screen in a way that rarely feels like it’s condensing anything down. It’s big, it’s loud, it’s visually stunning, and it’s a hell of a good time.
But even if you’re not a fan of Swift, the real-world implications of the film being a success are cause for celebration with Hollywood studios being cut out of the equation and more money being shared between artists and exhibitors. Whatever you think of Taylor Swift, The Eras Tour is one of the most important films of the decade so far, and I would hope that more filmmakers will follow in her footsteps to improve the quality and diversity of the kinds of films we see, and finally give cinemas a proper cut of the tickets they sell.