That’s the real story with Taylor and her eras.
I could have watched an entire show just about that story, but a single smirk between Taylor and the dancer portraying Rebekah - a small, sincere gesture symbolizing a reclamation of loudness, shamelessness, and independence - perfectly summed up the narrative. The set, choreography, and acting for “The Last Great American Dynasty” were a modern Broadway musical condensed into four minutes. I had to check if I still had eyebrows after she lit the stage on fire (literally) with “Bad Blood.” The whole place shimmered, Mikael spirit fingers and all, when she busted out “Bejeweled.”Īnd while there was the less boppy, folkore-ian interlude, even still she enthralled the audience. In the same way her earlier albums (and the first half of the show) captured the whimsy of our youth, the second half celebrated the absolute fun and chaos and energy of our early adulthood - and she embodied that to the fullest.įrom “22” to “Shake It Off,” Taylor had the audience in the palm of her hand, scream-singing and dancing together. From Red to Midnights, she played hit after hit after hit. While “Cruel Summer” (and its iconic bridge) couldn’t have been a more perfect opener, the second half of the show was quite possibly everything to me. For Speak Now, she literally gave us the sparkling night every girl dreamt of. For reputation, she was sexy and sure of herself, ready to play the villain or pursue you at whatever cost.
Her evermore set evoked wonder and witchcraft.
For Fearless, Taylor fluttered and flounced, bringing back the frenetic energy of our youth.
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