By Jorgah Herbert
Taylor Swift’s record breaking tour saw her visit 51 cities performing a staggering 149 shows, earning approximately $2 billion. While the crowd screamed her name and sang every lyric, the Eras tour was far more than just her. This is a look at what happens below and behind that funky shaped stage.
The creative director and production designer for the Eras tour was Ethan Tobam, who had worked on Swift’s music videos over the past few years. Dave Brooks, the billboard senior director of live music and touring, estimates the set cost more than $100 million. The stage is something that many artists could only dream to have, featuring a catwalk which is lit up through stage-integrated lighting and projection mapping, a truly magical experience.
At moments, the stage shifted into staggered levels, making it feel as though the audience was being transported into a new era with every transition. The show opened with Swift rising dramatically from beneath the stage, concealed by sweeping fabric fans carried by her dancers. Later, after her surprise set, she stunned the crowd by diving into an open gap in the stage, a carefully choreographed stunt that relied on a crash mat and a high-speed ‘rocket sled,’ a piece of stagecraft she had first used during her 2018 tour to glide unseen beneath the stage.
The process of building the stage often began a full week in advance, with an estimated 90 trucks hauling equipment across the production. In total, constructing everything could take two to three weeks. Many theorise that Swift’s team operated with two full stage sets, one in use for the current shows, while the other was already being assembled at the next location.
Similar to other shows, the Eras tour featured LED wristbands, wirelessly controlled using infrared and allowed synchronised movements of light across the crowds. It also became ground for many conspiracy theories on when Taylor was going to release her new version of Reputation.
Multiple designers carefully crafted the outfits that quickly became viral sensations across the internet. Christian Louboutin gave Taylor’s sparkling suits their signature red-soled heels, instantly recognisable as part of her Eras look. Roberto Cavalli brought Reputation and 1989 to life with striking ensembles that fans saw every night of the tour. Finally, Versace designed the glittering bodysuit she wears during Lover, a piece so memorable it graces the front cover of both the Eras Tour movie and companion book.
Perhaps the most treasured behind-the-scenes creation was Taylor’s Fearless guitar, completely bedazzled with gems that Swift’s parents painstakingly applied themselves. More than just an instrument, it stands as a reminder that the Eras Tour was not just a concert, but a reflection of her entire life’s journey, supported wholeheartedly by her parents.
No stadium tour would be complete without dance moves, and choreographer Mandy Moore delivered stunning routines that spanned a wide range of genres, seamlessly matching the tone of each era. With an impressive history choreographing for Dancing With the Stars and La La Land, Moore landed the job without ever even meeting Swift after getting the choreographer’s number from Emma Stone – even though the pair hadn’t spoken for six years.
Moore explained that her process begins with a blank sheet of paper, where she “bars out the song” to map the sequence. Still, she credits Taylor for her sharp creativity and clear vision, noting that Swift almost always knows exactly what she wants for each number. Moore also reflected on the two and a half weeks of prep with her assistants, during which they filmed rehearsal videos where, in her words, they looked like “tater-tots”. She laughed at the thought of how those rough, early moves eventually transformed into choreography performed on the biggest stadium stages in the world.
One of the most memorable dance sequences is ‘Willow’, with dancers cloaked in capes and carrying glowing orange orbs. Moore recalls that it was among the very first dances she presented to Taylor, which moved the artist to tears.
One challenge that quickly became apparent for Moore was the stage itself. Not only was it enormous, but it was constantly showing video effects, which meant there was no way to place marks on the floor for the dancers. She explained that they had to devise a system using the numerous lines already on the stage to ensure everyone hit their positions perfectly.
We have heard over the past few years just how incredible and successful the Eras Tour has been, both statistically and financially. But beyond the numbers, in every look, every light and every dance move, the Eras Tour proved that Taylor’s magic isn’t only produced by her, but by the team that turned her brilliant ideas into reality.
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Surround Sound 
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