2023-11-10 19:08:43
Taylor Swift embodied the true “Pop Beast” by starring, on Thursday night, in the largest audiovisual spectacle ever seen in Argentina with the landing of “The Eras Tour” that brought together 70 thousand people at the Monumental stadium in River Plate in the first show of a series of three that will continue tonight and Saturday.
For more than 200 minutes and accompanied by 44 songs, the North American star gave an overwhelming review of her musical history in the context of a huge performance that brought the crowd to play in that fantasy world that Swift made available to the public. hand and became intimate, close and possible.
From 8:40 p.m. until just after midnight, the 33-year-old artist embodied her personal and extremely successful repertoire within a visual and scenographic-technical device of a film, managing, in a single, very extensive act, to push the imaginable limits of the spectacle and make it palpable. for the excited crowd.
The impact of the comprehensive proposal then ensured that the musical and interpretative, condemned to remain as an ornament within such a barrage of visual stimuli, went beyond that tireless machinery and connected intimately with each attendee thanks to Taylor’s angel and the warmth of her songs.
So the raw material of what is supposed to be a recital – in this case effective white pop songs that flirt with other trendy rhythms without ever losing its axis – could have been buried in a technological prodigy but the artist and her “Swifties” ” they shattered the artificial barrier and connected in a dreamlike evening.
It is that this kind of XXXL musical crossed by visual and scenographic tools of monstrous dimensions such as the 100-meter-long stage from which platforms up to 10 meters high sprouted or the curved and giant high-definition panoramic screen, managed to incorporate the public –with their screams and the luminous bracelets accompanying the predominant color of each passage- thanks to the influence generated by the hostess’s songs.
And the bet was redoubled at every moment in a feverish and unfathomable continuation that, however, managed to call into question an old maxim that assures that “permanent surprise does not surprise.”
It will be up to the legion of fans (wearing shiny outfits as imposed by Taylorist aesthetics, mostly women and, among them, predominantly teenagers) to determine if the songs themselves achieved the expected prominence in the midst of that sensitive gale of barely-there perfection. human.
The concert with which Swift decided to pay off the debt she felt with the stages due to the pandemic cutting short the “Lover Fest” (to accompany her seventh studio album, “Lover”, from 2019), has since accumulated between studio albums. and re-recordings to “Folklore” (2020), “Evermore” (2020), “Fearless (Taylor’s Version)” (2021), “Red (Taylor’s Version)” (2021) and “Midnights” (2022), more than paid off in this mega-show that covers his musical and personal history.
In it, the author, singer, dancer, guitarist and pianist (all attributes that she showed off with grace and precision) put together a device divided into 10 eras (“Lover”, “Fearless”, “Evermore”, “Reputation”, “Speak Now “, “Red”, “Folklore”, “1989”, “Surprise Songs” and “Midnight”) with their respective settings, although within each section the effects also multiplied.
With outfits that were often skimpy and always shiny that showed off her graceful figure but never put the focus on physical attributes, Swift was the tireless figure of a marathon display of varieties and attractions.
In the midst of that noise and a stadium tour that began on March 17 in Glendale (United States), on August 24 it began its Latin American leg in Mexico (which in addition to the three River ones will include six nights in Brazil distributed equally between Rio de Janeiro and Sao Paulo) and will pass through Asia, Oceania and Europe before returning to North America to close in December 2024 in Canada, she spoke excitedly.
She greeted with a shy and very Spanish “Hello” in the middle of “Miss Americana & The Heartbreak Prince”, but in English she was loquacious and complimentary: “Buenos Aires, all of you make me feel incredible; excellent” she said first and later added: “I am very lucky because it is the first time I come and this is one of the most epic audiences that exist, they are on another level” and also: “I know they were camping, I didn’t believe it until I saw the video. Thank you very much for that, you are very passionate.”
The excess of resources capable of making elements appear and disappear in view of everyone, a golden rain, the fall of snow, a dive that took her swimming from the end of the long catwalk to the heart of the stage were just a handful of a barrage of resources placed around the personal stories that Swift assumes and distributes in the form of melodies.
“Cruel Summer”, “Love Story”, “Champagne problems”, “Delicate”, “Enchanted”, “Style”, “Anti-hero”, “22” and “Karma” (with which he closed) were some of the pieces that stood out within a songbook in which the “surprise” songs – the only ones that vary in each performance – last night were «The Very First Night» and «Labyrinth».
Before such an excessive and unimaginable display, the musical proposal was inaugurated by the Argentine Louta (“Let Taylor see that we are the best audience in the world” and “thank you for giving me the opportunity to be here,” he greeted) who led a festive set surrounded of musicians and dancers and had the also North American Sabrina Carpenter as an appetizer in line – in sound and aesthetics – with the gale to come and won several ovations.
The impressive spectacle presented took the type of visit of this caliber to the country to another level and raises the question about what else Taylor Swift herself could offer when it comes to continuing to appear on stage, but the sensation that was left floating on the shores of the Río de la Plata and with a cold wind blowing, it was a unique night and such a figure will surely find a way to continue pushing limits that she herself crossed.
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