Taylor Swift @ Etihad Stadium (14/12/2013)
As a child of 1990s pop music glory, I have a tendency to muse over the idea that pop in its greatest form is dead. This, in itself, is a biased thought that most lovers of music will experience at some point when reflecting on the eras that brought them their first real taste of music obsession. Yet as I enter the overwhelming Etihad Stadium, preparing myself to bare witness to Taylor Swift, the seven-time Grammy Award winning country-pop songstress who I’ve paid little attention to over the years, I find myself swept up in the excitement and anxiety that only an arena gig, or a major sporting match, can bring about.
The race through crowds for a last minute pre-show toilet stop, the purchase of food and drink staples to last the entirety of the show, and the hum of 47,000 eager children, hysterical teenagers or supportive (occasionally hysterical) mothers, I begin to feel totally swept up. There is no avoiding the pack-mentality of the pure thrill in awaiting a performer in such a thunderous environment. Even the biggest cynic of pop music could not deny the endorphins caused from such an atmosphere.
Swift kicks off with the steady rock beats of State of Grace, complete with an extensive live band and pyrotechnics galore. Her onstage persona is humbling and attractive. Swift’s pure and elongated vocals are initially immaculate and it’s difficult not to fall in love with her genuine smiles and shy giggles to the crowd. Across her fourteen-track set, a different form of unique entertainment is provided for every song – from theatrical ballerinas, to a period-drama style set and costumes, to an electrifying dub-step violin solo. These theatrical nuances are counterbalanced flawlessly with several acoustic performances from Swift herself – donning a guitar, a banjo or a seat in front of the piano wherever possible. The theme of Swift’s performance finds itself positioned perfectly between a country pub gig you may be lucky enough to stumble across, to an elaborate circus arena show.
The night is full of the usual expectations of such a show, with brave walks through the crowd (surrounding by several burly security guards), a few tracks performed up the complete opposite end of the stadium, and speedy changeovers. Swift’s costumes are a mixture of masculine shirts and hats, casual tomboy streetwear and classy ball gowns. Cleverly chosen, these costumes reinforce the tame nature of the performer and her music, which frequently brushes on themes of heartache and relationships, but never quite enters the realm of blatant sexuality or immorality. Taylor Swift is unadulterated family fun, and the ideal first experience of live music for the many youngsters in the audience – edgier than Hi-5, cleaner than Justin Bieber. An impromptu chorus of Happy Birthday from the crowd, to celebrate the young superstar’s twenty-fourth birthday the day before, provides another example of the show’s humble atmosphere.
The faults of Swift’s show lie perhaps within the bracket of maturity – in terms of both personality and performance. As the show carries on, there are moments when Swift sounds vocally challenged and out of breath. A certain level of grace must be granted for a show at such a level, but it is interesting to note that this is something that never happens when Swift embraces the country aspects of her music. Her incredible acoustic rendition of You Belong With Me sees Swift perched casually on a stool strumming her guitar, and encapsulates the very best of Taylor Swift – a cute and catchy pop tune performed with undeniable integrity. Mean is the night’s highlight track for this reason. In line with a hoard of country musicians, Swift plucks her banjo and sings her heart out, delivering the simple moral message of being kind to your fellow man with such humble enthusiasm. While it is tracks such as I Knew You Were Trouble that are responsible for Swift’s worldwide explosion of popularity and provide the audience with opportunity to rock out, it is indeed the softer, country tunes that showcase her brilliance.
At times throughout the night, Swift has an irritating habit of pre-analysing several of her tracks through lengthy speeches, particularly those that revolve around a prior heartbreak she appears to have experienced. The way Swift lectures her crowd on themes of love and loss imply a youthful mindset that she believes she is the only person in the world who has experienced such life challenges. The cynicism I experience in these moments, however, is quickly crushed when I look around at the adoring crowd who are quite happy to accept her advice on dealing with boys, relationships and feeling like you don’t fit in with the status quo. In comparison to many other female pop starlets, Swift provides a refreshing difference because of the innocence and purity she exhibits. Furthermore, these speeches could perhaps illustrate that Swift is aware of her audience demographic and is committed to providing a moral message that will feel relevant in the hearts and minds of her young admirers.
Indeed, any disparagement directed towards Taylor Swift becomes irrelevant when you witness such a monumental performance and the effect it has on the masses. As the show ends with a powerful execution of We Are Never Ever Getting Back Together and red, love-heart shaped confetti is sprayed over the joyous thousands, I realise the genre of pop in its greatest form is certainly not dead. In fact, it is artists such as Taylor Swift who keep the ideals of pop alive, and allow young people to grasp the beauty and joy of live music in such a pure and untainted way. That so many of the children in Etihad Stadium can be seen cuddling their parents and dancing with their siblings captures the beauty of what an artist like Taylor Swift can bring to the music industry, and for that, she deserves adulation.
Bianca White
The race through crowds for a last minute pre-show toilet stop, the purchase of food and drink staples to last the entirety of the show, and the hum of 47,000 eager children, hysterical teenagers or supportive (occasionally hysterical) mothers, I begin to feel totally swept up. There is no avoiding the pack-mentality of the pure thrill in awaiting a performer in such a thunderous environment. Even the biggest cynic of pop music could not deny the endorphins caused from such an atmosphere.
Swift kicks off with the steady rock beats of State of Grace, complete with an extensive live band and pyrotechnics galore. Her onstage persona is humbling and attractive. Swift’s pure and elongated vocals are initially immaculate and it’s difficult not to fall in love with her genuine smiles and shy giggles to the crowd. Across her fourteen-track set, a different form of unique entertainment is provided for every song – from theatrical ballerinas, to a period-drama style set and costumes, to an electrifying dub-step violin solo. These theatrical nuances are counterbalanced flawlessly with several acoustic performances from Swift herself – donning a guitar, a banjo or a seat in front of the piano wherever possible. The theme of Swift’s performance finds itself positioned perfectly between a country pub gig you may be lucky enough to stumble across, to an elaborate circus arena show.
The night is full of the usual expectations of such a show, with brave walks through the crowd (surrounding by several burly security guards), a few tracks performed up the complete opposite end of the stadium, and speedy changeovers. Swift’s costumes are a mixture of masculine shirts and hats, casual tomboy streetwear and classy ball gowns. Cleverly chosen, these costumes reinforce the tame nature of the performer and her music, which frequently brushes on themes of heartache and relationships, but never quite enters the realm of blatant sexuality or immorality. Taylor Swift is unadulterated family fun, and the ideal first experience of live music for the many youngsters in the audience – edgier than Hi-5, cleaner than Justin Bieber. An impromptu chorus of Happy Birthday from the crowd, to celebrate the young superstar’s twenty-fourth birthday the day before, provides another example of the show’s humble atmosphere.
The faults of Swift’s show lie perhaps within the bracket of maturity – in terms of both personality and performance. As the show carries on, there are moments when Swift sounds vocally challenged and out of breath. A certain level of grace must be granted for a show at such a level, but it is interesting to note that this is something that never happens when Swift embraces the country aspects of her music. Her incredible acoustic rendition of You Belong With Me sees Swift perched casually on a stool strumming her guitar, and encapsulates the very best of Taylor Swift – a cute and catchy pop tune performed with undeniable integrity. Mean is the night’s highlight track for this reason. In line with a hoard of country musicians, Swift plucks her banjo and sings her heart out, delivering the simple moral message of being kind to your fellow man with such humble enthusiasm. While it is tracks such as I Knew You Were Trouble that are responsible for Swift’s worldwide explosion of popularity and provide the audience with opportunity to rock out, it is indeed the softer, country tunes that showcase her brilliance.
At times throughout the night, Swift has an irritating habit of pre-analysing several of her tracks through lengthy speeches, particularly those that revolve around a prior heartbreak she appears to have experienced. The way Swift lectures her crowd on themes of love and loss imply a youthful mindset that she believes she is the only person in the world who has experienced such life challenges. The cynicism I experience in these moments, however, is quickly crushed when I look around at the adoring crowd who are quite happy to accept her advice on dealing with boys, relationships and feeling like you don’t fit in with the status quo. In comparison to many other female pop starlets, Swift provides a refreshing difference because of the innocence and purity she exhibits. Furthermore, these speeches could perhaps illustrate that Swift is aware of her audience demographic and is committed to providing a moral message that will feel relevant in the hearts and minds of her young admirers.
Indeed, any disparagement directed towards Taylor Swift becomes irrelevant when you witness such a monumental performance and the effect it has on the masses. As the show ends with a powerful execution of We Are Never Ever Getting Back Together and red, love-heart shaped confetti is sprayed over the joyous thousands, I realise the genre of pop in its greatest form is certainly not dead. In fact, it is artists such as Taylor Swift who keep the ideals of pop alive, and allow young people to grasp the beauty and joy of live music in such a pure and untainted way. That so many of the children in Etihad Stadium can be seen cuddling their parents and dancing with their siblings captures the beauty of what an artist like Taylor Swift can bring to the music industry, and for that, she deserves adulation.
Bianca White