“Taylor Swift: The Eras Tour – The Final Show” Disney+ Review: Iconic Moments, Surprise Songs, and TTPD

It’s been a long time coming… but the era of “Eras” has finally drifted into its true twilight. For nearly two uninterrupted years, we’ve witnessed Taylor Swift’s “Eras Tour” mutate from a career-spanning spectacle into a gravitational force of its own. It commanded economies, collapsed ticketing systems, and turned the humble friendship bracelet into the world’s most charming form of emotional currency.

There’s a certain cosmic hilarity to being a Swiftie. After all, it’s this eternal ballet of believing we’ve hit the finish line, only for Blondie to glide back into the spotlight carrying a cryptic caption, a surprise drop… Ahem, Apple Music’s updated “Reputation” tracks, anyone??

Or, you know, a casual double album with enough tracks to score an entire lifetime. The universe expands, physics bends, and Taylor, ever the mastermind, shrugs and releases something with 31 songs. At this point, we’ve come to embrace the chaos as part of the charm.

“The Eras Tour,” in all its shimmering, shape-shifting glory, has long transcended the limits of a “concert.” It became a global ritual, a pilgrimage, a technicolour migration pattern that united millions. And in the middle of rewriting the touring rulebook and elevating fan devotion to mythic proportions, Taylor continued to widen her universe with the luminosity of a supernova that categorically refuses to fade.

So naturally, when cameras swooped across the constellations of Vancouver and Taylor’s movements carried that extra cinematic electricity, Swifties everywhere felt the prickle of the prophecy. We knew… we knew… another chapter was quietly being carved under those stadium lights.

Which brings us to the mastermind’s latest sleight of hand: “Taylor Swift: The Eras Tour – The Final Show,” the Disney+ concert movie that aims to capture the tour’s most definitive, most expansive, and most emotionally charged form yet.

It’s Been A Long Time Coming…

December 8, 2024. Vancouver, B.C. “Taylor Swift: The Eras Tour” is concluding an epic journey around the world. After 149 shows across five continents, connecting with over 10 million fans, it has become the highest-grossing tour in history. This is the final show.

It’s the finality of it all that gets to us every step of the way. Sure, it ended for real a whole year ago. Yet, the impact of this very experience is still strong with us, even now.

While we might have had a concert movie released in theatres (still the best way to see it) and eventually the Taylor’s Version edition, this particular one aims to bring viewers to some updated setlists and acts that weren’t previously seen in HD.

This time, no title cards are ushering us neatly from era to era, no tidy signposts guiding us through the mythology we’ve come to know by heart. The borders blur. Time folds in on itself. The Eras no longer announce themselves; they simply exist, intertwined and inevitable.

And so, when Taylor rises like a pearl from within an oyster to the opening strains of “Miss Americana & the Heartbreak Prince,” it lands with unexpected weight. These are the last moments she will ever perform these songs in this way, under this banner, as part of the “Eras Tour”.

And then there’s “Cruel Summer,” a song resurrected by this tour, reborn into chart-dominating immortality a couple of years after its release. So no, of course we couldn’t calm down.

As we zipped headlong back to our elementary and high school years through the “Fearless” and “Speak Now” eras, muscle memory took over. We were bopping to “You Belong With Me,” transported to a time when heartbreak felt earth-shattering, and crushes were everything. And of course, no return to “Fearless” would be complete without the unmistakable heart hands, still beating with the same earnest magic all these years later.

“For The Last Time, No!”

One major omission from the original theatrical cut was the playful theatrical interludes. You know, those clever, scene-setting moments designed to usher us from era to era while Ms. Swift executed her lightning-fast costume changes behind the scenes. This time around? We don’t know about you, but WE WON. They’re here, and they add an extra layer of texture to an already maximalist spectacle.

Right after that, suddenly, we were all the same age. Why? Because Mother said so. With a pair of glittering double twos, she officially cancelled 21 (sorry, Mr. Savage) and strutted headfirst into the Red era with a knowing smirk and an abundance of swagger.

“I Knew You Were Trouble” and, naturally, “We Are Never Ever Getting Back Together” followed in quick succession, and it was pure delight watching Kam Saunders earn the catchphrase of the night. Taylor handing him the mic before that final chorus felt so satisfying, like it was something earned for everyone in that venue.

But if there’s one immovable pillar of Swift’s “Red”-daissance, it’s “All Too Well (10 Minute Version).” Hearing it live, raw, expansive, and unflinchingly intimate, still carries the ache of heartbreak tempered by the clarity of hindsight. This is the definitive version, the one that leaves us misty-eyed as she reaches once more for that infamous scarf. Maggie Gyllenhaal still doesn’t know where it is. And honestly? We kind of hope she never does.

1, 2, 3 Let’s Go B

Taylor swings big for “Reputation” because she knows exactly how feral we still are about it. Even now, every microscopic breadcrumb, every stray snake scale that slithers into existence sends Swifties into collective hysteria. And honestly, what is Apple Music’s Dolby version of “Delicate” and “I Did Something Bad” if not a personal play on our hearts right now? If you haven’t heard it yet, pause. Go listen. We’ll wait. Seriously, Taylor, what are you doing to us?

But back to the show.

The snake coiled across her outfit gleams gold. A deliberate evolution, perhaps, echoing the lyricism of “Daylight,” where love shifts from the burning reds of destruction into something warmer, truer, and fully earned.

And with that, she looks straight at us and asks the only question that matters: Are you ready for it?

She quite literally cracks the stage open with “Delicate,” before taking us straight to church with “Don’t Blame Me.” The moment turns spiritual, bathed in cascading light, carried by that sky-splitting high note she hits every single time. It’s devotion by design, and we are willing participants.

“Look What You Made Me Do” closes the act with calculated, theatrical venom. The staging does half the storytelling, as past Taylors glare from their glass enclosures. They are the prime version’s trophies, ghosts, and warnings, all showcased in a single, theatrical sweep.

Goodbye, Cabin In The Woods…

And now, it’s time for the sister albums: “Folkmore” and “Everlore”! Wait, that doesn’t sound right…

Honestly, we still ache for the days when “Folklore” and “Evermore” were allowed to breathe as two fully distinct eras. But yes, we get it. Had Taylor kept them separate, we’d be bracing ourselves for a four-hour marathon, and while we’d happily stay glued to our seats, we’re not about to push Taylor to the brink.

Still, the “Folklore” cabin returns, and knowing this is the final time it will ever appear on this stage makes the moment quietly bittersweet. Taylor speaks of how the cabin existed purely in her imagination at first. A solitary dream conjured in isolation, before being willed into physical reality.

What follows is one of the most emotionally dense stretches of the night: “Cardigan,” “Betty,” “Champagne Problems,” “August,” “Illicit Affairs,” “My Tears Ricochet,” “Marjorie,” and “Willow.” Each song, conceived during the pandemic, becomes a short story in motion. It’s a procession of grief, longing, and reflection, unfolding under candlelight and carried by a witchy hush that could swallow entire stadiums.

Play, Play, Play

The seeds for “The Life of a Showgirl” were already planted when she stepped onto the stage in that golden-and-orange ensemble. But make no mistake, this was “1989”, and Taylor fully leaned into the glitter, the spectacle, the choreography, making us feel like we’d somehow stumbled into a living, breathing music video.

She glides in with “Style,” boogying, woogying, and twirling straight into our collective hearts. Then comes “Blank Space,” and suddenly we’re swallowed by neon bike chaos: dancers swinging golf clubs at animated cars, a wink to the ridiculous, the glamorous, and the iconic all at once.

And then, the beat drops: “Shake It Off.” The stadium erupts. It’s pure, kinetic joy.

And our undeniable 1989 pinnacle? “Bad Blood” closes the act with unflinching intensity. Revenge, resilience, and unapologetic savagery, all rolled into one. We forgive, we forget, but we never let it… go.

Female Rage: The Musical

Now this is the section we’d been waiting for! It’s the one we never got to experience live, the chapter of the “Eras Tour” that always felt just out of reach for some of us across the world. This is the first time we’re really allowed to sit with it, to take it in up close. It’s theatrical. It’s confrontational and drenched in monochrome. And Taylor, unmistakably, is the swan.

She opens tenderly with “But Daddy I Love Him,” disarming us before the floor drops out entirely. Because once “Female Rage: The Musical” begins, it doesn’t tiptoe around things.

This melts seamlessly into “So High School,” before spiralling into the snarl of “Who’s Afraid of Little Old Me?” Her eyes shift at the end of the performance, something feral flickering beneath the surface, as if the persona fractures in real time. It’s chilling, as if the snake returned for a moment.

“Down Bad” arrives next, complete with its alien abduction imagery, a UFO hovering like the manifestation of disorientation, desire, and emotional free fall. Then comes “Fortnight,” followed by “The Smallest Man Who Ever Lived,” each song tightening the emotional vice, each beat more unflinching than the last.

And then she lands the punchline and the thesis with “I Can Do It With a Broken Heart.” It’s meta in the most devastating way possible. She wrote this song about performing on the Eras Tour while falling apart behind the curtain…, and here she is, performing it as part of the Eras Tour’s final bow. Try to come for her job. Really. She dares us.

An Acoustic Sesh to Remember!

The most delightful part of the evening, the element that makes every show feel personal, is how each location gets its own signature moments. Songs that belong to that city, that stage, that audience. Something rare, something you can claim: we were there, we remember it all too well.

And this time… Taylor. Girl. You really make us lose our minds. Five mashup songs? Yes. But somehow, it works as it weaves together closings and celebrations, reflection and jubilation. She brought us full circle, back to the beginning with “A Place in This World” x “New Romantics,” a reminder of where it all started.

And the pièce de résistance: “Long Live” x “New Year’s Day” x “The Manuscript.” A narrative about having the time of your life, a story no longer solely hers to tell. It belongs to the fans now, open-ended, ours to cherish, to carry forward.

And as the set ends, she dives headfirst beneath the Eras Tour stage to swim into “Midnights”

It’s Me… Bye!

She ascends into the clouds via a ladder, and suddenly the stage becomes an ethereal canvas for the final act.

“Lavender Haze” opens the sequence, dreamy and intoxicating, followed by the confessional punch of “Anti-Hero.” “Midnight Rain” swells with its theatrical shifts, then “Vigilante Shit” cuts sharp with burlesque flair. “Bejeweled” dazzles, “Mastermind” mesmerises, and she closes with “Karma.” And yes, it’s the “guy on the Chiefs” version as the stadium erupts!

And then, the human moments arrive. Hugs. Thank-yous whispered and shouted. She’s mouthing “oh my god,” profusely, bowing, laughing, acknowledging every person, every fan, every story that brought the Eras Tour to this unforgettable Vancouver finale. It’s grand, it’s definitive.

And just like that, the curtain falls, or rather, the clouds part. “Taylor Swift: The Eras Tour — The Final Show” on Disney+ documents the final render of a cultural phenomenon, a crystallisation of every era, every emotion, every meticulously staged moment we’ve lived and relived as Swifties.

View this post on Instagram

By the time she ascends into the clouds for “Midnights”, delivers the catharsis of “Karma,” and closes with hugs, bows, and whispered thank-yous, it’s impossible not to feel seen, heard, and a little transformed. After all, this is the tour, the era, the moment, preserved forever.

From the theatrical heights of “The Tortured Poets Department” to the cloud-bound grandeur of “Midnights,” Disney+ lets us witness every triumph, every surprise, every heartbreak, all in one definitive, unforgettable experience. It’s epic, it’s intimate, it’s chaotic, and it’s everything we’ve loved about Taylor in her career.

So, hold on to spinning around as the confetti falls to the ground. May these memories break our fall!

Full Setlist

Act 1: Lover

“Miss Americana & the Heartbreak Prince”
“Cruel Summer”
“The Man”
“You Need to Calm Down”
“Lover”

Act 2: Fearless

“Fearless”
“You Belong with Me”
“Love Story”

Act 3: Red

“22”
“We Are Never Ever Getting Back Together”
“I Knew You Were Trouble”
“All Too Well (10 Minute Version)”

Act 4: Speak Now

“Enchanted”

Act 5: Reputation

“…Ready for It?”
“Delicate”
“Don’t Blame Me”
“Look What You Made Me Do”

Act 6: Folklore & Evermore

“Cardigan”
“Betty”
“Champagne Problems”
“August”
“Illicit Affairs”
“My Tears Ricochet”
“Marjorie”
“Willow”

Act 7: 1989

“Style”
“Blank Space”
“Shake It Off”
“Wildest Dreams”
“Bad Blood”

Act 8: The Tortured Poets Department

“But Daddy I Love Him” / “So High School”
“Who’s Afraid of Little Old Me?”
“Down Bad”
“Fortnight”
“The Smallest Man Who Ever Lived”
“I Can Do It with a Broken Heart”

Act 9: Surprise Songs
“A Place in This World” x “New Romantics”
“Long Live” x “New Year’s Day” x “The Manuscript”

Act 10: Midnights

“Lavender Haze”
“Anti-Hero”
“Midnight Rain”
“Vigilante Shit”
“Bejeweled”
“Mastermind”
“Karma”

“Taylor Swift The Eras Tour: The Final Show” is currently dancing in the onyx night on Disney+!