 |
| looking out onto the sea of peasants (photo creds: jason williamson @ the line of best fit) |
Some may say her power lies in her ability to single-handedly make the largest cooperation in the world redesign their business plan (we're looking at you, Apple). Others in her ability to reduce relatively emotionally stable people of all ages into a fit of tears. Although, it's most prevalent (and, perhaps, most overlooked) in her ability to sell out Hyde Park (that's 65,000+ tickets, I'll have you know). Out of all the other headliners of the British Summertime Festival, the only other act who was able to draw identical numbers were The Who. Neither Britpop heroes Blur nor the founders of modern indie rock The Strokes could achieve such numbers. Hence, Taylor Swift is a musician completely on par with rock legends celebrating their golden anniversary. And she proves it in her biggest UK headline show to date in the company of her London crowd.
The day-long event was opened fittingly by an array of genre-crossing acts. Rae Morris was charming and euphoric; Vance Joy's cotton candy acoustics were impressive and dynamic; though he can't dance for piss and tried (and failed spectacularly) to get an audience who wasn't there for him to sing-a-long to his unknown tracks, John Newman gave his all; and Ellie Goulding went above and beyond, pumping up the crowd with a cluster of electronica fire-starters. Surprisingly, it all made the excruciating seven hour wait from doors opening to Miss Swift's set a little less painful.
For someone who once claimed she couldn't dance and is infamous for her problematic award show moves, the love letter to her beloved new home and show opener Welcome To New York was the first of many performances to boast high-precision body pops and locks. It also set the bar for an ornately camp extravaganza. Almost every sugar-tinted synth was accompanied by high kicks in even higher waisted garments and the most incredible (for lack of a better term) slut drops the eyes have ever seen. Behind the superstar herself was an army of truly exquisite backing dancers to accentuate the big top show. (Collectively, we decided we loved Mason Cutler the most.)
 |
| friendship group goals (L-R: martha, kendall, serena, swizzle, karlie, gigi, cara) (photo creds: glamour magazine) |
Each beat which burst from the Great Oak Stage was bedazzled to perfection; whether they were a blazing inferno as in her 2013 worldwide smash-hit I Knew You Were Trouble or silky smooth under Style. During the latter - a slinky, seductive instant classic glossed with immaculate hooks and retro riffs - she paraded members of her ever-growing girl squad of beautiful people - Kendall Jenner, Gigi Hadid (I literally died), Serena Williams, Martha Hunt, Karlie Kloss, and Cara Delevingne - to the adoring crowd.
Prior to attending, I was initially a bit ambivalent towards the set list as, for a Swift-till-death personality like myself, it was too 1989-heavy for my liking, particularly due to the inclusion of This Love (which was a bit of a snore and could definitely done with being replaced by a masterpiece like Last Kiss or All Too Well) and You Are In Love. After attending, I still harbour these feelings. However, one of the most bewitching moments of the show was Taylor being suspended above the crowd against a background of sallow oranges as the sun was in mid-set as she acoustically (and unforgettably) sang You Are In Love.
 |
| love story at sunset |
Yet, her set was not shy of her previous catalogue. Though it did not include any full version of her songs from the greatest album of all time (2010's multi-platinum Speak Now), the songs she did incorporate showed her remarkable talent for reinvention. It's not just the fact that 1989 transformed her from pop princess to the biggest superstar on the planet, but her tour has given her the artistic opportunity to inject fresh energies into her archive. During her platform suspension over the crowd, she played the song that catapulted a then-18 year old Taylor Swift into international music fame: Love Story. Tinkering at her keyboard, she turned the country crossover smash into an 80's tinged ballad. Later in the set, she electrified the crowd with an amazing beefed-up version of one of her dryer tracks We Are Never Getting Back Together, shredding guitar and whipping like it was nobody's business. Her final surprise was a mash up of one of my most favourite T Swizzle songs Enchanted (circa 2010) and brooding ballad Wildest Dreams. Living up to its namesake, it was enchanting. Beginning as a soft piano solo and evolving into a momentous serenade to the beauty and delicacy of love. It was certainly a set highlight.
 |
| don't be so baffled luv, they're all here for uuuuuuu (photo creds: tumblr) |
It is a well-known fact that Taylor is not a one-trick pony. Not only is she, possibly, the most famous singer-songwriter of the 21st century, accomplished multi-instrumentalist, philanthropist and the dictionary definition of 'goals', but she can add 'agony aunt' and 'potential Noble Prize speech writer' to her CV. Before Clean, her severely underrated track about finding yourself in the midst of stormy heartbreak, she gave a speech that wetted the cheeks of many. She preached about the importance of self-love and how we are not "damaged goods", before launching into a graceful melody that captured the crowd.
It is indisputable that Taylor Swift is some kind of phenomenon. She brings the bangers through some of this year's biggest songs - Shake It Off, Blank Space, Bad Blood (the tour version is, unfortunately, minus the explosive Kendrick Lamar appearance) - and lifts them to new, dazzling heights. She has flowered into a bonafide music icon. May the reign of Taylor Swift continue.
past taylor-related posts
WARNING CONTAINS SEVERE EMOTIONS: 1989 album review
