Have you ever been so excited and overwhelmed by something that you can't actually remember it?
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As Taylor Swift's The Eras Tour made its way around the US, fans started reporting having "post-concert amnesia".
While not an official diagnosis, some were left with a "Blank Space" where a three-hour cultural phenomenon should have been etched in their brain.
It was as if I could hear my brain saying "New fear unlocked" when I learned that.
I had gone through "The Great War" purchasing tickets for the Australian leg of the tour. I had, what felt like, gone to hell and back to get tickets - feeling so many more emotions than I could have predicted in the space of 24 hours. There was no way I wanted to not remember every tiny detail.
So the thought of seeing the concert film in preparation for the big day didn't seem like such a bad idea. After all, if there was one thing COVID taught me it was that even though concert and theatre films are great to have, they will never beat the feeling of watching it live and in person. It would just be a taster.
I purchased my ticket to one of the 100 screenings of Taylor Swift: The Eras Tour at Dendy this weekend and geared myself up to sit in a room full of fellow Swifties to watch Queen Tay Tay in action.
Will we sing? Should I have dressed up for this? Should I have made friendship bracelets to swap with theatre-goers (which has become custom when attending The Eras Tour)? And what about the unofficial callbacks that fans have developed throughout the tour? I haven't learnt any of those yet. At what point during Anti-Hero do we chant "Taylor, you'll be fine", again?
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It's an interesting experience watching a concert at a cinema. Firstly, it's like everyone is a little unsure what to wear - some people are in sequins and themed outfits. Others are in tracksuits. Then there are the trailers and choc-tops - and not to mention the seats that are more comfortable than anything you will find in a stadium or arena. There is no doubt that you are in a cinema.
And just as I start to wonder if these things will distract from the experience, the countdown begins - it's 13 seconds 'til midnight. (Thirteen, of course, being Swift's favourite number.)
As the clock strikes 12, Swift starts to sing, with "It's been a long time coming" echoing through the cinema, before different lyrics from each album's iconic tracks start to morph into each other. And somehow it sucks you into the moment. You're ready to witness almost three hours' worth of music representing 17 years and 10 albums.
I think it's telling that the film's first close-up of a fan in this Los Angeles crowd is someone crying because they are so overwhelmed. It's early on - the first full track - and she's already brought to tears. And it is emotional. Granted - I wasn't feeling that one song in, but as the night progresses you can't help but think of all of the moments that have led up to this point - not just for the singer but for yourself.
The big romances, the devastating heartbreaks, the nights spent celebrating with friends, the milestones that have been reached and even the small mundane moments of everyday life, all played out to a soundtrack featuring your favourite artist. Or at least, that's what a Swiftie, such as myself, is thinking. Because as much as this concert is about the eras of Swift's career, it's also about the eras of the fans' lives.
Visually, though, it is the perfect concert to put to film. It's such a cinematic performance, to begin with. Everything from the choreography to the costume and set design, as well as the special effects, have clearly been thought of as a whole, rather than as individual elements.
As Swift and the dancers come out for the Evermore era, for example - dressed in these heavy velvet cloaks and carrying golden orbs - this forest emerges from beneath the stage. Then as the dancers start to move you start to realise the screens follow each performer, showing golden trails in their wake, as if their orbs are filled with a magic that cannot be contained. The concert is full of these little vignettes, creating worlds that capture the essence of specific eras and their corresponding albums.
Even down to the camera work - it didn't feel as if you were in the audience, or that you were behind the fourth wall. It was as if you were viewing everything from a closer-than-front-row perspective. At times it was even perplexing how some of these shots were captured without interrupting the viewing experience of the live crowd.
And for all the things that a concert film will never be able to capture - the anticipation and excitement in the air, the feeling you get when the music is so loud and intense it's almost pumping through your veins - it does give a unique view of the performance. And this style of shooting - the camera buzzing at times circling the singer and different elements on stage - is almost a must for The Eras Tour to pick up all of the tiny little details included. And I would imagine even upon rewatching there would be even more to pick up on.
And yes - there was some singing from the audience. Not as much as you would expect from a live concert, but enough to create an atmosphere. As it turns out though - everyone else wasn't up-to-date on the callbacks either so we all have some practising to do for February next year.
It's never going to replace live performance but for the Swifties that missed out on tickets (or the ones who either have or are afraid they'll forget parts or all of the night) it is an experience to behold over and over again, reliving the magic one era at a time.
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