Concerts Reviews
Taylor Swift’s The Eras Tour: A Night to Remember in Vancouver
Let me just start by saying this: it’s almost impossible to write a review of The Eras Tour without repeating what’s already been said. Whether you’ve seen the movie that premiered in October 2023 or seen endless TikToks and tweets raving about it, this tour has transcended just being a concert. It’s now a cultural phenomenon. But as I sat down to write about the first of Taylor Swift’s three sold-out shows at BC Place and the last Friday show of The Eras Tour ever, I realized the best way to capture what makes this experience special is not just by recapping the music (though I’ll do that too!) but by focusing on the atmosphere and the magic of the night.
The evening began with a land acknowledgment, recognizing that Vancouver is situated on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. It was a meaningful moment that set the tone for an inclusive and respectful experience.
Gracie Abrams opened the show, and wow, did she command the stage. Having last seen her perform at the Vogue Theatre in April 2023, it was incredible to witness her growth as an artist. Going from an intimate venue like the Vogue to opening at BC Place, packed with tens of thousands of people, is no small feat, but Gracie handled it with grace (pun intended!) and confidence. Her set was short but impactful, and she left the crowd buzzing for Taylor.
Vancouver Becomes Swift City
Taylor Swift’s three shows at BC Place are the grand finale of The Eras Tour, which kicked off in Glendale, Arizona, on March 17, 2023, and will end on December 8, 2024. By the time the final confetti falls, Taylor will have played an incredible 149 shows worldwide. Vancouver truly pulled out all the stops to welcome her. An inflatable friendship bracelet (shipped all the way from Toronto) was wrapped around the stadium. The Vancouver Police Department even got into the spirit, decking out their horses with friendship bracelets around their necks. Destination Vancouver joined the fun by installing 13 light signs scattered across downtown, each featuring Taylor’s lyrics. Fans who visited these signs had the chance to win tickets to the show, which only added to the frenzy leading up to the weekend.
Walking around the city before the show, you could feel the excitement in the air. Groups of friends in coordinated outfits inspired by Taylor’s eras, families with moms and daughters hand-in-hand, and fans trading bracelets everywhere. It was like the city had been taken over by a joyful, glittery army of Swifties.
The Magic of Friendship and Community
If I had to pick one thing that truly makes The Eras Tour special, it’s the sense of community. The friendship bracelet exchange, a nod to the lyrics in You’re On Your Own, Kid, was in full swing. Even for someone who can be a little shy (guilty as charged!), the bracelets are the perfect icebreaker. I traded with fans from all over the world, each bracelet carrying its own story. And it wasn’t just friends exchanging bracelets; I saw mothers and daughters bonding, entire families dressed in theme, and even groups of coworkers out for a night of fun.
That sense of connection seems to amplify the energy of the show itself. In fact, Swifties are known for dancing so hard at Taylor’s concerts that they’ve literally shaken the earth. This happened in Seattle in July 2023, where their moves registered as seismic activity, and again in Edinburgh in June 2024, when monitors were triggered by fans’ collective enthusiasm. The energy in Vancouver definitely felt like it could spark a tremor of its own.
The Setlist and Show Recap
The show itself is a masterpiece. It kicked off with the Lover era and the pastel dreaminess of “Miss Americana & The Heartbreak Prince,” setting the tone for a night that would be equal parts nostalgic and celebratory. From there, Taylor took us on a journey through her entire discography:
- Lover Era: Romantic and glowing, complete with “Cruel Summer” (cue the screams during “he looks up, grinnin’ like a devil!”).
- Fearless Era: A sweet, golden interlude with hits like “Love Story.”
- Red Era: Pure heartbreak and exhilaration during “All Too Well (10 Minute Version).”
- Speak Now Era: A short but emotional segment highlighted by “Enchanted.” The pastel tones were on point.
- Reputation Era: Dark, electric, and powerful with “…Ready For It?” and “Look What You Made Me Do.”
- Folklore/Evermore Era: Moody, enchanting, and absolutely stunning during “Willow,” where fans joined in with lit up orange balloons. “Marjorie” being my favourite Taylor Swift song, I was overjoyed that it was included on the setlist.
- 1989 Era: Glittering pop perfection, with “Shake It Off” and “Style” turning the stadium into a dance party. “Bad Blood’s” pyrotechnics kept everyone warm!
- The Torture Poets Department Era: An intense and deeply introspective part of the night, aptly dubbed Female Rage: The Musical, with “Who’s Afraid Of Little Old Me?” and “The Smallest Man Who Ever Lived.”
- Surprise songs: Taylor’s acoustic set has become one of the most anticipated parts of the tour. On guitar, she treated us to “Haunted” followed by “Wonderland,” joking that the latter was “perfect for Canada, eh?” thanks to its catchy “(Eh, eh, eh, eh, eh) in Wonderland” lyrics. Then, at the piano, she gave an emotional performance of “Never Grow Up” and “The Best Day,” leaving many of us misty-eyed.
- Midnights Era: Closing out the night with the dreamy, synthy vibes of “Anti-Hero” and “Karma.”
Each era was distinct, with Taylor’s costumes, staging, and choreography perfectly tailored to match the vibe. The transitions between eras were especially stunning, beautiful tableaux that often showcased the incredible talent of her dancers, who added depth and magic to each shift in tone, making the experience feel seamless and theatrical. The setlist was a marathon with over three hours and 40+ songs, but every moment felt deliberate and unforgettable.
Production Value Like No Other
I’ve been to a lot of concerts (already over 100 this year), but the production value of The Eras Tour is in a league of its own. The stage stretched across the stadium with a massive screen ensuring everyone had a great view. The visuals were breathtaking, from the enchanted forest of Folkmore to the lofty clouds of “Lavender Haze.” The way the lighting, pyrotechnics, and stage transformations worked in harmony was incredible. And don’t even get me started on the bracelets that lit up in sync with the music. Standing in the crowd felt like being part of a living work of art.
The sheer scale of this tour is staggering. By the end of 2024, it’s estimated that Taylor will have brought over $2 billion from ticket sales and merchandise, making it one of the most profitable tours in history.
Why It’s A Show For Everyone
Confession time: I’m not the kind of fan who knows every Taylor lyric (I’m showing my age here, but Spice Girls will always hold that title for me), but even so, this was one of the best shows I’ve ever attended. Taylor’s charisma and storytelling make her songs accessible even if you’re not a die-hard fan. The energy of the crowd, the flawless production, and the sheer joy of the night make it impossible not to have fun.
As I left the stadium with my voice hoarse and my arms full of new bracelets, I couldn’t stop smiling. And guess what? I’ll be back for Night 2 today. Bring it on, Taylor!
We would like to thank Taylor and her team for having us at their show.
Concerts Reviews
LIVE REVIEW: The Paper Kites Bring Warmth and Quiet Charm to Vancouver
On May 20th, Australian folk band The Paper Kites brought an intimate night of their warm indie folk tones to The Centre for Performing Arts.
The band is touring in support of their newest album, If You Go There, I Hope You Find It, which sees them lean further into their warm, atmospheric indie-folk sound, delivering a reflective and intimate collection shaped by themes of home, longing and quiet hope. Compared to their last record, At The Roadhouse, which leaned into a more Americana sound, this feels more of a return to form for the band. Tunes are reminiscent of some of their earlier Twelvefour and On the Train Ride Home material that put them on the map.
At 9:00 pm, the lights dimmed in the auditorium and with no grand entrance, the band took the stage to a roar of the audience, opening with the first track of If You Go There, I Hope You Find It “Morning Gum”. In the classic Paper Kites fashion, the whole group stood around lead singer Sam Bentley’s microphone for a stripped-down intro, before tending to their main instruments and kicking in their full sound.
The Paper Kites continued to preview some of their new material, like “Change of the Wind” and “Every Town,” while mixing in some of their best on At The Roadhouse, like “Till the Flame Turns Blue” and “Black & Thunder.”
For a cover of Colin Hay’s “I Just Don’t Think I’ll Ever Get Over You”, Sam brought out opener, Donovan Woods, to help him perform the song acoustically. Showing off some of his charisma, Sam joked about breaking the number one rule and asking Hay what his song was about — ultimately getting the response that it was about drinking Whisky to get through some of the hard times. The pair delivered a beautiful rendition of the song, blending soothing vocal harmonies that earned a roaring response from the audience.
Sam introduced the band: Christina Lacy on guitar and keyboards, his brother Josh Bentley on drums, Sam Rasmussen on bass guitar and synthesizers, and David Powys on “just about everything,” including guitar, banjo, lap steel, and bongos.
The frontman reinforced just how grateful the band was to be back in Vancouver, which they have been visiting for the better part of 13 years now. He talked about their humble beginnings playing the Biltmore Cabaret and staying at the Patricia Hotel, the now SRO that sits on the cusp of the East Hastings area — definitely an eye opener for the Australian group. Getting stuck in the snow in Wyoming, The Paper Kites had to cancel their Portland show, with the band admittedly upset as they hadn’t had to cancel a show in their tenure as a group. With some hustle, The Paper Kites were able to make it to Vancouver — again, Sam expressing his deepest gratitude for fans making it out to the gig.
To a roar of the crowd, the Aussie musicians came back out for a two-song encore, starting with their hit “Bloom,” with fans helping out the band with the choruses. David Powys got a moment to shine with a tasteful banjo solo that stole the show. Ending the night, Sam egged the crowd to get on their feet as they closed with the feel-good song, “When The Lavender Blooms.”
The Paper Kites delivered an intimate collection of songs, seamlessly capturing the crowd’s hearts from the beginning. With the Centre being a 1800 capacity venue, the band has a way of making you feel like you’re in a bar, with their charm and stripped back sound. Sam shared the sentiment that each time they return, the crowds seem to grow — and it’s clear that whenever The Paper Kites are in town, passionate fans show up, with more joining every time.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
THE PAPER KITES
All Photo Credit: Hunter Soo
Concerts Reviews
LIVE REVIEW: The Last Dinner Party Turned Vancouver’s Orpheum Into Their Own Gothic Playground
There’s a thin line between theatrical and try-hard. The Last Dinner Party spend most of their live show sprinting directly at that line, then somehow vaulting over it without falling flat on their face. At the Orpheum Theatre in Vancouver on May 19, the band’s From The Pyre Tour felt huge, dramatic, occasionally ridiculous, and fully convincing anyway.
That’s harder to pull off than people give them credit for. A lot of bands borrow aesthetics: velvet curtains, religious imagery, corsets, vintage silhouettes, tragic womanhood as performance art. The Last Dinner Party actually build a world around those ideas and commit to it so fully that the audience starts behaving like they’ve entered the same universe. Walking into the Orpheum before the show felt like arriving late to an elaborate costume party where everyone had been assigned a literary archetype ahead of time with lace gloves, ribboned dresses, heavy boots, and tiny opera binoculars. One woman looked like she’d escaped from a haunted manor in 1872 ; another looked ready to front an early-2000s emo band. Somehow both made sense.
The Last Dinner Party opened with “Agnus Dei,” and immediately the whole production snapped into focus. The towering drapery, faux-stone staging, dim cathedral lighting, and the band’s carefully styled costumes could have overwhelmed the actual music in weaker hands. Instead, it sharpened it. The set design wasn’t decoration, it functioned like an extension of the songs themselves.
Frontwoman Abigail Morris remains one of the most magnetic performers working right now partly because she never performs like she’s above any of this. Plenty of singers can command a room. Morris pulls people into one. She spent nearly two hours stalking across the stage, throwing herself into songs with total conviction, then suddenly grinning between tracks like she still can’t believe the band got this big this fast. That balance matters as without it, the band’s maximalism could easily turn self-serious. Instead, the show constantly breathed.
The run of “Count the Ways,” “The Feminine Urge,” and “Caesar on a TV Screen” early in the set was absurdly strong. Guitarist Emily Roberts shredded through riffs with a refreshingly unpolished swagger compared to a lot of modern indie rock’s obsession with restraint. There were moments during “Caesar on a TV Screen” where the entire show tipped into full glam-rock spectacle. Big gestures, big harmonies, big emotions, and no apology for any of it.
Midway through the set, things got darker and more interesting. Songs from From The Pyre carried far more weight live than they do on record, especially “Woman Is a Tree” and “Rifle.” The quieter moments felt genuinely tense inside the Orpheum. You could hear the room lock in. During the eerie vocal opening of “Woman Is a Tree,” the band gathered close together beneath dim lighting while shadowy bird imagery hovered overhead. It was one of the night’s best moments.
The absence of bassist Georgia Davies, who remains off tour recovering from injury, was acknowledged warmly. Touring bassist Max Lilley handled the material well, though Davies’ absence still felt noticeable in a band this chemistry-driven. The Last Dinner Party work best when they feel like five personalities colliding together at once.
Keyboardist Aurora Nishevci quietly stole several moments throughout the night, especially during “I Hold Your Anger,” which landed with force live. The band’s harmonies remain their secret weapon. Beneath all the theatricality and visual ambition, they’re still an exceptionally tight musicianship-first band.
Before launching into “Nothing Matters,” Morris asked the crowd to put their phones away for one song. The people listened and suddenly the room felt freer and less self-conscious. The balcony shook during the chorus as people screamed every word back at the stage.
The encore leaned fully into chaos. “This Is the Killer Speaking” arrived with dance instructions and country-western absurdity. By the time the band closed with an “Agnus Dei” reprise, the crowd looked exhausted and completely won over.
The Last Dinner Party are already very good. What makes this tour exciting is that they still feel slightly dangerous around the edges. There are moments where the ambition threatens to spill over, moments where things nearly become too theatrical or too sentimental. But they should protect that feeling at all costs.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
Upcoming From The Pyre Tour Dates:
05/20 Portland, OR – Arlene Schnitzer Concert Hall %
05/22 Seattle, WA – Showbox SoDo %
05/26 Sacramento, CA – Channel 24 %
05/27 Oakland, CA – Fox Theater %
05/29 Los Angeles, CA – Orpheum Theatre %
05/31 Del Mar, CA – The Sound %
06/02 Denver, CO – Mission Ballroom %
06/04 Des Moines, IA – Val Air Ballroom %
06/05 Saint Paul, MN – Palace Theatre %
06/07 Detroit, MI – Masonic Jack White Theatre %
06/09 Columbus, OH – KEMBA Live! %
06/10 Nashville, TN – The Pinnacle %
06/12 Charlotte, NC – The Fillmore Charlotte %
06/13 Atlanta, GA – The Eastern %
% with Automatic
More information here.
THE LAST DINNER PARTY
AUTOMATIC
All Photo Credit: Caroline Charruyer