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: Role Model Lets Loose With Vancouver Crowd on Chuck On Tour
There are few things more revealing about a concert crowd than how quickly they abandon any sense of self-consciousness. By the time Role Model took the stage at Vancouver’s Freedom Mobile Arch on September 12, that line had long since disappeared. The audience was there to dance, scream, sing and, every so often, erupt into a “Chuck!” chant that seemed to spread through the venue on instinct.
For Tucker Pillsbury, better known as Role Model, this is the kind of room his music was made for. The Vancouver stop was part of Chuck On Tour, the world tour supporting his newly released third album, Chuck Timely & The Hourglass. The record marks another step forward for an artist who has steadily evolved from the confessional, genre-blurring pop of his 2022 debut Rx into something warmer, more expansive and increasingly comfortable in its own skin.
That evolution was evident throughout the set. Opening with “Chuck’s Mantra” before launching into “High Hopes 3000” and “Song Is All You Get,” Pillsbury established the playful, loose energy that would carry through the night. The newer material sat naturally alongside fan favourites, with songs like “Look at That Woman,” “Superglue,” “Good Thing” and “The Dinner” keeping the momentum moving.
But the defining feature of the night wasn’t any individual song, it was the audience. There was essentially no downtime between songs before someone was dancing, shouting or belting out a lyric. And not polite, restrained dancing either—the kind where you throw your inhibitions out the window, sing at the top of your lungs with your best friends and let the music take over completely. Freedom Mobile Arch became one giant group singalong, with the crowd seemingly determined to match Pillsbury’s energy note for note.
That sense of community was especially apparent during “Joy,” a buoyant highlight from Chuck Timely & The Hourglass, before the set moved through tracks including “a little more time,” “Old Recliners” and “The Longest Goodbye.” The newer songs gave the performance an emotional range that kept the night from becoming simply a pop spectacle; underneath the dancing and shouting, Pillsbury’s songwriting remains rooted in vulnerability and the complicated messiness of relationships.
And then came “Sally, When the Wine Runs Out.” The viral Kansas Anymore standout has become one of Role Model’s defining songs, and in Vancouver it landed exactly as expected: as a massive communal release. The crowd knew every word, turning what could have been a straightforward performance into something much bigger.
The set ultimately closed with “Harmony,” bringing Chuck On Tour’s Vancouver stop to a fitting conclusion.
Role Model has spent the past few years growing his audience without losing the intimacy that made his music resonate in the first place. After the success of the No Place Like Tour, which sold more than 90,000 tickets worldwide, Chuck Timely & The Hourglass feels like the next natural chapter rather than a reinvention.
At Freedom Mobile Arch, that progression was reflected back at him by a crowd that clearly feels invested in the journey. For a couple of hours, there was nothing complicated about it: the music came on, the dancing started, the Chuck chants broke out, and everyone gave in.
Opening the night, Samia brought a sharp, intimate energy to the Freedom Mobile Arch, setting the tone for an evening built around big feelings and even bigger sing-alongs. Her confessional songwriting and effortlessly expressive vocals gave the crowd a chance to settle in before Role Model took the stage, with plenty of fans already singing along to favourites from her catalog.
Check out our favourite photos of the night below or head to our Facebook page for the full gallery!
ROLE MODEL
SAMIA
All Photo Credit: Kelli Rothwell
Concerts Reviews
LIVE REVIEW: Rachel Chinouriri Takes Paris by Storm at Sold-Out Headline Debut
Ahead of the release of her sophomore album “I Think I Spoke Too Soon” next October, the rising star Rachel Chinouriri took over Paris last Friday for a sold-out show. After having opened for Sabrina Carpenter’s tour back in 2025, this was the singer’s first-ever headline concert in the capital, to the joy of her long-term and newer fans alike.
The night started with Heidi Curtis, whose appearance could only be described as reminiscent of Stevie Nicks and Florence & the Machine. Heidi’s songs are a nice mix of classic rock and folk. The singer told us she’s a fan of all things folkloric, which we can definitely hear in her song “Siren”, about the dark love story between a siren and a sailor.
She then performed her soon-to-be-released “Summon”. Having never been played acoustic before, the song hadn’t originally been planned as part of the setlist. Nonetheless, its last minute addition was a brilliant decision, as it for sure caught the audience’s attention, getting the loudest cheers of the crowd during and after its performance. Heidi Curtis then played “Lost and Found”, and, despite the crowd not knowing the lyrics, they clapped in rhythm all along. Finally, she closed her set with “Undone” before exiting the stage with flowers and a Polaroid gifted to her by fans, as well as a belated happy birthday chant.
Heidi Curtis was, without a doubt, the perfect choice as an opener, and it’s clear that she gained new fans in Paris.
It was then time for Rachel Chinouriri to perform and, from the moment she stepped on stage, it was clear she belonged under the lights. She immediately captivated everyone’s attention, locking eyes with everyone in the room and waving and smiling to people in the front, the back and the sides of the room alike.
Starting her set with “One Song Away from Crying”, the lead single off her new album, Rachel then performed the unreleased “AAAHHH!!!” whose lyrics were already known by some dedicated fans.
The setlist was a masterful mix of songs from her entire discography, as the singer then performed “My Everything” and “It Is What It Is”, two songs off her debut album, before performing “23:42” from her EP Little House.
Although her latest single, “Make Believe”, was released the day of the concert, her fans had come prepared knowing the full lyrics to sing along and carrying signs in honor of the song.
The mood calmed down a little for an emotional moment with “So My Darling”, during which the crowd raised blue lights as a fan project, before things picked right up with “Can We Talk About Isaac”. Rachel then performed “The Hills” with a French flag signed by fans before playing two unreleased tracks off her next album. Leaning into more of a disco sound than her previous body of work, the entire room was dancing and partying, transforming the pit into a night club.
The night ended with Rachel performing the two most famous songs off her first album, namely “All I Ever Asked” and “Never Need Me”, to the loud singing of the audience. There being no encore clearly left the fans wanting for more, as they kept dancing to the venue’s playlist long after the singer was gone.
Hopefully, Rachel Chinouriri will be back in Paris for a new headline show soon, but in the meantime she will be opening for Gracie Abrams for her US tour.
Words by Manon Pothin