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If familiarity breeds contempt, then Taylor Swift should be getting roundly scorned. Unfamiliarity with the pop hegemon has become a near impossible condition as she traverses the globe with her record-breaking Eras tour. Since it began in March 2023, she has released three hit albums, had 27 songs chart in the US top 20 and released the highest grossing tour film ever. Totting up the hours of listening and watching, I have probably spent more time in her company than with some of my closest friends.
如果熟悉会滋生轻蔑，那么泰勒•斯威夫特(Taylor Swift)应该受到全面的鄙视。随着她在manbetx app苹果
范围内进行破纪录的时代(Eras)巡回演唱会，不熟悉这位流行音乐霸主几乎成为不可能。自2023年3月以来，她已经发布了三张热门专辑，在美国前20名的排行榜上有27首歌曲，并且推出了有史以来票房最高的巡演电影。计算听歌和观看的时间，我与她在一起的时间可能比与一些我最亲密的朋友还要多。
To this can now be added the three hours and 20 minutes of her Eras show at Murrayfield stadium in Edinburgh. The first of three nights at the venue, it marked the arrival of the tour on British shores. Loch Tay in the Scottish Highlands had been renamed Loch Tay Tay for the occasion. In Edinburgh city centre, glitter and Taylor-themed apparel were ubiquitous: gold minidresses, cowboy boots and hats, glittery leotards — audacious outfitting for a fresh Scottish summer evening.
现在还可以加上她在爱丁堡默里菲尔德体育场的《时代》演出，时长三小时二十分钟。这是她在该场馆三晚演出的首场，也标志着巡演正式抵达英国。为此，苏格兰高地(Scottish Highlands)的泰湖(Loch Tay)被临时更名为泰泰湖(Loch Tay Tay)。在爱丁堡市中心，到处可见闪闪发光的泰勒主题服饰：金色迷你裙、牛仔靴和帽子、闪亮的紧身衣——这些都是为了苏格兰夏日夜晚的清新而大胆的装扮。
An immense caravan of tweens plus parental chaperones, teenage girls and young women headed towards the near 73,000-capacity stadium. (Some of the menfolk wore American football tops bearing the name of Swift’s boyfriend, Travis Kelce of the Kansas City Chiefs.) Most of the Swifties present would have already seen the show — not in the flesh, but on screen. The concert film Taylor Swift: The Eras Tour (worldwide box office gross $261mn) came out in the middle of the Eras tour itself (projected ticket revenue, more than $2bn).
一大群青少年及其家长、少女和年轻女性正朝着可容纳近73,000人的体育场进发。（一些男士穿着印有泰勒•斯威夫特男友、堪萨斯城酋长队球员特拉维斯•凯尔斯名字的美式橄榄球上衣。）在场的大多数斯威夫特歌迷可能已经看过这场演出——不是现场观看，而是通过屏幕观看。音乐会电影《泰勒•斯威夫特：时代之旅》（manbetx app苹果
票房收入2.61亿美元）在时代之旅巡演期间上映（预计门票收入超过20亿美元）。
This gave the event an odd kind of familiarity. It risked breeding not contempt but a nagging feeling of surfeit. So while the singer’s entrance was spectacular, hey-prestoed from within a cocoon of fabric on a runway stage to ear-busting acclaim, her opening sequence of songs had a slightly perfunctory feel. Opening number “Miss Americana and the Heartbreak Prince” was truncated: it deserved more. The burlesque revue for “The Man” — Taylor as corporate alpha in bright pinstripe jacket with dancers dressed as office workers — was fun but throwaway. However, any hint of staleness vanished as the momentum picked up.
这让整个活动带有一种奇怪的熟悉感。它可能滋生的不是轻蔑，而是一种过剩的烦恼感。因此，尽管泰勒的出场非常壮观，从舞台上一个布料茧中突然现身，赢得了雷鸣般的掌声，她的开场歌曲序列却显得有些敷衍。开场曲目《Miss Americana and the Heartbreak Prince》被缩短了：它本应得到更多的展示。《The Man》的滑稽表演——泰勒身着亮色细条纹夹克，扮演企业高管，舞者们则装扮成办公室职员——虽然有趣，但略显轻率。然而，随着活动势头的增强，任何陈腐的感觉都烟消云散了。
Epic in length, with more than 40 songs and a vast amount of stagecraft, the tour is spectacularly ambitious. Its setlist is broken into “eras”, each representing a different album from her discography. At Murrayfield, a huge screen for visuals on the main stage was flanked on either side by backing musicians. A long runway extended towards a thrust stage over halfway down the pitch. Swift, alone or accompanied by back-up singers and dancers, used the space very adroitly, mixing up the movement and viewing angles. Costume changes were done quickly, sometimes on stage from beneath a canopy of feathers or umbrellas held by her dancers.
这次巡演的长度堪称史诗，包含超过40首歌曲和丰富的舞台表演，极具野心。演出曲目被分为几个“时代”，每个“时代”代表她唱片目录中的一张不同专辑。在默里菲尔德(Murrayfield)，主舞台的巨大屏幕两侧是伴奏音乐家。一条长跑道延伸至场地中央的突出舞台。斯威夫特无论是独自一人还是与伴唱和舞者一起，都非常巧妙地使用了这个空间，变换动作和观看角度。服装更换迅速，有时在舞台上，有时在舞者持有的羽毛或雨伞下的遮篷下完成。
She knew where the cameras for the big screen were, ending songs by spinning on her heels to fix the lens with a meaningful stare. Yet she was also attentive to the different areas of her large audience. A solo acoustic-guitar version of “Would’ve, Could’ve, Should’ve” was interrupted when she spotted a stricken audience member. During the same song, her guitar-picking hand was frozen into a claw by the evening chill, to her amused consternation. This was an unfamiliar occurrence: it had never happened to her before.
她知道大屏幕的摄像机在哪里，歌曲结束时会转动脚跟，用意味深长的目光凝视镜头。同时，她也关注着庞大观众群中的不同区域。当她看到一位表情痛苦的观众时，她中断了《Would've, Could've, Should've》的独奏吉他演奏。在同一首歌中，她弹奏吉他的手因夜晚的寒冷而僵硬成爪形，这让她感到既好笑又困惑。这是一个她之前未曾经历过的新鲜事。
The setlist also had a degree of unfamiliarity, rejigged to incorporate her latest album The Tortured Poets Department. Its literary theme has inspired a striking new costume: Taylor in an elaborately cut white dress with copperplate writing on it, like a sartorial volume of poetry. During the gothic-pop of “Who’s Afraid of Little Old Me?”, she stood on a mobile box that moved across the stage via an unseen force, forcing dancers to recoil as she pointed at them in the manner of a Marvel superhero. Dance number “I Can Do It with a Broken Heart” was set to old-school Busby Berkeley routines with tailcoats and canes.
歌单中也加入了一些不熟悉的曲目，重新编排以融入她的最新专辑《受折磨的诗人部门》。这个专辑的文学主题启发了一种引人注目的新服装：泰勒身着一件精心剪裁的白色连衣裙，上面印有铜版文字，宛如一本行走的诗集。在哥特流行曲《谁害怕小小的我？》中，她站在一个移动的盒子上，通过不可见的力量在舞台上移动，当她以漫威超级英雄的姿态指向舞者时，舞者们纷纷后退。舞蹈《我可以用破碎的心做到》采用了老派的巴斯比•伯克利(Busby Berkeley)风格，演员们身着燕尾服，手持手杖。
Amid all this choreography, Swift’s appealingly flowing singing style continued without pause. (Her breath control is an under-appreciated skill.) Each word was sung back at her by the tens of thousands in the stadium. Their familiarity with the songs, and also the gestures that the singer made while singing them, was opposite to contempt. It made the atmosphere electric, a shared peak with the world’s biggest pop star.
在所有这些精心编排中，斯威夫特迷人的流畅唱法毫无停歇。每一个字都被体育场里数以万计的观众回唱。他们对这些歌曲的熟悉，以及歌手在演唱时的手势，与蔑视截然相反。这让现场的气氛变得热烈起来，与这位当今世界上最伟大的流行歌星共享巅峰时刻。