The ErasTour nightly surprise songs have become a very big deal — and for good reason.
Steffanee WangOn Friday, June 9, Taylor Swift performed “Haunted” as her first surprise song. Walking up to the tip of the stage, her flowing magenta gown shimmering under the lights, she teased the upcoming arrival of, and launched into the breakup ballad. Afterwards, she switched over to the piano and without introduction began belting outThe Eras Tour surprise songs have become a big deal, and for good reason.
Ask any Swiftie and they’ll tell you their unique wishlist of surprise songs. “New Romantics!” “Teardrops On My Guitar!” “Our Song!” “Cornelia Street!” But what constitutes a good — or even great — surprise song performance? And are there potentially bad surprise songs? Perhaps those who were in attendance on her third night at MetLife could speak on that last question. For that show’s surprise songs, Swift toted out an acoustic version of the already generally disliked “Welcome To New York,” a confusing and disappointing option for many reasons. It was her last night in the city, so there was nothing particularly “welcoming” about it.
Take Swift’s choice of “Haunted” in Detroit. The show followed the singer’s official tracklist unveiling of, so having her perform a fan favorite from the album made complete sense. Similarly, Swift playing “Teardrops On My Guitar,” the song that broke her career, in Nashville, the city where she broke her career, was logical.
The morning after the show at brunch, my friend brought up one more extremely crucial point about the surprise songs that stuck with me: The importance of that one, shoutable lyric, that one bridge, that one part of the song that turns a good live music moment into a transcendent, transformative one.
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