Summary

• Ranking every song in
  Taylor Swift: The Eras Tour
  movie is challenging due to the exceptional performances and diverse eras represented.
• The concert movie, now titled
  Taylor Swift: The Eras Tour (Taylor’s Version)
  , showcases Swift’s dazzling lyrics through distinct performances for each era.
• Fans can now enjoy the full 3.5-hour movie on Disney+, allowing multiple viewings to appreciate and select their favorite performances.

Ranking every song in the Taylor Swift: The Eras Tour movie is no easy feat. The concert movie captures a musical performance the likes of which has never been seen before, showcasing the music of Swift’s 10 albums. Swift’s concert was edited into a shorter movie for its theatrical release, but the version now available to stream on Disney+ is three and a half hours long.

The movie’s title is now Taylor Swift: The Eras Tour (Taylor’s Version) due to the differences between it and the theatrical version. Using Swift’s dazzling lyrics as a starting point, the Eras Tour team created performances to elevate each era. This Swiftie experience is now more widely accessible, and fans can watch every song in the Eras Tour movie multiple times before deciding on their favorite performance.

48 Blank Space

1989 Era

“Blank Space” is a fun number that utilizes the stage to depict a car on one of the screens, which Swift’s dancers destroy with golf clubs. However, “Blank Space” is less impactful when the highlights of the era are other songs. Additionally, some of the music video’s elements are turned into neon light props, a departure from the classic aesthetics.

47 I Can See You

Speak Now Era

“I Can See You” makes its way into the movie as part of the post-credits “Acoustic Collection.” Swift highlights “I Can See You” as a song that she has never before performed live, making it an excellent addition. However, the song does sound better with some additional instrumentals, but the fans are still thrilled to sing along.

In a live concert, the acoustic set only includes two songs.
Taylor Swift: The Eras Tour (Taylor’s Version)
includes a post-credits scene with six acoustic songs, comprising footage from different performances.

46 Bad Blood

1989 Era

The “Bad Blood” music video combines the aesthetics of several sci-fi movies. Unfortunately, there isn’t enough time for a major costume change to lean into the best parts of “Bad Blood.” The flames shooting from parts of the set are great, but even Swift slipping into a leather trench coat would have made the performance so much more fun.

45 We Are Never Ever Getting Back Together

Red Era

Swift wears a shimmering red and black ombré leotard for a number that falls short of the days when it was performed with a whole circus troupe.

While “We Are Never Ever Getting Back Together” is loads of fun, it doesn’t do much to set itself apart from the first song of the Red set. Swift wears a shimmering red and black ombré leotard for a number that falls short of the days when it was performed with a whole circus troupe. The backup dancers at least bring plenty of campy drama.

44 Mastermind

Midnights Era

Midnights is at the end of the Eras Tour because it is the most recent era; if it were not, “Mastermind” probably wouldn’t be in the show. The staging works for what the song is, with the dancers moving like clockwork over a chessboard stage. However, it has the disadvantage of falling between “Bejeweled” and “Karma.”

43 I Knew You Were Trouble

Red Era

“I Knew You Were Trouble,” like “Never Getting Back Together,” must make do with what is set up with the introduction of the Red era. Which song is “better” performed honestly comes down to a matter of personal preference. However, “I Knew You Were Trouble” uses the fog machines well for some dramatic flair.

42 Tolerate It

Evermore Era

The evermore era simply doesn’t have as many showstoppers; “no body, no crime is still missing from the Eras Tour movie. The song “tolerate it” has heartbreaking lyrics but is one of the slower momentsof the concert. However, the Eras team makes a valiant and effective effort to make it concert-worthy, with Swift and one of the dancers acting out a relevant scene.

41 Archer

Lover Era

“Archer” is a moment of soft awe at the end of the Lover set; Swift performs the song alone on stage. Her choreography is great and her disappearing into a supernova-like graphic is a nice touch. However, it is a less fitting end to Lover than “Lover” itself, which was still a gentle finale.

40 …Ready For It?

Reputation Era

“Ready For It” is the on-the-nose (not in a bad way) intro to Reputation.Swift is joined by a retinue of dancers, all in serpent-decorated costumes, and the moving levels of the stage are well-used to add some dynamism to the choreography. However, a lot of elements are reused for “Don’t Blame Me,” which is also a better song.

39 Midnight Rain

Midnights Era

Another song from Midnights that probably won’t be in the next concert is “Midnight Rain.” The effects are lovely, incorporating glittery rain graphics and umbrellas, but it doesn’t stand out amid the Midnights set. It does, however, get credit for Swift’s change into her blue bodysuit and the dancers’ solo moments.

38 Death By A Thousand Cuts

Lover Era

Swift calls “Death By A Thousand Cuts” “one of [her] favorites.” The perfectly bittersweet tune of the song sounds great with just the acoustics. “Death By A Thousand Cuts” isn’t the best song played in the acoustic set and doesn’t have the biggest reaction, but is amazing nonetheless.

37 Delicate

Reputation Era

“Delicate” is strangely pleasant when compared to the other songs of the Reputation era. Swift is on her own on stage for this one, smiling knowingly as she sings. The cracks forming around her on the stage elevate some of the themes of the song. It is not the biggest showstopper, but it balances out Reputation.

36 Lavender Haze

Midnights Era

“Lavender Haze” is a brilliant song that is the perfect entry into the Midnights era. However, its set pieces bring it down. Swift’s lavender faux fur coat is magnificent, but the lavender clouds wheeled in on ladders are perhaps the only part of the Eras Tour that can be called bad — they just look like Styrofoam.

35 You Need To Calm Down

Lover Era

This divisive song of Swift’s is tons of fun to sing along to. While the design isn’t the most creative, the rainbow lights are a great way to emphasize that “You Need To Calm Down” was written to support the LGBTQ+ community, with some sassy lyrics that are perfect for dismissing internet trolls.

34 Love Story

Fearless Era

Every song from the Fearless era holds a particularly special status, especially “Love Story.” The Fearless set’s aesthetic suits “You Belong With Me” and “Fearless” better than it does “Love Story.” However, Swifties will always sing “Love Story” with the same passion they did when it first came out.

33 You Are In Love

1989 Era

As a soft-spoken song with gentle instrumentals, “You Are In Love” is a great song for Swift to play on the piano. The falsetto notes echo throughout the stadium for a sweet and simple moment. Additionally, Swift takes pauses and almost whispers some lyrics to convey a breathless feeling at the beginning.

32 Long Live

Speak Now Era

“Enchanted” and “Long Live” are certainly the two Speak Now tracks that deserved to emerge, years later, as the preeminent songs of the era.

“Enchanted” and “Long Live” are certainly the two Speak Now tracks that deserved to emerge, years later, as the preeminent songs of the era. However, “Long Live’s” staging doesn’t quite meet the song’s tone. Yet even standing stationary with her band, Swift gives the joyous, tear-jerking song its due.

31 Betty

Folklore Era

The atmosphere of “betty” is always happy, possibly because it isn’t about Swift herself. The fictional “betty” characters are named for Ryan Reynolds and Blake Lively’s children, and Swift seems to have as much fun performing it as she did writing it. It doesn’t have the theatricality of other moments; however, this is characteristic of the folklore era.

30 The Man

Lover Era

“The Man” also stands out with different themes and musical styles than most of the rest of Lover. However, the costumes and sets make the performance of “The Man” decidedly more interesting. Swift slips into a glittery blazer and works her way up the stairs of an office building, surrounded by other performers in office attire.

29 Don’t Blame Me

Reputation Era

Swift hits some of the same beats as “Ready For It” during “Don’t Blame Me,” which are elevated by the latter song’s steady tune and long notes. The backup singers are also now wearing long sparkling black dresses, for an old-school vibe. It all leads up to the epic transition into “Look What You Made Me Do.”