In truth, the bracelets with lights that flash to the rhythm of the music were already introduced by Coldplay at the Vicente Calderón stadium back in 2012, which in terms of stage technology is like talking about a hundred years ago. But the deployment of catwalks, mobile platforms that elevate and engulf the artist, little forest cabins (in Cardigan and successive songs), neon cyclists, real and figurative pyrotechnics, reckless flares, audiovisual production and special effects (like that burning house at the end of Lover) is eye-popping. And it proves that at this point, the artist from Pennsylvania is not just a boss lady, which she is, but the supreme being of a new monotheistic religion. The fervor and the shouting were immeasurable — they made a joke out of the hysteria over those kids from Liverpool at Shea Stadium — only that the sound is now superb, even more so for what is typical in large venues.
Another 65,000 souls can attest to all this, as the artist herself announced from the stage (it didn’t look like quite so many), amid what was surely the highest concentration of sequins and glitter ever remembered in the Iberian territory. The most curious, and even moving aspect of the whole thing is that Taylor seemed to be sincerely moved when she saw, for yet another night, the dimensions of the chaos she had caused around her. It even looked difficult for her to find the right words after three minutes of a standing ovation triggered by the beautiful Champagne Problems, which she personally led in front of the grand piano.
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