Key takeaways

In a hurry? Here are the key features of The Eras Tour stage setup at a glance:

• Over 90 articulated lorries transported the full production, including staging, automation, lighting rigs, and audio systems
• The stage design featured a giant LED backdrop, multiple trapdoor lifts, a 130-foot runway, and a secondary B-stage
• Lighting rigs included hundreds of intelligent fixtures programmed to change mood and colour for each musical era
• Audio was powered by line array systems such as the d&b audiotechnik KSL series, with flown arrays and delay towers to provide full stadium coverage
• Wireless microphone systems and in-ear monitoring ensured clarity for both performers and musicians
• LED walls displayed live camera feeds and pre-programmed visuals, giving every audience member a close-up view

The Eras Tour stage setup and production

Scale

The scale of The Eras Tour was immense; few live shows have ever matched its reach and size. Across five continents, 51 cities, and 149 performances, stadiums were transformed into vast arenas built to host a three-hour retrospective of Taylor Swift’s career. Audiences ranged from 55,000 to more than 80,000 in the biggest stadiums, each with its own layout and acoustic challenges.

To move something this large, over 90 articulated lorries carried the staging, lighting, video walls, and audio gear from city to city. The stage ran the full width of the pitch, with a 130-foot runway and a secondary B-stage built into the floor.

Of course, for the production to be moveable, the design had to be modular. Every component could be scaled or repositioned, allowing crews to achieve the same look and sound anywhere in the world, with less than 48 hours to build or dismantle!

Set design

Ethan Tobman was The Eras Tour‘s production designer. He worked hand in hand with Taylor Swift to create a stage that could change character across the night. Each of the 10 eras had its own look, supported by visuals, props, and choreography.

At the centre stood a huge curved LED screen, showing both live camera feeds and custom graphics. It provided a backdrop that let the stage shift instantly between worlds, from the neon glow of 1989 to the woodland tones of Folklore. Beneath the floor, hidden trapdoors and lifts allowed Swift and her dancers to appear and disappear without breaking the flow.

An extended runway and a diamond-shaped B-stage stuck out into the audience. This was possibly the most recognisable part of the setup, as it allowed Swift to really see and connect with her fans, particularly when she would give the “22” hat to a lucky person at the end of the runway midway through each show.

Every element of the design was programmed to the second, linking video, lighting, and set changes to the rhythm of every song. Set-wise, the show moved from the office rig of “The Man” to the famous Folklore house to, eventually, the “Roomba” stage used for the later-added Tortured Poets Department set, and that’s not counting all the eras in between!

Creative Commons License by Paolo V

Sound production

People were they to hear the music, first and foremost. And so getting the sound right was one of the most important yet challenging tasks of the tour.

Swift’s songwriting and lyricism have always been the backbone of her music, right from her early country days. But with so many eras with wildly varying sounds and up to 80,000 people in open-air stadiums, the concert needed a system that would carry power and detail to every seat without losing clarity.

To achieve this, the crew relied on speakers such as the d&b audiotechnik KSL line arrays, a system known for consistent coverage and controlled directivity on a massive scale.

Main arrays were flown to cover the bulk of the audience, while larger venues required additional delay towers to keep the mix balanced at long distances. Subwoofers reinforced the low end but were carefully tuned so that vocals stayed at the centre of the sound.

Before a single speaker was rigged, though, engineers used d&b ArrayCalc to model each stadium, adjusting placement and angles to design the most efficient system for the space.

Once the setup was in place, d&b R1 Remote software gave the crew full control of the arrays in real time. This allowed engineers to fine-tune the system as the crowd arrived, since thousands of bodies in a stadium change how sound behaves.

Mixing duties were handled on DiGiCo Quantum SD7 consoles, chosen for their processing power and reliability. Presets were built for each era of the setlist, so engineers could shift quickly between different tonal styles with the help of digital signal processing.

On stage, wireless microphone systems gave Swift and her band complete freedom of movement across the runway and B-stage. In-ear monitors provided tailored mixes for each musician, ensuring precise timing and pitch in such large environments. Backup frequencies and spare transmitters were always on hand to guard against technical issues.

Accuracy, not just volume, was the true measure of success. By combining premium line arrays with advanced software and careful planning, the team delivered the same detailed, professional sound in every stadium on the tour.

Lighting

The sound may have been the most important thing, but lighting wasn’t far behind. The rig had to shift from intimate spotlights to full-stadium washes within seconds, using hundreds of moving head fixtures spread across the stage, runway, and delay towers. Each cue was programmed to reinforce the identity of the musical era it supported.

Every change was precisely timed. The Reputation set blazed with sharp beams and bold colours, while Folklore and Evermore softened into warm, natural tones that gave a sense of intimacy. In such huge venues, these contrasts in lighting were essential in differentiating the eras and making the audience feel close to each distinct world.

Fans themselves became part of the design. LED wristbands were synced wirelessly to the rig, turning the entire crowd into a dynamic light display that pulsed and shifted in sync with the music. Strobes, blinders, and follow spots added extra layers of drama, keeping Swift and her band in focus no matter where they moved on stage.

Creative Commons License by Ronald Woan

How to put on your own pop concert

While The Eras Tour relied on massive touring rigs, the same principles can be applied on a smaller scale. What matters most is reliable sound, flexible mixing, microphones that suit your voice and style, lighting to shape the atmosphere, and cases to protect your gear. Here’s what we would recommend if you want to put on a show like Swift’s… without needing to book a stadium!

Sound systems

The PA system is the backbone of any performance, carrying your sound to the audience with clarity and balance.

We suggest a column system like the LD Systems MAUI 28 G3 for mid-sized venues, as these will spread sound evenly without taking up too much space.

For smaller gigs, the LD Systems DAVE 15 G4X provides a compact yet powerful 2.1 setup, giving you tight bass and clean mids in an easy-to-transport system.

Mixers

Mixers give you control over how everything sounds, letting you balance levels, apply effects, and route signals. The Soundcraft Notepad 8-FX is a great entry point, offering simple controls and built-in effects for vocals and instruments.

For more flexibility, we recommend the Soundcraft Ui12 as this gives you wireless control via tablet or phone, which is especially useful if you need to adjust sound on the move or perform without a dedicated sound engineer.

Microphones

Good microphones are essential for capturing your sound accurately. The Shure SM58 or Sennheiser e935 are great wired options as they’re dependable and well-suited to vocals. If you’re going wireless, go for the Shure BLX24/SM58 or Sennheiser XSW 1-835.

Lighting

Lighting is what transforms a performance visually, setting the mood and highlighting key moments in your set.

The Chauvet DJ Intimidator Spot 110 adds movement and sharp beams that draw attention to the stage, while the Chauvet SlimPAR Q6 ILS gives smooth, colourful washes that can change the atmosphere between songs. Even a small lighting setup can make a huge difference in how professional your show feels.

Protection and cases

Transporting gear can take its toll, so protective cases are super important. The Gator G-PA TRANSPORT-SM is designed to carry compact PA systems securely, so we highly recommend this if you’re bringing your own speakers, while the Gator GM-4 Microphone Bag offers padded compartments for up to four microphones, keeping them protected during travel and storage.

FAQs

How long did it take to set up The Eras Tour stage?

It would take about seven to eight hours to assemble the stage for The Eras Tour at a given venue, but 48 hours in total to get fully set up. The process involved rigging the massive LED screens, flying the line arrays, and building out the extended runway and B-stage.

How much did The Eras Tour set cost?

The stage and production for The Eras Tour are estimated to have cost over 100 million US dollars. This figure reflects the design and construction of the modular stage, the LED walls, the lighting rig, the line array sound system, and the scenic pieces used for each era. Transport costs, storage, and the use of more than 90 trucks to carry equipment also add to the total.

What was the biggest concert on The Eras Tour?

The largest single concert attendance recorded on The Eras Tour was 96,006 people at Melbourne Cricket Ground. This show set a record not only for the tour but also for the venue, underlining the sheer global demand for the production. Other large-scale dates included multiple nights at MetLife Stadium in New Jersey and Wembley Stadium in London, which also drew capacities of more than 80,000 people per night.

Final thoughts

The Eras Tour showed what is possible when music and production meet on the biggest scale. Across 51 cities and five continents, the same precision in staging, sound and lighting was reproduced night after night.

It was unforgettable and record-breaking. If you’re interested in how it was all produced, we hope you’ve enjoyed our Era’s Tour stage setup!