The tour recorded unprecedented public demand, ticket sales and attendances, bolstering economies, businesses, and tourism worldwide, dominating social media and news cycles, and garnering tributes and accolades from governments and organizations.

This also gave rise to multifarious issues: ticketing crashes that inspired a string of anti-scalping laws and price regulation policies; scrutiny of Ticketmaster for monopoly by US authorities; diplomatic tensions in Southeast Asia due to Singapore's exclusivity grant; poor venue management in Rio de Janeiro resulting in a death; a failed ISIS plot to attack the tour in Vienna; and a political scandal in the UK.

[35] Some journalists and fans opined that unlike venues in Japan and Singapore—the only Asian countries that are a part of the Eras Tour—those in Hong Kong, the Philippines and Thailand might not have the proper infrastructure that is required to host the tour.

On June 28, those registered with Frontier Touring Company gained access to a presale for which over four million users queued, setting a national record; tickets sold out within three hours.

[79] For the Singaporean shows, United Overseas Bank (UOB) cardholders in Singapore, Malaysia, Thailand, Indonesia and Vietnam had presale access on July 5, 2023, with over one million users in the virtual queue.

Angelo Gopee, head of Live Nation France, stated, "the demand is such that many have found themselves in a virtual queue just to subscribe to the mailing list which, potentially, will open access to the ticket office.

In addition to website malfunctions, Forbes reported widespread scalping of the tour's UK tickets, with immediate re-listing on sites like StubHub and Viagogo for extortionate prices.

[135][137] They were inspired by previous performances, music videos, and public appearances,[138][139] intended to align with the overarching themes and palette of the era Swift referenced in an act, showcasing the various sonic and visual aesthetics she had adopted in her career.

[140] Attire and accessories were mostly custom-made by fashion houses Swift had worked with before, such as Atelier Versace, Roberto Cavalli, Etro, Nicole + Felicia Couture, Zuhair Murad, Elie Saab, Ashish, Alberta Ferretti, Jessica Jones, and Oscar de la Renta.

[148] She performed "Fearless" on the main stage, "You Belong with Me" at mid-stage, and "Love Story" on the T-stage, all alongside her band while her backup singers wore metallic gold and silver jackets and black jumpsuits.

[124] Swift began singing "'Tis the Damn Season" in a long gown,[148] followed by a dark theme that leads to "Willow" in a "witchy" séance;[146] she wore a cape and performed with dancers holding luminescent orange orbs.

[138][148] She continued with "Marjorie",[115] then "Champagne Problems" on a moss-covered piano beneath an oak tree,[124][147] concluding the act with Swift introducing her pianist Karina DePiano followed by "Tolerate It" with a male dancer at a dinner table reminiscent of Citizen Kane (1941).

[148] She then sang "August", which transitioned to the bridge of a rock-tinged "Illicit Affairs",[116][155] followed by "My Tears Ricochet" with female dancers wearing sparkly black long sleeved dresses and choreography resembling a funeral procession.

[121] Moving to mid-stage, female dancers rode neon bicycles for "Blank Space" and used blue golf clubs to smash an animated Shelby Cobra car.

[115][147] She followed with "Shake It Off", performed as a robust dance party; "Wildest Dreams", backed with backup singers and clips of a couple in bed; and "Bad Blood", with female dancers and accentuated by intense pyrotechnics.

The lower screen split, and dancers carried out clouds as Swift reemerged in a purple faux fur coat, a glittery oversized shirt, and dark blue boots to sing "Lavender Haze".

[163] The act ended with a silent skit with two male dancers accompanied by enthusiastic jazz music, where Swift removed her dress to reveal a two-piece bodysuit, leading up to "I Can Do It with a Broken Heart".

[171] Neil McCormick of The Daily Telegraph, Keiran Southern of The Times, Adrian Horton of The Guardian, Kelsey Barnes of The Independent, Ilana Kaplan of the i, and Erica Campbell of NME gave the Eras Tour total five-star ratings.

[175] Australian Financial Review's James Thomson opined, "Swift works the massive stage like a master, cycling through countless costume changes and several elaborate sets, all while belting out 44 songs over three-and-a-half hours.

[115] Jon Caramanica of The New York Times highlighted the tour's scale, ambition, and portrayal of all the musical pivots of Swift's career,[178] whereas The Atlantic's Spencer Kornhaber complimented the show's art direction, suspense, and the sequencing of the acts.

[138] Spin critic Jonathan Cohen admired the rich stage design, usage of "state-of-the-art" technology, and immersive experience into Swift's "increasingly accomplished musical world-building".

[116] Variety journalist Chris Willman felt that the "epic" show demonstrated that "the person who has come up with the single greatest body of pop songwriting in the 21st century is also its most popular performer".

[121] Melinda Sheckels of Consequence praised the tour's "nuanced and interpretive" approach in depicting Swift's albums and the "sheer magnitude, artistry, and technical prowess" of the production.

It exclusively contained the new bonus track "You're Losing Me", which became a "ravenously anticipated" song; Variety reported that "fans were so eager to get their hands" on the CD, causing queues at the stadium the day before the merchandise store opened.

[293] The tour elevated the economy of its stops by revitalizing local businesses and tourism,[294][295][194] attracted large crowds of spectators outside stadiums,[296][297] dominated news cycles and social media,[298][299] inspired tributes from governments and organizations.

Videos posted to social media by fans showed thousands of queued concertgoers waiting for hours in the sun before entry into the stadium;[318] Swift and her team arranged and distributed water bottles to the crowd.

[346] The police initially turned down the request, claiming their intelligence did not detect any threat to Swift's London shows and hence she did not require the top-level "taxpayer-funded" security reserved for heads of state.

[346] Various politicians of the opposition Conservative Party, such as Susan Hall, Robert Jenrick, Gavin Williamson and Andrew Murrison, criticized the Labour government, accusing it of abuse of power.

[351] Swift donated to food bank units at every stop of the Eras Tour, as reported by the respective organizations,[352][353] and exclusively employed various local businesses to fulfill her crew's daily requirements.

[354] At the conclusion of the first US leg, Swift gave "unprecedented" bonus payments totaling over $55 million to her entire touring crew,[355][356] including $100,000 to each of the 50 truck drivers involved in transporting the stage setup and production equipment.