The Future Nostalgia Tour was met with highly positive reviews from critics, who praised Lipa's stage presence, vocals and the pace of the show.

It also experienced commercial success; on the 2022 Billboard year-end boxscore chart, it was ranked the world's 18th highest-grossing tour of the year, grossing $89,302,575 from 71 shows.

[2] Inspired by the time spent touring with her band, she aimed to create a record that mixed live instrumentation with electronic production, and that could "sit alongside some of [her] favourite classic pop songs".

The first European dates of the Future Nostalgia Tour were officially announced on 2 December 2019, with ticket sales beginning four days later.

[7] British DJ Buck Betty and American singer Lolo Zouaï were initially announced as opening acts for these dates.

Lipa announced shows in North America and Oceania in September 2021, with Megan Thee Stallion, Caroline Polachek and Zouaï as opening acts in the former.

[20] Lipa announced Latin American dates in December; an extra Buenos Aires show was added after tickets for the first sold out in less than an hour.

I can't wait to experience these songs with you together live!The Future Nostalgia Tour staging was designed by Es Devlin Studio.

Lipa's band, consisting of a keyboardist, drummer, guitarist, bassist and four backup singers, appeared on a slightly lower stage on the wings of the main one.

The staging also featured a "nightclub ceiling" which lowered over Lipa and her dancers at a point during the show, in order to create a more intimate setting for the audience.

[34][41] Following this, there was a seamless transition into "New Rules" where Lipa and her dancers performed choreography similar to that of the song's accompanying music video, including strutting down the runway using umbrella props in the style of Singin' in the Rain (1952).

[42] For "Cool", Lipa performed with a mic stand centre stage in the shadow a CGI disco ball as two dancers in light-up rollerblades skated around her.

Simultaneously, an interlude featuring an elevator music-like muted version "IDGAF" and a graphic novel theme titled "Under the Sea" that included a lobster attack was played.

[34][35][36][42] Going into the second act, Lipa changed into a shimmery, sequin-studded silver and white one piece bodysuit with a one-armed top and briefs-style bottoms.

[34] The final song of the third act was "Cold Heart" where Lipa duetted with a pre-recorded video of Elton John while sitting on the stage with her dancers.

[29][45] In the final act, Lipa wore a sparkling black Mugler catsuit covered in 120,000 crystals with beige mesh cutouts as well as sheer and opaque body-defining panels.

[40] For this act, a glittering moon and stars were brought down and the singer performed "Levitating" while hovering above the general admission crowd on a moving platform before waving goodbye and running off stage.

[37] In the encore, the singer belted an aggressive take of the album's title track where she whipped her hair around and walked the runway while teal and dark purple laser lights were used.

[34][43][36] The show closed with Lipa thanking her opening acts and introducing her band followed by a performance of "Don't Start Now" which opens with the singer reclaiming a dance move she performed during promotion for her eponymous debut studio album that caused her to be bullied online for it being "lazy" and "uninspired" as well as become a meme for the dance.

[29] The Columbus Dispatch's Margaret Quamme commended the "loose, joyous" choreography that lets the "glossy, admittedly shallow disco-tinged" set list breathe.

[43] Edward Pevos of MLive named it "one of the most well-paced shows we've seen many years" while praising Lipa for commanding "the stage like a seasoned pro".

[51] Writing for The Boston Globe, Maura Johnston said the show "leaned into that kitchen-sink mode feeling of the present while also offering an escape" while describing Lipa as "a charismatic performer with a striking look" that "commanded the stage".

In just over five years, the British artist, of Albanian origin, went from a proposal that was perhaps too alternative to widespread acclaim, achieving the feat of pleasing both the masses and those who look at these pop things with some cynicism".