"Back to December" was performed as a mashup with "You're Not Sorry" and OneRepublic's "Apologize", and "Fearless" with Train's "Hey, Soul Sister" and Jason Mraz's "I'm Yours".

[2] Speak Now sold over one million copies after one week of release in the United States, leading The New York Times to comment that Swift "has transcended the limitations of genre and become a pop megastar".

Immediately after the album's release, she announced on CMT that she had finalized the first tour dates in Japan in February 2011, followed by Norway, Germany, France, Spain, and the United Kingdom in March.

[13] In March 2011, Swift announced 16 additional dates for the North American leg, which was sponsored by CoverGirl and produced and promoted by The Messina Group (a partner of AEG Live),[10] extending its run until November 2011.

[14] Additional opening acts included Frankie Ballard, Danny Gokey, Hunter Hayes, Josh Kelley, Randy Montana, James Wesley, Charlie Worsham,[15] Adam Brand, and David Nail.

"[35] Swift then appeared onstage in a red sequined mini-dress and cowboy boots,[35] singing the song while standing on the bridge and play-fighting with a backup dancer.

[31][35] Towards the end of the song, Swift walked with the groom across the venue towards an auxiliary stage (the B-stage) at the other end of the venue,[37] where she continued with an acoustic segment, consisting of a mashup "Fearless" / Jason Mraz's "I'm Yours" / Train's "Hey, Soul Sister" on ukulele,[28] and "Last Kiss" on guitar, performed with Swift sitting under an illuminated tree.

[26] During the encore, Swift sang "Fifteen" alone on guitar, sitting by herself on a sofa,[36] as the video screens showed images of her touring band's members at 15 years old.

[39] She closed the concert with "Love Story"; she sang the song while standing on a suspended platform that resembled a balcony,[39] whisking around the venue as confetti fell down.

[42][43] "Ours" was added to the encore starting from the concert in Denver on September 27, 2011,[44] and was performed during subsequent shows of the North American[45][46] and Australasian legs.

[51][52] Taste of Country thought that this practice demonstrated Swift's "mischievous habit of slipping encoded details of her personal life" into her music and performances,[51] while The New Yorker cited it as an example of Swift's practice to increase "fan obsession" of "a desire for intimacy between singer and listener" by allowing her audience to get involved in her personal space.

"[37] On certain shows, Swift invited special guests such as Nicki Minaj, Justin Bieber, Usher, T.I., Jason Mraz, among others, and duetted with them.

[55][56] Reviewing the show in the Philippines, The Manila Bulletin wrote that it demonstrated Swift's "global appeal" that could attract "kids ... and their parents, ladies and their boyfriends ..., circles of friends, foreigners, and local celebrities all in one venue"[42] and the Philippine Daily Inquirer complimented her musicianship demonstrated by the mashups and acoustic numbers.

[57] The Korea Times opined that despite performing in a half-full venue, Swift gave an entertaining show with well-produced visual accompaniments, her "charming qualities", and the "intense devotion" of the crowd.

[41] In a four-star review, The Guardian wrote: "Swift has the ability to flirt with 20,000 people at once, and so likably that you can forgive the occasional bit of shtick.

Entertainment Weekly complimented the set list for allowing the audience to give in to Swift's "girly fantasia" with songs about nostalgia and hopes: "Today might've been a fairy tale, but you've gotta have something for tomorrow.

"[62] Other reviews by The Baltimore Sun,[20] The Oregonian,[63] and The Philadelphia Inquirer[64] highlighted the accompanying theatrics, costume changes, and stage aesthetics.

[60] The New York Times wrote that despite the deeply personal songs, Swift displayed "clockwork professionalism" with a "cool, systematic ambition".

The Oregonian wrote that her vocals did not span the greatest range but she made up for that with "the quality of her songwriting, top-notch performing skills and angelic good looks",[63] while The Mercury News and the Pittsburgh Post-Gazette felt that Swift's plain and conventional voice effectively conveyed the message of her songs.

[33] The Chicago Tribune opined that the theatrics were unnecessary and that Swift's "playing princess" was unfit for her status as a "grown-up superstar".

[5] Upon wrapping up its North American leg at the Madison Square Garden in New York in November 2011, Swift and her management reported 1.5 million in ticket sales and $107.9 million in gross to Billboard;[a] the magazine commented that the extensive touring schedule was "a tough haul for a seasoned road warrior, much less a 21-year-old [Swift] on only her second headlining tour".

[94] One day prior to the release, CBS News aired a 60 Minutes profile of Swift, documenting behind-the-scenes footage of the tour.