Taylor Swift reveals moment she broke down over Southport attack in new documentary

Thankfully, the rest of the tour proceeded without incident, and the documentary shows her relief after playing Wembley. On a phone call afterwards to her fiance, Travis Kelce, the star says: "I was so happy - I thought I was going to forget how to play guitar and sing."

The insights are shared in the six-part series, titled The End of an Era, which debuts on Disney this weekend, alongside a concert film, shot on the final night of the star's record breaking tour, which ended a year ago.

Before taking her seat at the New York City screening, which was also attended by her mother, Andrea, Swift said the tour had been "a lifetime within my life".

"Everything that went into this was all of the lessons that we've learned [throughout] all of our lives."

From the first moment the docuseries played, there was no doubt that one of those lessons was that joy can be palpable, if you let it.

Here are five others:

Episode one drives home the amount of work it takes to make art appear effortless.

Viewers are taken behind the scenes of the exhaustive planning, choreograhy, rehearsals, set building, and collaboration it takes to put on a show of such magnitude.

Swift says the goal of the Eras tour was to "over-serve" in terms of the number of songs performed, the extravagance of the costuming, and the details of each set design.

"Every person is the best one in the entire industry," she says. Their job is to make all the effort "look accidental."

That said, speaking to the audience in New York, Swift confessed there was also "some kind of magic, destiny, and stuff we can't explain… when something goes as well as this [tour] did".

While everyone on the tour is clearly working at maximum capacity, there's only one person at the front of it all - and what's the old cliche... with great power comes great responsibility?

The series examines Swift's existence as a larger than life pop star and, more specifically, the emotional toll of putting on a happy face to perform, night after night after night.

During Swift's introduction, she explained she was "obsessed" with perfecting the art of entertaining a huge audience, by making "the world go away for a little while".

At one point, she even compares herself to a "pilot flying a plane", needing to project an air of steady confidence to distract the passengers from focusing on potential dangers that may be lurking unseen.

"If you were, like, 'There's turbulence up ahead, I don't know if we're actually going to land in Dallas'... everyone on the plane is going to freak out," she explains.

Like it or not, Swifties are a global force. More than 10 million people across five continents danced, laughed, and cried their way through three and a half hours of each sold-out Eras Tour show.

The noise of the crowd is overwhelming from a cinema seat, even after it's piped down and sound mixed for a documentary. One can only imagine what it's like from the stage.

"I see the mass quantities of joy that everyone's feeling," Swift says. An audience member even compares the atmosphere to "Woodstock without the drugs".

Fans aren't just obsessed with the music. They hear themselves in her lyrics and see themselves in her public persona, as she navigates love, heartbreak, illness, treachery and finding your place in the world. She's a best friend, or an older sister, or a combination of the two.

So when Swift takes a phone call in the documentary and says, "Baby", the whole theatre erupts - knowing through pop culture osmosis exactly who is on the other end of the line.

Throughout the series, friendship bracelets are traded, strangers become fast friends, crew members form family bonds, and surprise guests punctuate intimate backstage moments.

Watching the opening episodes in New York, the Eras Tour performers were equally energetic - laughing boisterously at on-screen jokes, marking the choreography through aggressive chair dancing, and cheering for each other as they rotated into scenes and through plot lines.

Swift is both comfortable and content to let this diverse cast "pull focus" and steal scenes, both on and off the stage.

During one particularly moving segment, dancer Kameron Saunders - one of the tour's breakout stars - talks about his struggle to get hired because of his size and look.

Later, when his mum attends the tour, he tells her how much her love and support meant as he waited for his opportunity.

As those scenes played in New York, Swift affectionately turned to Saunders and yelled, "YES!" as he giggled and covered his face in feigned shyness.

It's easy to feel how life-changing the tour was for everyone involved.

As any Swiftie who has endlessly shout-sung the bridge to their favourite break-up song can tell you, there is no shortage of weeping in the Taylor-verse.

Truly, there is So. Much. Crying.

The docuseries is no exception. It even opens with Swift shedding some heartfelt tears during the first tour rehearsal.

So, why all the big feelings? The simplest answer is that they're a rite of passage.

Putting the show together, Swift says she was "thinking of all the girls I was before this one," while re-recording her albums and "surgically tweaking" songs to make them fit the show.

It would seem the tears are a manifestation of feeling fully seen through her lyrics - of not feeling like you're being "too much," or "too dramatic," or "too sensitive," as Swift broadly puts it - and having the freedom to express femininity without shame.

As you watch, it becomes clear that these record-breaking shows were intended as a place safe to explore a wide spectrum of emotions and, in that, they truly succeeded.