Taylor Swift's Eras Tour left great memories in New Orleans | Taylor Swift

Taylor Swift, come back anytime.

Their three-day performance at Caesars Superdome, attended by nearly 200,000 fans, was an unqualified success in every way – artistically, commercially, the overall radiance of joy and positive energy.

New Orleans rolled out the welcome mat for Swift and the thousands of visiting Swifties. These Swifties returned the love by spending generously and, by all appearances, always being friendly.

On Friday, Saturday and Sunday evenings, Swift spent three hours and 20 minutes performing 45 songs – the same songs in the same order every night, except for her two-song solo acoustic segment on guitar and piano – in whole or in part, grouped into 10 album-specific eras.

I attended all three shows. And I'm hard-pressed to pinpoint a moment in the ten hours that felt subpar.

Sure, certain songs may have had a little more punch night after night. But as the Eras Tour enters its final round after more than 130 shows worldwide, it is a very well-oiled machine.

Swift herself, the only cog in this machine that really matters, is tireless.

“You'd think we'd be tired on our third night,” she announced on stage Sunday. “That’s not how it works with The Eras Tour. The way it works is that we save our best, everything we have, to give it to you on Sunday night.”

To be honest, I didn't notice any extra energy on Sunday evening. She was energetic and to the point everyone Night.

Perhaps because it was their finale in New Orleans, Sunday tickets were particularly in demand. Prices on the secondary market did not fall like other evenings. On Sunday at 6 p.m., less than two hours before Swift took the stage, not even nosebleed seats cost less than $1,000.

By contrast, on Friday afternoon, a couple paid $800 per person for two prime seats on Level H for that evening's show. Less than 24 hours earlier, the same seats were going for $2,200 each on a resale site.

Throughout the weekend, purchasing tickets made many dreams come true. Conversely, on all three nights, I saw at least one mother-daughter duo crying at the Superdome box office after finding out their tickets were counterfeit or otherwise invalid.

For a little girl in a Swift-inspired costume to come so close to seeing her hero, only to have the dream dashed right outside the door… that's a gross lesson in how cruel life can be.

Looking for clues

But overall there was a good atmosphere. Many of the friendly Superdome ushers and security guards wore friendship bracelets given to them by young Swifties.

The Swift faithful love to ponder Swift's alleged hints at upcoming plans. The lengths they go to to convince themselves would make the most extreme conspiracy theorist proud.

One fan noted that Sunday was the penultimate show of the Eras Tour – Swift's favorite number is 13. The initials of the remaining cities – New Orleans, Indianapolis, Toronto and Vancouver – mean NITV, this fan explained, which could be an abbreviation for ” Now Introducing Taylor's Version”.

So surely she'd be announcing a new “Taylor's Version” re-release of one of her old albums in New Orleans on Sunday, right?

It didn't happen. There were no big announcements and no special guests on Sunday (the only surprise guest of the weekend was Sabrina Carpenter on Saturday).

Instead, Swift did what she had already done the previous two evenings: she led a cleverly conceived, ambitiously rendered and almost flawlessly executed survey of her recorded history.

A big farewell

Shortly before the show began on Sunday, Swift's father, Scott Swift, greeted fans behind the cordon of a VIP area in the Dome. On the opposite side of the dome, members of the Preservation Hall Jazz Band — whom Swift met during a visit to New Orleans two years ago — shared a VIP area with actress Angela Kinsey of “The Office.”

Swift protégé Gracie Abrams' opening set was a bit like seeing a younger, slightly edgier Swift every night. Her personable songwriting was particularly evident on “Us,” which Abrams and Swift co-wrote.

The Superdome is the only venue in New Orleans where Abrams has ever played. At times she seemed overwhelmed by being there. But she was also up to the task.

During Abrams' performance on Sunday, the line at the booth selling Swift merchandise at Gate H snaked from the plaza-level lounge area to the main concourse before doubling back in on itself. And that's after five full days of merchandise sales at Champions Square and the Smoothie King Center.

Unsurprisingly, the lines largely disappeared when Swift took the stage just before 8 p.m. Nobody wanted to miss a minute.

Casual fans may not have grasped the meaning and symbolism of every detail of the magnificent costumes and stunning video content. But the overall impact of the show is so impressive that a viewer can know virtually nothing about Swift or her music and still be impressed.

The T-shirt she wore during Sunday's song “22” read “A Lot Going On At the Moment” – an apt statement in the midst of such a stunning production.

This production could still harken back to an early, simpler time in her career. The mandolin and the sound of “Fearless” in particular were reminiscent of their country-pop origins.

But since then it has evolved rapidly, producing ever more sophisticated and emotional material.

“…Ready for this?” crackled like Janet Jackson’s “Black Cat.” “Don’t Blame Me” treads similar sonic territory to Hozier; Two guitarists briefly played solos while vertical columns of light framed the Caesars logo on the domed ceiling.

After “Cardigan,” the opening of the beautiful, if relaxed section “Folklore”/“Evermore,” there was a brief silence in the audience on Sunday. The audience became enthusiastic about “Betty” just as quickly. Swift's late-night applause break after “Champagne Problems” was its longest on Sunday.

The solemnity of “My Tears Ricochet,” as dancers in black mourning dresses and bowed heads marched alongside Swift, contrasted with the verve of “Style” and the entire joyous “1989” era.

Whatever she may say on social media, she keeps politics and her personal life out of her shows. On stage, she made no mention of the upcoming Election Day or the presidential candidates. Her only fleeting reference to her relationship with Kansas City Chiefs tight end Travis Kelce came in the closing “Karma” via altered lyrics about “Karma is the guy on the Chiefs.”

In Sunday's acoustic segment, she performed “Afterglow” and “Dress” on acoustic guitar. She acknowledged that Sunday was the 10th anniversary of her album “1989” by combining “How You Get the Girl” and “Clean” on piano.

After the last “Midnights” showcase on Sunday, the big weekend was over. By Monday afternoon, the 140-foot-long inflatable friendship bracelet that had decorated the outside of the dome was gone.

This also applied to the Eras Tour semi-trailer fleet. They were already on their way to Indianapolis.

But the memories Swift left behind won't soon be forgotten.

“This is our third and final night to play in New Orleans,” she said Sunday as Swiftie-in-Chief. “I was so touched and overwhelmed by the way this city embraced and welcomed us. So can we all please say a big “Thank you, New Orleans!”

New Orleans says “Thank you” again.