Everything you need to know about Adele's Auckland shows
• The show starts at 7.30pm on the dot with no support. Sydney was an exception and the result of trying to transport 90,000 people to an arena which is a 30-minute train ride out of the city centre. You can be late if you want, but you'll risk missing part of the show.
• Travel early and smart.There are about 45,000 people heading to Mt Smart each night and Auckland Transport is warning of two-hour traffic delays and advising you travel before 5pm (gates open at 5.30pm). AT is offering extra public transport services, free with your Adele ticket. Head to at.govt.nz/bus-train-ferry/events/adele for all the info.
• It sounds dumb, but check your ticket and make sure you're heading to the right show on the right day. Also, know where you're sitting. The stage and set up is massive and totally different to what you're used to. So know where you're going, follow the signs, and try not to steal someone else's seat.
• If you're wondering just how big the set is, let's put it this way: Two 747 freighters are making two trips each to move everything from Melbourne, and another 12 12m shipping containers came across the water from Sydney with the staging system. The whole thing takes about 60 hours to set up and that's not even including the fact that Mt Smart had to build a whole extra grandstand to fit everyone in.
• If you're an Adele VIP, know that your fancy tour gifts come in a handy Adele tote bag, which you'll be able to wear on your back so you don't have to worry about where to put it.
• Live Nation have put out the official warning that tickets purchased via reseller sites such as Viagogo, Ticketblaster, Queen of Tickets, or eBay may not get you through the door.
• Wear comfortable shoes. This is not the kind of show which will keep you moving the entire time and a lot of time will be spent just standing there.
• Make sure your phone is charged and there's plenty of storage space for photos, Adele's been known to pose for pictures and even photobomb selfies. But you can't bring professional cameras, video cameras, Go-pros or selfie sticks.
• Adele also doesn't want any laser pointers or glow sticks, but you can take a sign if you want.
• You can take snacks from home - no takeaways however - and your own water bottle as long as it's no bigger than one litre, but they will take the lid off you when you go in. The same goes for any drink you purchase inside.
• Metservice is predicting wet weather for Saturday and Sunday's shows but they will go ahead, rain or shine. You won't be allowed an umbrella so take a raincoat or poncho.
• Hot tip: pay attention to the confetti. Some of the pieces come with handwritten notes on them which make for a super cute and totally free tour souvenir.
WHAT TO EXPECT FROM THE SHOW
Siena Yates experienced Adele's Sydney show from inside the Golden Circle. Here's what to expect...
The hotel lift is full of women dressed to the nines, chatting excitedly.
"Heading to Adele?" I ask.
"Where else?" one woman responds, as if I've lost my mind.
She has a point. The excitement has been palpable throughout Sydney for days - there isn't one place I've been where someone hasn't been talking about Adele.
As thousands of fans flood the train station, I somehow end up tagging along with two women from the hotel lift, cramming on to one of many jam-packed double-decker train services out to Sydney's Olympic Stadium.
"Adele brings people together," one of them says, knowingly.
The train is a piping hot sweat-box full of bodies and noisy, unrelenting chatter. People talk about what Adele means to them, what songs they hope she'll play, how funny it is when she swears a lot.
When we finally arrive, numerous announcements remind us the show starts at 7.30pm on the dot. No supporting act, no faffing about.
Inside the stadium, Adele's stage is in the center of the arena, hidden by a massive circular screen showing a picture of her closed eyes.
When 7.30 rolls around, anticipation of those eyes opening is off the charts, but by 8pm, the damn eyes are still closed.
It turns out Adele decided to wait for the rest of the trains to get in as, because demand was so high, 70 per cent of the audience haven't even managed to make it to the stadium yet. Otherwise, she promises later, she's usually super punctual.
When the eye finally opens and the screen begins to lift, the roar of the crowd is almost deafening as everyone leaps to their feet and the crowd in the Golden Circle surges forward in to close the gap between us and the stage.
Adele appears in a glamorous gown, bathed in golden light. She launches effortlessly into her massive hit Hello, walking around her circular stage to greet the entire crowd bit by bit. And with that first song, she's connected so quickly and sung so perfectly, people are already in tears and I have chills.
Adele is record-perfect at all times, delivering everything her fans could've asked for, belting out her greatest hits and a few lesser-known tracks with confidence and surety - never straining to hit a note but never phoning it in either.
And her team is entirely on her level. Her beautiful backup singers, Amanda Brown, Martine Celisca and Katie Holmes-Smith put on a show of their own on the lower level of the stage, which rotates to show Adele's two guitarists, bass player, pianist and drummer, all playing fiercely and smiling at the crowd.
In a feat no other artist can claim so easily, Adele's banter is just as highly-anticipated as her songs and, it turns out, just as necessary. She uses those moments to lighten the mood from what she herself describes as her "depressing" music, to keep energy up and connect with the crowd.
She somehow manages to chat with the crowd, despite there being about 90,000 of us. She asks where we've all come from, what we're all doing there, who's been dragged along by their other halves - and when some hands shoot up from the VIP pit Adele laughs saying what we're all thinking, something which amounts to: "The people in the stands are going to hate you".
At one point, she explains the heat in Perth is the reason she now has four industrial fans surrounding her on stage.
"I thought I could be like Beyonce with the wind in me hair, but it just ends up more like this," she says, pulling her hair over her face with a laugh.
Later, she slings a T-shirt canon over her shoulder and fires merchandise into the crowd with a loud "Woo!" and her trademark cackle.
And when she nearly falls down the stairs, she pulls a hilarious face before launching into a tirade of swear words: "Oh f*** me, I nearly fell down the f***ing stairs," she laughs, regaining her composure while the audience remains in fits.
And just as she's about to begin Set Fire to the Rain, she stops, telling her team to hold the next song. She rushes forward to the edge of the stage as someone is ill - we later find out someone suffered a cardiac arrest - and she wants to make sure they're okay before she continues.
She's so concerned she genuinely starts crying on stage, but when she gets the go-ahead, she launches into song like nothing ever happened.
She is obviously talented but she's also funny, entertaining, warm and relatable, and between that, the pyrotechnics, the confetti and T-shirt canons, it is an unexpectedly well-rounded show for an artist with a repertoire full of slow ballads.
On the way out, fans are on their hands and knees picking up confetti from the ground, each piece bearing a handwritten message or song lyric.
The girl next to me holds hers up, reading out loud: "Thank you for coming".
I glance down at my own: "All my love, Adele."