On Oct. 15, Olivia Rodrigo opened and closed the first of her three sold-out nights at TD Garden wistfully curled in a meadow of flowers. In between those two hours, she lived through a full year of heartbreak.

Designed to give flesh to her 2026 album “you seem pretty sad for a girl so in love,” “The Unraveled Tour” folds a discography spanning three albums into a single turn of the seasons. This performance includes five acts and an encore: Spring, Summer, Summer Twilight, Autumn, Winter, and Spring once more.

Rodrigo told The New York Times that the record “is chronological and in the order in which it happened in [her] life” — the same logic that the tour evidently carries onstage. The order of the album’s tracklist is only slightly rearranged, and songs from her back catalog complement the setlist, as if they were always part of the sequential narrative.

Rodrigo unsurprisingly welcomed Spring with the album’s first single, “drop dead,” a fitting opener for a season built on new beginnings. An ode to infatuation, the song perfectly encapsulated the giddy, all-consuming feeling of falling for a crush. With just as much lushness, the crescent-shaped stage was swept by a bed of white and pink wildflowers, which Rodrigo took full advantage of by darting through it with loose, lovesick abandon. Bathed in pink light and followed by the other amorous tracks “u + me = <3” and “so american,” this act felt wholly immersive and set the bar for the distinct visual identities that Rodrigo would capture with each season.

With the introduction of layered sonic interludes and mixed-media storytelling, however, the bar was swiftly raised and each seasonal transition carried the audience further through the year. Every recess included one of these narrative episodes, but a clear standout was the descent from Summer Twilight into Autumn. Cinematic shots of a fall-gilded forest hauntingly darkened as renderings of sunlight leaking through branches, film-grained recordings of Rodrigo, and silhouettes against textured leaves flashed at changing intensities.

Crew members also used each intermission to thin out or reintroduce flowers, and the dome-like screen arching over the main stage deepened this transitional effect, as though the earth’s axis were tilting into the following season. Environmental elements were woven in as well, such as the cascading confetti that represented tree leaves and snowfall in their respective seasons and audience bracelets that lit up in relevant hues. Very obviously, not a single opportunity to deepen the spell was missed.

The live camera work was equally as inventive: In “ballad of a homeschooled girl,” Rodrigo spotlighted her band by filming each of their solos with a handheld camera; in “purple,” the feed slowed to trace the glow of a sparkler she had lit; and in “expectations,” she sang to and spun the camera at every repeated affirmation.

The audience members were unexpectedly significant actors in the show as well: During “stupid song,” Rodrigo wandered the floor with the camera trailing her, handing out flowers and — at every the peak of the bridge — falling back into the crowd’s arms in an embrace; in “maggots for brains,” she requested the audience to double as her duet partner; and for “expectations,” the small — albeit mighty — percentage of men in attendance sang the low lines as the women chanted the song’s mantra.

Most captivating of all, though, was — of course — Rodrigo herself. “The Unraveled Tour” and its progression are remarkable indicators of her vocal and instrumental prowess, with undoubtable highlights being her electric guitar solos in both “maggots for brains” and “cigarette smoke,” the latter of which she transfixingly harmonizes with her riffs.

For all its precision, the night still felt oddly impersonal. Unlike the two other Boston dates — which featured “pretty isn’t pretty” and “Can’t Catch Me Now” — night one did not stay faithful to this tour’s surprise song tradition. At first, the omission felt like an intentional setup; with her remix of “expectations” released at 8 p.m. that night instead of the usual Friday midnight drop, it was easy to believe that Rodrigo was laying the bait for Chappell Roan to step out and sing her verse. But as the closing track came and went, the stage remained Rodrigo’s alone.

If the first night in Boston was a case study for the tour’s absolute baseline, the finding is hard to argue with: Even the version of “The Unraveled Tour” with nothing up its sleeve was a spectacle. And its floor, as it turns out — flower petals and all — is already a ceiling for most.

—Staff writer Melina Fonseca can be reached at [email protected].