The ticketing strategies behind Taylor Swift’s “Reputation” tour weren’t as polished as the pop star’s act, but in the end, they mostly satisfied fans while adding millions to the tour’s take.

Swift’s North American shows grossed $277 million — up 39 percent from her “1989” tour three years ago, according to Pollstar.

What’s more impressive is the superstar achieved those results despite performing 35 percent fewer shows — 40 for “Reputation” versus 62 for “1989.”

But that’s not to say the two ticketing strategies driving the just completed tour — Ticketmaster’s Verified Fan program to curb scalping and dynamic pricing to milk heightened demand — lack for critics.

The strategies sometimes backfired, as noted by many tweets posted by disgruntled concertgoers during “Reputation’s” May 8 to Oct. 5 North American leg.

The most common complaint from Swift’s Verified Fans, who registered weeks before a show to prove they were legitimate ticket buyers and not bots working on behalf of scalpers, was being seated next to last-minute attendees with cheaper tickets because of dynamic pricing in the face of fading demand.

Swift’s so-called slow-ticketing approach, which released tickets in tranches instead of all at once, also got the tour off to a shaky start.

There were no instant sell-outs — a point of pride for many acts — and The Financial Times reported that 700 seats, on average, were still available an hour before each of Swift’s shows.

On balance, Pollstar’s report shows the tour’s gross per ticket was up 15 percent from the 2015 tour — a data point that defies accusations Swift was selling out her fans to generate more for herself.

Indeed, the extra $78 million in Swift’s box office was largely attributable to the ticketing strategies’ success in keeping scalpers at bay, as any markup in ticket price went to the artist and not the scalpers.

The Verified Fan program distributed about half of the tour’s tickets — after which only 3 percent popped up on secondary Web sites like StubHub, according to Ticketmaster. Other high-demand artists, by comparison, can

see up to 50 percent of their primary sales winding up on resale sites.

Swift’s strategies worked well enough for Jesse Lawrence, the founder of ticket search engine TicketIQ, to herald “a new era of music ticketing.”

“Success is no longer measured by selling out a single show, but rather by maximizing the number of shows and total tickets sold across a tour,” he said.

Ken Davenport, a Tony-winning producer of Broadway hits like “Kinky Boots,” considers the new era long overdue. “Prices change in other industries all the time,” he said. “People on an airplane don’t sit around and say, `What did you pay?’ They know lots of variables are at play, and they accept that’s just the way things go.”

Despite Swift’s touring success, Davenport believes current ticketing practices are only “halfway there” in terms of taking care of artists.

But he’s optimistic, if only because ticket pricing has become such a priority that every Broadway show already has at least one expert devoted to the subject.