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Countdown to Taylor Swift's Reputation Tour! Meet All of Her Backup Dancers

Taylor Swift's Reputation tour kicks off May 8 in Glendale, Arizona

Taylor Swift is ready to shake it off on stage with her latest group of backup dancers.

The "Delicate" singer took to Instagram earlier this week to introduce her tour dancers and gave fans a taste of the talent who will be breaking it down on stage with her beginning next month .

"Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL GLENDALE AZ," Swift, 28, captioned the photo .

Swift's Reputation tour kicks off May 8 in Glendale, Arizona with opening acts Camila Cabello and Charli XCX , and will take her across the U.S., England, Ireland, Australia and New Zealand through November.

Meet the pop star's 16 backup dancers who have an enormous reputation for being the best in the biz.

RELATED VIDEO: Taylor Swift Releases New Album 'Reputation'

Maho Udo was born in Kyoto, Japan and made the move to New York to pursue his dancing career in 2005 at age 18. With a wide-ranging dance background in hip-hop, house, jazz, contemporary tap and ballet, he's had the opportunity to dance alongside Madonna in her Sticky & Sweet Tour in 2009, four of Jason Derulo's tours, Swift's 1989 World Tour and, most recently, in Justin Timberlake 's Super Bowl LII halftime show.

Grant Gilmore

Gilmore displays a unique sense of style both on and off stage. Aside from breaking it down in the classroom, the fashion-forward dancer grooved alongside Rita Ora at the 2017 Teen Choice Awards .

Stephanie Mincone

The 21-year-old dancer was first thrust into the spotlight when she was mistaken for Sia 's muse Maddie Ziegler at Coachella in 2016. Aside from starring in Sia's "The Greatest" music video, Mincone danced with Nick Jonas during the 2017 American Music Awards .

Nadine Olmo

Olmo began dancing at just 4 years old. After attending high school in California, she made the move to New York City to pursue her passion when she received a scholarship to the Broadway Dance Center program before heading back to Los Angeles to put her skills to work. Infiltrating the underground dance scene, she learned moves in all areas of hip-hop house, contemporary and more.

Kim "Toshi" Davidson

Born and raised in Queens, New York, Toshi moved away from the city to study at Las Vegas Academy. As a stand-out with his incredible moves and blonde-tipped hair, the dancer found a friend in Swift's backup dancer Udo. Toshi has also danced on the stage alongside Jabbawockeez, Camila Cabello and many more.

Jake Roark Kodish

Kodish is more than a dancer. Rather, he labels himself a "professional life liver, international dance instructor, world traveler and choreographer." First making his mark in Hollywood during the 2012 film Step Up Revolution , Kodish has had great success since then dancing around the globe and at some of the most iconic landmarks.

Robert Green

Green's list of accomplishments is endless. When he was selected to be one of 12 male dancers to dance with Swift for her 1989 World Tour, he broke the internet by sharing a tear-jerking viral video of a phone call to his mother revealing the news. Since then, he's gotten the opportunity to dance for some of the most influential artists in the industry, including Justin Timberlake, Selena Gomez , The Weeknd , Mary J. Blige , Ricky Martin , Pitbull , Ellie Goulding , as well as the chance to choreograph for Tove Lo and Charli XCX.

Jake Landgrebe

Tumbling, tap and a hip hop class for boys at a local studio — and the rest is history. Landgrebe has been dancing since he was 5. Not only is he a dancer for artists such as Justin Bieber and Janet Jackson , but he also danced behind the screen in the final season of Glee on FOX — acting and dancing as a Dalton Academy Warbler — and as a character dancer in the Just Dance video game franchise.

Giuseppe Giofrè

Giofré made his professional debut in 2012 when he competed on the Italian reality talent competition Amici . As a true jack of all trades, the Italy native released his debut single "Break" to YouTube, as well as his album Call on Me in 2013. Making his mark as a professional hip-hop dancer, Giofré performed alongside Swift on her 1989 World Tour and can be seen dancing at many other entertainment events like the 2014 Emmys and the 2015 People's Choice Awards.

Mark Villaver

Swift stays true to the talent she trusts, and Villaver is another returning act from both her Red Tour and 1989 World Tour. In 2012, the Hawaiian native made his move to Los Angeles to pursue a professional career in dance. His performance during the season 11 finale of American Idol gained him the recognition he deserved and landed him a permanent job on The X Factor . Later, he was chosen to be one of the top 10 dancers on season 14 of FOX's hit reality show So You Think You Can Dance . Villaver danced alongside Ariana Grande and Ricky Martin, as well as at several live awards shows such as the Video Music Awards , Billboard Latin Music Awards, American Billboard Awards , Grammy Awards and Brit Awards.

Christian Owens

"Round two with the beautiful boss @taylorswift ," as Owens put it on Instagram. Dancing since the young age of 13, the Atlanta native specializes in jazz and hip hop. From sweeping Rihanna off her feet on stage to choreographing routines for Demi Lovato and starring in Swift's "Bad Blood" music video, Owens' resume is truly impressive.

Smith is ready for her closeup! The 18-year-old Houston native got some screen time earlier this year when she danced behind Zedd and Maren Morris in their "The Middle" music video that made its debut during the 2018 Grammy Awards.

Gracie Stewart

Born and raised in Australia, Stewart discovered her passion for the arts before making the move to Los Angeles to make her dreams come true in acting, singing and dance. Stewart has danced for Justin Bieber, Selena Gomez, Kylie Minogue , Katy Perry , Rihanna, Ellen DeGeneres , Macy Gray, Ariana Grande, Iggy Azalea and Pharrell Williams . She can also be seen on the big screen in films including Happy Feet 2 as a digital motion actor and dancer.

Wada has been around the globe for many reasons other than dance. Born and raised in Tokyo, Japan, the professional dancer-choreographer took to the streets in Tokyo to show off her skills at the age of 15 with her friends. Wada ended up in New York City and, eventually, to Los Angeles to follow her dreams of becoming a dancer. She has worked with artists like Madonna, Britney Spears , Katy Perry and Jason Derulo, and has been on three world tours as a principal dancer, specializing in a mix of house, hip-hop, vogue, whaack and contemporary.

Yorelis Apolinario

Beauty and the beats! The Tampa-based dancer discovered her talent for hip hop at 8 years old before exploring other styles such as ballet, jazz and contemporary. In 2015, Apolinariomade it to the top 14 dancers on season 12 of Fox's So You Think You Can Dance.

Christian Henderson

Lucky number three! After dancing on Swift's Red Tour, Henderson was asked to join her 1989 World Tour.

At one of the pop star's 1989 shows in Pittsburgh, Pennsylvania in 2015, the dancer made an unforgettable face during a performance of her hit "Bad Blood," which Swift took to social media to call his expression "worse and worse/better and better."

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Taylor Swift Shares Fun Photo of Reputation Tour Dancers

Taylor Swift's highly-anticipated Reputation tour is less than a month away, and based on her recent music videos, there will be plenty of choreography.

By Rania Aniftos

Rania Aniftos

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Taylor Swift ’s highly-anticipated Reputation tour is less than a month away, and based on her recent music videos, there will be plenty of choreography.

The “Delicate” songstress took to Twitter Tuesday (April 10) to introduce her lively team of dancers. Sixteen dancers drape down a staircase with a variety of facial expressions and hand gestures, while Swift shows off her arm muscles to the right.

Taylor Swift

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  Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL GLENDALE AZ A post shared by Taylor Swift (@taylorswift) on Apr 10, 2018 at 4:52pm PDT

What We Want to See From Taylor Swift's Reputation Tour

“Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people,” she wrote in the caption before noting that there are only 28 days until the tour kicks off in Glendale, Arizona. See the full list of dates on Swift’s official website here .

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2 Dance Editors Dissect Taylor Swift’s Fabulous Reputation Tour

Two lifelong Swifties walk into the MetLife Stadium and… There’s no punchline. Just this, an obsessive analysis of THE BEST TAYLOR SWIFT CONCERT TOUR OF ALL TIME. (Imma let you finish, 1989 Tour.)

But we’re getting ahead of ourselves. Allow us—Katherine Beard and Helen Hope, both assistant editors here at Dance Spirit —to explain. We saw the Reputation Tour at the MetLife Stadium. Now we’re applying our world-renowned expertise as OG Taylor Swift loyalists to the following, a HIGHLY scientific and COMPLETELY objective review of the show. Are you “…Ready for It?”

Katherine Beard: Charli XCX kicked off the concert with her epic 2014 hit “Boom Clap.” The pop anthem definitely gave some of the latecomers a little extra pep in their step as they scrambled to find their seats. Though Charli’s set didn’t have a lot of dance action onstage, it definitely got the crowd movin’ and groovin’ and “Dancing With Our Hands Tied”—or, in our case, dancing with our hands full of concession-stand chow. 🍦🍪🍿🍕🌭🍭

Helen Hope: #Bless. (The MetLife Stadium has some excellent lo mein, y’all. Get on it.) The choreographic action started to ramp up when Camila Cabello took the stage with a pair of FIERCE female dancers and a quartet of often-shirtless men. I don’t know about you, Katherine, but my heart is in Havana now, too. *swoons*

camila on Instagram: “did my pink head really just sing for a stadium in New York in the rain while the sun was going down? if I’m dreaming tonight, don’t wake…”

KB: Haha. After the amount of rain we endured at the concert, my head, shoulders, knees, and toes wished they were in Havana too or anywhere with a little less precipitation. But Tay is the queen of rain references, so the show became all the more magical when the “rain came pouring down” during the first appearance of Queen Tay herself. Her grand entrance was fierce and dramatic, with the stage opening up to reveal the regal, hooded silhouette of the pop icon emerging from the fog.

Dominic on Instagram: “Are you ready for some more vids/pics?!? @taylorswift your opening is unbelievable!!!! How you came out and just everything about it !!! I…”

HRH: On previous tours and in the videos for previous albums, Swift has leaned into the adorkable dance moves that come naturally to her willowy frame. (High five, my sister in the Nearly Six Feet Tall Club!) Like some other lanky women and girls I know, she’d tend to collapse the length of her limbs in a way that reinforced her PR line: “Look how charmingly awkward I am! I promise I don’t really believe what they say about me being an astoundingly glamorous global superstar.” But just look at this excerpt from “I Did Something Bad.” No apologizing via body language here! Swift is owning the aggressive choreography like the grown-up pop star she is. You grow, girl.

KB: I think you’re right, Helen. Even in this clip of “Blank Space,” Taylor is the only one onstage and still manages to captivate with a strut that says, “This is me. Take it or leave it.” It’s a great reminder that something as simple as a walk or pose can hold such power and set the tone for the performance.

alice 💌 • fan account on Instagram: “That red bodysuit is so beautiful and it suits her so well !♥ Look at her ! 😍 – In case someone has forgotten : Blank Space is a…”

HRH: Speaking of setting the tone, I was really impressed with the stage treatment of “Look What You Made Me Do.” With a literal mini tilted stage as their centerpiece and jungle gym, the dancers really carried this number, with seemingly wild (but actually tightly controlled) thrashing and the most dramatic body rolls I have ever seen in my life. Oh yeah, and there was a gigantic inflatable snake. Which worked much better than you’d think.

KB: “Shake It Off” was the the dance party to end all dance parties. Charli and Camila joined Taylor, turning one of Swift’s danciest songs into a full-on girl-power anthem. The neon costuming and breezy performance were reminiscent of the carefree Taylor of yesteryear, and left the audience reassured that the “Old Taylor” isn’t completely dead.

HRH: We need to talk about “Dress,” which took a TOTALLY unexpected turn thanks to a tribute that neither of us ever saw coming—a shout-out to *~dance history~*! The video that accompanied Swift’s solo featured a female dancer in an uber-voluminous white dress, swirling and dipping as colorful lights cast mysterious shadows and created fantastical shapes. We grew increasingly excited as we realized this was a nod to modern-dance pioneer Loie Fuller ! Our hopes were confirmed when, at the end of the song, the message below appeared briefly on the massive video screens. Brava, Taylor, for shining a spotlight (literally!) on a hugely important figure in dance who’s sadly all too often forgotten these days.

KB: And then we were on to my personal favorite number of the night: a new mashup that made “Bad Blood” the perfect segue into one of her original breakup hits, “Should’ve Said No.” Everything about this section screamed revenge. But the coolest part was watching the backup dancers use the stage scaffolding to perform aerial stunts. That really showcased their versatility. One minute they were on the floor nailing seriously intricate choreo; the next they were taking things up a notch (literally) with gravity-defying tricks. #respect

HRH: The term “backup dancers” unfortunately still carries some negative connotations. So, as dancers ourselves, we were thrilled that TSwift made a point of acknowledging the hardworking performers who share these stadium stages with her. During “Gorgeous,” she introduced each dancer and background vocalist by name, giving every one of the performers a moment to wow the crowd with their own power move. Yay!

Taylor Swift on Instagram: “Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL…”

KB: While I wasn’t psyched about Taylor ending her tour with “This Is Why We Can’t Have Nice Things,” the dancing in this piece was some of the best of the night. While details in choreography are important, when you’re in a packed stadium of 82,000 it’s important to remember that some people aren’t going to be able to see some of the more intricate details of the dance. I loved this piece because the choreo acknowledged the big picture as much as the details.

christina (fan account) on Instagram: “This Is Why We Can’t Have Nice Things⛲️ (My video, please credit if you repost) – Ladies and gentlemen, Taylor Alison Swift messing up the…”

HRH: I’m totally with you on feeling hesitant about the show ending with this song, which (as basically the entire Internet has pointed out) calls out the Kimye drama in a way that sounds a bit self-serving. But as you said, visually the number completely worked.

More than anything, this tour has gotten me so excited to see what TS’s next creative move might be—and what kind of choreo it will require! I think we both walked away Saturday night with the conclusion that this was the danciest tour yet for her. She’s abandoning her “America’s Sweetheart” reputation and stepping into her own as a mature musician, surrounded by her slayingest squad of dancers yet.

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He has choreographed for Taylor Swift since 2013 on her “Red” tour , “1989” World tour & recently the “Reputation” Stadium Tour which aired on Netflix as a global event. An Emmy award winning  choreographer to the stars he’s worked with Queen Latifah, James Corden, Tom Cruise , Megan Mullali , Kristin Chenoweth , Christina Applegate , Carrie Underwood, Tobey McGuire , Lorde , Cameron Diaz , Matthew Morrison , Jennifer Lopez , Annie Lennox , Jewel , The Weeknd and Paula Abdul to name a few.

His versatility is unparalleled.

-Broadway World winner for Best choreography -iHeart Radio nominated choreographer

Check out Tyce Diorio’s new dance creation for the new Taylor Swift music video ME!

World Renowned Choreographer

Review: Taylor Swift kicks off 'Reputation' tour with epic, revelatory concert

“And in the death of her reputation, she felt truly alive.”

Those are the words that appeared on the 172-foot-by-40-foot video wall as Taylor Swift brought the opening night of the “Reputation” tour to a rousing conclusion in front of a record-breaking capacity crowd of 59,157 fans at University of Phoenix Stadium. 

Two hours earlier, the star had set the tone for Tuesday's show by blasting a recording of Joan Jett's Bad Reputation  through the PA, Jett defiantly snarling, "I don't give a damn 'bout my reputation." 

You could say it was a running theme, informing both the lyrics of her latest album and the narrative arc of the concert itself as she shared the experiences that led her to the "Reputation" tour and the lessons she learned from those experiences. 

A Swift performance is often as much about the connection she's established with her fans as it is about the sing-alongs her biggest hits inspire.  And Tuesday's show was no exception. 

On the one hand, she treated fans to a state-of-the-art production, played out on three stages, the largest of which was 110 feet tall.

There was plenty of pyro, confetti and slick choreography with a team of 16 dancers, who bungee-jumped on industrial scaffolding on Bad Blood .

There was a tilted stage to underscore the line "Don't like your tilted stage" in her latest album's first and most successful hit, Look What You Made Me Do . 

There were giant snakes and floating platforms to carry the star from the main stage to one of the satellite stages and back again.  

More: Katy Perry, Taylor Swift feud ends with a literal olive branch, fans call for world peace

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There were countless costume changes and truly breathtaking visuals projected on that huge curved wall of screens.

And after seguing from We Are Never Ever Getting Back Together  into This is Why We Can't Have Nice Things , she ended the concert on top of a fountain. 

But for all the pageantry and spectacle she brought to the proceedings, there were many moments in the course of Swift's performance that  felt like she was playing to the back rows of the stadium by simply sharing with her fans.

And there was much to share.

She talked about taking a break from the "pretty predictable" schedule she'd been on since she was 16 after touring in support of 1989  to figure out "who I would be and what my life would be life if I didn't have a spotlight on me all the time."

She talked about how many times she's had to deal with people in the industry telling her what her fans expected 

"It would be things like you can't work with  that  person," she said. "Or you can't make a pop album because your fans are country fans and they would never understand. And I would say to them, 'I'm pretty sure I know them better than you do. I'm pretty sure they want to connect to the feeling in a song.'"

Late in the set, she sat at the piano and said she figured people might be wondering why there were so many snakes involved in the production.

"Well, the reason is," she said, "a couple of years ago, someone called me a snake on social media and it caught on. And then a lot of people were calling me a lot of things on social media. And I went through some really low times for a while because of it."

It got so bad, she wasn't even sure she wanted to continue doing music for a living. So the snakes, she explained, were meant to send a message. 

"If someone uses name-calling to bully you on social media," she said. "And even if a lot of people jump on board with it? That doesn't have to defeat you. It can strengthen you instead."

In her case, it taught her a valuable lesson about reputations.

"And I think the lesson," she said, "is that you shouldn't care so much if you feel misunderstood by a lot of people who don't know you, as long as you feel understood by the people who do know you, the people who see you as a human being."

Then she thanked the fans for "taking the time to get to know me and appreciate me, to see me as a human being."

More: Taylor Swift, Sugarland team for country duet 'Babe'

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And with that, she launched into a vulnerable solo piano rendition of Long Live , one of the few songs in her set that predated her two most recent albums.

The star made her way through no fewer than 14 of the 15 songs on Reputation , opening with …Ready For It?,   I Did Something Bad  and Gorgeous  before reaching back to 1989  for Style  and then dusting off two of her earliest pop hits, Love Story  and You Belong With Me .

After featuring four more songs from Reputation , she flew to the back of the venue, where she was joined on a spirited romp through Shake It Off  by tourmates Camila Cabello and Charli XCX.

She stripped it down for unplugged takes on Dancing With Our Hands Tied  and All Too Well  before making her way to the other satellite stage for the night’s third 1989  selection, Blank Space .

That was followed two songs later by one last hit from that album, a crowd-pleasing Bad Blood . 

The rest of the set was a well-paced mix of old and new, including her first song to top the Billboard Hot 100, We Are Never Ever Getting Back Together .

That six-times-platinum triumph hit the top in 2012 and paved the way for Swift's transition from the country star most likely to crossover to perhaps the biggest pop star of her generation.

Six years later, she's selling out stadiums in support of an album that managed to hold its own at Tuesday's show surrounded by a number of her most enduring calling cards.

And she really did seem to feel truly alive. 

…Ready For It?

I Did Something Bad

You Belong With Me

Look What You Made Me Do

King Of My Heart

Shake It Off

Dancing With Our Hands Tied

All Too Well

Blank Space

Should’ve Said No

Don’t Blame Me

New Year’s Day

Getaway Car

Call It What You Want

We Are Never Ever Getting Back Together

This Is Why We Can’t Have Nice Things

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All the Moments You Need to See From Taylor Swift's Reputation Tour Opening Night

By Christopher Rosa

Taylor Swift kicked off her Reputation Stadium Tour last night (May 8) in Glendale, Arizona, and it was a spectacle. Choreography, pyrotechnics, killer live vocals—Swift delivered roughly two hours of pure pop bliss, and her legion of fans lived for it.

They're also living for a few moments that happened in between the songs too—like Swift calling out Kim Kardashian or her pointing to boyfriend Joe Alwyn in the crowd. It wouldn't be a Taylor Swift concert without some juicy tidbits, right? And the Reputation Stadium Tour opening night had plenty. Here are all the ones you need to see.

A quick refresher on that drama: Swift claimed two years ago that she hadn't approved certain lyrics Kanye West wrote about her in his song "Famous," though a Snapchat video Kardashian leaked suggested otherwise. Swift doubled down on her stance, though, which prompted Kardashian—and basically all of social media—to brand her with the snake emoji.

Swift gave a short but poignant speech about all this last night. “A couple of years ago, someone called me a snake on social media and it caught on," Swift said. "And then a lot of people called me a lot of names on social media. And I went through some really low times for a while because of it. I went through some times when I didn’t know if I was gonna get to do this anymore and I guess the snakes…I wanted to send a message to you guys that if someone uses name calling to bully you on social media and even if a lot of people jump on board with it, that doesn’t have to beat you. It can strengthen you instead.”

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Not in real life, but Swift recruited her to say the classic, "The old Taylor can't come to the phone right now" line in a video projection during "Look What You Made Me Do." Haddish revealed last year she had dinner at Swift's house after they did Saturday Night Live together and became friends.

Well, I guess that confirms who the song's about. Eagle-eyed fans caught Alwyn in a baseball cap bopping along in the audience to "Gorgeous." At the end of the song, Swift pointed at him, causing the already lit crowd to lose their minds even more.

Which is a pretty huge deal for Swifties. The Red deep cut is considered by many to be Swift's best song, and some fans thought an extended version of it would appear on Reputation. (The original song is apparently eight minutes long.) Unfortunately, that didn't happen, but Swift made up for that by adding an acoustic version of the song to her set. Naturally, it's stunning.

By Emily Tannenbaum

By Danielle Sinay

By Héloïse Salessy

Taking cues from Madonna—who's famous for reinventing her hit songs in concert—Swift included many of her staples in the Reputation Stadium Tour set list but gave them a twist. She performed "Bad Blood" with elements of "Should've Said No"; a medley of "Style," "Love Story," and "You Belong with Me"; and a piano moment that blended "Long Live" and "New Year's Day."

This might've been the most fun performance of the night. Both Cabello and Charli XCX sang verses of Swift's hit 2014 song, and they all joined in bombastically for the chorus. Pop star friendships!

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If the Reputation Stadium Tour 's opening night is any indication, we're in for a very fun next couple of months. Are you ready for it?

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Stage and Cinema

Arts and Entertainment Reviews

Extras | Concerts: TAYLOR SWIFT’S REPUTATION TOUR BREAKDOWN

by Jim Allen on March 5, 2024

in Concerts / Events , Extras

The Reputation Stadium Tour, Taylor Swift’s first all-stadium venture, represents a significant chapter in her illustrious career, showcasing her evolution from a small-town girl to an international icon.

This ambitious project not only highlighted Swift’s musical genius but also redefined the contours of live music entertainment . Commencing on May 8, 2018, in Glendale, Arizona, the tour embarked on an unforgettable journey that left an indelible mark on the hearts of millions.

The Genesis of a Superstar: Early Years in Reading, Pennsylvania

Taylor Swift’s journey to stardom began in Reading, Pennsylvania, where she was born and raised. From an early age, Swift displayed an uncanny knack for storytelling and melody, crafting songs that resonated with her personal experiences and aspirations. This foundation in Reading laid the groundwork for her meteoric rise, imbuing her music with authenticity and emotional depth that would become her signature.

Embarking on the Stadium Saga

The Reputation Stadium Tour marked a monumental shift in Swift’s live performance strategy. Transitioning from arenas to stadiums, Swift undertook a bold step that few artists could dream of, let alone achieve. This move was not just about the scale of the venues but also about creating a more immersive and impactful experience for fans. It was a testament to Swift’s draw as a global superstar and her ability to connect with audiences on a massive scale.

The Inaugural Show in Glendale: A Night to Remember

On May 8, 2018, the city of Glendale, Arizona, witnessed the inception of the Reputation Stadium Tour, a concert that set the tone for what was to become an epic journey across stadiums. This first show was a spectacle of lights, energy, and music, blending Swift’s new songs with her classics, and setting the stage for a tour that would be remembered for its grandeur and artistic integrity.

Paying Homage to Pennsylvania Roots: Lincoln Financial Field Performance

As Taylor Swift took her Reputation Stadium Tour across the nation, she not only showcased her musical prowess but also paid homage to her Pennsylvania roots, performing in iconic stadiums that are landmarks in the sports world.

For instance, her concert at Philadelphia’s Lincoln Financial Field was not just a musical event but a gathering place for local fans who share a love for both Swift’s artistry and the spirited competition found in sports.

This blending of music and sports culture offers a nod to the common ground shared by concert-goers and sports betting and casino enthusiasts in Pennsylvania, who revel in the excitement of a well-played game and a well-performed concert alike.

The Artistry of Live Performances: A Blend of Music and Spectacle

The Reputation Stadium Tour was not merely about the music; it was a masterclass in live performance artistry. Swift meticulously crafted each show to be a visual feast, complete with elaborate stage designs, costumes, and choreography that complemented her musical narratives. This attention to detail ensured that each concert was not just a listening session but a full-on sensory experience that captivated audiences.

The Setlist: A Musical Journey

The tour’s setlist was a carefully curated mix of tracks from the “Reputation” album alongside fan favorites and hits from her previous albums. This selection ensured that the concerts appealed to long-time Swifties as well as newcomers to her music. By balancing her newer, edgier tracks with the classic hits, Swift offered a comprehensive overview of her musical evolution.

Audience Engagement: Connecting With Fans

A hallmark of Swift’s concerts is her ability to forge a personal connection with her audience, and the Reputation Stadium Tour was no exception. Swift went beyond mere performance, sharing anecdotes and experiences that resonated with her fans, creating an atmosphere of intimacy amidst the vastness of the stadiums. This personal touch made each concert feel unique and left fans with the sense that they were part of something truly special.

The Impact on Live Music: Redefining Concert Experiences

The Reputation Stadium Tour set new benchmarks in the realm of live music entertainment. Swift’s all-stadium endeavor showcased the potential for artists to create expansive and elaborate live shows that go beyond traditional concert formats. It pushed the boundaries of what live music events could be, influencing both contemporaries and upcoming artists to think bigger and bolder in their concert presentations.

Legacy of the Tour: A Milestone in Swift’s Career

The Reputation Stadium Tour is remembered not just for its commercial success but as a pivotal moment in Taylor Swift’s career. It solidified her status as one of the most influential artists of her generation, capable of pulling off an unprecedented stadium tour. The tour’s legacy lies in its demonstration of Swift’s versatility as an artist and her unwavering connection with her fans.

Conclusion: A Testament to Talent and Tenacity

Taylor Swift’s Reputation Stadium Tour was more than just a series of concerts; it was a bold statement of artistic ambition and a celebration of the bond between an artist and her fans. From its kickoff in Glendale to the finale, the tour encapsulated the essence of Swift’s journey from Reading, Pennsylvania, to global superstardom.

Through sheer talent, determination, and a deep connection with her audience, Taylor Swift redefined the landscape of live music entertainment, leaving an indelible mark on the industry and on the hearts of millions of fans worldwide.

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Countdown to Taylor Swift's Reputation Tour! Meet All of Her Backup Dancers

Taylor Swift is ready to shake it off on stage with her latest group of backup dancers.

The “Delicate” singer took to Instagram earlier this week to introduce her tour dancers and gave fans a taste of the talent who will be breaking it down on stage with her beginning next month .

“Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL GLENDALE AZ,” Swift, 28, captioned the photo .

RELATED: Sneak a Peek Inside Taylor Swift’s Reputation Tour Rehearsals

Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL GLENDALE AZ A post shared by Taylor Swift (@taylorswift) on Apr 10, 2018 at 4:52pm PDT

Swift’s Reputation tour kicks off May 8 in Glendale, Arizona with opening acts Camila Cabello and Charli XCX , and will take her across the U.S., England, Ireland, Australia and New Zealand through November.

Meet the pop star’s 16 backup dancers who have an enormous reputation for being the best in the biz.

Maho Udo was born in Kyoto, Japan and made the move to New York to pursue his dancing career in 2005 at age 18. With a wide-ranging dance background in hip-hop, house, jazz, contemporary tap and ballet, he’s had the opportunity to dance alongside Madonna in her Sticky & Sweet Tour in 2009, four of Jason Derulo’s tours, Swift’s 1989 World Tour and, most recently, in Justin Timberlake’s Super Bowl LII halftime show.

2017. Turn my disadvantage into an advantage, and my advantage into the ultimate. "?????????????" #TrainingLife #studentoflife #2017 #????????????? #???? A post shared by Maho Udo (@maho_udo) on Jan 1, 2017 at 1:22am PST

Grant Gilmore

Gilmore displays a unique sense of style both on and off stage. Aside from breaking it down in the classroom, the fashion-forward dancer grooved alongside Rita Ora at the 2017 Teen Choice Awards .

????Now, it's time???? A post shared by Grant "Atwiao" Gilmore (@9grantgilmore9) on Mar 2, 2018 at 4:27pm PST

Stephanie Mincone

The 21-year-old dancer was first thrust into the spotlight when she was mistaken for Sia’s muse Maddie Ziegler at Coachella in 2016. Aside from starring in Sia’s “The Greatest” music video, Mincone danced with Nick Jonas during the 2017 American Music Awards .

Rainbows and strangers!!!???????? lol A post shared by Stephanie Mincone (@stephmincone) on Feb 28, 2018 at 1:45pm PST

Nadine Olmo

Olmo began dancing at just 4 years old. After attending high school in California, she made the move to New York City to pursue her passion when she received a scholarship to the Broadway Dance Center program before heading back to Los Angeles to put her skills to work. Infiltrating the underground dance scene, she learned moves in all areas of hip-hop house, contemporary and more.

???????? A post shared by Nadine Olmo (@nadineolmo) on Oct 15, 2017 at 9:41pm PDT

Kim “Toshi” Davidson

Born and raised in Queens, New York, Toshi moved away from the city to study at Las Vegas Academy. As a stand-out with his incredible moves and blonde-tipped hair, the dancer found a friend in Swift’s backup dancer Udo. Toshi has also danced on the stage alongside Jabbawockeez, Camila Cabello and many more.

“Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world.” ~Harriet Tubman~ #ToshiAdventures #AteamLV #BlackHistory ???? @mikeperezmedia A post shared by TOSHI (Yoshi With a T) (@toshiadventures) on Feb 25, 2018 at 9:16pm PST

Jake Roark Kodish

Kodish is more than a dancer. Rather, he labels himself a “professional life liver, international dance instructor, world traveler and choreographer.” First making his mark in Hollywood during the 2012 film Step Up Revolution , Kodish has had great success since then dancing around the globe and at some of the most iconic landmarks.

Hey LA it’s been a minute. I’m teaching this Sunday at 5pm you don’t wanna miss out, never know when I’ll be here now ???? @tmillytv masterclass sign up link in bio!!! Teaching after the amazing @deeglazer ???????? A post shared by Jake Roark Kodish (@jakekodish) on Mar 14, 2018 at 12:18pm PDT

Robert Green

Green’s list of accomplishments is endless. When he was selected to be one of 12 male dancers to dance with Swift for her 1989 World Tour, he broke the internet by sharing a tear-jerking viral video of a phone call to his mother revealing the news. Since then, he’s gotten the opportunity to dance for some of the most influential artists in the industry, including Justin Timberlake, Selena Gomez , The Weekend , Mary J. Blige , Ricky Martin , Pitbull , Ellie Goulding , as well as the chance to choreograph for Tove Lo and Charli XCX .

Y3 for da IG A post shared by ROBERT GREEN (@staronstage) on Feb 19, 2018 at 3:32pm PST

Jake Landgrebe

Tumbling, tap and a hip hop class for boys at a local studio — and the rest is history. Landgrebe has been dancing since he was 5. Not only is he a dancer for artists such as Justin Bieber and Janet Jackson , but he also danced behind the screen in the final season of Glee on FOX — acting and dancing as a Dalton Academy Warbler — and as a character dancer in the Just Dance video game franchise.

Be on the lookout for all the new gear coming your way! @imma.apparel @shotbykyle A post shared by Jake Landgrebe (@jakelandgrebe) on Mar 3, 2018 at 5:34pm PST

Giuseppe Giofrè

Giofré made his professional debut in 2012 when he competed on the Italian reality talent competition Amici . As a true jack of all trades, the Italy native released his debut single “Break” to YouTube, as well as his album Call on Me in 2013. Making his mark as a professional hip-hop dancer, Giofré performed alongside Swift on her 1989 World Tour, and can be seen dancing at many other entertainment events like the 2014 Emmys and the 2015 People’s Choice Awards.

Follow your soul It know the way ______ ????@ A post shared by G (@giuseppegiofre) on Aug 31, 2017 at 1:15am PDT

Mark Villaver

Swift stays true to the talent she trusts, and Villaver is another returning act from both her Red Tour and 1989 World Tour. In 2012, the Hawaiian native made his move to Los Angeles to pursue a professional career in dance. His performance during the season 11 finale of American Idol gained him the recognition he deserved and landed him a permanent job on The X Factor . Later, he was chosen to be one of the top 10 dancers on season 14 of FOX’s hit reality show So You Think You Can Dance . Villaver danced alongside Ariana Grande and Ricky Martin, as well as at several live awards shows such as the Video Music Awards , Billboard Latin Music Awards, American Billboard Awards , Grammy Awards and Brit Awards.

Hey. A post shared by Mark Villaver (@markvillaver) on Apr 7, 2018 at 7:55pm PDT

Christian Owens

“Round two with the beautiful boss @taylorswift ,” as Owens put it on Instagram. Dancing since the young age of 13, the Atlanta native specializes in jazz and hip hop. From sweeping Rihanna off her feet on stage to choreographing routines for Demi Lovato and starring in Swift’s “Bad Blood” music video, Owens’ resume is truly impressive.

Succces comes with the good the bad and the ugly .. .. rise above .. A post shared by Christian Owens (@owensc18) on Feb 28, 2018 at 4:14pm PST

Smith is ready for her closeup! The 18-year-old Houston native got some screen time earlier this year when she danced behind Zedd and Maren Morris in their “The Middle” music video that made its debut during the 2018 Grammy Awards.

Tune in tomorrow during the #GRAMMYS !! Catch the @target commercial for the new music video “The Middle” ????w/ @zedd @marenmorris @greymusic @hihatproductions! so freakin greatful to work with such an amazing group of people on such a cool project!???????? choreography team: @hihatofficial @janelleginestra @willdabeast__ @mr.tyrellwashington @noellemarsh ????#target #themiddle A post shared by ????Jazz Smith???? (@jazzsmith.a) on Jan 27, 2018 at 10:52pm PST

Gracie Stewart

Born and raised in Australia, Stewart discovered her passion for the arts before making the move to Los Angeles to make her dreams come true in acting, singing and dance. Stewart has danced for Justin Bieber, Selena Gomez, Kylie Minogue , Katy Perry , Rihanna, Ellen Degeneres , Macy Gray, Ariana Grande, Iggy Azalea and Pharrell Williams . She can also be seen on the big screen in films including Happy Feet 2 as a digital motion actor and dancer.

Wishing everyone a peaceful and productive week. ????????? @allthingsmean #clearlygracie A post shared by Gracie Stewart (@clearlygracie) on Jan 22, 2018 at 1:19pm PST

Wada has been around the globe for many reasons other than dance. Born and raised in Tokyo, Japan, the professional dancer-choreographer took to the streets in Tokyo to show off her skills at the age of 15 with her friends. Wada ended up in New York City and, eventually, to Los Angeles to follow her dreams of becoming a dancer. She has worked with artists like Madonna, Britney Spears , Katy Perry and Jason Derulo, and has been on three world tours as a principal dancer, specializing in a mix of house, hip-hop, vogue, whaack and contemporary.

????????????? #itsactuallysaturday #tokyostreets A post shared by Maria Wada (@mariawada) on Dec 16, 2017 at 12:41pm PST

Yorelis Apolinario

Beauty and the beats! The Tampa-based dancer discovered her talent for hip hop at 8 years old before exploring other styles such as ballet, jazz and contemporary. In 2015, Apolinario made it to the top 14 dancers on season 12 of Fox’s So You Think You Can Dance.

Happy Tuesday! ???????? • • #YoE #YorelisApolinario A post shared by YoE (@yoe.apolinario) on Feb 20, 2018 at 3:12pm PST

Christian Henderson

Lucky number three! After dancing on Swift’s Red Tour, Henderson was asked to join her 1989 World Tour.

M O N D A Y and he's home?? A post shared by Mikaela Arneson (@mikaelaarneson) on Aug 10, 2015 at 1:12pm PDT

At one of the pop star’s 1989 shows in Pittsburgh, Pennsylvania in 2015, the dancer made an unforgettable face during a performance of her hit “Bad Blood,” which Swift took to social media to call his expression “worse and worse/better and better.”

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How to Command a Stage Without Great Dance Moves (Taylor’s Version)

The choreography on Taylor Swift’s Eras Tour doesn’t ask her to do too much, but she knows how to use her simple moves to her advantage.

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By Brian Seibert

Since it’s an understatement to call Taylor Swift’s Eras Tour the dominant pop concert of the year, it isn’t surprising that snippets of the show, captured by fans on their phones, have been flooding social media sites for months. Watch a few of these clips, and it might strike you that the dance moves, in contrast to the designer costumes and visual effects, are rather simple and unoriginal, the sort of thing anyone might be able to pull off.

At least that’s what I thought before seeing the Eras Tour live. Experiencing it in Los Angeles, at the end of its first United States leg, I changed my mind. As dance, the show is simple and unoriginal — yet exceptionally effective.

Swift is a pop superstar who dances but is not known for her dancing. Even many of her admirers will admit that in this respect she’s no Beyoncé, no Britney Spears — that as hard as she tries, she’s a little stiff and awkward. Be that as it may, body language is crucial to how the three-hour-plus performance works.

On Friday, at the second of six Los Angeles concerts, the most significant gesture came early, between songs. Basking in the deafening roar of 70,000 fans, Swift struck a coy “Who, me?” pose and said she wanted to try something. She pointed at a section of SoFi Stadium, and the cheering from that section somehow got louder.

“I feel so powerful,” she said, kissing a bicep. But the power she was flexing wasn’t muscular. It was her ability — with the magnification of giant video screens — to connect with every member of the crowd. The choreography helped keep that connection a live wire.

I don’t just mean the dance numbers, though there are plenty of those, choreographed by Mandy Moore (“La La Land,” “So You Think You Can Dance?”). The backup dancers sometimes contributed to the spectacle. They handled the billowing floral parachutes that concealed and revealed Swift at the start. They wielded glowing orbs during “Willow,” clouds on ladders during “Lavender Haze,” umbrellas during “Midnight Rain.” Not especially imaginative, this was all just something big enough to see.

Elsewhere, the dancers helped suggest the situations of the songs. The bicep kiss was a segue to “The Man,” a complaint about gender double standards that was staged as an ascent up the stairs and levels of an office set populated by chest-thumping workers. In other songs, a few dancers played roles: the boyfriend that Swift berates for emotional neglect across (and atop) a long dinner table in “Tolerate It,” or the scandalizing socialite protagonist of “The Last Great American Dynasty.”

But really, the concert has only one character, Swift. In “Look What You Made Me Do,” the dancers were costumed as earlier versions of her, trapped in transparent boxes like dolls. Mostly, though, they served as a friend group or party guests. A happy, diverse bunch, they did a little ballroom dancing to evoke the romantic fantasy of “Lover,” a little vogueing to give “Bejeweled” some shimmer.

And then they left. Which is to say, they left the audience alone with Swift, again and again, re-establishing the thrill of mass intimacy. Other pop stars use this effect, but it’s especially potent with Swift because she’s also a singer-songwriter, who can sit at a piano or tap into the iconography of a guitar-slinging truth teller.

The most intense moments of the show were in this mode: the 10-minute extended version of “All Too Well” and the acoustic mini-set of “secret songs” that differ from night to night. This is almost pointedly not dancing, but it requires a particular physicality at which Swift excels. She has the wide stance, both confident and confiding. She looks grounded, comfortable, at home.

That’s generally true when she isn’t dancing. She can strut or skip around the huge catwalk and stage that extend across the stadium floor without looking small. She can strike over-the-shoulder poses for the camera. She can inhabit her many sparkly costumes — rolling her hips in fringe dresses and Louboutin boots, using the flowy sleeves on her “Folklore” dress the way Stevie Nicks uses scarves.

So does it matter that in the cafe chair burlesque routine for “Vigilante ___,” a homage to louche Bob Fosse dances, she’s imprecise and physically uncommitted to the pleasures and dangers of sex? (She caresses her body like she’s afraid to.) It doesn’t, because her fans love her anyway. And it does, because this imperfect dancing is, I think, part of her nonthreatening Everywoman image. It makes her easier to identify with.

And that is what the whole concert is about, the identification between Swift and the fans she continually thanks and flatters, the fans who know every word to every song. Swift told the L.A. crowd that when those fans sing her lyrics along with her, she takes that as a sign that they too have felt what she felt.

It makes sense, then, that she moves the way anyone might move. So that anyone might imagine being her — just pointing and feeling powerful.

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history  by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?  

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex  at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence  to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .

Who Choreographed Taylor Swift’s ‘The Eras Tour?’

Taylor Swift was unveiled today as Time ‘s Person Of The Year for 2023 . During her cover interview, she touches on everything from the journey of her career, re-recording her albums, and her personal life.

At one point, Swift goes into the preparation she needed ahead of her massive The Eras Tour — where she performs for over three hours at each show. She also revealed how she landed on the tour’s choreographer.

Who Choreographed Taylor Swift’s The Eras Tour ?

Swift used choreographer Mandy Moore (not the actress) as the leading guide for The Eras Tour . The suggestion came from Swift’s friend, Emma Stone , who has worked with Moore previously on La La Land . “Learning choreography is not my strong suit,” Swift admitted.

“I wanted to be so over-rehearsed that I could be silly with the fans, and not lose my train of thought,” she also shared.

Swift did three months of dance training, along with a gym routine that started six months before the tour kicked off. “Every day I would run on the treadmill, singing the entire set list out loud,” she added. “Fast for fast songs, and a jog or a fast walk for slow songs.”

The results paid off, as Swift relies on choreography heavily for the performances of “Vigilante Sh*t,” “Mastermind,” and more.

Taylor Swift’s ‘Eras’ Tour: Variety Picks the Best Moments, Key Songs, Iconic Outfits and More

Taylor Swift’s Eras Tour is already one for the history books. As the first United States leg wrapped on Wednesday in Los Angeles, Variety staffers were in the crowd singing and dancing along as they had through much of the tour. From the first shows in Glendale, Ariz., to her six-show marathon end run in L.A., Variety has reported on the Eras Tour as it crisscrossed the country.

Swift takes audiences on a journey through her musical eras with a staggering 44-song setlist. The Eras Tour spans the singer-songwriter’s entire discography, from her self-titled debut album to the recently released “Midnights.”

Swift had surprises in store at each performance, including quick outfit changes and guest appearances from Ice Spice, Phoebe Bridgers, Taylor Lautner and more. Gracie Abrams, Haim, Gayle, Muna and Owenn were among the openers on the first U.S. run.

Up next, Swift is journeying to Paris in May of 2024 to kick off the Eras Tour’s U.K./European leg. The singer revealed back in July that Paramore would precede her on stage for the entire European run. The Eras Tour also isn’t saying farewell to the U.S. quite yet, as Swift announced 15 more shows in October and November 2024 in four North American cities: Miami, Indianapolis, New Orleans and Toronto.

In order to toast her first run, we’ve selected our best moments from Swift’s three-hour plus shows. From the complicated choreography to the surprise songs to the dedicated fans, the Eras Tour has redefined the scope of what a pop artist can deliver.

Check out Variety ‘s selection of best moments from the Eras Tour below.

Variety staffers and the shows they saw:

Ellise Shafer, online news editor

Glendale, AZ / State Farm Stadium — March 17 (opening night)

Katcy Stephan, social media editor

Glendale, AZ / State Farm Stadium – March 18

Los Angeles / SoFi Stadium – August 4

Los Angeles / SoFi Stadium – August 7

William Earl, editor of Variety.com

East Rutherford, NJ / MetLife Stadium — May 26

Haley Kluge, creative director

Detroit / Ford Field — June 10

Los Angeles / SoFi Stadium — August 3

Los Angeles / SoFi Stadium — August 8

Emily Longeretta, senior TV features Editor

Los Angeles / SoFi Stadium — August 7

Thania Garcia, associate music editor

Angelique Jackson, senior entertainment writer

Las Vegas / Allegiant Stadium — March 25

Jennifer Maas, TV business writer

Los Angeles / SoFi Stadium — August 9 (closing night)

The mash-up of “August” and “Illicit Affairs” — I don’t think anyone saw that coming, and it was exhilarating to scream: “Don’t call me kid/ Don’t call me baby!” — ES (3/17)

The best performance of the night was “Enchanted” from Swift’s “Speak Now” era. Clad in a shimmering princess gown, Swift served full fairy tale glamour while belting out some of her strongest vocals of the evening in the show-stopping number of love and longing. — KS (3/18)

“Betty” was the star of the superior “Folklore” section, with Swift’s lovely voice getting center stage, harmonizing beautifully with the other singers as the whole band sat on the steps and jammed out. — WE (5/26)

The rotating acoustic section of Swift’s setlist is always a highlight of the show, but I think I won the jackpot of surprise songs when she performed “King of My Heart” on piano during her fifth night in Los Angeles. — HK (8/8)

It has to be a tie between the surprise songs, “Dress” and “Exile” — “Dress” because she’s never performed it acoustic and the crowd went absolutely insane; “Exile” because she sang both her and Bon Iver’s verses. When she performed his, the audience took the liberty to sing her harmony and she adorably laughed at it. — EL (8/7)

Seeing “Enchanted” live was the highlight of my experience – both as a fan of all things princess-like and electric-guitar-powered ballads. Draped in a glistening ball gown, Swift looked like something out of a fairytale surrounded by the stage design’s lavender visuals. — TG (8/7)

My favorite song is “Fearless,” so it was special to raise our hand hearts while celebrating “Taylor’s Version.” But I saw the show with one of my closest friends, who is a lymphoma survivor, so getting to scream it out to “Bad Blood” – a song she’d joke about during chemo – was particularly memorable. — AJ (3/25)

On a night when Swift announced the re-release of “1989” and finally performed “New Romantics” as one of her surprise songs, it was still the poignant piano performance of “New Year’s Day” that hit hardest. Closing out the U.S. leg with lyrics like “Hold on to the memories, they will hold on to you” was perfect. — JM (8/9)

During the “Evermore” era, the witchy “Willow” dance was everything to me. — ES (3/17)

Swift has never been more badass than she is while executing sexy, powerful choreography for “Vigilante Shit” from her “Midnights” era, dancing on chairs with an entourage of ladies beside her. — KS (3/18)

I love orbs! So, imagine my surprise when all of the dancers were conjuring who-knows-what with some mystical orbs in “Willow.” — WE (5/26)

“Vigilante Shit” might be Swift’s edgiest choreography to date – and is easily the best dance moment of the show, with her and her dancers utilizing prop chairs and the rising stage. — HK (8/8)

She throws it back to old school Britney days with her “Vigilante Shit” routine. I love a chair moment. — EL (8/7)

I enjoyed the traditions Swift set for her performances of “Red” during the tour. She interacted with her background dancers, recruiting one of them to sing the definitive “EVER” in “We Are Never Ever Getting Back Together,” and also handing off her iconic black hat to a young girl in the audience during “22.” — TG (8/7)

Swift and her dancers doing the “Bejeweled” TikTok dance is an iconic bit of fan service! But personally, I danced the heel off my cowboy boot at some point mid-“Shake It Off.”— AJ (3/25)

Working the chair for “Vigilante Shit.” The TikTok videos don’t do the live performance justice. — JM (8/9)

Best Outfit

When she came out in her “Enchanted dress,” you could hear gasps reverberating throughout the stadium. — ES (3/17)

Swift’s purple tiered ballgown, which she only debuted after the release of “Speak Now (Taylor’s Version),” is the perfect complement to the era’s romantic, dreamy aesthetic. — KS (8/4)

Swift’s lavender faux-fur coat during the “Midnights” set looked very cozy. I could take a nap in it! — WE (5/26)

On the fifth night in Los Angeles, Swift premiered a new “Midnights” era bodysuit that was the best outfit of the night. But those same fans gave her a run for her money in the costume department. Special shoutout to @victoriabrowne’s husband’s personification of the “All Too Well” red scarf and the three folks nearby who dressed up as yogurt shop employees, a nod to Swift’s lyrics in “Invisible String.” — HK (8/8)

Her matching blazer and boots during “The Man” were a full vibe. — EL (8/7)

It was so hard to pick which outfit was my favorite, but I loved her in the wispy, lavender dress that she wears when we first see her standing on the roof of the moss-covered cabin for the “Folklore” era. — TG (8/7)

As a “Midnights” fan, it’s a tie between the Oscar de la Renta crystal t-shirt and faux fur coat for “Lavender Haze” and the midnight blue bodysuit and boots for “Midnight Rain” and “Vigilante Shit” because that beadwork is immaculate. — AJ (3/25)

On Night 6 in L.A., the winner was a three-way tie between a trio of new outfits worked into the show, each in the iconic “1989” blue shade: An “Enchanted” ballgown, a “Folklore” frock and a sparkly “1989” two-piece set. — JM (8/9)

Most Surprising Moment

I was not expecting the “Reputation” part of the set to hit as hard as it did. — ES (3/17)

Every night, Swift performs two “surprise songs,” which fans have eagerly made spreadsheets to break down and analyze. Perhaps the most unexpected choice of the bunch was “exile” from her “folklore” album, which she chose to sing solo (without duet partner Bon Iver) for the first time. — KS (8/7)

Ice Spice coming out to perform “Karma” at the very end of the night. You haven’t lived until you’ve seen her drop a casual “Facts” live. — WE (5/26)

During Swift’s “Evermore” set after her spoken section, the crowd in Los Angeles broke into an eight-minute standing ovation. My ears are still ringing. — HK (8/8)

Seeing her perform “Dress” shocked me, since it’s about Joe Alwyn. — EL (8/7)

We had the distinct pleasure of being at Swift’s first show with a guest artist during her surprise songs (yes, I know, it was only week 2 of the tour), but the crowd’s roar (and the scream I screamed) when Marcus Mumford appeared at the end of the catwalk to play “Cowboy Like Me” was positively wonderous. Swifties will know, but Swift recorded the “Evermore” track at the Mumford & Sons frontman’s studio in the U.K., so hearing them duet live was incredible. — AJ (3/25)

Karlie Kloss spotted in the crowd. — JM (8/9)

Best Crowd Moment

It has to be everyone screaming “All Too Well” at the top of their lungs. The collective catharsis is still ringing in my ears. — ES (3/17)

During the Reputation Stadium Tour, one Swiftie created a chant during her song “Delicate,” shouting “1, 2, 3, let’s go, bitch” between the intro and the first verse. Now, the entire arena erupts during this section, with Swift herself counting the numbers on her fingers as fans shriek. — KS (3/18)

Swift had wonderful openers and watching a young girl near me scream every word of Phoebe Bridgers’ poison pen kiss-off “Motion Sickness” was a sight to behold. — WE (5/26)

Swift’s supporters are arguably one of the most enthusiastic – and kindest – fandoms around. It was wildly endearing to see dads bring their daughters to shows (proudly rocking their dad-Swiftie merch) or people swapping friendship bracelets with each other and with the security guards and crew at the venue. — HK (8/8)

Seeing the entire crowd of empowered women — and some men! — scream “Fuck the Patriarchy” during “All Too Well” made me cry. — EL (8/7)

I loved watching all of the young girls with sparkles in their eyes as they sang along to all of Swift’s songs with glitter-painted faces and brightly colored outfits that resembled the Eras. — TG (8/7)

The 10-minute standing ovation after “Champagne Problems,” which put all the previous standing Os to shame. — JM (8/9)

Best Standout Moment

The overall stage design was mesmerizing — I particularly loved the table-setting scene during “Tolerate It.” It struck me more as a piece of theater than a concert. — ES (3/17)

Swifties frequently refer to Swift’s performances of “Don’t Blame Me” as “church,” and seeing her sing it proves exactly why. Swift’s vocals soar as the music swells in the bridge, and smart lighting design that illuminates the entire stadium during her high notes creates a truly epic quality for the number. — KS (3/18)

The crowd hit the loudest roar during “Cruel Summer,” and the whole stadium singing at the same time showed Swift’s true power and the joy she brings to so many people. — WE (5/26)

The entire stadium screaming the bridge to “Cruel Summer.” I’m not sure if I will ever recover. — HK (8/8)

Nothing beats the fact that the countdown clock before the show begins blasts Lesley Gore’s 1963 anthem “You Don’t Own Me” at a time where Swift has finally gotten her music back. — EL (8/7)

In my experience, the standout moment of this tour didn’t happen inside the concert — but outside of it. When exiting, I was stunned by the number of people who were waiting outside the stadium without tickets, but just happy to be there hearing her sing. — TG (8/7)

I saw Swift in 2018 on the Reputation tour and I was impressed, but she really upped the ante with Eras. The idea of three-and-a-half hours of live performance is a true athletic feat and I couldn’t help but marvel at the idea she’s only 33 playing a show that would culminate most artists’ entire career! — AJ (3/25)

The announcement of the release date for “1989 (Taylor’s Version)” during the surprise song set, as all our bracelets lit up blue. — JM (8/9)

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‘I can say things other people are afraid to’: Margaret Atwood on censorship, literary feuds and Trump

At 84, The Handmaid’s Tale author is as outspoken as ever. She talks about aging, culture wars - and why “the orange guy” can’t be allowed back into the White House

“I ’m the great sage on top of the mountain,” Margaret Atwood says with a smile, on a video call from her home in Toronto. “If you’ve lived to a certain age people think you know something because they haven’t got there yet.”

At 84, most writers could be forgiven for taking it easy, but especially Atwood, after a tumultuous few years that have seen The Handmaid’s Tale become a hit TV series; the publication of its long-awaited sequel The Testaments , joint winner of the Booker prize in 2019; and the death of her partner of nearly 50 years, novelist Graeme Gibson. He died of a stroke two days after the UK launch of the novel, and Atwood, with typical grit, carried on with the tour.

Since turning 80 she has published a book of poems, Dearly, many in memory of Gibson; a doorstopper volume of nonfiction, Burning Questions ; and a collection of short stories, Old Babes in the Wood – maintaining her average of writing a book a year for more than 60 years. Not to mention a steady flow of articles and an energetic Substack. These days she can hardly go out in public without requests for selfies. “The most perilous location is the women’s washroom,” she confides.

At the end of last year, Atwood had a new pacemaker fitted, a procedure she tap danced through, posting a video of herself doing a post-op routine to Singin’ in the Rain in a hospital gown. Her heart condition is progressive – “Now there’s a cute use of the word ‘progressive’ for ya!” she writes on her Substack – but under control with medication. Her main worry now is turning a “not very attractive shade of blue” if she goes in the sunlight, due to the drugs; factor 50 is essential at all times.

The perils of old age form the background to her latest publication, a standalone story, Cut & Thirst. “Don’t say ‘old’, it’s ‘older’,” one of three friends insists, as they meet to plot the murders of nine “has-been” male writers, as revenge for sabotaging the reputation of a female novelist many years ago. The story is as sharp and sparkling as the G&Ts the ladies knock back. “This is a cosy crime that doesn’t come off,” Atwood chortles of her take on the Richard Osman geriatric crime genre.

Her “three harmless older ladies with PhDs” plot against a cabal of bookish bullies, in particular “The Humph”: “Humphrey had come from England. Where else? … His Englishness was thought by him to confer a superpower in matters literary, a view once shared by many others; though it surely is shared no longer, Myrna reflects with satisfaction.” Ouch!

Tantalisingly, this literary feud is apparently based on real events. “How could it not be?” she twinkles mischievously. “In the age of Martin Amis, that kind of thing went on quite a lot.” But it’s not about Amis and friends (Julian Barnes, Ian McEwan et al) back in their swaggery heyday, she insists. “It’s one of those situations in which you know who you are,” is all she will say.

In the story the “has-beens” avoid being killed off completely – a complicated plan involving brownies laced with laxatives backfires. “People have done that,” she says, raising one of her owlish eyebrows even higher. “We will be hearing from old white guys again,” she predicts, with a smile. “We went through a number of years in which people were saying ‘Oh, old white guys, boring, boring, boring’,” she drawls. “But now they can write about being old white guys in this climate, which is quite different from being old white guys 20 years ago.”

Atwood likes to take the long view, pointing out that “literary feuds are a long-standing thing. Ever since Roman times they were slanging epigraphs about each other around.” Though the fallout from such spats is far more toxic than in the days of poison pen letters in literary magazines. “I think we are getting through that phase of behaviour,” Atwood muses on what she calls “modern-day guillotining” via social media, predicting that the heat will eventually die out of the current culture wars. “These things get too extreme, and middle-of-the-road people turn against them.”

We have met the “gaggle of hags” in Cut & Thirst in an earlier story, Airborne. All three are retired academics – “What sort of panel?” one asks of a recent radio appearance. “Chrissy drops her voice. ‘Gender.’ ‘Fuck,’ says Leonie. ‘Snake pit!’” She has great fun with her sweary bluestockings who balk at the use of “totally” as a modifier and are triggered by trigger warnings.

Leonie’s speciality is the French Revolution. Atwood has been reading a lot about the French Revvie, as Leonie calls it, lately. “It was like a snowball beginning to roll down the hill, and then it gets bigger and bigger. At any point people could have made decisions that would have turned it the other way,” she says. “It was the template for a lot of later revolutions, both on the left and on the right, and I would count [Trump’s] Maga movement among those.”

In an article for this paper following the attack on Salman Rushdie in August 2022, Atwood wrote that American democracy is under threat like never before. “It is definitely under threat,” she says now, though she’s reluctant to predict the election result. “A lot of things can happen between now and then. Either one of these people could just fall over,” she warns. But she is very clear on what the outcome will mean: “You have a choice between somebody who without a doubt, and has said so, will impose a vengeful tyranny, and another person who wouldn’t,” she says. “You get dictatorships when times are bad and chaotic, because people are willing to trade in their democratic rights for somebody who says they can fix it. That is usually a lie. But that’s how you get there.”

Questions of freedom of expression are “front and centre” right now, she believes, with both left and right turning to censorship. “‘You have to take this book out of the school because it hurts my child’s feelings,’ says one hand, and the other hand says ‘Well this other book hurts my child’s feelings, so you have to take it out.’ And that goes on until there aren’t any books left. If you go too far down the road in either direction, you shut down political speech.” While she doesn’t think this is likely to happen in Britain any time soon – “the British are quite mouthy, you may have noticed” – it is happening in parts of America.

When Atwood speaks the world listens, with good reason: the financial crash, the rise of the extreme right and the infringement of women’s freedoms in recent years have all been anticipated in her work. “I just pay attention,” she likes to say. Her status as an international treasure and seer means she is frequently sought out for her opinions on the hottest issues of the day, as well as panel discussions and events.

“I’m a kind of walking opinion poll,” she says. “I can tell by the questions that people ask me what’s on their minds. What is the thing they’re obsessing about at the moment.” The backwards turn of women’s rights, with the ruling just this month that the 1864 total ban on abortion be enforced in Arizona , for example, is high on the list. But as always she is careful to stress that there is no one answer to questions about the future for women. “I have to ask which women? How old? What country? There are many different variations of women.”

She attributes her outspokenness to the fact that she doesn’t have a job: “You can say things that other people might be afraid to because they will lose their job or get cancelled.” In the wake of the #MeToo movement, for example, she was accused of being “a Bad Feminist ” for demanding a fair hearing for a Canadian creative writing lecturer who had been sacked for sexual harassment – the tag didn’t stick.

Once again we are back to the French Revolution, and a group known as the “toads of the Marsh”, the moderates in the French House of Commons. “The toads were usually quite silent, but they did hold the balance of power,” she explains. Be they in 18th-century France or the swamp of modern American politics, the toads are always courted by those on the extremes to win their votes. “So it’s not all bad being a silent person in the middle,” she says. “I’m not one because I’m not silent. But I do feel that my position on these things is usually more towards the middle than anywhere else.”

In short, she is rigorously even-handed about everything (“the orange guy” aside). “Annoying, isn’t it,” she agrees. But it didn’t always save the toads from getting their heads cut off. “All that means is that you get attacked by both sides.”

Whereas once she used to be asked why she hates men, now everyone wants to know “Is there hope?” Typically she answers this question not by consulting her crystal ball, but by looking to the past: every generation has a tendency to think they are living through the end times, she argues as someone born on the brink of the second world war, and who had just published her first book at the time of the Cuban missile crisis. Hope itself is “a come with”, she says. “It comes with being human. It comes with the grammar that we have devised, which allows us to talk about the future, which doesn’t exist yet. It’s a construct of the imagination.”

When she was 18, she wrote a story about an elderly woman, who “was dusty and used up and without hope and covered with cobwebs,” she says. “And that person was 40.” Now, nearly halfway through her ninth decade, there are no cobwebs on Atwood. At one point in our chat, she leaps up to show off her orange orthopaedic chair (“Look after your back!” is her number one tip for writers), lifting it to camera height in a way that would do for lesser mortals.

Every so often she pops up to leave her study (an orderly clutter of books and photographs), returning with a book she wants to recommend: one about utopian experiments, “an intimate” history of pockets and a book by an expert on violent behaviour – this evening she is attending a fundraiser for a Canadian organisation called Shelter Movers , which helps victims of domestic violence.

Like the older ladies in Cut & Thirst, when she meets up with her friends there is a routine health check. The “Organ Recital”, as they call it: a stroke; a bad fall; cracked vertebra from going over a speed bump too fast. “Do you know what a strangulated femoral artery hernia is?” she fires off at one point, the most recent drama to befall one of her circle. “The list goes on,” she says cheerily.

For Atwood herself, “nothing has changed. I’m very busily at work.” She’s just back from a couple of months writing in San Miguel, Mexico – “it’s quite slippery in Toronto in February and March” – where she also had a steady stream of house guests , on the condition that they did all the cooking.

After years of insisting that she would never write a memoir, she is finally doing just that. “They ganged up on me,” she says of her editor and agents. “I got talked into it.” So far she’s having lots of fun: “I’m an inherently frivolous person and what you can usually remember is stupid things that happened,” she says. “I haven’t got to the sad parts yet. Everybody is still alive.”

Pay attention, she tells me sternly. “I’m from a different generation. We don’t do grief in public.” Writing of her decision to carry on with the UK tour for The Testaments after Gibson’s death, she asks: “Given a choice between hotel rooms and events and people on the one hand, and an empty house and a vacant chair on the other, which would you have chosen, Dear Reader?” The empty house and vacant chair came her way later, she writes, “as such things do”.

But she does do grief on the page. The elegiac Nell and Tig stories about a long-married couple that frame her most recent collection, Old Babes in the Wood, are tender dispatches from the empty house, where Nell lives “like a student again” after Tig’s death: “the same formless anxiety, the same bare-bones meals”. Suffused with sorrow, these stories are among the most personal of Atwood’s writing. “Everything in them is true,” she says. “I loved him dearly,” she writes in the poem Dearly .

Next month she is off on her annual trip to Pelee Island, where she and Gibson would always go birding in May (he founded the Bird Observatory there). She has inherited several of his projects to keep her busy. Then she is off to a literary festival in Dublin, where she is appearing at an event with Mary Robinson , the former – first female – president of Ireland, and American musician Laurie Anderson ( Atwood’s a fan ). In the autumn she is coming to London for the opening of a ballet of her dystopian MaddAddam trilogy (about a group of survivors after a global pandemic), a smash hit in Toronto in 2022, on which she collaborated with choreographer Wayne McGregor. In yet another instance of alarming Atwoodian prescience, the ballet was due to open at the Royal Opera House in 2020, but was postponed because of Covid. And she will be in the UK in time to launch the publication of a new selection of her poetry.

Still jetting about, I say.

“Still! I love the way people use this word ‘still’!” she shoots back. “My God, is she STILL alive?”

• Margaret Atwood

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Moscow Metro Tour

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Description

Moscow metro private tours.

• 2-hour tour $87:  10 Must-See Moscow Metro stations with hotel pick-up and drop-off
• 3-hour tour $137:  20 Must-See Moscow Metro stations with Russian lunch in beautifully-decorated Metro Diner + hotel pick-up and drop off. 
• Metro pass is included in the price of both tours.

Highlight of Metro Tour

• Visit 10 must-see stations of Moscow metro on 2-hr tour and 20 Metro stations on 3-hr tour, including grand Komsomolskaya station with its distinctive Baroque décor, aristocratic Mayakovskaya station with Soviet mosaics, legendary Revolution Square station with 72 bronze sculptures and more!
• Explore Museum of Moscow Metro and learn a ton of technical and historical facts;
• Listen to the secrets about the Metro-2, a secret line supposedly used by the government and KGB;
• Experience a selection of most striking features of Moscow Metro hidden from most tourists and even locals;
• Discover the underground treasure of Russian Soviet past – from mosaics to bronzes, paintings, marble arches, stained glass and even paleontological elements;
• Learn fun stories and myths about Coffee Ring, Zodiac signs of Moscow Metro and more;
• Admire Soviet-era architecture of pre- and post- World War II perious;
• Enjoy panoramic views of Sparrow Hills from Luzhniki Metro Bridge – MetroMost, the only station of Moscow Metro located over water and the highest station above ground level;
• If lucky, catch a unique «Aquarelle Train» – a wheeled picture gallery, brightly painted with images of peony, chrysanthemums, daisies, sunflowers and each car unit is unique;
• Become an expert at navigating the legendary Moscow Metro system;
• Have fun time with a very friendly local;
• + Atmospheric Metro lunch in Moscow’s the only Metro Diner (included in a 3-hr tour)

Hotel Pick-up

Metro stations:.

Komsomolskaya

Novoslobodskaya

Prospekt Mira

Belorusskaya

Mayakovskaya

Novokuznetskaya

Revolution Square

Sparrow Hills

+ for 3-hour tour

Victory Park

Slavic Boulevard

Vystavochnaya

Dostoevskaya

Elektrozavodskaya

Partizanskaya

Museum of Moscow Metro

• Drop-off  at your hotel, Novodevichy Convent, Sparrow Hills or any place you wish
• + Russian lunch  in Metro Diner with artistic metro-style interior for 3-hour tour

Fun facts from our Moscow Metro Tours:

From the very first days of its existence, the Moscow Metro was the object of civil defense, used as a bomb shelter, and designed as a defense for a possible attack on the Soviet Union.

At a depth of 50 to 120 meters lies the second, the coded system of Metro-2 of Moscow subway, which is equipped with everything you need, from food storage to the nuclear button.

According to some sources, the total length of Metro-2 reaches over 150 kilometers.

The Museum was opened on Sportivnaya metro station on November 6, 1967. It features the most interesting models of trains and stations.

Coffee Ring

The first scheme of Moscow Metro looked like a bunch of separate lines. Listen to a myth about Joseph Stalin and the main brown line of Moscow Metro.

Zodiac Metro

According to some astrologers, each of the 12 stops of the Moscow Ring Line corresponds to a particular sign of the zodiac and divides the city into astrological sector.

Astrologers believe that being in a particular zadiac sector of Moscow for a long time, you attract certain energy and events into your life.

Paleontological finds 

Red marble walls of some of the Metro stations hide in themselves petrified inhabitants of ancient seas. Try and find some!

• Every day each car in  Moscow metro passes  more than 600 km, which is the distance from Moscow to St. Petersburg.
• Moscow subway system is the  5th in the intensity  of use (after the subways of Beijing, Tokyo, Seoul and Shanghai).
• The interval in the movement of trains in rush hour is  90 seconds .

What you get:

• + A friend in Moscow.
• + Private & customized Moscow tour.
• + An exciting pastime, not just boring history lessons.
• + An authentic experience of local life.
• + Flexibility during the walking tour: changes can be made at any time to suit individual preferences.
• + Amazing deals for breakfast, lunch, and dinner in the very best cafes & restaurants. Discounts on weekdays (Mon-Fri).
• + A photo session amongst spectacular Moscow scenery that can be treasured for a lifetime.
• + Good value for souvenirs, taxis, and hotels.
• + Expert advice on what to do, where to go, and how to make the most of your time in Moscow.

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Elektrostal

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Moscow Metro

The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

What is the kremlin in russia?

The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.