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Anberlin was an American alternative rock band formed in Winter Haven, Florida in 1998 and disbanded in 2014.Members include; Stephen Christian, Deon Rexroat, Joseph Milligan, Nathan Young, Christian McAlhaney, Joey Bruce, Nathan Strayer. Discography includes; Blueprints for the Black Market .... Show More (2003), Never Take Friendship Personal (2005), Cities (2007), New Surrender (2008), Dark Is the Way, Light Is a Place (2010), Vital (2012), Lowborn (2014). Tours include; 2011 Australian Tour, 97x Next Big Thing 5, 97X Next Big Thing 9, Acoustic Set, Alterock Tour, An Evening With Anberlin, Anberlin Acoustic Tour, Anberlin and The Maine Tour, Anberlin Brazil 2010, Anberlin Lite Tour, Australia Tour 2009, Australia Tour 2013, Cities Tour, Closer to the Edge Tour, Cornerstone 2007, Dark Is the Way, Light Is a Place, Fall Tour 2005, Fall Tour 2009, Fall Tour 2010, Fall Tour 2012, Fall Tour 2013, Florida/Georgia Tour 2012, Impossible Tour, Journeys Backyard BBQ Tour, New Surrender Tour, NIntendo Fusion Tour, Projekt Revolution 2011, Q101 Jamboree, Russian Shows 2011, Spring Tour 2010, Spring Tour 2011, Spring Tour 2012, Summer Tour 2003, Summer Tour 2005, Summer Tour 2006, Summer Tour 2007, Summer Tour 2010, Summer Tour 2011, Summer Tour 2013, The Final Tour, The Oceania Tour, Tooth & Nail Tour 2006, Tour De Vital, UK Tour 2013, Vans Warped Tour 2007, Vans Warped Tour 2008, Vans Warped Tour 2014, Winter Tour 2011. Show Less

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MEMBERS Tim Henson - Guitar Scott LePage - Guitar Clay Gober - Bass Clay Aeschliman - Drums

Polyphia is not only the biggest, but also the best metal band in the world. No other act has managed to marry a masterful command of melody with hip hop rhythms and dark and sinister tones in such an enticing way – and they’ve done so without the crutch of sing-along vocals. In challenging the generally accepted constant that dark and technical music has to be atonal and undanceable, the four members of Polyphia have done their part to advance the world of instrumental rock in a manner that has seldom been matched in the history of the genre.

On the band’s greatly anticipated new full-length, New Levels New Devils, Polyphia have taken yet another defiant leap forward. The band has made a conscious effort to replace distorted guitars and epic breakdowns with a soundscape of bass-heavy trap music, which guitarists Tim Henson and Scott LePage explore with their virtuosic guitarwork. While a lot of the beats originated in the studio and utilize techniques usually associated with hip hop production, Polyphia’s formidable rhythm section of Clay Gober and Clay Aeschliman did a remarkable job of recreating them on bass and drums respectively. This gave the album a more organic quality that allowed them to achieve a high degree of cohesiveness, despite having worked with a handful of top-tier producers in studios ranging from Los Angeles to their hometown of Dallas, Texas.

On New Levels New Devils, the band meticulously chose their collaborators to ensure that each guest appearance would work towards helping make it the best effort of Polyphia’s career. This elite cast of collaborators includes producers such as Y2K (Killy, Yung Bans) and Judge (Migos & Marshmello, blackbear, Young Thug). It also includes a collection of guitarists such as Jason Richardson, Ichika, Mateus Asato, Yvette Young (of Covet) and Erick Hansel and Mario Camarena (both of CHON) that share space at the pinnacle of the guitar world with Henson and LePage. Finally, the lone vocal feature comes courtesy of hip hop phenom – and long time Polyphia fan – Cuco, who has captivated tastemakers over the past year with his lyrical prowess and unique style.

As has come to be expected of Polyphia, New Levels New Devils is as diverse as it is ambitious. On the sizzurp-infused funk metal of “Yas”, the band delivers exactly the sort of otherworldly guitar licks you would imagine from a Polyphia and CHON collaboration. On the Y2K and Judge produced “O.D.”, the band takes us on a rafting trip through the cerebrospinal fluid that flows maniacally through the brain of an evil genius. On “So Strange”, the band teams with Cuco to create a track that references an uncanny amount of the best elements of popular music released over the last 40 years. The track that is perhaps best suited to explain the record, though, is lead single “G.O.A.T” – an innovative anthem that floats from movement to movement in a way that only a band as adept at composition as Polyphia could pull off. “G.O.A.T” has been a highlight of the band’s set on their recent tour with CHON, transforming the pit into an epic wall of death that quickly dissolves into a dance party.

The level of innovation exhibited on New Levels New Devils is nothing new for Polyphia. Their previous EP – 2017’s The Most Hated – explored the potential intersections between electronic dance music and pioneering guitar rock in a way that had never been attempted before. Upon its release on Equal Vision Records, it went on to reach #6 on the Billboard “Independent Label Release” charts and cracked the top ten for the “Current Rock” charts. It would even showcase the band’s crossover appeal by hitting #41 on the “Top 200” and #36 on the “Top Current Albums” charts across all genres. Still, one listen through New Levels New Devils will leave the listener certain the band will crush those numbers this time around.

New Levels New Devils is out October 12th on Equal Vision Records. Once the world gets a hold of it, there is little doubt the concept of ‘popular music’ will dramatically change for the better.

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Anberlin tour dates 2024

Anberlin is currently touring across 1 country and has 8 upcoming concerts.

Their next tour date is at Pop's Concert Venue in Sauget, after that they'll be at St. Augustine Amphitheatre in Saint Augustine.

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Upcoming concerts (8) See nearest concert

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House of Blues Orlando

Stubb's Waller Creek Amphitheater (Outdoors)

Los Angeles Memorial Coliseum

Minglewood Hall

Ohio Is For Lovers Festival

When We Were Young

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These guys are amazing live. They know how to rock, get the crowd going and keep them going throughout the entire show. A must see live experience. Hopefully they tour again within the next few years.

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Anberlin is just untouchable to me. They totally bring it 200% every single time, it's always an incredibly fun night when I see them play. Their lyrics are so beautiful and have connected with so many people across the spectrum, I always find myself in good company with Anberlin fans. I first saw them play in 2005 at the House of Blues in Atlantic City, (opening for Story of the Year and Funeral for a Friend) promoting their then new album, Never Take Friendship Personal. The way they were able to energize the crowd of people who had mostly never heard of them was mesmerizing. Needless to say they've been a centerpiece in my life ever since. I've seen them live so many times, but last night's sold out show in NYC for their Farewell tour was truly a stellar performance. They have perfected the art of a balanced setlist: plenty of high energy moshers mixed with the ballads that have a special place in our hearts. All were fan favorites and were a great mix of old and new. 3-5 songs from each album, except for Lowborn (newest) and Blueprints for the Black Market (oldest) which each got one song. Anberlin fans go hard, and it got really rowdy during songs like Paperthin Hymn, Dismantle. Repair., Godspeed, and The Resistance. It's all in good fun, so long as you don't mind sharing sweat with 20 or so of your new friends, just keep it in mind if you're really short or hate being pushed you may want to stick to the sides or back. Stephen will come out to stand on the barrier during some songs and hold hands if you can get close enough! I'm really sad that they're disbanding, but if they're going to go, at least they did it right. Thanks for everything through the years guys.

With Anberlin, music and performance go hand in hand. As soon as the band hit the stage, the air is already filled with excitement as audience cheer, with the loudest applause for charismatic frontman Stephan Christian as he enters the stage last. His only request for the night is ‘I want you to sing as loud as you can, this night is yours’. With seven albums worth of material to cover is almost like a lottery, with of course favourites such “We Owe This To Ourselves”, “Impossible” and “Dismantle.Repair” to name a few. Whatever the set list selection, you know you’ll be highly entertained for the next 75 minutes. Christian’s breathy vocals are pitch perfect as he swings the mic lead around his head like a lasso commandeering any available space on stage. Crowd participation is a vital aspect of any Anberlin show as Christian demands ‘I wanna see this entire place moving!’ as they play “Feel Good Drag” the audience enthused by the electric atmosphere proceed to bounce up and down, waving their arms in the air as they sing the words from the top of their lungs. There’s no doubt of the passion which Anberlin fans possess kindly received and reciprocated by the band. The dramatic lights and the extended guitar distortion combined with electronic beats used as an interlude gets the crowd pumped even more, screaming as they clap in unison. Coming back for an encore “(Fin)” couldn’t be a finer choice as they play acoustically. At just under nine minutes long, this song was definitely made to be performed live as the crowd wave their lighters in the air. The performance is epic in all proportions not only because it’s a brilliantly beautiful track, but because Anberlin truly put all their heart and soul in it stirring an overwhelming wave of emotion in the crowd leaving you with goose bumps until the only word you can muster is ‘Wow!’ With a combination of explosive energetic performances intertwined with beautiful acoustics every time you witness an Anberlin show, you’re bound to be shown a new dimension of their live experience. And with that comes new found appreciation of their material as though this is the first time you’re are listening/watching them and falling in love with Anberlin all over again.

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Anberlin Singer Stephen Christian Takes Hiatus, Band Names His Replacement

There are some significant changes coming for Anberlin .

The band has revealed that their longtime lead vocalist,  Stephen Christian , will be taking an indefinite hiatus from touring with the band. However, he will play one last gig with the group before he takes his leave.

Anberlin already has a replacement singer lined up so that they may continue touring, and it's someone many hard rock fans will know — Memphis May Fire 's Matty Mullins will step in for Christian in Anberlin beginning in 2024.

See the details below.

READ MORE: Anberlin Singer Stephen Christian Takes Pastoral Role at Florida Church

In a post, Anberlin shared a video with the group hanging out together. A vocal narration starts, "After being in this band for 20 years, we've really noticed that the only constant is change. There's so many different eras of Anberlin from ending in 2014 to coming back in 2019 and this is no different. In 2024, Stephen will no longer be touring with Anberlin indefinitely. He's not out of the band. He's not quitting. He's just taking a hiatus," assures the group in a social media posting seen below, adding, "But we do have a plan."

Christian adds within the video, "I once heard a Native American proverb that said, 'There are two dog roaring inside of me and the one that I feed is the one that wins.' And it is because of that I have to take an indefinite hiatus away from touring with Anberlin. I've loved it all. I've loved my best friends out on the road. But at this time I have to feed my community, my career, but more importantly my wife and my child and it's because of that I'm going to step down away from touring with Anberlin."

Mullins then enters the announcement, as he recalls, "I get a phone notification and I look down and it says Stephen Christian, Anberlin. I had no clue what I was about to open ... I remember reading the first line and as I read my face got hot and flushed and my body started to tingle. The text basically said, you know I need to step away from touring and I want you to fill in for me. You're the only person that I want to do it, which still sounds so crazy coming out of my mouth."

As mentioned above, Anberlin confirmed that Christian will play one final show with the band. It takes place on Dec.14 at the Ritz Ybor in Tampa, Florida, with Hawthorne Heights as support.

Separately, Mullins posted on his socials what his addition to Anberlin's touring means for his status with Memphis May Fire. The singer intends to do both, with the scheduling lining up for him to do so. Read his statement below.

In Regaurds [sic] to me singing for Anberlin .... Dear Memphis May Fire fans > Nothing about MMF is changing. ANB & MMF will have different touring schedules & MMF is still my #1 priority. Lots of announcements to come Dear Anberlin fans > I'm sure many of you aren't familiar with me yet, so let's get acquainted! I've been in a band called Memphis May Fire for the last 15 years. Anberlin was the first rock band I convinced my wife to listen to when we were 15 years old. It was at one of their concerts that I told her I was falling for her, now we've been married for 17 years. Blueprints for the Black Market taught me a lot in my early years of writing & recording music & I've loved all of ANB ever since. I know I'm not Stephen and I won't even try to be, but him asking me to fill his role was an unbelievable honor & I will give 110% every night to give y'all the captivating & high energy performance you're used to seeing from ANB. I've spent a good amount of time with the ANB duded over the last few months in preparation for what's to come & they've made me feel like family. Can't wait for y'all to see/hear what's ont eh way! To a killer 2024 full of MMF & ANB Awesomeness, Respectfully, Matty Mullins

Farewell Tours That Were Actually Farewell Tours

Gallery Credit: Chad Childers, Loudwire

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You can buy Rolling Stones Hackney Diamonds Tour merch, including Houston-unique items, a day early

It's officially Rolling Stones weekend in Houston.

The legendary rock band kicks off it's Hackney Diamonds Tour Sunday at NRG Stadium. But you can pick up official merch a day early.

MORE FROM JOEY GUERRA: Hundreds of fans turned away from Grammy winner Laufey's show in Houston because of fake tickets

A trailer will be selling T-shirts, hoodies and jackets from 1-7 p.m. Saturday at NRG Stadium. Look for it at the Green Lot, across the street from the venue. There will also be caps, mugs, keychains and tote bags. Prices range from $10 for a keychain to $500 for a limited edition, numbered varsity jacket.

There will be city-specific items, including a Houston T-shirt ($50), lithograph ($50) and pennant ($35) featuring the iconic Stones lips and astronaut illustrations. Lead singer Mick Jagger got into town Friday and visited NASA . He was accompanied by astronauts Josh Cassada, Bob Hines and Jessica Meir.

TOUR OPENER: What to know about Gary Clark Jr., who is opening for the Rolling Stones in Houston at NRG Stadium

The Hackney Diamonds Tour merch is also available online . But you'll have to wait for it to be delivered.

The Stones last performed in Houston in 2019, a day after Jagger's 76th birthday.

HOUSTON VISIT: Rolling Stones singer Mick Jagger visits NASA Space Center before Houston concert

What Taylor Swift's new album means for her $1 billion fortune

• Taylor Swift's new album, " The Tortured Poets Department ," is almost guaranteed to be a bestseller. 
• But no matter how well it does, it won't be the way Swift earns most of her money this year.
• The remaining leg of her Eras Tour is expected to add much more to Swift's billion-dollar fortune.

Taylor Swift released her new album, " The Tortured Poets Department ," at midnight, and, in what should be no surprise to anyone on this planet in the year 2024, it caused a scene.

Her album garnered millions of streams within hours. There's almost no doubt it'll top the Billboard chart like the 13 Swift albums before it.

But no matter how many platinum certifications it collects or streams it racks up on Spotify, "The Tortured Poets Department" won't be Swift's biggest money-maker this year.

The remaining leg of her Eras Tour — kicking off in Paris next month and running through December — is instead expected to be what contributes most to her fortune, which Bloomberg estimated to be $1.1 billion last year.

"Live music is the engine of the global music business," Clayton Durant, an adjunct professor at NYU Steinhardt's Music Business Program who's the founder of CAD Management, told Business Insider. "Her tour is probably going to earn 10 to 15 times more than her streaming."

Swift's Eras Tour brought in more than $1 billion in ticket sales last year over its 66 dates. By the end of this year, she's set to have played another 86. Swift's cut is unknown, but based on industry standards, she'll surely earn nine figures in 2024 from ticket sales.

Concerts don't only bring in money from ticket sales.

Pollstar estimates that Swifties spend an average of $40 a head on merch at her concerts — that adds up to about $175 million in gross merch sales last year. Swift's camp keeps the majority of that.

Bloomberg estimated that between box office and merchandise, Swift pocketed $225 million, pre-tax, from her first 57 Eras Tour dates. Career earnings from ticket sales and merchandise account for 34% of her total net worth, while earnings from music streaming and sales account for 18%, Bloomberg estimates.

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Swift isn't alone in making money on the road.

In 2021, the last year Billboard made a list of music's top earners, seven out of the 10 top money makers earned more than half of their income from touring.

But the music industry didn't always function this way. Before the advent of streaming, musicians made most of their fortune selling CDs, cassette tapes, and vinyl records .

"Physical music sales made up the bulk of artists' revenue pre-streaming, and that revenue was what enabled artists to tour. These days, the equation has flipped," Tatiana Cirisano, a senior music-industry analyst at MIDiA, told BI over email.

Streaming made listening to recorded music much cheaper. For less than the price of one CD — or for free, illegally or with ads — people could get all the songs they wanted.

"The moment Napster hit, it changed the paradigm, and it really honestly diluted the value of music," Durant said.

To be sure, Swift is still making tens of millions, if not more, on streaming and record sales each year — more than almost any other artist on the planet.

Streaming services such as Spotify pay out artists on a pro-rata model: There's a pot, made up of subscription and ad revenue, paid out to artists each year. Those with the biggest share of the platform's total streams get the biggest piece of it.

But "if you're an individual artist, you have to have a pretty massive audience to be able to earn a meaningful share of that revenue — which is paid out to you after your label gets its cut," Cirisano said.

Last year, Swift was the most streamed artist on both Apple and Spotify. One of every 78 songs streamed in the US last year was a Swift song, according to the music-data firm Luminate. She'll probably rank at or near the top again, between " The Tortured Poets Department " and a streaming lift from the second leg of her Eras Tour.

Swift is also set to earn more than most artists from physical music sales. Last year, she was responsible for one out of every 15 vinyl records sold, according to Luminate. Cirisano said Swift's rabid followers saw physical records as "a symbol of fandom" and a way to support Swift.

That said, without Eras, Swift would just be a poor centimillionaire.

Watch: Artsy CMO, Everette Taylor, tells Insider that the online art marketplace is more inclusive, and lucrative

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‘The working class can’t afford it’: the shocking truth about the money bands make on tour

As Taylor Swift tops $1bn in tour revenue, musicians playing smaller venues are facing pitiful fees and frequent losses. Should the state step in to save our live music scene?

W hen you see a band playing to thousands of fans in a sun-drenched festival field, signing a record deal with a major label or playing endlessly from the airwaves, it’s easy to conjure an image of success that comes with some serious cash to boot – particularly when Taylor Swift has broken $1bn in revenue for her current Eras tour. But looks can be deceiving. “I don’t blame the public for seeing a band playing to 2,000 people and thinking they’re minted,” says artist manager Dan Potts. “But the reality is quite different.”

Post-Covid there has been significant focus on grassroots music venues as they struggle to stay open. There’s been less focus on the actual ability of artists to tour these venues. David Martin, chief executive officer of the Featured Artists Coalition (FAC), says we’re in a “cost-of-touring crisis”. Pretty much every cost attached to touring – van hire, crew, travel, accommodation, food and drink – has gone up, while fees and audiences often have not. “[Playing] live is becoming financially unsustainable for many artists,” he says. “Artists are seeing [playing] live as a loss leader now. That’s if they can even afford to make it work in the first place.”

Potts, who works at Red Light Management – home to everyone from Sabrina Carpenter to Kaiser Chiefs and Sofia Kourtesis – feels like there is an industry equivalent of the Spider-Man meme in which they are all pointing to one another. “People who work at labels think bands make loads of money touring, while booking agents think they make loads of money on publishing and so on,” he says. “Everyone thinks artists make money from the other side of the industry they’re not involved in.

“Artists are the biggest employers in the industry. They pay for the tour manager, session musicians, agent, manager, crew, insurance, travel, accommodation, equipment, rehearsal space, production. Everything. I don’t think people know this is all the stuff that the artist pays for and does.”

“Greater transparency is needed,” says Lily Fontaine, lead singer of Leeds band English Teacher. On paper, the four-piece appear to have made it. They are signed with a major label, Island, have played on Later With … Jools Holland, get healthy BBC Radio 6Music airplay, their debut album has received five-star reviews and they are about to embark on their biggest tour to date, which includes an 800-capacity home-town show.

“The reality is that it’s normal for all of these achievements to coexist alongside being on Universal Credit, living at home or sofa surfing,” says Fontaine. During the making of their debut album, she and bandmate Lewis Whiting did the latter while unable to afford rent.

In their four years of existence, English Teacher have yet to turn a profit from touring. “We’ve never directly paid ourselves from a gig,” says Whiting. “A headline tour usually comes out with a deficit. The only thing that we ever make any kind of profit on is festivals, because the fees can be higher, but any money left over just goes towards the next outgoings.” A successful show for the group in the past has been defined by whether they can flog enough merch to afford a supermarket food shop.

So how do they survive? “In the world of artists, we’re in a lucky position,” says Whiting. “We try to pay ourselves £500 a month each from the band pot.” However, they’ve been reliant on their advance for this, which is now gone. “We’re now in that stage where we’re gonna have to figure out where that £500 a month is gonna come from,” says Fontaine. “Because the gig fees won’t be able to cover that.” The band estimate that their 16-date UK tour in May will generate roughly £800 profit. But, says Fontaine, “realistically, I don’t think there will be any profit because things always go over budget”.

For many artists, fees aren’t increasing in line with costs. “There’s been no real incline at all,” says Potts. “For support slots, I don’t think the fees have changed in the last 10 years or so that I’ve been managing, whether that’s £50 at the smaller end or £500 quid for some of the biggest shows.” Fees for headline shows can vary enormously for bands, even on the same tour. Playing a 200-capacity club in Newcastle may land you £600, while a 1,500 cap in London may net you £3,000.

And fewer people are coming to shows at the small-to-mid-sized end of things. “In our audience data, we see there is a gap in new audiences coming through post-pandemic,” says the FAC’s Martin. “As well as a bit of a drop-off in some of the older audiences returning to live shows.” However, despite stagnant fees and shrinking audiences, touring activity in the UK is at a peak. Due to the costs of touring Europe (which can be thousands in taxes and carnet alone) 74% fewer UK bands are now touring Europe post-Brexit. “It’s much more difficult to tour in Europe so there are more artists trying to perform domestically,” says Martin. “That creates a saturation problem.”

For this article, the Guardian has seen 12 tour budget sheets for various bands and artists varying from up-and-comers to firmly established and successful acts, all of whom regularly undertake headline tours across the UK in venues ranging from 150 to 2,500 capacity. Almost all of these result in losses. Understandably, most shared their balance sheets on the condition of anonymity. One four-piece indie band, whose last two albums went Top 10 in the UK charts, reported a loss of £2,885 from a six-day UK tour. The only tour that shows anything resembling healthy profit was a 29-date tour for a solo artist who came away with £6,550. Not bad going for a month’s work but, as Martin points out, “that’s then his touring done for the next six months. So it’s not enough money.”

Nubiyan Twist are a nine-piece Afro-jazz outfit who have a loyal following and tens of millions of streams on Spotify, “We pride ourselves on being able to put on a big show, like your Fela Kutis or James Browns, these epic spectacles,” says bandleader Tom Excell. “But it’s getting more difficult, without a shadow of a doubt.” For an upcoming eight-show tour of Europe, they are predicting a loss of £4,931.28. The only way they can justify doing it is because they got funding from the BPI Music Export Growth Scheme. “I would have just pulled the plug if it wasn’t for that,” says Excell. “I’ve got a two-year-old and I can’t be away from home for that long and come back with a loss.”

Even when the band get more lucrative fees for festivals it’s still tough. They will be paid £5,000 for a festival performance this summer but the total profit after band wages (as Excell pays all his band members in full first) expenses and commissions are paid out will be £277.60. “After four albums and 15 years doing this, to still be having to gamble on whether I’m going to make anything, while everyone else gets paid a guaranteed amount, is a struggle,” admits Excell.

Such thin margins leave little wiggle room, as the space-surf band Japanese Television (who headline 100-300 capacity venues) found out when their booking agent reduced their 13-date UK and EU tour to eight shows with a five-day gap in the middle that will add a further loss of around £1,200 to a tour that is already set to lose them around £700. “Records and T-shirts are basically what keeps us going,” says the band’s Tim Jones. “The only way this tour is working for us is because we just put out our second album and we did about 60 presales on the vinyl and that was basically enough to pay for the van. It’s a hobby that just about pays for itself.”

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The question is: who else will be able to afford to pursue music as a hobby? “It depresses me how many middle and upper class people there are in the music industry,” says manager Potts. “Because the working class just can’t afford to fork out £150 a day for van hire. The only artists doing that are people who have deeper pockets and can afford to take the hit.”

Of course, every act is different in terms of what they justify as reasonable outgoings and not everyone has the same costs, but Potts says from his experience, generally speaking, bands with four or five members now need to be playing 2,000+ capacity venues nationwide to “really start to see things tip”. That tipping point is out of reach for the majority. “Most people don’t actually get to that level,” Potts says. “Just look back at any festival lineup from 10-20 years ago and see which names are still on festival bills and how many you’re like: what happened to them?”

The gap between those who are flying and those who are floundering has become even more stark. “It feels like the top 1% have become the top 0.5%,” says Martin. “The level of artists we’re talking about here that are struggling to make things stack up financially would really surprise people.”

In 2022, the Grammy-winning Pakistani singer Arooj Aftab posted on X: “Touring has been amazing. We headlined a ton, had massive turnouts and have proven ourselves in all the markets. Yet still, running tens of thousands in debt from the tour and I’m being told that it’s ‘normal’. Why is this normal? This should not be normalised.”

I’m told that one US artist – who released one of the most critically acclaimed albums of 2023, which went Top 10 and placed very highly on numerous year-end polls and was nominated for a major award – worked out that the only way she could make her UK tour work was by sub-letting her home.

It’s a far cry from Taylor Swift’s record-breaking Eras jaunt. “The very high end of the live industry is reporting record profits,” says Martin. “You can’t have a healthy music ecosystem where at one end you’ve got people going ‘we’ve made more money than we’ve ever made’ and at the other end you’ve got relatively successful artists that are sofa-surfing while signed to a major label.”

Is there an answer? “When you’re touring Europe, you realise how much state funding in the arts there is,” says Excell. “It really needs more state funding and support from the top down.”

Martin echoes this. “The government needs to start looking at spending money on the music industry as an investment rather than as a cost,” he says. “But you also need to support a sector in a time of crisis. And this is a time of crisis.”

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Footage From Taylor Swift’s ‘Eras Tour’ Rehearsals Hint She’s Adding ‘The Tortured Poets Department’ Songs 

Taylor Swift might be gearing up to hold a Tortured Poets Department board meeting in the middle of her European Eras Tour concerts.

Swift, 34, uploaded a video of her tour prep to YouTube Shorts on Thursday, April 25, with the caption, “A fortnight till Paris.” In the clip, Swift practiced her setlist alongside her backup dancers.

While eagle-eyed fans noticed that Swift had run through performances of the likes of “Miss Americana & the Heartbreak Prince” and “Karma,” they also noticed snippets from a few numbers that had seemingly never been seen on stage.

In one instance, Swift played a white guitar and fans clocked that ivory hue matches the iconography of her new album , The Tortured Poets Department . There also appears to be a desk positioned on stage at one point in the video that could be another reference to the department. In another clip, Swift — wearing her now-viral PopFlex Active skort — leaned against a railing with white letters in the center. Fans have speculated the letters spell out “TTPD.”

Related: Breaking Down Taylor Swift’s Remaining ‘Eras Tour’ Schedule

“That’s the TTPD logo on the railing,” one user pointed out via X. “Omg TTPD is getting her own set at The Eras Tour !”

Swift also wore black lace-up heels as she posed on the railing, which other social media users compared to the similar Victorian-inspired pumps she sported in her “Fortnight” music video with Post Malone . (“Fortnight” is also the lead single off of TTPD.)

Another moment in the YouTube clip shows Swift surrounded by her backup dancers, the latter of whom are wearing circus-inspired top hats. Fans believe it is teeing up a TTPD performance of “Who’s Afraid of Little Old Me?” because of the big top lyrical reference, “I was tame, I was gentle ’til the circus life made me mean / ‘Don’t you worry, folks, we took out all her teeth.”

Another social media fan speculated: “Why do I feel like these are definitely rehearsal pics for TTPD songs ‘cause when have we ever had the dancers with hats and sticks.”

A selection of Swifties even think that they figured out the entire TTPD set that will be added based on an Instagram post by Pandora. The streaming station posted a “What song are you listening to next from The Tortured Poets Department?” graphic, specifically naming “Fortnight,” “The Alchemy,” “But Daddy I Love Him” “Down Bad” and “I Can Do It With a Broken Heart.” Swift’s official fan account, Taylor Nation, reshared the upload onto its Instagram Story page on Thursday.

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One of Apple Music’s Swift-themed playlists, aptly titled “Taylor Swift Essentials,” has since been updated to include “Fortnight” and “Down Bad,” which other fans think further tease setlist plans. Apple’s official Eras “Setlist” playlist, however, has not been updated to include any TTPD hits.

Swift kicked off her Eras Tour in March 2023, traversing the United States and Central America to perform her sold-out show before beginning the international leg. Following overseas shows in Japan, Australia and Singapore earlier this year, Swift has currently been on a month long hiatus.

The Grammy winner’s next show is in Paris on Thursday, May 9, but she has not publicly revealed if or how the set list is changing to accommodate TTPD . It is also possible that the newly released tracks could pop up during her acoustic “surprise song” section .

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Sonny vaccaro says caitlin clark deserved michael jordan-esque nike deal, sonny vaccaro on caitlin clark's nike pact ... she deserved a jordan-esque deal.

Sonny Vaccaro says he believes Caitlin Clark could have gotten a much better deal from Nike -- telling TMZ Sports he's sure the former Iowa superstar could've inked a pact similar to the one Michael Jordan got back in the day.

The shoe industry legend, of course, knows all about the deal MJ received -- he was the one who helped negotiate it. And, when he heard Clark only received $28 million over eight years to be with Phil Knight 's co., he was surprised it wasn't more.

Vaccaro tells us she could've landed a contract that not only gave her more annual money -- but also allowed her to take a cut of every Clark-branded item sold ... just like Jordan got with his initial Swoosh agreement in 1984.

"She should have gotten a piece of everything," the 84-year-old said, "just like Michael Jordan."

Vaccaro believes there were plenty of people to blame -- everyone from Clark's reps ... to other shoe companies who dropped out of the race and allowed Nike to come in with what appeared to be on its face a company-friendly contract.

"I'm saying to you," he said, "they messed up. They should have held on to the last drop."

Clark, though, doesn't seem too disappointed ... $28 mil, after all, is a ton of coin -- especially considering she's only set to make $76,000 from her WNBA contract this season.

And, hey, she gets her own signature Nike shoe ... which we're sure she's thrilled about.

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