eras tour shows ranked

Every Set in Taylor Swift: The Eras Tour, Ranked

Everyone knows by now that Taylor Swif: The Eras Tour is a phenomenal success, but which era comes out on top?

Taylor Swift 's world domination has now made its way to the movie theater. After she embarked on The Eras Tour, fans have been eagerly awaiting the chance to watch a professionally recorded version rather than seeing it through grainy live streams. What people did not anticipate, however, was that she would release the movie, Taylor Swift: The Eras Tour , in theaters rather than having it go straight to streaming. This has two key benefits: getting to see it on the big screen, and having it be a communal experience. The tour has stunning visuals, costumes, and choreography, so being able to see it all up close and personal makes for a very different experience to seeing it in person.

Of all her tour movies, the fact that The Eras Tour is the one that made it onto the big screen is perfect as it encompasses her entire career so far. It's broken up into sets dedicated to each of her albums — or "eras" — so, no matter what your favorite of her music is, there's a bit of everything. Clocking in at just under three hours, the experience flies by and has endless rewatchability, so it's no wonder that the movie has been topping the charts . Here's a definitive ranking of each of the concert's sets.

In last place, with no competition, is the Red set. As one of her older albums that had its own tour, it only gets four songs here. Red is an album with some really incredible songs and some not-so-great ones, and unfortunately, Swift chose wrong. It's unlikely that there are that many people out there who would complain if "22" had been swapped out for a deeper cut like "State of Grace" or "Holy Ground." Additionally, the stage visuals for this portion of the show are nothing special, and the costumes aren't hugely exciting, so it doesn't even have that to lean back on.

With that being said, it does earn points for the performance of the 10-minute version of "All Too Well," which is a great centerpiece for the concert. The song stands as a representation of what makes her who she is as an artist, which is her ability to distill raw emotion into a story.

9 Midnights

Swift's most recent album, Midnights , is the tour's closer, and it fits well there. There are some really fun visual moments in this set, from the giant clouds in "Lavender Haze," to the dancers becoming human dominoes in "Mastermind." As her latest body of work, it makes sense to end with it, and "Karma" makes for a lot of fun as the very last song.

Similarly to Red , however, this section is let down by its songs. Out of Swift's pop music , her work on Midnights is on the more subdued end of the scale, which works well for late-night brooding, but not so much for filling a stadium. The aforementioned "Karma" and "Bejeweled" are the best moments of this section, but other than that, the other four songs are more plodding than prancing.

8 Surprise Songs

A sweet tradition that Swift has had for many years is choosing a new song, or songs, to sing at each show as a way of honoring her back catalog. While this section has landed relatively low in the ranking, it's important to note that, from here onward, everything is top-notch. Now, the surprise songs are at a slight disadvantage because of how short the set is, with only two songs. It also doesn't translate so well into the movie version because there's not much of a surprise going on.

However, where these songs shine is in being stripped back and intimate. It's astonishing to watch one person with a guitar and a piano dominate such an enormous stage. For the movie, we get the songs "Our Song" and "You're On Your Own, Kid," from Midnights. The former is a certified classic, and it's a great choice since her poor old first album isn't given its own set. The latter creates a full-circle moment as it's a retrospective look at Swift's journey through her career so far.

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7 speak now.

The Speak Now set is also hindered by its brevity. It's the only portion of the show that only has one song, which is "Enchanted." If she was only going to perform one song from the album, she chose well, but it's a huge shame that, for an album so theatrical, it only got one slot. However, if it's only got one problem, being too short is a good one to have.

Everything else about this section is perfectly done. Swift enters in a cloud of smoke, sporting one of her many giant ballgowns with a stage lit up with purple flowers. As she sings, she's joined by dancers in beautiful complementary gowns who twirl around her. This treatment is not even close to being over-the-top and is precisely what a song like "Enchanted" deserves.

Opening the show with Lover is an excellent choice; the songs are summery and high energy. Most importantly, this is where we get to hear the one and only "Cruel Summer," which (pretty much) kicks off the whole thing. Visually, this set is also stunning, with dancers sporting huge sunset colored Loie Fuller-esque wings out of which Swift bursts to begin the show.

Despite the great aspects of this portion of the show, it's also weighed down by some of Swift's lesser songs — see: "The Man." Also, she cut out her performance of "The Archer" from the movie, which was a moving moment that involved a wonderful transition from the Lover era into Fearless . So, there are a number of positives and negatives going on here, which lands this section right in the middle.

Entering into the top five, we have Fearless . This is the earliest album that gets its own set during the show, and it's full of nostalgia. Before singing her hit "You Belong With Me," Swift asks the audience, "Are you ready to go back to high school with me?", which is a startling reminder of the passage of time. With Swift spinning around in a shimmery dress and the boots to match, it's a lot of fun to lean into her country roots, for both her and the fans.

The set is only made up of three songs, so it's over all too quickly. There is truly nothing to complain about other than the fact that there are so many other songs on Fearless that would have made great additions to the show.

Arguably, the most emotional portion of the show is Evermore 's set. It features the tearjerkers "Marjorie," "Tolerate It," and "Champagne Problems." A lot of attention is given to "Champagne Problems," but a moment of recognition must also be given to "Marjorie." It's difficult to not get misty-eyed as Swift sings about her grandmother's "backlogged dreams" and then hearing her vocals echo through a stadium of such huge proportions.

A special mention must also go to the witchy and almost sinister — in the best way — performance of "Willow." Swift leaning into the theatrical nature of her songs always has incredible results. Evermore is another section without much to complain about, but the fact that she didn't perform "'Tis the damn Season" for the recording is enough to knock it down a few pegs.

In third place comes the 1989 set. With so many smash hits from this album, it was bound to be a fun performance. From "Style" to "Shake It Off," it's banger after banger, which is great for a set that comes toward the end of the show. There are really fun nods to the era itself with things like the golf club prop during "Blank Space," and her costumes being so similar to those of the 1989 tour.

1989 also suffers from some unjust cutting of songs, with "Wildest Dreams" being removed from the movie. But at least this one has been immortalized in the 1989 tour . The choices of what to cut really force you to wonder what's going on in her mind, but that's for her to know and us to find out.

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Distinguishing between the top two is incredibly difficult, but, here, we have Folklore at number two. Everything about this section of the show is just breathtaking. Swift's floaty dress gives her wings as she frolics around on the stage, and the stage design and dancers' costumes both feed into the Victorian woodland fantasy she wants to project.

At the risk of sounding like a broken record, the set once again suffers from having one of its best songs removed. In this case, it's "Cardigan" — why she would leave out the album's lead single is baffling, especially since the album never got its own tour. All we can do is hope it gets put back in when the movie finds its streaming home.

1 Reputation

Saving the best for last, we have Reputation in the top position. Having spoken of Swift's theatrical albums, this one takes the cake. It's just perfect for performance, with Swift really embodying the vengeful version of herself that she is portraying, and having a blast doing it. For once, every song choice is perfect: beginning with "Ready For It" is a no-brainer, and the transition from "Don't Blame Me" to "Look What You Made Me Do" is delicious.

There's no other set in the show that will get your blood pumping like this one, it's electric, energetic, and ecstatic. This is Swiftie church, and if that's not what The Eras Tour is all about, then what is?

Taylor Swift: The Eras Tour is currently playing in theaters.

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Every Opening Act On Taylor Swift's Eras Tour, Ranked

Vote up the best openers on Taylor Swift's Eras Tour.

Taylor Swift’s Eras tour bestrides the Earth like a great colossus. It nearly destroyed Ticketmaster when tickets first went on sale, taxing the monopolistic service’s servers to the breaking point with overwhelming demand. It has by some estimates generated more consumer spending than the entire GDP of some countries if you combine the gate and merchandise sales. And it’s seemingly on track to make its headlining star a billionaire, as she’s estimated to be taking in an average of $13.6 million per show.

So, yeah, it’s safe to say hitting the road has been a big W for Taylor Swift in 2023. But she’s not the only one who’s benefited from her fans’ rabid desire to see her show. Over the course of the tour’s run, there’s been a rotating cast of opening acts warming things up in various combinations prior to the main event . The roster, curated by Swift herself, features an eclectic mix of acts at varying levels of popularity. Some have headlined their own major tours, while others are just getting started and will likely see a surge in popularity from their Eras exposure. All were apparently cool enough to get the T Swift stamp of approval, though, which speaks to a certain collective je ne sais quois.

So, whose quois is the most je ne sais? Here’s the rundown of every act occupying an opening slot on the Eras tour’s worldwide journey, with the details on why they’d be worth arriving early for. Vote up which acts you think are most deserving of opening for Taylor Swift on this legendary tour.

Sabrina Carpenter

As Eras goes international, Swift is betting it all on one artist as her opener, and yes, it’s one of the stars of  Girl Meets World . Of course, Sabrina Carpenter has launched an entire music career in the time since that sequel sitcom hit the screen, releasing her debut album in the show’s second year and cranking out four more between 2016 and 2022. 

She’s a natural fit for a tour with someone like Taylor Swift, given the pop stylings of her music and the heart-on-her-sleeve confessionalism of her lyrics. Just don’t go down the rabbit hole about why this is actually an outrage for other teen pop star Olivia Rodrigo – once you journey down that path , there’s really no coming back. 

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In case you missed the memo, early 2000s punk and emo are having a bit of a moment, and Tennessee’s Paramore are one of the bands best riding that wave. The band broke big in 2007 with the release of their second album,  Riot! , which came bearing bangers like “Misery Business” and “That’s What You Get.” Frontwoman Hayley Williams is something of an icon in her own right, having strongly established her voice as a powerful female performer in a heavily male mid-aughts scene and released two well-regarded solo records during her band’s late teens fallow period. What’s more, her relationship with Swift runs deep: She guested on the 2012 Speak Now tour and appeared in the cameo-encrusted video for “Bad Blood.”  

Paramore released their first album in six years in 2023’s  This Is Why , and have seemingly slipped easily into their latter-day venerable period, even occasionally cracking the headliner slot at major music festivals. The fact that they’re willing to serve as an opening act just demonstrates how big Taylor Swift’s footprint is.  

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Phoebe Bridgers

If you’re unfamiliar with Phoebe Bridgers at this point in the pop culture cycle, please accept these congratulations on being successfully revived after spending the past few years in cryogenic slumber. The guitar-wielding, platinum-haired singer-songwriter has blown up since dropping her second album,  Punisher , in 2020. Once an indie darling, Bridgers has developed a young and passionate following drawn to her powerful and poetic writing, IDGAF energy, and sartorial decision-making (seriously,  the skeleton outfit was a  thing for years). Oh, and she’s also one third of the rock supergroup boygenius along with Lucy Dacus and Julien Baker, which everyone pretty much agrees is just the best thing ever on the heels of their first full-length release, 2023’s  The Record . 

Bridgers’ star is hugely on the rise, and it’s not a stretch to say you probably won’t see her in the opening slot all that much in the future. 

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Gracie Abrams

OK, let’s just get this out of the way right up front: Yes, you theoretically could sharpen your “nepo baby” spears, because Gracie Abrams is the daughter of Hollywood’s own J.J. Abrams, director of quaint little indies like  Star Wars: Episode VII - The Force Awakens and  Star Trek . Her music career, however, has grass roots, kicking off via the accumulation of a social media following when the young singer was still in high school. Things have certainly taken off from there, with Abrams signing to Interscope and collaborating with the likes of Benny Blanco and producer Aaron Dessner, who was one of the big players behind the boards on Swift's Folklore  and  Evermore . 

Swift has been expressing her support on social media for over the past couple of years, and even rubbed elbows with Abrams socially. Gracie Abrams's slot on the Eras lineup is her second high-profile opening gig, following a stint as the warmup for Olivia Rodrigo in 2021.

Sisterly trio HAIM hit the scene in what feels like a very different era for music, when bridging the pop/rock divide was a fresh new take on things rather than the norm. Their 2013 debut,  Days Are Gone , spawned a number of hit singles, none more successful than the “Heartache Tonight”-nodding “The Wire.” The band has built on that early popularity, and their third record,  Women in Music Pt. III , was the first by an all-female rock act to be nominated for an Album of the Year Grammy. 

HAIM's connection with Swift goes back to 2014, with the Haim sisters showing up at various social functions in full hangout mode with the pop titan. The friendship was musically enshrined when Haim collaborated with Swift on the  Evermore track “No Body, No Crime,” which the foursome recently performed for the first time together live during Eras’ Seattle stop. 

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Beabadoobee

Beatrice Kristi is a Philippines-born, England-based singer-songwriter whose genre-blending bedroom pop grabbed a gazillion eyeballs when she started uploading her compositions to YouTube in 2017. Something of a musical chameleon, she borrows influences from across the board, incorporating funk or bossa nova one minute and making the chin-stroking indie set swoon by name-dropping Pavement frontman Stephen Malkmus the next. 

Beabadoobee's appearance as an Eras opener was foretold back in 2020, when Swift descended from the heavens to rub elbows at the 2020 NME Awards and let it be known that she was picking up what was being put down. “She said she never skips a song,”  Kristi told Crack that year , which is pretty big as far as endorsements go. She’s also no stranger to the opening slot, having spent time on the road holding it down for The 1975, whose frontman, Matty Healy, co-produced her 2021 EP (and who’s  had his own link to Swift recently ).

girl in red

Norwegian singer-songwriter Marie Ulven Ringheim has had Swift’s endorsement since the latter praised the former’s debut album,  If I Could Make It Go Quiet , upon its drop in 2021. Ringheim first came up, however, on Soundcloud, which is weird given that she’s not a rapper and you can very clearly make out what she’s singing. ANYHOO. Her guitar-driven pop sits neatly alongside Swift’s oeuvre, albeit with a bit more of an indie feel, and her live performances have a hint of DIY edge - she’s been known to crowd surf at peak moments, which isn’t something we could imagine happening even during “All Too Well (Taylor’s Version).” 

Like the members of MUNA, Ringheim’s outward embrace of her queerness and musical exploration of it has made her something of an icon in the space, even inspiring a meme in which the question, “ Do you listen to Girl in Red? ” became TikTok code for inquiring as to whether someone is a lesbian. Immortality comes in many and varied forms. 

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Gayle is a true product of the age in which the line between artists and their fans is fading. She was put on the map by her 2021 hit single “ABCDEFU,” which she wrote after taking a suggestion from one of her TikTok followers to pen something involving the alphabet (admittedly, said fan was Atlantic Records marketing manager Nancy Berman…but still). The song, which went socially viral, taps into the same energy as some of Swift’s breakup anthems, albeit a bit more aggressively, so it makes sense the two would connect, as they did at a performance at the 2022 American Music Awards. 

Gayle, a self-proclaimed Swiftie, has made no bones about just how totally freaked out she is to be in this position . 

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If you were at all keyed into the indie pop world in 2016, you likely ran into MUNA’s hit single “I Know a Place,” which cracked the Top 40 of the Billboard Adult Pop Music Chart. The LA-based band plied their trade through multiple records in the wake of that success, but things really took off for them when they jumped ship from RCA to Phoebe Bridgers’ Saddest Factory label. A collab with the rising indie superstar, “Silk Chiffon,” exposed MUNA to a whole new audience, and they ran with it, launching their eponymous fourth record up the charts. 

Of note, here, is MUNA’s unabashed celebration of queerness and blowing up the boundaries of gender, which have garnered them a pretty huge following in the LGBTQIA+ community. Swift has no shortage of fans in that world, so this opener/headliner match makes all sorts of sense. 

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If there’s one thing this list tells us, it’s that being in Taylor Swift’s orbit is fairly close to a golden ticket if you have the chops to back up the opportunity. As Exhibit A, we present Christian Owens, who was a dancer on the pop megastar’s 2018 Reputation tour and co-starred with Swift in the “Lover” music video . 

Swift championed the singer to Republic Records, helping him secure a deal, and now has him occupying the opening slot on a number of Eras dates. His so-far limited repertoire showcases a strong pop sensibility and potent vocal performance, but a full album has yet to see the light of day. Still, with as big a platform as an Eras opening slot, he’s surely building momentum toward bigger things. 

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Ranking Taylor Swift’s Eras Tour Surprise Song Sets

We’ve been watching the grainy livestreams for months and have come up with the definitive, absolutely correct, and not at all subjective rankings of the 53 acoustic song sets from the Eras Tour. How did your night fare?

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Since Taylor Swift’s record-breaking Eras Tour began making its way across the country this spring, 10:30 p.m. Swift Local Time has marked the unofficial start of Surprise Song O’Clock. Maybe you’ve been lucky enough to be in the audience one of those nights and have crossed your fingers and toes in hopes that she’ll play a personal favorite deep cut or bring out a special guest. Maybe you’ve followed along every night on TikTok livestreams dutifully uploaded by on-site Swifties, making sure fans far and wide can find out which two songs not part of the Eras main set list Swift has chosen for her mini acoustic set that night.

During the early shows of the tour, Swift laid out her self-imposed rules: one song on guitar, one on piano, and she would allow herself to repeat only songs from her 2022 album, Midnights , or any other song where she’d messed up the words. (She’s largely followed her own rules, repeating only one song, “Clean,” before heading into the final stretch of shows in Los Angeles, where she has since repeated two tracks from Midnights and fan favorites “Death by a Thousand Cuts,” which she messed up the first time, and “Our Song”—which might have been performed a second time because of whatever documentary was obviously being filmed in L.A.) This isn’t the first time Swift has included surprise songs in live shows—there was one per night on the Reputation Stadium Tour, and the 1989 World Tour included surprise duets with different guests—but this has been a savvy move for a tour meant to highlight her entire discography and a way for Swift to keep every show fresh, even when some concertgoers will have seen the whole thing online months before attending in person.

Plus, it’s a showcase for one of Swift’s superpowers : the ability to make each person in a crowd of tens of thousands feel like she’s talking or singing right to them. Each surprise song set has been a special moment in its own right, but, of course, some songs were more highly anticipated than others, and now that she’s wrapped up the first U.S. leg of the Eras Tour (in epic fashion, we must add), we’ve decided to rank all 53 (!!) of them here:

1. August 9 in Los Angeles, California: “New Romantics” and “New Year’s Day”

The anticipation for this surprise song set grew with every new—and blue—outfit Swift wore throughout the closing night of her record-setting six-run stop at SoFi Stadium in Los Angeles. As she ended the first U.S. leg of the Eras Tour on the ninth day of the eighth month, after more than a year of teases about 1989 (Taylor’s Version) , you just knew something epic was coming. And after crossing off “I Know Places” the night before, she picked the last 1989 track remaining on the surprise song big board: her musical Cinderella story, “New Romantics.” It started as a Target deluxe edition track, and now she’s closing tours and announcing albums with a note-perfect (yes, down to the sign) sing-along of it on the guitar, and everyone was too busy dancing to get knocked off our feet. Swift could have followed “New Romantics” with “ Monologue Song ” and this night would still have a case for the top spot (though maybe that’s a bad example—“Monologue Song” slaps), but she had more than that in store. At the piano, she surprised the star-studded crowd— hi, Karlie !—with “New Year’s Day,” which, even in August, was the perfect way to close this portion of the tour. Hold on to the memories, because every night felt just like a dream. — Nora Princiotti

2. May 26 in East Rutherford, New Jersey: “Getaway Car” With Jack Antonoff and “Maroon”

“I know you guys want to hear this one,” Swift said before introducing “Getaway Car” during the first of three shows at MetLife Stadium. She was right! “Getaway Car” as your surprise song is a Tier 1 I-was-there-when Swiftie experience. Jack Antonoff gives me low-grade social anxiety, but the fact that the performance was a nod to this footage of the two of them in an original writing session made this choice both an in-joke and a massive crowd-pleaser. We also can’t underrate the phenomenal version of “Maroon,” performed live for the first time at the piano. An all-time classic plus the chance to hear an excellent deep(ish) cut performed in a new way? I don’t know how it gets better than that. The cherry on top is that the whole crowd was expecting “Welcome to New York.” — Princiotti

3. August 5 in Los Angeles, California: “Death by a Thousand Cuts” and “You’re on Your Own, Kid”

L.A. stayed winning. With Swift apparently filming some kind of tour movie during her dates at SoFi Stadium, those shows had a little extra sizzle and great surprise song choices. Fans of the Lover: Live From Paris show know that a live acoustic set is where “Death by a Thousand Cuts” thrives. To pair it with “You’re on Your Own, Kid,” in some ways a manifesto for The Eras Tour itself, was truly special. — Princiotti

4. May 19 in Foxborough, Massachusetts: “Should’ve Said No” and “Better Man”

This is exactly what a dream surprise song set should be. “Should’ve Said No” is one of Taylor’s oldest tracks, off her debut album, which was notably absent from The Eras Tour, and it’s previously been part of an iconic live performance (the “Bad Blood” mash-up from the 2018 Reputation Tour). And I’ll argue that “Better Man” is her best vault track (apologies to fast-rising “I Can See You”). She gave “Better Man” to Little Big Town and has rarely performed it live, but that Friday night in Foxborough, she finally gave it the stadium treatment it deserved. — Lindsay Jones

5. April 1 in Arlington, Texas: “Death by a Thousand Cuts” and “Clean”

“Death by a Thousand Cuts” is basically an automatic top five. A pairing with “Clean,” which has often been a particularly emotional live song, as Swift positions it as a chance for her audience to collectively move beyond whatever challenges they’ve faced, made the surprise set at this DFW show a tour highlight. Swift did bungle a few lyrics in “Clean,” but that just meant she got to do it again further down the line. — Princiotti

6. June 24 in Minneapolis, Minnesota: “Dear John” and “Daylight”

My daughter and I were sitting in the left field bleachers at Coors Field, watching a historically awful loss by our hometown Colorado Rockies, during this particularly epic Surprise Song O’Clock. I cranked the volume on my iPhone to the max as we listened to Taylor give a long introduction to her first acoustic song, imploring fans not to “defend me on the internet against someone you think I might have written a song about.” What followed was her first performance of “Dear John” in 11 years—and sorry, Tay, we all know that song’s about John Mayer, despite your best attempts to play coy all these years later. And she paired it with “Daylight,” a song that is infinitely better when performed live on just a guitar than it was on the studio album Lover . That’s an elite surprise song set. — Jones

7. August 3 in Los Angeles, California: “I Can See You” and “Maroon”

Taylor kicked off her six-show run in L.A. with a hell of a pairing—the live debut of “I Can See You,” the best vault track from Speak Now (Taylor’s Version) , and a repeat performance of “Maroon.” With the latter, she let us all know not only that she was indeed going to repeat songs in the final stretch of the (first) American leg of The Eras Tour, but also that she was going to hit the deeper-cut fan favorites once again. — Jones

8. August 4 in Los Angeles, California: “Our Song” and “You Are in Love”

I am on record as stating that I can’t hear “You Are in Love” without thinking about Jack Antonoff and Lena Dunham making out, but that’s my problem. And there is probably no singular experience better than singing “Our Song” at the tippy top of your lungs with tens of thousands of fellow Swifties. — Princiotti

9. May 7 in Nashville, Tennessee: “Would’ve, Could’ve, Should’ve” With Aaron Dessner and “Mine”

I know Taylor said not to, but I would have egged J-hn M-yer’s house if I’d been in Nashville for “WCS.” — Princiotti

10. July 28 in Santa Clara, California: “Right Where You Left Me” and “Castles Crumbling”

It’s the much-anticipated live debut of “Right Where You Left Me” for me. This was also the night that Haim did “No Body, No Crime” in the “Bejeweled” music video dresses. Man, I want to be in Haim. — Princiotti

11. July 1 in Cincinnati, Ohio: “Ivy” With Aaron Dessner, “I Miss You, I’m Sorry” With Gracie Abrams, and “Call It What You Want”

Her only three-song acoustic set (because of severe weather in Cincinnati that caused Gracie Abrams’s opening set to be canceled), the highlight of this night was “Ivy,” my favorite deep cut from Evermore . “Call It What You Want” was lovely on piano, but I can’t help but compare her rather emotionless delivery to the way we saw her sing it to her ex Joe Alwyn in the 2020 Miss Americana documentary. — Jones

12. May 6 in Nashville, Tennessee: “Out of the Woods” and “Fifteen”

*Seventy thousand scream the “Out of the Woods” bridge in unison* — Princiotti

13. May 5 in Nashville, Tennessee: “Sparks Fly” and “Teardrops on My Guitar”

Two elite early sing-alongs worth dropping everything now for. There are plenty of OG Swifties in Nashville, and they must have been levitating. — Princiotti

14. August 8 in Los Angeles, California: “I Know Places” and “King of My Heart”

The penultimate night at SoFi Stadium was delivering VOCALS. First it was “I Know Places,” the most underrated song on 1989 , where each chorus came in stronger than the last. Then, at the piano, Swift played the excellent “King of My Heart” from Reputation , and all at once it was so much more than enough. —Princiotti

15. July 22 in Seattle, Washington: “This Is Why We Can’t Have Nice Things” and “Everything Has Changed”

One of the most fun songs on Reputation alongside a Red song made for acoustic sing-alongs already makes for a strong pairing, but what made this surprise set extra memorable was the elongated cackle Swift let out in the spoken-word section of “This Is Why We Can’t Have Nice Things,” when she faux forgives her adversaries. She can’t even say it with a straight face! Unhinged. Excellent. — Princiotti

16. July 15 in Denver, Colorado: “Starlight” and “Back to December”

We all knew “Back to December” was coming sometime after the release of Speak Now (Taylor’s Version) , and this rendition was worth waiting for. The way the Denver crowd went wild when their light-up bracelets turned from blue to purple and they realized what was coming was electric. — Jones

17. April 14 in Tampa, Florida: “The Great War” With Aaron Dessner and “You’re on Your Own, Kid”

I still can’t believe she left “You’re on Your Own, Kid” off the main set list—how loud would the line “so make the friendship bracelets” be every night? — Jones

18. June 30 in Cincinnati, Ohio: “I’m Only Me When I’m With You” and “Evermore”

I remember initially being disappointed that she chose to perform “Evermore” without Justin Vernon. Boy, was I wrong. Nearly six weeks later, I’m still seeking out her solo piano performance from Cincinnati because her vocals on both Vernon’s verse and the bridge are perfection. — Jones

19. April 15 in Tampa, Florida: “Mad Woman” With Aaron Dessner and “Mean”

And a liar! And pathetic!!!! — Princiotti

20. August 7 in Los Angeles, California: “Dress” and “Exile”

Even though this solo live version of “Exile” was unique and what Swift did with the bridge was very cool, I’ll admit I missed Justin Vernon here. — Jones

21. March 24 in Las Vegas, Nevada: “Our Song” and “Snow on the Beach”

What a weird but fucking beautiful pairing. — Jones

22. July 8 in Kansas City, Missouri: “Last Kiss” and “Dorothea”

“Dorothea” is so overlooked and such a wonderful, sweet song. Even though it’s wistful, it feels like a warm hug, which is good because this live version of “Last Kiss” was DEVASTATING—even the two vocal trip-ups, which somehow made it more special. — Princiotti

23. June 17 in Pittsburgh, Pennsylvania: “Seven” With Aaron Dessner and “The Story of Us”

She absolutely wasn’t going to miss the chance to sing the lyric “with Pennsylvania under me” while in her home state. And that’s a nice line, but “love you to the moon and to Saturn” is the one I might get tattooed on my arm when this tour is over. — Jones

24. June 4 in Chicago, Illinois: “Hits Different” and “The Moment I Knew”

I don’t know why Swift was surprised the Soldier Field crowd knew every word to “Hits Different.” She should have known that even though she hid that track away on a CD-only version of Midnights sold at Target, we’d been streaming bootleg versions for months. — Jones

25. March 17 in Glendale, Arizona: “Mirrorball” and “Tim McGraw”

Back on the opening night of the tour, Taylor debuted the first surprise song set with “Mirrorball,” telling the crowd the song was her more eloquent way of saying, “I love you and want your attention all the time.” Well, she got it. — Jones

26. April 29 in Atlanta, Georgia: “High Infidelity” and “Gorgeous”

Do you really want to know where I was April 29? Watching TikTok feeds with extreme jealousy toward those who saw this surprise set live. This one was tasteful. — Princiotti

27. May 21 in Foxborough, Massachusetts: “I Think He Knows” and “Red”

Two great songs, and extra memorable for the fact that Swift wound up playing “Red” on the guitar because her piano was so waterlogged from the torrential downpour that soaked it the night before that it started playing itself. — Princiotti

28. May 27 in East Rutherford, New Jersey: “Holy Ground” and “False God”

“Holy Ground” has always been a perfect stadium filler and was a cool pairing with “False God,” one of Swift’s most idiosyncratic songs. I got to see this one live, and the funniest part was that she didn’t introduce “False God” at all . Really, though, what was she going to say? Tonight I thought I’d play one of my horniest songs. Please enjoy! — Princiotti

29. July 14 in Denver, Colorado: “Picture to Burn” and “Timeless”

From my years of covering the Broncos, I’ve felt Denver’s football stadium shake on dozens of occasions, but I’ve never felt it bounce quite like it did during “Picture to Burn.” And the live debut of “Timeless,” a vault track from Speak Now (Taylor’s Version) , was delightful—and truly a surprise song because so many of us with Denver Night 1 tickets clowned ourselves into believing that Hayley Williams would show up to do “Castles Crumbling” the night after Paramore played in Denver. — Jones

30. April 30 in Atlanta, Georgia: “I Bet You Think About Me” and “How You Get the Girl”

I’m just thankful we got to hear her sing the line “Oh my God, she’s insane” live. — Jones

31. May 12 in Philadelphia, Pennsylvania: “Gold Rush” and “Come Back … Be Here”

The verbal precision of “Gold Rush” was a cool contrast with the belting she did on “Come Back … Be Here.” — Princiotti

32. March 25 in Las Vegas, Nevada: “Cowboy Like Me” With Marcus Mumford and “White Horse”

The first surprise guest of the tour and a very horsey set. Ken approved. — Princiotti

33. June 2 in Chicago, Illinois: “I Wish You Would” and “The Lakes”

I loved this set, even though I doubt it was at the top of many wish lists. “We’re a crooked love in a straight line down” is such an evocative line in “I Wish You Would.” And real ones know the bonus tracks on Folklore and Evermore are exceptional. — Princiotti

34. March 18 in Glendale, Arizona: “State of Grace” and “This Is Me Trying”

The Glendale sets are from such a simpler time, back before we analyzed what songs were left and what she might repeat, back when we could just enjoy an epic lyric like “They told me all of my cages were mental / So I got wasted like all my potential.” — Jones

35. April 2 in Arlington, Texas: “Jump Then Fall” and “The Lucky One”

“This is about how horrible being famous is,” Swift, arguably the most famous singer in the world right now, said with a smirk as she introduced “The Lucky One” on piano. — Jones

36. April 13 in Tampa, Florida: “Speak Now” and “Treacherous”

In hindsight, it seems odd that she chose to perform the titular track for Speak Now a month before she announced the impending release of Speak Now (Taylor’s Version) . — Jones

37. May 13 in Philadelphia, Pennsylvania: “Forever & Always” and “This Love”

When Lena Dunham requests “Forever & Always” for her birthday, you absolutely have to play it. Those are the rules. — Jones

38. May 28 in East Rutherford, New Jersey: “Welcome to New York” and “Clean”

Genuinely good bit on Taylor’s part to wait until the last show in East Rutherford to pull out “Welcome to New York.” — Princiotti

39. May 14 in Philadelphia, Pennsylvania: “Hey Stephen” and “The Best Day”

This show was on Mother’s Day, so of course she was going to perform “The Best Day,” which is in essence a love letter to her mother, Andrea. It’s a sweet song, perfect for an acoustic performance, and it surely hit all the millennial moms in the audience right in the feels. — Jones

40. June 9 in Detroit, Michigan: “Haunted” and “I Almost Do”

“Haunted” is such a huge instrumental song on the studio album(s), and yet it’s somehow more, well, haunting when it’s just Swift and a guitar. — Jones

41. June 10 in Detroit, Michigan: “All You Had to Do Was Stay” and “Breathe”

The high “stays” acoustic were very cool. — Princiotti

42. June 16 in Pittsburgh, Pennsylvania: “Mr. Perfectly Fine” and “The Last Time”

To quote Sophie Turner, “MPF” is not not a bop. — Princiotti

43. June 23 in Minneapolis, Minnesota: “Paper Rings” and “If This Was a Movie”

“Paper Rings” deserved a better partner. — Jones

44. June 3 in Chicago, Illinois: “You All Over Me” With Maren Morris and “I Don’t Wanna Live Forever”

Remember that whole Matty Healy thing? It all fizzled out right around the time of her Chicago dates, which might help explain why she picked a song with the lyric “What if I dodged a bullet or just lost the love of my life?” — Jones

45. May 20 in Foxborough, Massachusetts: “Question …?” and “Invisible”

I remember two things about this set: (1) the epic downpour in Foxborough and (2) the way Swift introduced the acoustic set, telling the crowd, “I’ve just never been this happy in my life, in all aspects of my life, and thank you for being a part of that. And it’s not just the tour, so I feel like my life finally feels like it makes sense. So I thought I’d play this song that brings me a lot of happy memories.” This was, of course, post-Joe and possibly mid-Matty, whatever that means. — Jones

46. July 7 in Kansas City, Missouri: “Never Grow Up” and “When Emma Falls in Love”

I cannot listen to “Never Grow Up” without crying, so I was honestly relieved when this one came off the big board a week before I saw The Eras Tour live. Thoughts and prayers to all the moms who were at Arrowhead that night with their children; I would not have survived it. — Jones

47. July 29 in Santa Clara, California: “Stay Stay Stay” and “All of the Girls You Loved Before”

Did you hear they named it Swiftie Clara? — Princiotti

48. April 28 in Atlanta, Georgia: “The Other Side of the Door” and “Coney Island”

Even without her cowriters from the National, “Coney Island” was surely a thrill for the Sad Dad corner of the Taylor Swift fandom. — Jones

49. March 31 in Arlington, Texas: “Sad Beautiful Tragic” and “Ours”

If you have to ask, “I’m not sure if you guys love this one or not, or if you just like it or if you’re obsessed with it,” before playing a song, as she did with “Sad Beautiful Tragic,” maybe that’s a sign that it’s not a dream surprise song. — Jones

50. July 23 in Seattle, Washington: “Message in a Bottle” and “Tied Together With a Smile”

Sure, “Message in a Bottle” is a bop, but anyone who says they had either of these picks on their surprise song big board in late July is lying. — Jones

51. April 22 in Houston, Texas: “A Place in This World” and “Today Was a Fairytale”

I can’t make a case that this acoustic set was elite, but I just want to say that I ride for “Today Was a Fairytale.” — Princiotti

52. April 23 in Houston, Texas: “Begin Again” and “Cold As You”

I mean, it’s fine. — Jones

53. April 21 in Houston, Texas: “Wonderland” and “You’re Not Sorry”

Taylor, did Houston do something? It’s not that these surprise sets weren’t enjoyable—they all were—I just don’t know how many fans had “Wonderland,” a 1989 bonus track, paired with this hurting early cut from Fearless on their wish lists. — Princiotti

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Taylor Swift: The Eras Tour and the 10 highest-grossing concert movies

By michael weyer | oct 14, 2023.

So far, it looks like Taylor Swift: The Eras Tour is on track to be one of the biggest concert movie hits ever. The film has already gained $100 million in advance ticket sales and might crack higher once it actually premieres. That’s not counting how much more can come in with special showings.

So where would this rank on the lists of the highest concert films ever? Well, it would be a topper, although Taylor has some big competition from other major artists with a couple of interesting entries. Per Box Office Mojo , here are the 10 highest-grossing concert films of all time currently, even if Swift may be topping that list soon.

#1 This Is It (2009) U.S. Gross: $72.09 million Worldwide: $261.18 million

Leave it to Michael Jackson to save his best act for last. The world was stunned when, while rehearsing his 2009 farewell tour, Jackson suddenly collapsed and died. With so much attention, the producers pieced together the rehearsal footage to create Jackson’s final performances, showing the great performer he still was and the worldwide box office take the fitting final legacy for his pop icon.

#2 Justin Bieber: Never Say Never (2011) U.S. Gross:   $73.01 million Worldwide: $99.03 million

Made at the height of Bieber’s success, this followed the Canadian singer in the buildup to his 2010 Madison Square Garden show. It also follows him in his home of Vancouver and meeting some celebrity friends. Even if you’re not a Bieber fan, the box office take for it is impressive.

#3 Hannah Montana & Miley Cyrus: Best of Both Worlds Concert (2008) U.S. Gross: $65.28 million Worldwide: $70.64 million

As she hit a huge height as Hannah Montana, Miley Cyrus put out this unique concert film that had her bouncing between her Hannah persona and herself. She also talked the Jonas Brothers into appearing and Disney smartly released it on Super Bowl weekend to maximize a good take for what was basically three concert films in one.

#4 One Direction: This Is Us (2013) U.S. Gross: $28.87 million Worldwide: $68.57 million

Part of the “Take Me Home Tour,” this 3-D film shows the popular British boy band both before and after their breakout on The X-Factor. It also follows them about London before a concert at the O2 Arena and still fun to see a younger Harry Styles with his old cohorts.

#5 Katy Perry: Part of Me (2012) U.S. Gross: $25.3 million Worldwide: $32.72 million

The second-highest-grossing documentary of a female artist, the movie showed Perry’s wild performances. But it also showed her personal side, including the breakdown of her marriage to Russell Brand and appearances from Rihanna, Hugh Jackman, and others. Still, the star is Perry putting on a show as only she can for a fantastic experience.

#6 Madonna: Truth or Dare (1991) U.S. Gross: $15.01 million Worldwide: $29.01 million

This gross may seem low now, but for 1991, this was a fantastic haul. Only Madonna could make a movie like this, mixing together her outlandish concert performances with behind-the-scenes looks at her life, her family, her offbeat ways backstage, and more. From being threatened with arrest to Warren Beatty complaining about the cameras, it’s a one-of-a-kind concert film and thus perfect for Madonna.

#7 Jonas Brothers: The 3D Concert Experience (2009) U.S. Gross: $19.1 million Worldwide: $23.18 million

Given the huge popularity of the Jonas Brothers, this film’s take was seen as a disappointment. Despite appearances from Demi Lovato and others, the film seemed pretty dull, not giving much insight to the brothers and lacking appeal to anyone but the devoted fanbase. So, it’s little wonder it sunk to the lower part of this list.

#8 U2 3D (2007) U.S. Gross: $10.36 million Worldwide: $22.73 million

The first of two entries by U2 on this list, they had to be talked into doing a 3D version of their Vertigo Tour. As it turned out, the movie wonderfully captured their unique vibe with spectacular visuals. It was screened at Cannes and Sundance, and critics view it as one of the greatest concert films ever. So, the take may not be as large as others on this list, but it is still a huge winner.

#9 Glee: The 3D Concert Movie (2011) U.S. Gross: $11.9 million Worldwide: $18.66 million

It can be a bit bittersweet to see today, given the sad fate of a few cast members. Yet this wild production shows the Glee cast at their best, doing some great numbers from the show and a few surprises like Gwenyth Paltrow popping in. Its low take may have been moviegoers not as interested in something they could watch on TV but still impressive for this list.

#10 U2: Rattle and Hum (1988) U.S. and WorldWide Gross: $8.6M

This fantastic film followed U2 on their Joshua Tree Tour, performing hits like “Where the Streets Have No Name.” But it mixed in great stuff like teaming with blues legend B.B. King, Bob Dylan and others. The direction mixes with powerful moments like Bono’s rant about the IRA and the power showcasing U2 at their finest.

Taylor Swift: The Eras Tour opens in theaters Friday, Oct.13. Do you think  The Eras Tour  will beat Michael Jackson’s  This Is It ? Where on this top 10 will the movie land?

Next. Which songs are in The Eras Tour?. dark

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Taylor Swift’s Eras Tour On Track to Become Highest-Grossing Global Tour in History

The 2023 shows earned more than $900 million, Billboard estimates. That total could nearly double next year.

Taylor Swift ’s The Eras Tour is poised to become the highest-grossing global tour of all time, according to Billboard ’s estimates.

While no official numbers have been reported yet, Swift’s tour should pass current record-holder Elton John ’s Farewell Yellow Brick Road Tour with more than $900 million in ticket sales so far.

On Sunday (Nov. 26), Swift played her last scheduled show of the year, wrapping an intense run of 66 concerts in the United States, Mexico and South America. Representatives for The Eras Tour have not yet reported official revenue or attendance figures to Billboard Boxscore or any other trade journal or news entity, but the enormity of The Eras Tour is impossible to ignore, with a total that amounts to a staggering average of nearly $14 million per show.

9 Things Other Artists Can Learn From Taylor Swift’s Blockbuster Eras Tour

Dating back almost 40 years, all Boxscore rankings are based on figures reported to Billboard . Data is reported from a variety of official industry sources, from artist managers and agents to promoters and venue executives. Reporting has always been voluntary, and some artists, venues and promoters opt to withhold data from representation on our charts. It is not uncommon for artists to not report — or to wait until the end of a tour, which is still more than a year away in Swift’s case — though it’s rare that such a well-documented blockbuster tour, in contention for top year-end honors, is not submitted. Swift’s abstention disqualifies her from appearing on year-end Boxscore charts .

Swift kicked off The Eras Tour in Glendale, Ariz., on March 17, playing 53 domestic shows before wrapping at SoFi Stadium in Inglewood, Calif., outside Los Angeles, on Aug. 9. She hit a total of 20 U.S. cities, and 11 of those venues have provided attendance figures to Billboard . Based on those numbers, as well as estimates based on aggressive scaling at the other nine stadiums, Swift likely sold 3.3 million tickets over 53 shows in the United States, or an average of 63,000 tickets per show.

Sources close to the tour point to an average domestic ticket price of around $252. This is in line with the prices for the summer’s other major concert event, Beyoncé ’s Renaissance World Tour, which maintained a $135 ticket in Europe and a $253 ticket in North America. While ticket prices might dip in certain markets and bloom in others, using that number as an average puts the U.S. leg of The Eras Tour at $838.3 million. That total gross spreads out to $15.8 million per show, a staggering figure that exceeds recent tours by Bad Bunny , Beyoncé, and The Rolling Stones , each of which had giant totals of their own.

That projected $838 million haul is more than enough to make Eras the highest-grossing U.S. and North American tour ever. John’s Farewell Yellow Brick Road tour holds the official Boxscore title, with $567.7 million in the United States and Canada. That total reflects 135 shows over a span of four years, compared to Swift’s 53 shows in less than six months.

Moreover, The Eras Tour’s U.S. gross would situate it as the second-highest grossing tour of all time based on global figures, before even crossing the border. John’s farewell tour remains the official record-holder with $939.1 million.

Since wrapping the Eras Tour’s U.S. leg, Swift played four shows at Mexico City’s Foro Sol (Aug. 24-27) and, more recently, nine South American shows, spread between Buenos Aires in Argentina and Brazil’s Rio de Janeiro and Sao Paulo. Those dates bring her much closer to John’s global record, even based on relatively conservative projections. But as we’ve seen with virtually every worldwide stadium tour in the last two years, the post-pandemic surge in ticket prices hasn’t been as severe outside the United States.

Further, these are Swift’s first shows in these Latin American markets. That means pent-up demand likely drove huge sales, though her base isn’t quite as explosive there as it is in the States.

Taylor Swift's Biggest Scalper for the Eras Tour: Her Fans 

Based on estimates considering the high end of grosses and ticket prices for each Latin American venue’s post-pandemic history, The Eras Tour likely earned another $60 million to $75 million and more than 750,000 tickets from those 13 shows.

In all, Billboard estimates that Swift has generated $906.1 million and sold 4.1 million tickets in 2023 across all shows in the United States, Mexico and South America. That would unofficially make The Eras Tour the biggest tour of 2023. And when considering Swift’s total revenue from the tour, it doesn’t even account for merchandise sales, sponsorships, music streaming and sales boosts, or her self-produced and released Taylor Swift: The Eras Tour concert film.

Swift is scheduled to resume The Eras Tour on Feb. 7 with four shows at the Tokyo Dome in Japan. Then, she’ll play seven shows in Australia and six in Singapore. In May, she kicks off a 50-date run in Europe before returning to North America for 18 shows in new markets, including the tour’s first entry into Canada. In all, that’s 85 shows to go, with the possibility of more to come, considering her recent concert additions to runs in London and Vancouver.

These upcoming international legs are already more ambitious than any previous Swift tour. While this year’s 53 U.S. shows are in line with what she did on 2018’s Reputation Stadium Tour and 2015’s The 1989 World Tour, those treks included just six and seven shows in Europe, respectively — a fraction of next year’s slate of 50.

8 Sweetest Moments Between Taylor Swift & Young Swifties on The Eras Tour

If we use the comparison between Beyoncé’s recent European and North American grosses as a north star, in Europe, Swift could be looking at $8.5 million per show, or about $420 million over the entire leg. And even if next year’s North American shows dip from 2023’s record-breakers, the U.S. and Canada shows could add another $240 million to 260 million. Including the 17 shows in Asia and Australia, The Eras Tour is likely headed toward a total gross of $1.6 billion to $1.7 billion by the end of 2024. It will be the first in history to earn more than $1 billion in ticket sales and will set Swift far apart from her competitors. If figures skew toward the higher end of what’s possible, she could double John’s current record gross.

Representatives for Swift did not respond to a request for comment on Billboard ‘s estimates at press time.

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A year of the Eras Tour: A look back at Taylor Swift's record-breaking show

• Oops! Something went wrong. Please try again later. More content below

One year ago, the crowd in Glendale, Arizona, erupted into a massive cheer in State Farm Stadium when Lesley Gore's "You Don't Own Me" began playing and the backdrop screen transitioned to a countdown clock starting at 2:24.

None of the Swifties who traveled from all over the state of Arizona and the nation, dressed to the nines as one of her 10 eras, knew the tour would be three-plus hours. The fan screaming next to me from Pennsylvania who bought a ticket on StubHub.com for about $400 didn't know that we would go era-by-era through a 44-song track list. I don't think the singer, herself, knew when she hid inside a cleaning cart wheeled backstage, that her show would lead to a billion-dollar enterprise, Time magazine person of the year and an inundation of friendship bracelets. I didn't know the behemoth success following the Eras Tour star would send me packing from Phoenix to Nashville, Tennessee, to become the inaugural Taylor Swift reporter.

Swift's dancers flowed onto the stage through fog with pink, purple and orange parachute flaps. A compilation of songs from Swift's 10 albums — or eras — played as "it's been a long time coming" boomed into the stadium. Goosebumps covered the arms of thousands and tears cascaded down cheeks as the flaps revealed Miss Americana rising to begin her "Lover" set.

Eighty three shows later, here's a look back at the unprecedented tour that set a Guinness World Record . And fair warning, like her tour this article is an extensive rollercoaster.

Swept up in the hype, the world became Taylor Nation. Glendale, "Erazona ," was renamed "Swift City." Las Vegas lit up its arches in all 10 era colors. Arlington, Texas, dubbed one of its streets "Taylor Swift Way." Tampa, Florida, gave Swift a key to the city and invited her to be an honorary mayor. Houston renamed its venue "NRG Stadium (Taylor’s Version)."

Nashville, Tennessee, dedicated a bench in Centennial Park to the hometown singer. A Philadelphia radio station, 96.5 FM (WTDY), renamed itself Ninety-Swift-Five W-T-A-Y. Gov. Philip D. Murphy dubbed the "Taylor Swift ham, egg and cheese sandwich" the "state sandwich of New Jersey." Chicago lit up the top of Willis Tower in her album colors. Minneapolis Mayor Jacob Frey renamed his city "Swiftie-apolis," and Santa Clara, California, Mayor Lisa Gillmor switched the city's name to "Swiftie Clara."

Internationally, fans in Brazil caught the attention of Rio de Janeiro Mayor Eduardo Paes and Father Omar, the rector of the Christ the Redeemer Sanctuary, who arranged to project a  "Junior Jewels" inspired T-shirt  onto the Christ the Redeemer statue. Flinders Station in Melbourne , Australia, flashed a wallpaper glaze of lights to welcome the Eras star. Singapore painted the Marina Bay Sands Resort all colors of vibrant lights.

It's a cruel summer with you

All four seasons met the fifteen dancers, four backup singers, six bandmates and hundreds of production and crew members, adding unpredictable weather to the mix. Mother Nature danced in a lightning storm to "Fearless" in Tampa and made the song "Midnight Rain" a reality in Nashville . Rain poured through the open-roofed stadium in Foxborough, Massachusetts, where Swift pushed puddles forming on her piano . The Swiftie fandom created its own natural phenomenon in Seattle after a seismologist registered a 2.3 magnitude earthquake on her Richter scale.

The intense heat in Rio de Janeiro, Brazil, caused Swift to throw water bottles to fans and temporarily halt her show. Ana Clara Benevides Machado, 23, passed out and died of heat exhaustion. The heartbreaking news prompted changes at the Estádio Olímpico Nilton Santos to allow fans access to water. Swift invited Benevides' family to her concert in São Paulo.

I want you to think of the memories made

Swift incorporated custom messages into each tour stop. At her international destinations, she welcomed fans in their custom languages. "Bienvenidos al Eras Tour," she said in Mexico City before hoisting her hands in the air. While donning either her pink or blue guitar before the title track of "Lover," she commonly announced the stadium attendance often record-breaking.

Outside of stadiums, thousands "Taylorgated," or showed up without a ticket to hear Swift's beats and dance on the concrete. Tens of thousands more logged on to watch livestreams from fans with tickets who agreed to spend concert time holding up their mobile devices in a tricep-burning position.

The number of viewers would jump before the "Champagne Problems" speech and acoustic set. To keep things fun and interesting each night, fans filled out "Swiftball" ballots guessing the singer's outfits from four "Lover" bodysuits and accompanying "The Man" jackets, three "Fearless" dresses, two "Evermore" dresses, six "Speak Now" gowns, three bedazzled "22" shirts, five "Folkore" dresses, four "1989" crop top and skirt combos, six "Midnights" T-shirt dresses, three "Midnight Rain" body suits and four "Karma" faux fur jackets. To see how many times the Eras star wore each outfit, check out the "Data Swiftie."

For fans who wanted to get alerts to watch the shows without having to calculate time changes, Swift Alert became the app for that .

Double clap, audience chants

A secret language formed between fans and Swift as new traditions popped up along the tour. The four lines fans screamed at the top of their lungs, no matter the city or country, were "cause shade never made anybody less gay" in "You Need To Calm Down," "what a shame she's f----d in the head" in "Champagne Problems," "f--- the patriarchy" in "All Too Well (10 Minute Version)" and "don't call me kid, don't call me baby" in "Illicit Affairs."

Swift started every show strong with a very important question: Did her fans know the bridge to "Cruel Summer?" "Prove it!" she'd yell at some stops and the audience would, every single time, bellow, "I'm drunk in the back of the car." For "The Archer," fans printed and dispersed signs that read, "We will stay," to hold up when Swift asks, "Who would stay?"

In the "Fearless" era, fans double clapped with "13" drawn on the back of their hands in the middle of the bridge to "You Belong With Me." A trend of marriage proposals during "Love Story" picked up during the 2024 leg with partners popping the question as Swift sang, "He knelt to the ground and pulled out a ring."

During "Marjorie," Swifties turned their phone flashlights on in tribute to Swift's grandma. Fans started timing the standing ovation and ear-shattering applause after "Champagne Problems." Livestreamers, like Tess Bohne , would display a clock and fans guessed if the cheers would surpass one, two or three minutes.

A snake shape slithered through the light-up braceklets handed out before the show at the start of the "Reputation" era. Fans yelled "1, 2, 3, let's go b----" before the first verse of "Delicate" as Swift counts on her fingers. Later in the song, Swift sings, "Do the girls back home touch you like I do?" and fans reply, "No, they don't." On rare occasion, Swift would let out a three-note riff during her "Don't Blame Me" belt.

After rereleasing her third album, the "Speak Now" singer added "Long Live" to the set list, bringing the total to 45 tracks. In the first verse when she croons "the crowds and stands went wild," the crowd indeed went wild.

In the "Red" era, Swift crowned a deserving fan with a black fedora during "22." They were typically children, but one adult Swiftie was crowned in Melbourne . Dancer Kameron Saunders had the only speaking line on the tour besides Swift during her song "We Are Never Ever Getting Back Together." He said "like ever" at the American shows, but when the tour went international, he switched up the phrase each night. And yes, we track that. Swift knew all too well each crowd had "10 minutes to spare," and she played her longest song, in total, for about 14 hours.

She was only tied to the "Invisible String" for five shows and traded the opening "Folklore" era number to "The 1" in Arlington, before news of her split from actor Joe Alwyn . She brought "Invisible String" back for one night in Nashville because the Tennessee capital is home to Centennial Park. Nashvillians also noticed that Swift switched a note during "The 1" lyric "you meet a woman on the internet and take her home." She kept the key change for every succeeding show.

Right before the first lyric of "Style" during the "1989" set, fans began a tradition of saying, "What time is it?" to which the singer replied, "Midnight, you come and pick me up." In Sydney, Australia, a "Blank Space" chant from the 1989 World Tour was reborn and repeated in Singapore. Taylor Nation, Swift's marketing team, tweeted that it hopes fans at every tour stop going forward shout their city. In Philadelphia, a "Bad Blood" remix originated when Swift noticed a security guard hassling a fan . "She's fine. She wasn't doing anything. Hey! Stop! Hey, stop!" became the cool thing to say after, "It's so sad to think about the good times, you and I." Fans also incorporated a Kendrick Lamar line from the "Bad Blood" remix: "You forgive, you forget, but you never let it go."

And then came the surprise set . (More on her collaborators and announcements below.) Each night, Swift performed one song on the guitar and one on the piano that she hadn't yet performed on the tour. That is until 2024, when she added mashups and threw out her rule of never repeating songs. At the end of the set, she swan dives into a hole in the stage. Fans later caught a red light that turned green to signal it was safe to jump.

After meeting her at "Midnights," fans sang Jack Antonoff's version of "Anti-Hero." When Swift sings "tale as old as time," the crowd chimes in, "Taylor, you'll be fine." Tyler Conroy made a viral video of him screaming , "Where you going Taylor?" during "Bejeweled" before she sings, "I'm going out tonight," and the trend caught on like a blaze ripping through the Lover house. Finally, after Swift changed the lyrics to, "Karma is the guy on the Chiefs," in Argentina with her boyfriend Travis Kelce in the crowd, that became the standard for fans. She has only sang it that way four times, when he was in attendance in Buenos Aires, Sydney and Singapore.

If you would direct your attention to the back screen

In addition to boosting economies everywhere she went, Swift created an abundance of news. She announced "Speak Now (Taylor's Version)" in Nashville. She announced a new version of "Midnights" and premiered the "Karma (Remix)" music video featuring Ice Spice as the upstart rapper joined Swift in East Rutherford, New Jersey. She released "Speak Now (Taylor's Version)" right before her Kansas City, Missouri, stop and then debuted the "I Can See You" music video starring Taylor Lautner and Joey King who were at the show. Lautner backflipped on the catwalk.

It might have seemed strange that Swift ended the American leg of her tour on a Wednesday in Los Angeles, but not to the eagle-eyed Swiftie who realized the date was 8/9. That's the day she announced the rerecording of her fifth album, "1989 (Taylor's Version)." The album came out during her break before her Argentina tour dates. It topped the Billboard charts and allowed her to bypass Elvis for the most weeks with an album at No. 1.

Then, she announced her 11th album, "The Tortured Poets Department," at the Grammys after winning her 13th career award. At her tour stops in Melbourne, Sydney and Singapore, she revealed there were four total versions of "Tortured Poets" and told fans they would get a different bonus track on each one : "The Manuscript," "The Bolter," "The Albatross" and "The Black Dog."

Welcome to the acoustic set

One of the most anticipated portions of an Eras Tour show is the acoustic set. At most of the concerts, she only spoke before the guitar song. In rare instances, she tested the microphone before the piano song and made an announcement.

Occasionally she invited collaborators to join her onstage. Marcus Mumford surprised fans in Las Vegas to play "Cowboy Like Me." Her co-producer and close friend Aaron Dessner from The National joined her six times on stage, in Tampa (twice), Nashville, Pittsburgh, Cincinnati and Santa Clara. Jack Antonoff came out to play "Getaway Car" in New Jersey. Maren Morris did a "You All Over Me" duet in Chicago. When their opening acts were canceled for weather, Gracie Abrams performed "I Miss You, I'm Sorry" and Sabrina Carpenter sang a dyad mashup of "White Horse" and "Coney Island."

Some of the surprise songs came with hidden messages. Fans speculated she sang "Bigger Than The Whole Sky" as an ode to a fan who died , "End Game" to Travis Kelce watching her show from the VIP tent and "Gold Rush" as a congratulations to Jason Kelce for retiring. She has performed "You're On Your Own Kid" five times, in Tampa, Los Angeles, Mexico City, Tokyo and Singapore.

And he never thinks of me, except when I'm on TV

To close out the first year of the Eras Tour, Swift released the third film version of her concert to streaming service Disney+. This version included "Cardigan" and four acoustic songs: "Maroon," "Death By A Thousand Cuts," "You Are In Love" and "I Can See You."

The second version came out on Swift's birthday, Dec. 13. Fans could rent it for 48 hours at a price of $19.89, and it included "The Archer," "Wildest Dreams" and "Long Live" cut from the original movie.

The original movie was released Oct. 13, in the middle of the Hollywood strikes. Swift did what studios and streaming services were unable to: make a deal with SAG-AFTRA. She worked with the unions and was able to market and show her movie how she saw fit. The film made more than $250 million globally and got her nominated for a Golden Globe award .

Would you be interested in one more song?

If you're still with me on this walk down Eras Tour Lane, it's important to make one final note before the tour resumes in Paris in May. Before her magnum opus took off higher than the "Bad Blood" flames, Swift chose "Mirrorball" and "Tim McGraw" to be her very first surprise songs. She ended year one with the same two songs, but flipped the instruments she played them on in a full-circle moment.

Her new album will come out April 19 and the full Eras Tour is streaming on Disney+, which begs the question: What her show will look like come Paris? She has a two-month break before 69 shows scheduled for Europe and North America. She also has two rerecords left to release: "Reputation (Taylor's Version)" and her self-titled debut album.

If there's one thing any Swiftie knows, it's Taylor Swift's ability to make news and create lasting memories through her record-shattering tour. What a first year; on to year two!

Follow Bryan West, the USA TODAY Network's Taylor Swift reporter, on  Instagram ,  TikTok  and  X as @BryanWestTV .

This article originally appeared on Nashville Tennessean: A year of the Eras Tour: A look back at Taylor Swift's unprecedented show

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Screen Rant

7 the tortured poets department songs that must be added to taylor swift: the eras tour.

Certain songs on Taylor Swift's new double album, The Tortured Poets Department: The Anthology, were made to be performed live on The Eras Tour.

• Taylor Swift accompanied the release of her eleventh studio album, The Tortured Poets Department, with a surprise second installment containing 15 extra songs.
• Assuming Taylor Swift incorporates the new album into The Eras Tour set list, some songs from The Tortured Poets Department are better suited to be performed live than others.
• Songs like "But Daddy I Love Him" and "Who's Afraid Of Little Old Me?" would make for thrilling, captivating performances on The Eras Tour.

If Taylor Swift decides to incorporate her new double album, The Tortured Poets Department, into her shows on The Eras Tour , there are certain songs she must add to the set list. Two hours after Swift's highly anticipated eleventh studio album was released at midnight on April 19, 2024, the songstress dropped a surprise second instalment containing 15 brand-new songs. Combined with the 16 original tracks, there are 31 songs on The Tortured Poets Department : The Anthology double album.

Now that she's embarked on this new musical era, The Tortured Poets Department will have to be incorporated into the live show somehow when Swift goes back on The Eras Tour on May 9, 2024. It's unlikely that she will add a whole extra set considering The Eras Tour concert is already three-and-a-half hours long , but she may adjust the existing set list to make room for TTPD. At the very least, Swift is guaranteed to perform some selections from TTPD as surprise songs during her acoustic sets on tour.

If Swift does incorporate The Tortured Poets Department into the permanent set list, though, the Folklore and Midnights sets are the most at risk of receiving cuts since they're tied for the longest eras with seven songs each. As the maximum for any set on The Eras Tour right now, seven is the most songs Swift can reasonably be expected to add from TTPD to the set list. For her selections, these seven songs from The Tortured Poets Department would translate best to a live performance on The Eras Tour.

The Eras Tour Movie Creates 1 Huge Challenge For Taylor Swift's Next Era

7 but daddy i love him, written by taylor swift & aaron dessner.

On "But Daddy I Love Him," Swift seems to be responding to the general public's unsolicited disapproval of her dating certain men using the trope of a stubborn teenager rebelling against her disapproving parents. The song gives off Fearless vibes, particularly the Romeo & Juliet -centered "Love Story" due to their shared forbidden love narrative, and resembles "august" from Folklore in terms of the production, both of which make for great performances on The Eras Tour.

Many fans have speculated that this song might be about Swift's short-lived public relationship with The 1975 frontman, Matty Healey, in the spring of 2023.

Of every song on The Tortured Poets Department, "But Daddy I Love Him" feels the most fit to be performed live . While listening to the theatrical track, it's easy to visualize what a live performance would look and sound like. The lively, melodramatic chorus and post-chorus were made to be sung in a stadium in front of thousands and the end of the bridge conjures images of Swift frolicking around onstage à la "august" if the instrumental was extended.

Since she borrowed the title from Ariel in The Little Mermaid, a version of which Allie quotes in The Notebook, Swift could include an intro of these characters reciting the titular line before performing "But Daddy I Love Him."

This song also presents so many opportunities for Swift to create a memorable concert experience. Since she borrowed the title from Ariel in The Little Mermaid , a version of which Allie quotes in The Notebook , Swift could include an intro of these characters reciting the titular line before performing "But Daddy I Love Him" or even reference them in her costume. Swift teasing the audience with " you should see your faces " after the fake out about " having his baby " is also poised to become an instantly iconic moment if she performed this song on The Eras Tour.

10 Taylor Swift Songs I Really Wish Were In The Eras Tour Movie

6 florida (featuring florence + the machine), written by taylor swift & florence welch.

Of the two tracks with featured artists on The Tortured Poets Department, "Florida!!!" featuring Florence + The Machine blows the album opener "Fortnight" featuring Post Malone out of the water. This ode to the Sunshine State is already an intoxicating song to listen to on the album, and it would be ten times more exhilarating to experience live on The Eras Tour.

Even if she doesn't add it to the set list, Swift is guaranteed to perform "Florida!!!" as a surprise song during the acoustic set at one of her Miami shows, though.

If Swift added "Florida!!!" to the set list, the crowd stomping their feet along with the heavy drums on the chorus before belting out the titular lyric in unison, exclamation points and all, would be an unforgettable moment every night on The Eras Tour. The line " f**k me up, Florida " that repeats on the bridge and serves as the final lyric of the song would also feel liberating to shout out loud in a crowd setting, especially for the attendees at Swift's three stops in Miami, Florida, between October 18 to 20, 2024.

Sadly, Swift is unlikely to add "Florida!!!" to the permanent set list since Florence + The Machine will not be joining her on The Eras Tour. She could still perform the song solo and sing Florence's parts herself, but this is a long shot since there are no songs on the set list that originally have featured artists. Even if she doesn't add it to the set list, Swift is guaranteed to perform "Florida!!!" as a surprise song during the acoustic set at one of her Miami shows, though.

Swift has brought out opening acts like Phoebe Bridgers and HAIM to perform their duets with her ("Nothing New" and "no body, no crime," respectively) during the main show on The Eras Tour, but these were not permanently added to the set list.

Taylor Swift's Next Album Sets Up A New Eras Tour Movie Cameo That Would Make Up For Cutting HAIM

5 who's afraid of little old me, written by taylor swift.

While most of the songs on The Tortured Poets Department most fit for a live performance are more on the upbeat and lighthearted side, "Who's Afraid of Little Old Me?" is the polar opposite. On this haunting track, Swift ruminates on her experience in the spotlight and the treatment she's received as a public figure, calling out the hypocrisy of those who villainize her.

The whole song would make for a chilling, powerful live performance, but hearing Swift scream the titular lyric on the chorus of "Who's Afraid of Little Old Me?" would be on another level.

"Who's Afraid of Little Old Me?" is delivered with the same exasperated rage underneath a devilish grin as most of the songs from Swift's Reputation era , especially the pre-chorus, " If you wanted me dead, you should've just said/Nothing makes me feel more alive ." The whole song would make for a chilling, powerful live performance, but hearing Swift scream the titular lyric on the chorus of "Who's Afraid of Little Old Me?" would be on another level.

The song is both sonically and thematically similar to "mad woman" from Folklore, as well. Though Swift does not perform "mad woman" on The Eras Tour, a good basis for comparison for how "Who's Afraid of Little Old Me?" would feel live is Swift's harrowing performance of "my tears ricochet" from the Folklore set, which the TTPD track also resembles. All of these songs that bear similar themes, subject matter, and overall vibe as " Who's Afraid of Little Old Me?" show how the TTPD track would translate perfectly to a live performance.

4 Imgonnagetyouback

Written by taylor swift & jack antonoff.

On "imgonnagetyouback" from the second installment of The Tortured Poets Department: The Anthology, Swift schemes to get her ex back, though she's uncertain of her intentions for doing so. "Imgonnagetyouback" isn't necessarily a stand-out track on the album, but the playful song lends itself well to a live performance that's fun and entertaining for Swift and the audience alike. If executed properly, the lyrics on the bridge, " even if it's handcuffed, I'm leavin' here with you " and " pick your poison, babe, I'm poison either way, " and the lead into the final chorus could all be huge moments during the live performance.

By amping up the production and accompanying the song with some fun choreography, "imgonnagetyouback" has the potential to deliver a performance in line with the 1989 era. In fact, the line on the chorus about smashing up the subject's bike is reminiscent of Swift smashing her boyfriend's fancy car in the "Blank Space" music video, which she referenced via Easter egg on the Eras Tour by wielding a neon golf club during her performance.

9 Taylor Swift Songs That Are Even Better In The Eras Tour Movie Than On The Album

3 so high school.

On the joyous and nostalgic "So High School," Swift gushes about how her adult relationship makes her feel like a lovestruck teenager in the best way. She references teen-centric media like American Pie and Grand Theft Auto and games like "Kiss, Marry, Kill," Spin the Bottle, and Truth or Dare. These details and the premise of the song as a whole provide endless possibilities for different high school-themed costumes, props, set pieces, and even choreography in a live performance of "So High School" on The Eras Tour.

It's also widely speculated that "So High School" is about Swift's relationship with her current boyfriend, Kansas City Chiefs player Travis Kelce, mostly because of the lyric, " you know how to ball, I know Aristotle ." She already shouts him out on The Eras Tour by changing the lyric on "Karma" from " guy on the screen " to " guy on the Chiefs, " but it would be a sweet gesture to include a song that's (supposedly) about Kelce on the set list, especially for the shows where he's in attendance.

Is Travis Kelce In Taylor Swift: The Eras Tour Movie?

2 thank you aimee.

On "thanK you aIMee," Swift reflects on how she was ruthlessly tormented by the titular Aimee and realizes that the hell Aimee put her through pushed her to prove herself and succeed. The song is seemingly directed at a mean girl who bullied Swift in school but the deliberately capitalized letters in the title suggest that "thanK you aIMee" is actually a subtle jab at Kim Kardashian and their famous feud. Given this additional context, it might be controversial to include this song on The Eras Tour set list.

Hearing Swift call out bullies and sing about finding her strength would be such a significant experience for all the young children attending The Eras Tour who might be going through the same thing.

As a standalone song separate from any (unconfirmed) lore, "thanK you aIMee" is an empowering anthem about perseverance and overcoming bullying. Hearing Swift call out bullies and sing about finding her strength would be such a significant experience for all the young children attending The Eras Tour who might be going through the same thing.

The production on "thanK you aIMee" is quite understated on the album, but the instrumentals can be bulked up to create more of an atmosphere during the live performance. Given the deeply personal subject matter (whether it's about Kardashian or a real childhood bully, or both), performing "thanK you aIMee" onstage every night would probably be a cathartic experience for Swift , especially the lyric, "I built a legacy that you can't undo ."

1 The Bolter

A bit of a deep cut on The Tortured Poets Department: The Anthology, "The Bolter" tells the tale of a woman who bolts (hence the title) at the first sign of trouble in a relationship. The third-person, unraveling narrative is reminiscent of the detached, fictionalized approach Swift took on Folklore , which has proved fruitful in delivering compelling performances on The Eras Tour.

The vast melodic diversity of "The Bolter" also creates sonic distinctions between the verses, chorus, post-chorus, and bridge, which would naturally translate to an engaging live performance.

Though it comes toward the end of the lengthy double album, "The Bolter" stands out due to Swift's vivid storytelling and the varying pitches she sings in throughout the song. The vast melodic diversity of "The Bolter" also creates sonic distinctions between the verses, chorus, post-chorus, and bridge, which would naturally translate to an engaging live performance. Performing "The Bolter" would also provide Taylor Swift with the opportunity to whip out her acoustic guitar during The Tortured Poets Department set on The Eras Tour.

Taylor Swift: The Eras Tour

*Availability in US

Not available

Taylor Swift: The Eras Tour is a film rendition of the colossal worldwide event that sees the legendary pop star hit the stage in a specially curated film event. Performing the hits of her over seventeen-year career in music, The Eras Tour highlights Taylor Swift and her team as they put on a show of a lifetime.

Taylor Swift's The Tortured Poets Department is here, but it could be a logistical nightmare for the Eras Tour

Get ready for another Taylor Swift era.

The Tortured Poets Department (TTPD) is the superstar's 11th studio album and is being released around the world today.

It'll be dropping the second the clock hits midnight on the east coast of America, which will be this afternoon in Australia.

• 2pm AEST : ACT, New South Wales, Queensland, Tasmania, Victoria
• 1:30pm ACST : Northern Territory and South Australia
• 12pm AWST : Western Australia

So far, we know the album is a whopping 16 songs (not including bonus vinyl tracks) and features multiple collaborations, including with Florence + The Machine.

We also know the first single will be Fortnight featuring Post Malone, with a music video dropping tomorrow morning as well.

Despite no singles being released in its lead up, clues point to TTPD seemingly being inspired by the five stages of grief : denial, anger, bargaining, depression and acceptance.

Plus, many fans have speculated that the album title is a reference to the name of a group chat Swift's ex was part of – The Tortured Man Club.

And while The Tortured Poets Department could very well set new streaming records, it also poses a logistical nightmare for Taylor Swift's Eras Tour: how do you include yet another album into a show that is over three hours long?

Below, two ABC reporters and Swifties weigh up the likelihood of how the megastar might adapt her sell-out tour when it recommences in Europe next month.

We could lose some songs from every era to make room

Jessica : This seems like the most likely course of action. To put things into perspective, the Eras Tour includes songs from nine albums, but their airtime varies wildly. Lover, Folklore and Midnights have at least six songs, while Speak Now gets just two. So this might be a chance to balance things out?

Georgie : It would make the most sense to me. I can't imagine a tour that doesn't spend at least some time on the freshest music. But, this is a unique scenario. You have an artist who is essentially doing a greatest hits tour at the age of 34 while she is still churning out new music.

If she does cut music to make room for Tortured Poets, it will be very divisive. Every fan has their favourite era. But, I think if she was to I would hope she cuts songs she has already toured. You have to remember she put out four (now five) albums since her last tour and I imagine it would make the most sense for her to give more air time to Lover, Folklore, Evermore, Midnights and TTPD.

Jessica : If you were in charge of Taylor Swift's setlist, which songs would you cull? I'd ditch The Archer from the Lover era so it ends with, well, Lover. I'd be ruthless and cut most of the songs from the Red era as nothing compares to All Too Well (10 Minute Version). But keep the Reputation portion as is! It's perfect.

What if smaller eras, like Fearless and Speak Now, got cut altogether?

Jessica : I love chaos so I would not bat an eye if Taylor Swift dropped the entire Speak Now era from her tour. (But Enchanted is such a core memory for a lot of fans.) I know this might be a wild concept but there's not one song from her self-titled debut album in the Eras Tour (justice for Our Song!), so make of that what you will.

Georgie : I think this will cause a major generational divide. The beautiful part about the Eras Tour is you have fans new and old coming together. Taylor has been making music since 2009 and the Eras Tour has been a chance for people in their twenties and thirties to dress up in glitter and be teenagers again while sharing the new music with teenagers today. I'm a folklore girl through and through so I am hoping if any eras get sacrificed it's the older ones. But I can't lie, it's pretty special to belt out Love Story with thousands of other people.

Could we lose the two surprise songs for a few Tortured Poets hits?

Georgie : Controversial opinion but I would be ok with this. Although, take this as you want because I have experienced the Eras Tour. But the section is a gamble anyway. You never know what she's going to play and someone is always disappointed or their top pick is played another night. If you cut this section, no-one gets hurt. Maybe she subs it out for three best songs from TTPD?

Jessica : I missed out on tickets for the Eras Tour altogether so I was taken aback seeing fans who did score tickets complaining about which night got "better" surprise songs. You can't please everyone! I agree, this would level the playing field and take the comparison factor out of the tour… but I wonder if that uniqueness is a marketing factor as some super fans attend multiple concerts in the same city.

Imagine if she just… didn't play her new album

Georgie : Don't say it or it might come true!

Jessica : I think this would be the riskiest option. Imagine the disappointment on the first night when the tour recommences in Paris on May 9. But some fans, especially in America, who witnessed the Eras Tour last year before this album was announced feel it's unfair if other countries get a different experience. But that's what happens with the passage of time!

Georgie : I see your point but you have to remember we're in an age where many people have watched the Eras Tour happen through TikTok and the cinema release. So is it really missing out when it's been inescapable for over a year? This could be a chance for the people who have waited so long for the Europe leg – who have basically watched the tour on streaming and all over TikTok – to have something unique and worth the cash.

Or she could just include the new album and make the show nearly *four hours* long?

Jessica : I think this option would please the most fans, but I genuinely don't know how she performs for hours on end each night and then travels through different time zones. Oh,  to be a billionaire with a whole team taking care of everything all the time.

Georgie : I don't see this happening. Costs would skyrocket and many stadiums have a noise curfew. That's new costumes, sets and dance routines.

Jessica : But I would eat up new costumes, sets and dance routines! A four-hour concert is outrageous, which makes me think she might very well pick this option. Time will tell.

Georgie : I'm obviously a Swiftie but when I found out about the new album and what that might mean for the tour I just felt… overwhelmed. I'm still processing the release of four albums and two Taylor's Versions in four years. And now she's putting out new music? It's simply too much! The concert is a marathon but if I did have to go to a four-hour show, I'd do it for Ms Swift.

The worst option: Swapping All Too Well (10 Minute Version) for the radio edit to save time

Jessica : Sacrilegious.

Georgie : The people would riot. Jake Gyllenhaal would be thrilled though.

Final thoughts

Jessica : With everything going on in the world, I think this is a fun problem to ponder, and an interesting one for Taylor to tackle. I wish her well in whatever form the Eras Tour takes, because fans are going to have strong opinions either way.

Georgie: I worry that Taylor needs a holiday but, as you said, she's a billionaire now so I think she'll be fine. I hope she tours future albums but I also support her having a rest. Go chill with the cats and Travis. You've danced in high heeled boots for two years.

• X (formerly Twitter)

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Looking for cheaper Eras Tour tickets? See Taylor Swift at these 10 international cities.

Swifties who want to snag tickets to Taylor Swift’s colossal Eras Tour know the experience won’t come cheap.  

This year, the billionaire will only visit three U.S. cities – Miami, New Orleans and Indianapolis – and prices for the in-demand shows are astronomical . For the Oct. 18 show in Miami, for example, cost of a single ticket ranged between $1,615 and $8,524 on StubHub.com as of Wednesday afternoon.

So, how else can fans see one of the world’s biggest singers? Go abroad .

Start the day smarter. Get all the news you need in your inbox each morning.

In the past 30 days, searches for ‘Taylor Swift Europe tour 2024 tickets’ have increased by 300% in the U.S., indicating that some people are ready to take a long-haul flight to see the wildly popular artist live, according to travel website Islands.com .

Concert-goers who head to Europe for their Swift experience may actually save more money in the long-run . Not only are ticket prices across the pond cheaper, but many European cities, like Warsaw and Lisbon, are also budget-friendly, offering inexpensive food and lodging. 

Was the travel worth it? Beyoncé and Taylor Swift's summer concerts drew fans from afar

To determine the most affordable Eras Tour stops, Islands.com researchers compared the cost of a two-night trip, including one cheap ticket on StubHub.com, two nights at a four-star hotel, six inexpensive meals, two five-mile taxi rides, and one domestic beer. However, researchers didn’t account for airline tickets or concert merchandise.

With safety at the top of travelers' minds, the researchers also factored in the city’s safety rating out of 100. 

To stay extra safe, the State Department encourages travelers to register with the U.S. embassy in the country they're visiting any time they travel abroad. That can be done at step.state.gov .

10 cheapest destinations for the Eras Tour in 2024

10. Vienna, Austria - total average cost: $1,089, safety score: 69.72

9. Cardiff, U.K. - total average cost: $1,061, safety score: 61.83

8. Lyon, France - total average cost: $1,047, safety score: 44.3

7. Lisbon, Portugal - total average cost: $1,028, safety score: 70.15

6. Munich, Germany - total average cost: $1,000, safety score: 78.88

5. Paris, France - total average cost: $971, safety score: 41.83

4. Stockholm, Sweden - total average cost: $935, safety score: 53.86

3. Hamburg, Germany - total average cost: $903, safety score: 57.51

2. Gelsenkirchen, Germany - total average cost: $749, safety score: 51.33

1. Warsaw, Poland - total average cost: $712, safety score: 72.98

This article originally appeared on USA TODAY: Looking for cheaper Eras Tour tickets? See Taylor Swift at these 10 international cities.

Musicians Are in Their Eras Era

From Taylor Swift to Madonna to Missy Elliott, stars are increasingly blurring the lines between past and present.

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There was a time, not so long ago, when the term “era” brought to mind strictly academic concepts: a scale to measure the Earth’s geological time; a system for classifying sweeping events of human history; a theoretical timeline of our known universe.

If this trend has a progenitor, it’s Taylor Swift : The musician’s career-spanning Eras Tour is reportedly the highest-grossing tour of all time. “Branding it as the Eras Tour and doing a greatest-hits run pulled in so many people, because you go to a show and it’s so clear how many fans came from the country years, and how some didn’t become Swifties until Reputation ,” says Elana Fishman, Page Six style editor and bona fide Swiftie. And Swift didn’t just revisit those eras musically; she also paid homage to the aesthetics of each album cycle, whether through a Reputation -era snake slithering across a Roberto Cavalli catsuit or a sequined matching set that called back to her 1989 persona.

Of course, Swift didn’t invent the idea of tying fashion to different album cycles—that would be Madge, the Queen of Pop herself. Madonna committed to changing everything—from hairstyle to makeup to wardrobe—for each new record cycle, as if creating characters, in a way that few have achieved before or since. “Other artists have also had eras, but they may have had the same hair color throughout all of them. It doesn’t really count,” says creative director and stylist Shannon Stokes, who’s worked with Beyoncé , Rihanna , and SZA . “To me, those are great, and those can still be considered eras, but as a true textbook, you always have to go to Madonna.”

For Stokes, creating and revisiting these visually disparate eras isn’t just useful in distinguishing album cycles, it also creates a fuller picture of the artists themselves. Fans feel more connected to a multifaceted musician. “When you’re doing everything properly, people get to see who you are in all different [areas] of your life: your sexual sides, your fun sides, your vulnerable sides, your introspective sides,” he explains. “It creates a stronger bond, because that fan base feels like they know you more, seeing all sides of your personality.”

It’s notable that there are very few male artists playing with visual identity in quite the same way. While there are some, like Harry Styles or Lil Nas X, dabbling in tying fashion to album cycles, Paul McCartney isn’t exactly hauling out a Sgt. Pepper jacket on his tours. Maybe female stars feel more pressure to constantly reinvent themselves. Or maybe they’re embarking on a high-stakes version of what we all do when embarking on a makeover. Whether it’s a post-breakup closet cleanse or a big-ticket luxury purchase to celebrate a milestone, our clothes reflect who we are at different moments in time—and revisiting those pieces can be liberating, not to mention a fun way of remembering our former selves.

“We, as regular people, have had eras too,” Stokes says. “It’s an evolution, but you still can differentiate the time periods when you were living a certain way and therefore dressing a certain way and doing certain things.” While she may not have invented the wheel, Swift has discovered how to put her own spin on it, keeping fans engaged in the process. She’s taught followers to hunt for clues about upcoming album cycles in her clothes, fueling speculation that Reputation (Taylor’s Version) would be her next re-release with a pair of Jimmy Choo x Jean Paul Gaultier boots—or announcing her latest album, The Tortured Poets Department , with a white Schiaparelli gown at the Grammys.

“A few months before the album rollout really starts, she’ll solidify what her aesthetic is going to be for that era,” Fishman says. “It keeps people hooked, because they’re decoding these clues and zooming in on Getty Images of her paparazzi walks and saying, ‘Is that a snake on her ring, or is it just a vine twisting?’ It becomes a real game.”

And while reinvention may still be all the rage among younger artists, one thing is for sure: There’s no longer a reason to fear history repeating itself. This article appears in the May 2024 issue of ELLE.

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Taylor Swift's Eras Tour Workout Routine Revealed

The singer worked hard on core strength and condition before going out on tour, and continues to work on stability between shows.

By Michael Hein - April 23, 2024 12:41 pm EDT

Taylor Swift's personal trainer just shared the details on her fitness regimen leading up to her Eras tour. The 34-year-old singer has put on an intense show dozens of times by now, and there are many more to go before the tour is officially over at the end of this year. Kirk Myers helped her prepare for the challenge – and to look good doing it.

Myers is the founder of Dogpound Gym, which has locations in New York City and Los Angeles, and he's been training celebrities for nearly a decade. He spoke to Vogue last week via Zoom, saying that he has been training Swift since her 2015 world tour supporting her album 1989 . At the time, Myers himself was best known for training Hugh Jackman, and he has garnered a reputation as a celebrity trainer in general. He has never advertised his association with Swift too heavily, but said: "I'm ready to be known as 'Taylor Swift's trainer.' I don't think there's a cooler title out there."

Myers isn't keeping any secrets, either. He laid out Swift's workout routine plainly in the interview, indulging in a pun as he said: "It's tailored. We approached her training for the Eras tour with the mindset like a professional athlete. There was an 'off-season' when she wasn't touring and 'in-season' when she was. When she's not touring, we're in the gym up to six days a week for sometimes two hours a day."

Myers said that Swift's program is designed to improve and maintain strength and conditioning, with a particular emphasis on core strength and stability. Not only is this important for her physique and stamina, it goes a long way in helping her sing and dance at full capacity. While they try to build up this kind of strength and endurance before the tours begin, he said that Swift continues to work out pretty hard even while she is on the road.

"Taylor trained during the entire tour," he said. "We would average two times a week. In-season training was more about maintenance, and so it was more like stability, mobility, biomechanics. If you've seen the show, you know how intense it is physically. Imagine doing that three, four days in a row and then you finally have a few off days and you're still showing up to gym. That's Taylor."

Perhaps the most specific tip Myers gave for fans who want to emulate Swift is "actually breathing" during these kinds of core exercises. He said: "I know it's outside the box, but fully breathing through workouts helps strengthen your core." Beyond that, fans can always visit one of the Dogpound gyms to ask for a workout like Swift's.

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How To Get Taylor Swift Tickets In 2024

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If you’ve finished your second—or fourth—rewatch of Taylor Swift: The Eras Tour (Taylor's Version) on Disney+ and are ready to see the talented singer-songwriter live, we’ve compiled everything we know about how to get Taylor Swift tickets this year. Her Eras tour starts back up this May in Europe, then moves to the United States in October and finishes in Canada this November. Swift’s 15th studio album, The Tortured Poets Department , came out on April 19 (you can order it now ). That means it’s likely she’ll include songs from that record on her tour as well as hits from 2022’s Midnights .

Taylor Swift returns to the stage on her "Eras" tour from May through the end of the year. Here's ... [+] how to get Taylor Swift tickets now.

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How to clean hardwood floors, according to professional cleaners, where to buy tickets to taylor swift’s “eras” tour.

For many people, Ticketmaster might be the first stop for getting Taylor Swift tickets, since the artist links out to this platform from her official website . Unfortunately, many of the Eras tour shows are already sold out on Ticketmaster, including concert dates in the United States (Miami, New Orleans and Indianapolis). But don’t be discouraged—we’ve rounded up some other ways to get Eras tour tickets.

• If you’re looking for tickets to one of her shows in Miami, New Orleans or Indianapolis, StubHub has tickets, but they’re pricey. Tickets start around $1,600 and go up to $8,300 for these locations. For the Canadian performances, StubHub tickets start at $965 U.S. dollars and go up to more than $10,000. Shows in Europe are more affordable, starting around $250.
• For some of the European shows, StubHub may redirect you to StubHub International , where the currency is in British pounds, euros, Polish złoty or Swedish krona. You might want to check out a currency converter before purchasing tickets to see how much you’ll pay in American dollars.
• SeatGeek has tickets available for Swift’s United States and Canada shows, with prices starting at $1,000.
• Vivid Seats has similar pricing to SeatGeek, with tickets starting at $1,000 in the U.S. and Canada. For her European shows, prices begin a little under $400.
• Swift’s three shows in Dublin, Ireland (taking place from June 28 to 30) aren’t available on Ticketmaster, StubHub or SeatGeek, but they are ready for purchase on TicketNetwork . Prices start around $350.
• Taylor Swift’s website also links out to AEG Presents , which takes users to AXS for several of her European shows. Unfortunately, many tickets are sold out on that reseller platform.

When Do Taylor Swift Tickets Go On Sale?

Tickets are already on sale for the 2024 Eras tour dates in North America and Europe, and are selling out fast. If you want to see Taylor Swift live this year, your best bet is to buy as soon as you find a location, date and price that works for you.

How Much Are Taylor Swift Tickets?

Make no mistake: Taylor Swift tickets aren’t cheap. You may find some good deals depending on the venue and how close to the stage you are, but almost any Swift tickets going to set you back anywhere from hundreds to thousands of dollars.

Her European show prices are vastly different from her North American ones, starting around $250. In all cases, though, don’t forget that these list prices will also come with ticket reseller fees added to the final price.

Taylor Swift 2024 Tour Dates

Taylor Swift is playing at multiple venues across Europe, the United States and Canada through the end of the year. She is typically performing at each location anywhere from two to five nights before moving onto the next stop. There’s one notable exception: She’s appearing for just a single show in Cardiff, United Kingdom.

• May 9 (with Paramore) : Paris, France at Paris La Défense Arena
• May 10 (with Paramore) : Paris, France at Paris La Défense Arena
• May 11 (with Paramore) : Paris, France at Paris La Défense Arena
• May 12 (with Paramore) : Paris, France at Paris La Défense Arena
• May 17 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 18 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 19 (with Paramore) : Stockholm, Sweden at Friends Arena
• May 24 (with Paramore) : Lisbon, Portugal at Estádio da Luz
• May 25 (with Paramore) : Lisbon, Portugal at Estádio da Luz
• May 29 (with Paramore) : Madrid, Spain at Santiago Bernabéu Stadium
• May 30 (with Paramore) : Madrid, Spain at Santiago Bernabéu Stadium
• June 2 (with Paramore) : Lyon, France at Groupama Stadium
• June 3 (with Paramore) : Lyon, France at Groupama Stadium
• June 7 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 8 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 9 (with Paramore) : Edinburgh, United Kingdom at Scottish Gas Murrayfield Stadium
• June 13 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 14 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 15 (with Paramore) : Liverpool, United Kingdom at Anfield Stadium
• June 18 (with Paramore) : Cardiff, United Kingdom at Principality Stadium
• June 21 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 22 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 23 (with Paramore) : London, United Kingdom at Wembley Stadium
• June 28 (with Paramore) : Dublin, Ireland at Aviva Stadium
• June 29 (with Paramore) : Dublin, Ireland at Aviva Stadium
• June 30 (with Paramore) : Dublin, Ireland at Aviva Stadium
• July 4 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 5 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 6 (with Paramore) : Amsterdam, Netherlands at Johan Cruijff Arena
• July 9 (with Paramore) : Zürich, Switzerland at Stadion Letzigrund
• July 10 (with Paramore) : Zürich, Switzerland at Stadion Letzigrund
• July 13 (with Paramore) : Milan, Italy at San Siro Stadium
• July 14 (with Paramore) : Milan, Italy at San Siro Stadium
• July 17 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 18 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 19 (with Paramore) : Gelsenkirchen, Germany at VELTINS-Arena
• July 23 (with Paramore) : Hamburg, Germany at Volksparkstadion
• July 24 (with Paramore) : Hamburg, Germany at Volksparkstadion
• July 27 (with Paramore) : Munich, Germany at Olympiastadion
• July 28 (with Paramore) : Munich, Germany at Olympiastadion
• August 1 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 2 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 3 (with Paramore) : Warsaw, Poland at PGE Narodowy
• August 8 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 9 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 10 (with Paramore) : Vienna, Austria at Ernst-Happel-Stadion
• August 15 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 16 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 17 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 19 (with Paramore) : London, United Kingdom at Wembley Stadium
• August 20 (with Paramore) : London, United Kingdom at Wembley Stadium
• October 18 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 19 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 20 (with Gracie Abrams) : Miami, Florida at Hard Rock Stadium
• October 25 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• October 26 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• October 27 (with Gracie Abrams) : New Orleans, Louisiana at Caesars Superdome
• November 1 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 2 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 3 (with Gracie Abrams) : Indianapolis, Indiana at Lucas Oil Stadium
• November 14 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 15 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 16 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 21 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 22 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• November 23 (with Gracie Abrams) : Toronto, Ontario at Rogers Centre
• December 6 (with Gracie Abrams) : Vancouver, British Columbia at BC Place
• December 7 (with Gracie Abrams) : Vancouver, British Columbia at BC Place
• December 8 (with Gracie Abrams) : Vancouver, British Columbia at BC Place

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Want to see ‘Eras Tour’ in London? This company is giving away tickets as part of a Taylor Swift-inspired job

Taylor Swift's eleventh album, "The Tortured Poets Department," dropped on April 19, and the excitement around the pop star is at an all-time high. With her record-breaking "Eras Tour" heading to Europe next month, a fan can only wonder: Will her new album be incorporated into her upcoming tour shows — and if so, how?

Well, a pair of Swiftie best friends will find out, thanks to a new Taylor Swift-inspired job that comes with a free pair "Eras Tour" tickets.

Flytographer, a vacation photography company that connects travelers with local photographers around the world, is looking to hire two people to travel to London to test out a new photo tour and take pics for their Instagram. In addition to getting a $5,000 travel stipend to fly to London, the lucky duo will also get free tickets to see a Taylor Swift's "Eras Tour" show in August.

The job title is Chief Memory Maker, and it involves testing Flytographer's new Capture Your (London) Era photo tour, an experience that brings guests to locations within Taylor Swift lore to take pictures. For example, places like West End, SoHo and Louis V on Bond Street that are mentioned in Swift's song "London Boy" are included in the tour.

In addition to a travel stipend, the pair chosen for the job will get an additional $100 to go to a salon and $100 for shopping. And the icing on the cake: They will get premium tickets to the "Eras Tour" show at Wembley Stadium on Aug. 19.

Those interested in the job can apply through the official Flytographer website until May 9, when the application window closes. Applicants will need to submit their Instagram handle, as well as their friend's Instagram handle who they plan to bring with them. The application also asks a variety of questions, including, "Why you and your BFF should be our next Chief Memory Makers," "What era are you and your bestie in and why?" and "What Taylor lyric best represents you and your bestie?"

And remember the position's most important responsibility, per the application page: "Having fun with your best friend!"

Odeya is an Associate Producer at The Kelly Clarkson Show, as well as contributing writer for  TODAY.com . When she isn't producing or writing, she might be performing in a comedy show, hanging out with her cat named Pepperoni, or frantically trying to catch up on 10 seasons of Vanderpump Rules. Odeya graduated from Binghamton University with a Bachelor's degree in English Rhetoric. She also has a Master's degree in Broadcast & Digital Journalism from the Newhouse School of Communications at Syracuse University. She does not have a PhD, but she did spend a lot of time in improv classes.

Taylor Swift ‘Eras Tour’ resumes in May 2024 in France: How to get tickets to sold-out shows

• Updated: Apr. 17, 2024, 10:04 a.m. |
• Published: Apr. 17, 2024, 9:51 a.m.

Taylor Swift will resume her "Eras Tour" on May 9, 2024, in Nanterre, France, for four concerts. The tour returns to the U.S. for concerts in October 2024. Here, she performs at the Tokyo Dome, Wednesday, Feb. 7, 2024, in Tokyo. AP File Photo/Toru Hanai

• Deb Kiner | [email protected]

Swifties are eagerly awaiting the resumption of Taylor Swift’s “Eras Tour.”

After a two-month break, the pop star will hit the stage again in Nanterre, France, for four concerts - May 9 , May 10 , May 11 and May 12 at Paris La Defense Arena.

Her next album, “The Tortured Poets Department,” is scheduled to be released on Friday, April 19.

May 17, 18 and 19 the “Cruel Summer” singer will be in Stockholm, Sweden, followed by concerts in Portugal, Spain, the United Kingdom, Netherlands, Switzerland, Italy, Germany, Poland, Austria and Wembley Stadium in London through Aug. 20.

This fall, she returns to the United States for concerts in Miami, Florida; New Orleans, Louisiana; Indianapolis, Indiana; and Canada.

Most of her concerts are sold out but fans can still buy tickets from secondary market sites (tickets are expensive):

Friday, Oct. 18 - Hard Rock Stadium, Miami Gardens, Florida

• Tickets: Stubhub , Vivid Seats , SeatGeek

Saturday, Oct. 19 - Hard Rock Stadium, Miami Gardens, Florida

Sunday, Oct. 20 - Hard Rock Stadium, Miami Gardens, Florida

• Tickets: Stubhub, Vivid Seats , SeatGeek

Friday, Oct. 25 - Caesars Superdome, New Orleans, Louisiana

Saturday, Oct. 26 - Caesars Superdome, New Orleans, Louisiana

Sunday, Oct. 27 - Caesars Superdome, New Orleans, Louisiana

Friday, Nov. 1 - Lucas Oil Stadium, Indianapolis, Indiana

• Tickets: Stubhub, Vivid Seats, SeatGeek

Saturday, Nov. 2 - Lucas Oil Stadium, Indianapolis, Indiana

Sunday, Nov. 3 - Lucas Oil Stadium, Indianapolis, Indiana

Swift then will head to Canada for concerts Nov. 14-16 and 21-23 in Toronto and Dec. 6-8 in Vancouver.

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