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Classic Album Review: The Strokes’ Room on Fire Still Exists on Its Own Terms

The second album from the New York garage rockers is a pivotal step in the band’s evolution

• The Strokes

Earlier this year, Vulture published an in-depth Q&A with Julian Casablancas . The Strokes frontman explained that the title for the band’s 2003 sophomore record, Room on Fire , “is not referring to a dance party. It’s referring to the state of things.” It’s difficult to think of Room on Fire as an overtly political album. For the most part, its 11 tracks seem to center on the fleetingness of youth, fame, and difficult relationships, but, because of the lyrics’ simplicity, Room on Fire can transform itself depending on perspective. It’s partially why it’s still such a rewarding listen 15 years later.

Whether the album is politically outspoken or not isn’t its defining factor. The impact of Room on Fire helped establish The Strokes as an influence within the indie rock community. Their 2001 debut, Is This It , was their outstanding entry point, and Room on Fire cemented them as a representation of early 2000s guitar-band revivalism. It feels overlooked, especially compared to Is This It , but the album remains a pivotal evolutionary step for one of the most important bands in indie rock.

When the New York quintet released the follow-up to their widely acclaimed debut, critics enjoyed the album but deemed it a carbon copy of its predecessor. However, while the two sound similar, Room on Fire isn’t an unimaginative reiteration of Is This It. It has an identity of its own, and this identity is most visible in its songwriting. Guitarist Nick Valensi is essential, contributing textures that were then new to the band, such as The Cars-esque synth tones on “12:51” and “The End Has No End”. The second track and lead single, “Reptilia”, is perhaps his strongest moment on the record. He breaks into an impressive solo during the bridge, and the song features one of the most memorable hooks in The Strokes’ career.

The band’s expedition into unexplored territory laid out the blueprints for what would become 2006’s First Impressions of Earth and 2011’s Angles . Room on Fire is certainly liminal in that regard, serving as a transitory period between stylistic eras. They hold on to the distorted garage rock of their debut while leaving room for experimentation. It would have been interesting to hear what original producer Nigel Godrich, known for his work with Radiohead, would have pushed the band toward, but Gordon Raphael helped The Strokes maintain the post-punk tendencies fans know them for.

Room on Fire sets itself at a rapid pace, refusing to unnecessarily halt itself when its tracks are an incessant burst of energy. As soon as the palm-muted guitars and syncopated drums start off “What Ever Happened?”, the band unabashedly moves forward and never stops, even briefly. It’s one of the reasons why this record feels so invigorating. Its congruity and tenacity are emblematic of The Strokes themselves. “Please don’t slow me down,” Casablancas sings on “Reptilia”, which at once sounds like a plea and a demand. Drummer Fabrizio Moretti is integral to its pacing, too, never using his metronomic beats for showmanship but instead as a base for the band to return to.

Casablancas’ lyrics aren’t the strongest moments of the record, but they’re still worth considering in the album’s context. Most songs revolve around heartbreak and love while others discuss fame and attention. The former topic has a small handful of platitudes, such as the it’s-not-you-it’s-me mentality of “Under Control,” but these never make Room on Fire an unenjoyable listen, and most of its love-themed tracks are, indeed, heartbreaking.

The fame that originated from Is This It is also central. Casablancas isn’t pleased with the recognition. Many music publications pronounced The Strokes as the heroes of the rock revival, but Casablancas was more interested in making music on his own terms. “I wanna be forgotten,” he sings on opener “What Ever Happened?” He shrugs off the praise in “I Can’t Win”, singing: “Good try, we don’t like it.”

Room on Fire does just what Casablancas intended it to: exist on its own terms. Although it’s important to consider what came before and after it, it’s an album with a character distinct from The Strokes’ other releases. It helped strengthen the guitar-rock movement of its decade, and it’s a feat that shouldn’t go unacknowledged.

Essential Tracks: “What Ever Happened?”, “Reptilia”, and “The End Has No End”

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Classic Album Review: The Strokes' Room on Fire Still Exists on Its Own Terms

Room On Fire

By David Fricke

David Fricke

Change is good. It can be important, even historic. It is not always necessary. One of the best things about Room on Fire , the Strokes ‘ second album, is that, in most of the ways that matter, it is exactly like their first. Nick Valensi’s and Albert Hammond Jr.’s dirty-treble guitars cut ‘n’ thrust over the hard-rubber bounce of bassist Nikolai Fraiture and drummer Fabrizio Moretti. Singer-songwriter Julian Casablancas delivers his put-up-or-fuck-off telegrams in a brusque, corrosive drawl, and producer Gordon Raphael wraps up the whole package with airtight austerity. On first impact, Room on Fire is to 2001’s Is This It as the Ramones’ second album, Leave Home , was to their knuckle-sandwich debut — a perfect twin.

But the Strokes who made Room on Fire are not the cocky overnight sensations of two years ago. In the album’s opening damage report, “What Ever Happened?,” Casablancas’ voice is so disfigured by fuzz in the first verse (“I wanna be forgotten/And I don’t wanna be reminded”), it’s as if he’s singing over a broken speakerphone from a burning building. Like any good New Yorker, Casablancas is suspicious and impatient by nature. But the distance and distrust in his songwriting and ashen monotone on Is This It were nothing like this. Casablancas sings the title chorus of “You Talk Way Too Much” with cold, dry calm — the high, mocking whine of the lead-guitar break provides extra cruelty — and wraps up the brittle reggae of “Automatic Stop” with even less gallantry: “I’m not your friend/I never was.”

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The music is just as terse and unforgiving. In “Reptila,” instruments blitz in and out of your face with the abrupt precision of a Lee Perry dub mix: a single, grinding guitar; Fraiture’s pumping, one-note bass; the whole band in full, flailing rave-up. At times, the near-mono severity of Raphael’s production seems designed to keep the Strokes off the radio. There is so much boxy compression on the high-speed bass, guitars and drums in “The Way It Is” that it sounds like the band cut it in the locked trunk of a ’56 Chevy doing 110 miles an hour.

There are also jolts of color and dropped guard — hints of what the Strokes must have hoped for in their aborted sessions for this record with Radiohead producer Nigel Godrich — in the whistling-synthesizer guitar lick in “12:51,” a cheerful shot of ’78 Cars; and the pneumatic, sighing strum of “Meet Me in the Bathroom.” But another of the best things about Room on Fire is that, in the face of hysterical expectation, the Strokes have resisted the temptation to hit the brakes, grow up and screw around with a sound that doesn’t need fixing — yet. “Please don’t slow me down, if I’m going too fast,” Casablancas sings with heavily distorted irritation in “Reptila.” If you want comfort and clarity, you’re definitely in the wrong room. This record was built for thrills and speed.

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The Strokes’ “Room on Fire” may not have had commercial success of “Is This It,” but it was still great

It couldn’t have been easy to follow up the Strokes’ album “Is This It.” What often happens after a band nails it is the group attempts to replicate what it crafted. It can take quite a while to make the follow up.

After a lengthy tour behind 2001’s “Is This It,” the Strokes immediately returned to the studio and recorded the aptly titled “Room on Fire,” a collection of songs penned by singer-songwriter Julian Casablancas. To the band’s credit, songs like the surging “Reptilia” and the poignant “Automatic Stop” aren’t clones of the tunes from the band’s breakthrough release.

The Strokes initially tabbed high-profile producer Nigel Godrich to produce but bailed, returning to “Is This It” producer Gordon Raphael, who helped make an album that is warmer and fuller sounding than the relatively lo-fi “Is This It.”

Many bands suffer from disappointing sophomore releases but the Strokes not only remained consistent for “Room on Fire” but for the following releases through 2020’s “The New Abnormal.”

“Room on Fire,” which peaked at No. 4 on the Billboard 200, was critically acclaimed but failed to match the commercial success of “Is This It.” However, “Room on Fire” went gold and shortly after the album’s release the Strokes were featured on the cover of Rolling Stone.

The New York-based band included a healthy portion of “Room on Fire” tracks when the Strokes played Seattle’s WaMu Theater in March of 2020, days before the shutdown. “Reptilia,” “Automatic Stop” and “What Ever Happened” were performed in front of a capacity crowd of 7,000 fans. The songs have aged as well as the Strokes.

The word is that the Strokes are recording an album with producer Rick Rubin in Costa Rica.

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High on Fire Announces U.S. Tour Dates

Grammy-winning rock band celebrating 25th anniversary, multiple studio teasers advancing new lp released.

Iconic U.S. rock band,  High on Fire , celebrates its 25th anniversary in 2023 and today the GRAMMY Award-winning group, featuring bassist  Jeff Matz , guitarist/vocalist  Matt Pike , and new drummer  Coady Willis  (Melvins, Big Business, Murder City Devils) announces U.S. tour dates centered around its showcasing appearance at Austin’s Levitation Festival. The weeklong run will launch on  October 26  in Dallas, Texas and hit multiple cities in Colorado and California before wrapping on November 4. Support on the  High on Fire  tour will be provided by Pallbearer.

High on Fire tour dates :

October 26   Dallas, TX @ The Factory October 27   Austin, TX @ Stubb’s (Levitation Fest with Uncle Acid & the Deadbeats) October 29   Fort Collins, CO @ Washington’s October 30   Denver, CO @ The Summit October 31   Colorado Springs, CO @ The Black Sheep November 2  Garden Grove, CA @ Garden Amp November 3  Fresno, CA @ Fulton 55 November 4  Berkeley, CA @ UC Theatre

 “Who is ready to rip it up?!”,  said the band in a statement.  “High on Fire is primed and ready to rock and continue celebrating our 25th Anniversary with family, friends, and fans. See you at the shows!”

High on Fire  has completed work on its new, untitled ninth studio album and successor to 2018’s  ‘Electric Messiah’.  Recorded in Salem, Massachusetts with longtime producer Kurt Ballou, the new album is the first to feature drummer  Willis , who joined  High on Fire  in 2021. An early 2024 release date is expected via MNRK Heavy. See below for sneak peek looks at the band creating the new LP.

For more information please contact:

Giovanna melchiorre.

Vice President, Media Relations

P: (212) 353-8800 x 5279

M: [email protected]

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The Strokes|Room On Fire

Room On Fire

The Strokes

• Released on 10/1/03 by RCA Records Label
• Main artists: The Strokes
• Genre: Alternative & Indie

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Unlike many bands that release notable debut albums and then take years to deliver a follow-up, the Strokes got Room on Fire out as quickly as possible after their lengthy tour for Is This It. Good thing, too; the two years between their debut and this album were long enough for the expectations for -- and the backlash against -- a new Strokes album to reach formidable proportions. And the Strokes sound like they have a lot to prove on Room on Fire, not to their naysayers, but to themselves. On the surface, the album isn't drastically different than Is This It, but it's not predictable. Instead of delivering an album's worth of "Last Nite"s, "Someday"s, and "NYC Cop"s, Room on Fire expands on their debut's off-kilter and complex tracks, like "Is This It?" and "Hard to Explain." The album's first single, "12:51," signals the Strokes' intent: its whistling, synth-like guitars and handclaps are undeniably catchy, but at first, the song seems to be searching for a structure. Eventually, though, it becomes sneakily addictive -- it's a stealth pop song. Likewise, the album opens with "What Ever Happened?," on which Julian Casablancas snarls "I wanna be forgotten/And I don't wanna be reminded" -- not exactly the likeliest start to what should be a triumphant second album from one of the most celebrated rock bands of the 2000s. In many ways, Room on Fire is the Strokes' bid to be taken seriously, which may be why they began this album with producer Nigel Godrich before returning to Is This It producer Gordon Raphael. To his credit, Raphael gives the album its own sound: it's brighter and fuller than Is This It's low-rent production. Room on Fire also has a distinct attitude. Is This It sounded effortless, but it's evident that a great deal of effort was put into Room on Fire. Yet the album's most crafted moments are its most exciting: "Automatic Stop," a playful, poignant look back at a love triangle, lopes along to a reggae beat (and features the witty lyrics "So many fish there in the sea/I wanted her/He wanted me"). "Under Control," an awkwardly gorgeous homage to '60s soul, is possibly the best Strokes song yet. Several songs recapture some of Is This It's exuberance; not surprisingly, they're the ones that the band wrote while on tour. "You Talk Way Too Much" revs on one of their most Velvets-y riffs; "Meet Me in the Bathroom"'s Motown-like bassline and shimmery guitars add some style to its underlying sleaze. However, the Strokes are a different band than when they recorded Is This It, and Room on Fire's best songs acknowledge that. There's a weariness lingering around Room on Fire like stale smoke, especially on "The End Has No End," a loop of a song about a nagging breakup that repeats its seemingly nonsensical title in a surprisingly affecting way. "Reptilia," meanwhile, sounds like a long night of partying turned sour. "Please don't slow me down if I'm going too fast," Casablancas wails (most of Room on Fire's distortion comes from his vocals, which give the impression that he's gargled with turpentine and brushed his teeth with steel wool for the past two years). The motif of moving too fast and not minding it winds through Room on Fire, reflecting its svelte 33-minute running time as well as the swiftness of the Strokes' career. This compressed feel, the precision of the band's playing and arrangements, and the way every song comes to an abrupt stop sometimes make the album sound too closed-off. Room on Fire's best moments fight against this tendency and suggest that the Strokes are continuing to grow, perhaps beyond what their listeners want from them. Some may gripe that it's never as good as the first time, but Room on Fire shows that even after all that happened to the Strokes, they can still surprise. © Heather Phares /TiVo

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Gordon Raphael, Producer - Fab Moretti, Drums - Toshikazu Yoshioka, Engineer - Albert Hammond, Jr., Guitar - Nicholas Valensi, Guitar - Nikolai Fraiture, Bass - The Strokes, Performer - The Strokes, Arranger - J.P. Bowersock, Engineer - Will Kelly, 2nd Engineer - Julian Casablancas, Composer - Julian Casablancas, Lyricist - Julian Casablancas, Vocal -

(P) 2003 RCA Records, a division of Sony Music Entertainment

Gordon Raphael, Producer - Fab Moretti, Drums - Toshikazu Yoshioka, Engineer - Albert Hammond, Jr., Guitar - Albert Hammond, Jr., Composer - Albert Hammond, Jr., Lyricist - Nicholas Valensi, Guitar - Nikolai Fraiture, Bass - The Strokes, Performer - The Strokes, Arranger - J.P. Bowersock, Engineer - Will Kelly, 2nd Engineer - Julian Casablancas, Composer - Julian Casablancas, Lyricist - Julian Casablancas, Vocal -

Album review

About the album.

• 1 disc(s) - 11 track(s)
• Total length: 00:33:01
• Composer: Various Composers
• Label: RCA Records Label
• Genre: Pop/Rock Rock Alternative & Indie

(P) 2003 BMG

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HIGH ON FIRE Announces May 2024 U.S. Tour

HIGH ON FIRE has announced U.S. headlining tour dates in support of the band's upcoming album, "Cometh The Storm" . The spring trek will launch on May 4 in Orlando, Florida and feature support from Venezuelan post-rock outfit ZETA and Massachusetts crossover crew HIGH COMMAND .

HIGH ON FIRE comments: " HIGH ON FIRE legion! We are stoked to take the stage in a city near you as we bring 'Cometh The Storm' to life. Looking forward to a triumphant run of shows and reuniting with friends. See you soon!"

Tour dates:

May 04 - Orlando, FL - Conduit May 05 - Columbia, SC - The Senate May 07 - Greensboro, NC - Hanger 1819 May 08 - Richmond, VA - The Broadberry May 10 - Baltimore, MD - Baltimore Soundstage May 11 - New Haven, CT - Toad's Place May 12 - Jersey City, NJ - White Eagle Hall May 13 - Cambridge, MA - The Middle East May 15 - Albany, NY - Empire Live May 16 - Cleveland Heights, OH - Grog Shop May 17 - Detroit, MI - The Magic Stick May 18 - Chicago, IL - 3 Floyd's Brewing (Dark Lord Day feat. HIGH ON FIRE, ABBATH, FUGITIVE, 1349, SPIRITWORLD)

"Cometh The Storm" will be released on April 19 via MNRK Heavy . The Grammy Award -winning group, celebrating its 25th anniversary, recorded the LP at GodCity Studio in Salem, Massachusetts with producer Kurt Ballou . The 11-song effort — the band's ninth studio album — marks the release of the first new HIGH ON FIRE music since 2018's "Electric Messiah" and the first to feature drummer Coady Willis ( BIG BUSINESS , MURDER CITY DEVILS ),alongside bassist Jeff Matz and guitarist/vocalist Matt Pike .

"Cometh The Storm" is advanced by the lead track "Burning Down" and a haunting, fever dream video, directed by Lars Kristoffer Hormander . Check it out below.

" 'Burning Down' kicks off with a classic Pike riff," says Jeff Matz . "I think this song harkens back to the early HIGH ON FIRE sound, but infused with fresh, new elements. It has a killer groove that you can really sink into. The body of the song took shape in our PNW rehearsal space, and we came up with the bridge/solo section and finalized the arrangement while we were at GodCity . Kurt Ballou 's input as a producer was also hugely helpful. His keen ears and fresh perspective were invaluable in making this album."

"I think this band's always had a really good drive," states Pike . "It's a different entity. It's its own thing. Which, I think, makes all of us very proud to be a part of it. It's not an average band."

"Being a fan of each other's bands for a long time, it feels like all bets are off and anything goes which is a liberating feeling," shares Willis . "That feeling of making something out of all of these imperfect parts and it becomes this magical, weird, new idea that none of us ever anticipated. Against all odds. That's the joy of it."

"It's interesting, whenever there's a lineup change in a band," offers Ballou . "It can take a little while to rebuild. But it's also an opportunity to reinvigorate the band and I think that's what's happened here."

"Cometh The Storm" track listing:

01. Lambsbread 02. Burning Down 03. Trismegistus 04. Cometh The Storm 05. Karanlık Yol 06. Sol's Golden Curse 07. The Beating 08. Tough Guy 09. Lightning Beard 10. Hunting Shadows 11. Darker Fleece

Universally recognized as one of the most potent acts in music today, HIGH ON FIRE creates dynamic metal that merges primal fury and aggression, hesher bombast and hall of fame heaviness. Described as "a supersonic exercise in conquest by volume," HIGH ON FIRE has rewritten the hard rock rule book since its formation in 1998, forging a style and sound that is both critically celebrated and unique. The group features vocalist and cult guitar hero Matt Pike (also a founding member of the famed underground band SLEEP ) singular bassist Jeff Matz and powerhouse drummer Coady Willis .

HIGH ON FIRE 's most recent studio album, "Electric Messiah" , was released on October 9, 2018, and won a Grammy for "Best Metal Performance", placing HIGH ON FIRE among the ranks of groups such as BLACK SABBATH , MOTÖRHEAD and METALLICA as winners of the prestigious award, presented by The Recording Academy to recognize achievements in the music industry.

Photo credit: James Rexroad

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• June 18, 2004 Setlist

The Strokes Setlist at Tweeter Center, Camden, NJ, USA

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• What Ever Happened? Play Video
• Hard to Explain Play Video
• I Can't Win Play Video
• The Modern Age Play Video
• Last Nite Play Video
• The End Has No End Play Video
• Someday Play Video
• Alone, Together Play Video
• Under Control Play Video
• New York City Cops Play Video
• Reptilia Play Video
• Take It or Leave It Play Video

Edits and Comments

9 activities (last edit by jonathan491 , 19 Jul 2015, 14:04 Etc/UTC )

Songs on Albums

• Alone, Together
• Hard to Explain
• New York City Cops
• Take It or Leave It
• The Modern Age
• I Can't Win
• The End Has No End
• Under Control
• What Ever Happened?

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Tour Update

Marquee memories: cold war kids.

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• Fri 6/8/01 Des Moines IA @ Hairy Mary¹s
• Sat 6/9/01 Minneapolis, MN @ Cabooze
• Sun 6/10/01 Milwaukee WI @ Cactus Bar
• Tue 6/12/01 Lansing MI @ Mac¹s
• Wed 6/13/01 Chicago IL @ EMPTY BOTTLE
• Thu 6/14/01 Chicago IL @ FIRESIDE BOWL
• Fri 6/15/01 Columbus OH @ Al Rosa
• Sat 6/16/01 Ypsilanti MI @ Elbow Room
• Sun 6/17/01 Cleveland OH @ EUCLID TAVERN
• Tue 6/19/01 Denver CO @ Lion¹s Lair
• Mon 7/16 San Francisco CA @ Bottom of the Hill
• Thurs 7/19 Seattle, WA @ I-SPY
• Fri 7/20 Portland, OR @ Satyricon
• Sat 7/21 Whistler, BC Canada - cancelled at the border!
• Sun 7/22 Vancouver, BC Canada - cancelled at the border!
• Fri 10/12 Hollywood, CA @ Troubador
• Sat 10/13 San Ana, CA @ ?
• Fri 10/26 San Francisco, CA @ Bottom of The Hill
• November 29 London, England (UK) Underworld
• November 30 Arnhem, Netherlands (NL) Goudvishal
• December 1 Hasselt, Belgium (B) Musicodrome
• December 2 Tilburg,Netherlands (NL) 013
• December 3 Stuttgart, Germany (D) Dir Röhre
• December 5 Düsseldorf, Germany (D) Stahlwerk
• December 6 Dresden, Germany (D) Scheune
• December 7 Copenhagen, Denmark (DK) Loppen
• December 10 Jena, Germany (D) Rosenkeller
• December 11 Berlin, Germany (D) Knaack
• December 12 Graz, Austria (A) Arcadium
• December 13 Milano, Italy Indian Saloon
• December 14 Ljublijana,Slovakia (SLO) Ortobar
• December 16 Perpignan, France (F) Le Crock
• December 17 Madrid, Spain (ES) Gruta 77
• December 18 Alicante, Spain (ES) Stereo
• December 19 Bergara, Spain (ES) Jam
• December 21 Sneek, Netherlands (NL)
• December 22 Old Town, Swindon, (UK) The Victoria
• Thu 3rd San Diego CA Casbah •
• Fri 4th Hollywood CA The Troubadour •
• Sat 5th Phoenix AZ Hollywood Alley TBC •
• Sun 6th Tucson AZ Club Congress •
• Mon 7th off • Tue 8th San Francisco CA Covered Wagon •
• Wed 9th Chico CA Senator Theater •
• Thu 10th Eugene OR Samuri Duck •
• Fri 11th Portland OR Berbatis Pan •
• Sat 12th Seattle WA Graceland

Showbox Presents

Set yourself on fire: the 20th anniversary tour.

Artist Information

STARS have made their career telling the tales we keep in the darkest, and most hopeful parts of our souls. Delivering the hard and soft edges of life and love as only this band can, they returned with two new tracks Privilege and We Called It Love.

From the reflective beauty of Amy Millan’s vocal in Privilege “never got what you want, never got it” to Torquil Campbell’s contemplative and contrary, “I don’t believe that people change…but I’ve changed” on We Called It Love, Stars return time and again to comfort and reassure us that within the experience of failure and fucking up is the path to a life well lived.

A collective band statement notes, “We’re back! We have a new album. It was recorded in Montreal and Connecticut with the great producer, Peter Katis. We love him and thank him for being there for us. It’s our first with our friends at Last Gang. We made this record for ourselves, for our kids, and for you. And we are so happy and grateful that you’re still listening to our music.”

With approaching 20 years as a band and a storied album catalogue spanning 2001’s Nightsongs, the romantic upheaval of 2003’s Heart and 2004’s Set Yourself On Fire, 2007’s In Our Bedroom After the War, the downcast elegies of 2010’s The Five Ghosts, the rejuvenation of 2012’s The North and sub-base, dance club infused No One Is Lost in 2014, Stars continue to prove themselves some of the finest musical storytellers in the country, moving through life with their fans.

Stars now returns with their 8th full-length release “There Is No Love In Fluorescent Light”, out now via Last Gang Records worldwide.

@youarestars

Performer links.

• Date Thu, October 24, 2024
• Venue The Showbox
• Time 8:30 PM Doors 7:30 PM
• Ticket Prices* $35.00 Day of Show $40.00-$40.00
• Ages 21 & Over
• Buy Tickets

Fans are following Taylor Swift to Europe after finding Eras Tour tickets less costly there

LONDON (AP) — Thousands of ride-or-die  Taylor Swift  fans who  missed out  on her U.S. concert tour last year or didn’t want to buy exorbitantly priced tickets to see her again found an out-of-the-way solution: Fly to Europe.

The pop star is scheduled to kick off the 18-city Europe leg of her  record-setting Eras Tour  in Paris on Thursday, and planeloads of Swifties plan to follow Miss Americana across the pond in the coming weeks. The arena where Swift is appearing said Americans bought 20% of the tickets for her four sold-out shows. Stockholm, the tour’s next stop, expects about 10,000 concertgoers from the U.S.

A concert might sound like an odd raison d’etre for visiting a foreign country, especially when fans can watch the Eras Tour from home via the  documentary now streaming  on Disney+. Yet  online travel company Expedia  says continent-hopping by Swift’s devotees is part of a larger trend it dubbed “tour tourism” while observing a pattern that emerged during Beyoncé's  Renaissance world tour .

Some North American fans who plan to fly overseas for the Eras Tour said they justified the expense after noticing that tighter  restrictions on ticket fees  and resales in Europe made seeing Swift perform abroad no more costly — and potentially cheaper — than catching her  closer to home .

“They said, ‘Wait a minute, I can either spend $1,500 to go see my favorite artist in Miami, or I can take that $1,500 and buy a concert ticket, a round-trip plane ticket, and three nights in a hotel room,” Melanie Fish, an Expedia spokesperson and travel expert, said.

That was the experience of Jennifer Warren, 43, who lives in St. Catharines, a city in the Niagara region of Ontario. She and her 11-year-old son love Swift but  had no luck scoring  what she considered as decently priced tickets in the U.S. Undeterred, Warren and her husband decided to plan a European vacation around wherever she managed to get seats. It turned out to be Hamburg, Germany.

“You get out, you get to see the world, and you get to see your favorite artist or performer at the same time, so there are a lot of wins to it,” said Warren, who works as the director of research and innovation for a mutual insurance company.

The three VIP tickets she secured close to the stage — “I would call it brute-force dumb luck” — cost 600 euros ($646) each. Swift subsequently announced six November tour dates in Toronto, within driving distance of Warren’s home. “Absolute nose-bleed seats” already are going for 3,000 Canadian dollars ($2,194) on secondary resale sites like Viagogo, Warren said.

TOUR TOURISM: IS IT REALLY A THING?

Hard-core fans trailing their favorite singer or band on tour is not a new phenomenon. “Groupie” emerged in the late 1960s as a somewhat derogatory word for the ardent followers of rock bands. Deadheads took to the road in the 1970s to pursue the Grateful Dead from city to city.

More recently, music festivals like California’s Coachella and England’s Glastonbury, and concert residencies in Las Vegas by the likes of Elton John, Lady Gaga and Adele, have attracted travelers to places they wouldn’t otherwise visit, Fish noted.

Travel and entertainment analysts have also spoken of a pent-up consumer demand for “experiences” over material objects since the coronavirus pandemic. Some think the  willingness of music lovers  to broaden their fandom horizons is part of the same mass cultural correction.

“It does seem like it’s more than a structural shift, maybe a personality transformation we all went through,” said Natalia Lechmanova, the chief Europe economist for the Mastercard Economics Institute.

As  Swift hopscotches  across Europe, Lechmanova expects restaurants and hotels to see the same boost that Mastercard observed within a 2.5-mile (4-kilometer) radius of concert venues in the U.S. cities she visited in 2023. The U.S. dollar’s strong value against the euro may also increase retail spending on apparel, memorabilia, beauty products and supplies for the friendship bracelets fans exchange as part of the Eras Tour experience, the economist said.

Former college roommates Lizzy Hale, 34, who lives in Los Angeles, and Mitch Goulding, 33, who lives in Austin, Texas, already had tickets to see the Eras Tour in L.A. last summer when they decided to try to get ones for Paris, London or Edinburgh, Scotland, too. They saw a Europe concert trip as a makeup for travel plans they had in May 2020 to celebrate Goulding’s birthday but had to cancel due to the pandemic.

Goulding managed to secure VIP tickets for one of Swift’s three Stockholm shows. He, Hale and two other friends scheduled a 10-day trip that also includes time in Amsterdam and Copenhagen.

“As people who enjoy traveling and enjoy music, if you can find an opportunity to combine the two, it’s really special,” said Hale, who is pregnant with her first child.

FOR STOCKHOLM, 120,000 SWIFTIES CAN’T BE WRONG

The local economic impact of what the zeitgeist has termed “Swiftonomics” and the “Swift lift”  can be considerable . It’s no wonder the exclusive arrangement Singapore’s government made with Swift to make the city-state her only tour stop in Southeast Asia earlier this year aroused  regional jealousy .

No European governments have complained of their countries not being among the dozen selected for the Europe leg of the Eras Tour, although some fans have expressed surprise that Gelsenkirchen, a city with a population of about 264,000 is one of the three cities in Germany that made the cut.

Airbnb reported Tuesday that searches on its platform for the U.K. cities where Swift is performing in June and August — Edinburgh, Liverpool, Cardiff and London — increased an average of 337% when tickets went on sale last summer.

Not to be outdone when it comes to trend-spotting,  the property rentals company  cited the demand as an example of “passion tourism,” or travel “driven by concerts, sports and other cultural events.”

In Stockholm , 120,000 out-of-towners from 130 countries -- among them 10,000 from the U.S. — are expected to swarm Sweden’s capital this month, Stockholm Chamber of Commerce Chief Economist Carl Bergqvist said. Stockholm is the only Scandinavian city on Swift’s tour, and airlines added extra flights from nearby Denmark, Finland and Norway to bring people to the May 17-19 shows, he said.

The city’s 40,000 hotel rooms are sold out even though prices skyrocketed for the tour dates, Bergqvist said. Concert visitors are expected to pump around 500 million Swedish kroner, or over $46 million, into the local economy over the course of their stays, an estimate that does not include what they paid for Swift tickets or to get to Sweden, he said.

“So this is going to be huge for the tourism sector in Sweden and Stockholm in particular,” Bergqvist said.

Nightclubs, restaurants and  bars  are seizing the opportunity to cater to fans with Taylor Swift-themed events, such as karaoke, quizzes and after-concert dance parties.

Houston resident Caroline Matlock, 29, saw Swift more than a year ago when the Eras Tour came to the Texas city. Now she’s making more friendship bracelets and trying to learn a few words of Swedish as she prepares to see the 3 1/2-hour show in Stockholm. The idea of seeing Swift in Europe was her friend’s, and Matlock needed some persuading at first.

“I was like, ‘I only want to go if it’s a country I haven’t been to. I’ve seen Taylor Swift,’” she said.

Visiting the Scandinavian cities of Oslo and Gothenburg is on their itinerary. The concert is the last night of the trip and Matlock looks forward to interacting with Swifties from other countries: “Americans tend to have a very obsessive culture, especially Taylor Swift-related, so I’m curious if the crowd will be more toned-down.”

WILL TOUR TOURISM ENDURE AFTER ERAS?

It remains to be seen if the music tourism trend has legs as long and strong as Swift’s and Beyoncé's, and if it will carry over to Billie Eilish, Usher and other artists with world tours scheduled next year. Expedia’s Fish thinks other big-name artists in Europe this summer will prove that booking a foreign trip around a concert is catching on.

Kat Morga, a travel consultant based in Nashville, isn’t so sure. Morga saw Swift perform in Nashville last year and helped two clients with school-aged children book European family vacations this summer that include seeing Swift in concert. But she thinks the difficulty of navigating ticket purchases through language barriers, currency conversions, international banking regulations and the risk of cancellations will limit the appeal of regular gig getaways.

“I think this is an anomaly,” Morga said. “People aren’t typically going to build their $20,000 huge family vacation only because Taylor Swift is there. She’s the one-off. She’s special.”

Booking Holdings CEO Glenn Fogel, whose company operates Booking.com , priceline.com , agoda.com , Kayak and OpenTable, is even less enthusiastic about concert tours as a tourism instigator. The Swift Effect causes a “little blip” when the superstar goes to smaller destinations, but for the worldwide travel industry, “one star touring around does not make a difference,” he said.

“It may just shift it a little bit. A person was going to go to the Caribbean for a week vacation. Instead that person (says), ‘Let’s travel to the Taylor Swift thing,’” Fogel said. “It doesn’t increase it. It just moves it from here to there.”

AP journalists Colleen Barry in Milan, Chisato Tanaka in Stockholm, Anne D’Innocenzio in New York, David Koenig in Dallas, Thomas Adamson in Paris and Brian Melley in London contributed reporting.

Copyright 2024 The Associated Press. All rights reserved.

17-year-old in critical condition after being shot by police in Wilder Park neighborhood

Missing North Carolina man whose car was abandoned in Louisville park found safe

Bar raises minimum age to 30 on Friday and Saturday nights: ‘No exceptions’

Police looking for man accused of inappropriately touching others in Cherokee Park area

Crashes reported in Louisville cause delays to Tuesday morning commute

Latest news.

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Biden and Trump agree on debates on June 27 and in September, but details could be challenging

TARC offering fare-free rides to the polls

4-day-old newborn dies after being bitten by a dog, sheriff says

Man arrested on attempted murder charge after argument turns into shooting

3 children were in the home, including a child in the room where the shooting occurred.

WALHALLA, S.C. (FOX Carolina) - The Oconee County Sheriff’s Office said a man was arrested after an argument turned into a shooting and a woman was shot late Saturday night.

According to deputies, they were called to an address on White Oak Hill Drive.

On the way to the scene, they learned a woman was taken to the hospitala after she had been shot.

During the investigation, they learned 35-year-old Alteno Jeoid Oglesby and the woman had been in an argument in a room inside the house. Deputies said he fired multiple shots into the floor, then at the woman in the upper torso.

Officials learned three children were also in the home at the time of the shooting. A child was in the room where the shooting occurred and two teens were also in the house.

Oglesby was taken into custody on possession of a weapon during commission of a violent crime and unlawfully placing a child at risk in relation to the same incident.

Copyright 2024 WHNS. All rights reserved.

Coroner identifies man shot to death in Easley yard

Mother upset after teacher combs out daughter’s locs without permission

Power restored for thousands in Greenville County

Suspect in custody after string of armed robberies at Upstate Walmarts

Shooting of teen brings father’s cold case back into spotlight

Latest news.

Holliday Brewfest: Inman's 1st craft beer fest

Lawsuits filed against Upstate district for alleged sexual assaults in classroom

Man wanted in connection with 11-year-old murder, torture case in GA arrested in NC

Early morning fire at Upstate thrift store