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Noah Kahan announces 'We'll All Be Here Forever' tour. What to know

Noah Kahan is staying in his "stick season" for another year.

After launching a tour tied to his breakthrough third studio album, "Stick Season," toward the end of 2022 — which he extended through the summer of 2023 — Kahan has announced dates for a second tour.

"This exceeds even my wildest childhood dreams, but you have made them all possible, so we are announcing another tour! I can’t hardly believe it," Kahan shared on Instagram Sept. 20.

His second tour, titled "We'll All Be Here Forever," brings 32 new dates and will mark his debut at major venues across the country, including the Hollywood Bowl in Los Angeles and Madison Square Garden in New York.

Celebrating the milestone, Kahan posted a photo of himself performing as a child on X, formerly known as Twitter.

"Somebody tell him he’s gonna do it, somebody tell him he’s gonna play the garden," Kahan said.

The tour’s title comes from the name of his deluxe album, “Stick Season (We’ll All Be Here Forever),” which premiered June 9 with seven new tracks.

Kahan made his debut in 2019 with the folk-pop album “Busyhead,” which he followed up with “I Was/I Am” in 2021. But his breakthrough came with “Stick Season,” achieving viral fame. Having teased the titular track since 2020 by playing the chorus on TikTok, fans were anxious for the full song — and eventually the album — to be released.

Riding the high of his success, Kahan promised the deluxe version of the album, but soon felt “lost” in fame and self-imposed pressure for another hit.

“I realized that I just had to stop putting so much pressure on myself and make whatever I could and not kill myself over it,” he previously told TODAY.com.

Kahan started touring his “Stick Season” album in 2022, with dates for his current trek lined up through Feb. 26, 2024, in Belgium. The "We'll All Be Here Forever" North America tour kicks off March 26, 2024, in Vancouver.

Here's what to know about the upcoming tour.

How to get tickets

Due to anticipated high demand, fans can register for an advanced registration presale code. Registration began Sept. 20 and is open until Sept. 24 at 10 p.m. PT. Presale tickets will be available for purchase with a code starting Sept. 27 at 10 a.m. local time.

Public on-sale is scheduled to start Sept. 29 at 10 a.m. local time.

Tickets are nontransferable, according to a notice on Kahan's social media , but can be submitted for resale through Ticketmaster's face value ticket exchange , which allows users to sell tickets at the price they were purchased.

Here are the "We'll All Be Here Forever" tour dates:

• March 26, 2024 — Vancouver, BC — Rogers Arena
• March 28, 2024 — Calgary, AB — Scotiabank Saddledome
• March 29, 2024 — Edmonton, AB — Rogers Place
• March 30, 2024 — Saskatoon, SK — SaskTel Centre
• April 2, 2024 — Winnipeg, MB — Canada Life Centre
• April 6, 2024 — Toronto, ON — Scotiabank Arena
• April 7, 2024 — London, ON — Budweiser Gardens
• April 9, 2024 — Ottawa, ON — Canadian Tire Centre
• April 10, 2024 — Quebec, QC — Videotron Centre
• April 13, 2024 — Montreal, QC — Bell Centre
• May 22, 2024 — Asheville, NC — ExploreAsheville.com Arena
• May 25, 2024 — Nashville, TN — Bridgestone Arena
• May 28, 2024 — Cuyahoga Falls, OH — Blossom Music Center
• May 29, 2024 — Burgettstown, PA — The Pavilion at Star Lake
• June 4, 2024 — St. Louis, MO — Hollywood Casino Amphitheatre
• June 5, 2024 — Kansas City, MO — Azura Amphitheater
• June 7, 2024 — St. Paul, MN — Xcel Energy Center
• June 11, 2024 — Dallas, TX — Dos Equis Pavilion
• June 13, 2024 — Houston, TX — Cynthia Woods Mitchell Pavilion
• June 14, 2024 — Austin, TX — Moody Center
• June 18, 2024 — Chula Vista, CA — North Island Credit Union Amphitheatre
• June 21, 2024 — Los Angeles, CA — Hollywood Bowl
• June 25, 2024 — Greenwood Village, CO — Fiddler’s Green Amphitheatre
• June 29, 2024 — George, WA — The Gorge
• July 1, 2024 — Ridgefield, WA — RV Inn Style Resorts Amphitheater
• July 3, 2024 — Wheatland, CA — Toyota Amphitheatre
• July 5, 2024 — Berkeley, CA — The Greek Theatre
• July 6, 2024 — Berkeley, CA — The Greek Theatre
• July 9, 2024 — Salt Lake City, UT — USANA Amphitheatre
• July 13, 2024 — East Troy, WI — Alpine Valley Music Theatre
• July 16, 2024 — New York, NY — Madison Square Garden
• July 19, 2024 — Boston, MA — Fenway Park

Maddie Ellis is a weekend editor at TODAY Digital.

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Noah Kahan Set List for 2023 Stick Season Tour Revealed

Noah Kahan is one of the hottest rising stars on the music scene and he has been playing to sold-out crowd on his Stick Season Tour.

The 26-year-old singer-songwriter kicked off the tour on May 26 in New York and has already played a bunch of shows!

Noah is joined on the tour by supporting acts like Joy Oladokun , Josiah and the Bonnevilles , Briston Maroney , and Ruston Kelly . In addition to his headlining shows, he’s also playing a bunch of festival dates along the trek.

Head inside to check out the set list…

Keep scrolling to check out the full set list… **This set list is representative of the first show and might not be completely accurate for every show.

1. All My Love 2. Everywhere, Everything 3. She Calls Me Back 4. False Confidence 5. New Perspective 6. No Complaints 7. Growing Sideways 8. Maine 9. Your Needs, My Needs 10. Northern Attitude 11. Dial Drunk 12. Carlo’s Song 13. You’re Gonna Go Far 14. Orange Juice 15. Homesick 16. ENCORE: The View Between Villages 17. ENCORE: Stick Season 18. ENCORE: Mess

Check out the set lists for more artists on tour right now!

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How Noah Kahan Turned ‘Stick Season’ Into The Gift That Keeps On Giving

With the album's stunning extended impact, the alt-folk singer-songwriter (and first-time Grammy nominee) has turned a slow-burn rise into a non-stop winning streak.

By Andrew Unterberger

Andrew Unterberger

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On the Friday before his Saturday Night Live debut, Noah Kahan is still nursing the wounds from an L he took at 30  Rock earlier in the week.

Kahan, the show’s next musical guest, was filming SNL ’s obligatory midweek ads alongside cast member Sarah Sherman and host Emma Stone. “I always thought that I could be, like, a funny actor,” says the rising singer-songwriter — who is, indeed, pretty funny on social media. “Did not go down like that.” While Sherman and Stone easily bantered, the usually witty and loquacious Kahan stood stone-still, giving wooden readings of his couple of short lines.

How Did Noah Kahan Get Back to the Billboard 200’s Top 5 After 15 Months of…

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But 2022 was just the warmup for the cold-weather singer-songwriter, whose sepia-toned ballads and stinging-throat stompers — as well as his breakout hit, named for the time of year in the Northeast when the trees go barren — have made him something of an unofficial ambassador for late autumn. Kahan’s crossover became undeniable in June with the release of his Stick Season deluxe edition, subtitled We’ll All Be Here Forever .

The reissue shot the album to No. 3 on the Billboard 200, largely on the strength of seven new tracks — one of which, the barnstorming, back-of-a-cop-car lament “Dial Drunk,” became his first Billboard Hot 100 hit, after an extensive tease on TikTok. That song went top 40 following the release of its remix featuring fellow Mercury/Republic star Post Malone — which also kick-started a run of new Stick Season remixes, with guests like Kacey Musgraves, Hozier and Gracie Abrams, who boosted their respective tracks onto the Hot 100 for the first time.

And in the end — even if his underwhelming teaser performance didn’t lead to any acting opportunities on his episode — his ripping performances of “Dial Drunk” and “Stick Season” still made for an overall win. Now, with winter on the horizon as we speak, the self-aware Kahan jokingly wonders if his appropriately dominant late-year run may be coming to its seasonal close.

“My time is ending, and we’re going into Bon Iver era now,” he says with a laugh. “He gets the baton.”

Much like the trees’ gradual-then-sudden shedding of their autumn leaves, Stick Season ’s takeover may seem — to anyone who wasn’t paying attention — like it came out of nowhere.

But Kahan had been growing his audience steadily, albeit slowly, for nearly a decade. It helped that he had the continued faith of Mercury/Republic, which longtime co-manager Drew Simmons says believed in Kahan’s talent from the first moment he auditioned for the label.

“He just played a couple of songs acoustic for them in their lounge space — and I remember [Republic founder and CEO] Monte Lipman popped in for a minute and was basically like, ‘Sign this kid tomorrow,’ ” Simmons recalls. “He said to Noah, ‘You have no idea how good you are.’ ”

Kahan’s first two albums, 2019’s Busyhead and 2021’s I Was / I Am , showed his talent and promise — particularly his ability to build worlds within a song and his ease with writing and performing shout-along choruses — but their brand of folk-pop aimed perhaps a little too squarely for a top 40 crossover bull’s-eye and suffered for their studiousness. But though both sets’ commercial performance was underwhelming, they allowed Kahan to develop his chops as a road warrior, gigging constantly around the country at midsize venues and developing a devoted following. “Noah’s story is one of proper artist development,” Simmons says. “He’s eight, nine years into his career, but those were really important years for his personal growth, his songwriting growth, his ability to own a live stage.”

“The path he is on now started during the pandemic while he was home in Vermont and we were all trying to figure out what to do,” says Ben Adelson, executive vp/GM at Mercury. “He had written a lot of great folk songs that he wanted to self-record at home and that became Cape Elizabeth . We fully supported it, and that really helped set the stage for what has come.”

It also helped that around the same time, the mainstream winds were starting to blow back in Kahan’s direction. TikTok’s rise to prominence had provided the world a new, effective communal space for sharing music. And as the global pandemic forced everyone indoors (and inward), Kahan’s brand of introspective, reflective songwriting suddenly found an audience in listeners yearning for simpler times.

That shift could be seen in the slow-building success of organic-sounding, Americana-leaning country singer-songwriters like Tyler Childers and Zach Bryan, both of whom grew star-level followings in the last few years. And of course, no one forecast (or accelerated) the changing tides more than Taylor Swift, whose pair of rootsy 2020 surprise releases ( folklore and evermore ) put up equivalent numbers to her more pop-oriented releases and effectively raised the commercial ceiling for main-character alt-folk, a more Gen Z-friendly revival of the folk-pop boom of the early 2010s.

Nearly a decade since the commercial heyday of those strum-and-stomp hit-makers, they remained core influences on Kahan — “I never stopped f–king listening to Mumford & Sons,” he says — so when he decided to head in a new creative direction, alt-folk was a natural home for him. But while most of those groups tended to go lyrically broad with their arena-aimed anthems, Kahan narrowed his writing focus to his own experiences: growing up in Strafford, Vt., and Hanover, N.H., and the struggles with anxiety and depression he’s still navigating today.

“I like to think that storytelling is something that can always bring success, if you tell it in the right way and if you tell it with the right intention,” he says. “And so my intention behind this project actually was really pure — just to talk about New England and to talk about my childhood and my family. I wanted to examine those things, and I wanted to think about my hometown and think about my parents and think about my journey with mental illness — and I have a hard time doing that without writing songs.”

Unlike the previous generation of alt-folkies, Kahan is also, well, funny. His brand of humor is unmistakably influenced by his Jewish heritage on his father’s side — he refers to himself as “Jewish Capaldi” at live shows and says “sometimes I just feel like Larry David walking around” — and makes for a marked contrast from his avowedly straight-faced, chest-pounding antecedents, many of whom sang implicitly or explicitly about Christian themes.

Religion aside, Kahan’s mannerisms — the mile-a-minute speaking, the gently anxious energy, the self-deprecating and filter-free humor — should be familiar to anyone burdened with both an overachiever’s self-confidence and a late-bloomer’s insecurity. Ultimately, the biggest factor in Kahan’s leap to stardom might be the generation of terminally online, oversharing introverts that recognizes itself in his personality (both onstage and on social media) as well as in his lyrics. And that manifests at his shows, which are increasing in size — beyond festival headlining, Kahan will embark on his first amphitheater and arena tour this summer — without losing their immediacy and intensity, as crowds in the thousands now shout Kahan’s incredibly personal words back at him.

“No one else can tell my own story,” Kahan says. “And if people want to hear your story, then you’re in a really awesome position, because you hold the key to your own memories and people are interested in what those memories mean to you — and find connections to their own memories, to their own lives.”

While Kahan may have joked in December about passing the folk torch to Justin Vernon — the genre’s esteemed dead-of-winter representative — Stick Season actually has no end in sight. Kahan’s touring in support of the album will take him through Europe and Canada the next few months, before bringing him back to the United States this summer. Meanwhile, the remixes continue to roll out, most recently one with Sam Fender — maybe the closest thing to Kahan’s northeast England equivalent — on late-album highlight “Homesick.”

At a time when most albums struggle to maintain listener attention for a full month, let alone a year or longer, the extended impact of Stick Season is stunning — and Kahan and his team have savvily maximized its longevity, resulting in one of the biggest glow-ups a new artist has experienced this decade. He now counts superstars like Bryan and Olivia Rodrigo as both friends and peers; the latter covered “Stick Season” for BBC Radio 1’s Live Lounge and even sent him flowers after his best new artist Grammy nod, an award she herself won two years earlier. (“It was so incredibly sweet… she’s just a star, and she’s so nice,” Kahan says.)

It’s reasonable to wonder, at this point, if there’s a Stick Season saturation point — both for fans and for Kahan himself. He played over 100 gigs in 2023, and at press time, already had almost 80 on the books through September, with more likely on the way. With the number of opportunities available to him increasing along with his popularity, it’s a potentially perilous time for an artist who has been open about his mental health struggles — particularly while on the road — and who has waited for his moment as long as Kahan has.

“I have a real scarcity mindset,” he says. “Who knows when this will come again? So you have to take advantage of every opportunity. I think that mindset makes sense in a lot of ways, but in some ways it hurts you. Sometimes I overextend and feel like I’m overpromising and not able to deliver when the moment actually comes.”

When Kahan does finally leave Stick Season behind, he’ll do so with the kind of established rabid fan base and artistic freedom to make him the envy of nearly every current performer not named Taylor Swift or Beyoncé, and plenty of room still to grow. Still, Kahan is ambivalent about how much bigger he even wants to get. He cops to being “ super -competitive” both creatively and commercially, but also recognizes that “the level of microscopic attention that that next level seems to bring” might not necessarily be the best thing for him.

“Some days I’m like, “Man… I want to play f–king Gillette [Stadium] next!’ And then sometimes I’m like, “ Whew , let’s just go back and play [New York’s] Bowery Ballroom and, like, chill out and play a bunch of acoustic songs,” he says. “I have to fight back against the next ‘more more more’ thing sometimes. Because it never really brings you whatever you think you’re going to get from it. It never brings you the total satisfaction and, like, self-peace that you think it would.”

Ultimately, though, he’s satisfied with his hard-earned level of current success and somewhat Zen about what may follow — even accidentally echoing the subtitle of the latest Stick Season edition while explaining his mindset.

This story originally appeared in the Jan. 27, 2024, issue of Billboard.

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NOAH KAHAN Announces Additional Dates For Summer 2023 “Stick Season Tour”

Following the sold out fall and winter legs of his “Stick Season Tour , ” Vermont singer and songwriter Noah Kahan cements himself as one of this year’s hottest breakout artists with the announcement of additional tour dates across the Northeast this summer, which are part of his previously announced “Stick Season Summer Tour” that sold out nearly instantly. Not to mention, this summer he’ll also make his headline debut at the legendary Red Rocks Amphitheatre . These newly announced dates mark the biggest headline venues and performances of Noah’s career thus far.

New dates include Morrison, CO on July 26 th at Red Rocks Amphitheatre , Syracuse, NY on September 1 st at St. Joseph’s Health Amphitheater at Lakeview , Saratoga Springs, NY on September 2 nd at Saratoga Performing Arts Center , Bridgeport, CT on September 5 th at Hartford HealthCare Amphitheater , Gilford, NH on September 7 th at Bank of New Hampshire Pavilion , and Mansfield, MA on September 9 th at Xfinity Center .

TICKETS:  Tickets for these shows are in high demand, therefore the artist has chosen to use Verified Fan to ensure more of their tickets get into the hands of fans who want to go to the show, not buyers looking to resell them.

• Fans can register now for the Verified Fan onsale HERE .
• Registration for Verified Fan onsale will close Sunday, March 19 th at 10:00 PM PT.
• Fans who are selected to receive an access code will be able to participate in the Verified Fan Presale on Wednesday, March 22 nd .
• Additional presales will run throughout the week ahead of the general onsale starting Friday, March 24 th at 10:00 AM Local Time at ticketmaster.com .

$1 from every ticket on the “Stick Season Summer Tour” will go towards supporting mental health services via the PLUS1 Mental Health Access Fund—stay tuned for an exciting announcement coming soon.

In addition to the “Stick Season Summer Tour,” Noah will be supporting Dermot Kennedy across the UK this spring, as well as taking the stage at a slew of festivals this summer, including Boston Calling, Hangout Music Festival, Outside Lands Music Festival, Echoland Festival, Hinterland Music Festival, Ocean’s Calling, and more.

2023 “STICK SEASON” NORTH AMERICAN TOUR: PREVIOUSLY ANNOUNCED DATES (SOLD OUT)

May 26            Lewiston, NY               ARTPARK Amphitheater^

May 30            Albany, NY                  Palace Theatre^

June 1             Montreal, QC              MTELUS^

June 2             Montreal, QC              MTELUS^

June 3             Lafayette, NY              Beak & Skiff Orchards ~

June 6             Pittsburgh, PA             Stage AE ~

June 7             New York, NY             Radio City Music Hall^

June 9             Columbia, MD             Merriweather Post Pavilion^

June 10           Philadelphia, PA         The Mann Center^

June 11           Charlottesville, VA      Ting Pavilion^

June 13           Charlotte, NC              Sky Credit Union Amphitheater^

June 14           Raleigh, NC                Red Hat Amphitheater^

June 17           Atlanta, GA                 Cadence Bank Amphitheatre at Chastain Park #

June 18           Charleston, SC           Firefly Distillery #

June 20           Asheville, NC              Rabbit Rabbit^

June 22           Cleveland, OH            Jacobs Pavilion @ Nautica^~

June 23           Cincinnati, OH             The ICON Festival Stage at Smale Park^

July 29             Burlington, VT             Waterfront Park^~

July 30             Burlington, VT             Waterfront Park^~

August 8          Phoenix, AZ                Arizona Financial Theatre^

August 9          San Diego, CA            Cal Coast Credit Union Amphitheater^

August 11        Los Angeles, CA         The Greek Theatre^

August 15        Redmond, WA            Marymoor Park^~

August 16        Vancouver, BC           Doug Mitchell Thunderbird Sports Centre^

August 18        Spokane, WA              Pavilion at the Riverfront^~

August 19        Bend, OR                    Hayden Homes Amphitheater^

August 31        New York, NY             Radio City Music Hall #

September 12 Columbus, OH            KEMBA Live! #~

September 13 St. Louis, MO              Saint Louis Music Park #

September 15 Indianapolis, IN           TCU Amphitheater @ White River State Park #

September 16 Detroit, MI                   Michigan Lottery Amphitheatre @ Freedom Hill #

September 17 Toronto, ON                Budweiser Stage #

All Previously Announced Dates Are Sold Out

July 26             Morrison, CO              Red Rocks Amphitheatre*~

September 1   Syracuse, NY              St. Joseph’s Health Amphitheater at Lakeview #

September 2   Saratoga Springs, NY Saratoga Performing Arts Center #

September 5   Bridgeport, CT            Hartford HealthCare Amphitheater #

September 7   Gilford, NH                  Bank of New Hampshire Pavilion #

September 9   Mansfield, MA             Xfinity Center #

^ with Joy Oladokun

# with Ruston Kelly

* with Briston Maroney

~ Non-Live Nation Date

ABOUT NOAH KAHAN

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over two billion streams, released three full length albums ( Busyhead , 2019;  I Was / I Am , 2021; Stick Season , 2022) and a mid-pandemic EP ( Cape Elizabeth , 2020), picked up a Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as Jimmy Kimmel Live! , The Late Show with Stephen Colbert , Late Night with Seth Meyers , TODAY , and The Kelly Clarkson Show . After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement inspired by his New England roots, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. The result is Noah’s critically acclaimed new album Stick Season , which features his Gold-Certified viral hit single “Stick Season” and has become his most successful release to date. Following the album release, Noah embarked on the first two legs of his sold-out “Stick Season Tour” across North America, which will continue into this summer, where he’ll play his biggest venues to date, including the iconic Radio City Music Hall, The Greek Theatre, and Red Rocks Amphitheatre.

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NOAH KAHAN ANNOUNCES STICK SEASON (WE’LL ALL BE HERE FOREVER) OUT JUNE 9

FEATURING SEVEN NEW SONGS, INCLUDING VIRAL FAN FAVORITE “DIAL DRUNK”

SET TO KICK OFF SOLD-OUT SUMMER 2023 “STICK SEASON TOUR” THIS MONTH

Download Press Materials HERE

PRE-ORDER/PRE-SAVE HERE

19 MAY 2023 (TORONTO, ON) – Today, critically acclaimed, Vermont singer and songwriter Noah Kahan reveals the upcoming release of Stick Season (We’ll All Be Here Forever) out June 9th via Mercury Records/Republic Records/Universal Music Canada . The highly anticipated, extended version of 2022’s breakout album will feature seven new tracks, including “ Dial Drunk ,” which has already received an incredible response from fans online after Noah began teasing the song on social media, amassing millions of views to date. Stick Season (We’ll All Be Here Forever) will arrive just in time for Noah’s summer leg of the “Stick Season Tour , ” which is completely sold out and includes two nights at New York’s Radio City Music Hall and one night at Los Angeles’ The Greek Theatre .

Noah says, “I deeply appreciate your patience and your support for this project, and I am so incredibly grateful to be able to continue telling this story. I can’t believe I get to do this for a living, and I can’t imagine a better community to make music for.”

Recently, Noah dropped a live rendition of his emotional song “Orange Juice” and a captivating cover of Jason Isbell’s “If We Were Vampires” featuring Wesley Schultz of The Lumineers for Spotify Singles—listen HERE . His version of “If We Were Vampires” was praised by Isbell himself, and earlier this spring while on tour in Denver, Noah gifted fans with a live performance of the beloved track with a surprise appearance from Schultz—watch HERE .

Following the release of his celebrated album Stick Season and sold-out Fall 2022 and Winter 2023 legs of his “Stick Season Tour,” Noah Kahan has cemented himself as one of this year’s biggest breakout artists. This summer’s tour marks the largest headline venues and performances of Noah’s career thus far, with over 275 thousand tickets sold to date and shows selling out in a mere few hours after going on-sale. See the full list of upcoming dates below.

$1 from every ticket on the “Stick Season Tour” will go towards supporting mental health services via the PLUS1 Mental Health Access Fund—stay tuned for an exciting announcement coming soon.

Upon release last fall, Stick Season debuted at #14 on the Billboard 200 Chart, #4 on Billboard’s Top Alternative Albums Chart, #5 on Billboard’s Top Rock Albums Chart, and #5 on Billboard’s Top Rock & Alternative Albums Chart. Not to mention, it skyrocketed to #6 on Spotify’s Weekly Top Albums USA Chart, and Noah had six songs from the album featured on Spotify’s Viral 100 Chart—the most of any artist on the chart at that time—with “Stick Season” securing the #1 spot. To date, the album has garnered over 600 million global streams. The viral title track also captured #1 on the AAA Radio Chart—Noah’s first #1 at the format—and fan favorite track “Homesick” currently sits at #6 on the chart. Stick Season received praise from the likes of Associated Press , CBS This Morning , Song Exploder , Billboard , GQ , Esquire , V Magazine , People , and many more, while Noah delivered captivating live performances on Jimmy Kimmel Live! , TODAY , The Kelly Clarkson Show , and Artists Den’s “Live From My Den . ”

Stay tuned for much more to come from Noah Kahan this summer!

STICK SEASON (WE’LL ALL BE HERE FOREVER) TRACKLIST:

• “Northern Attitude”
• “Stick Season”
• “All My Love”
• “She Calls Me Back”
• “Come Over”
• “New Perspective”
• “Everywhere, Everything”
• “Orange Juice”
• “Strawberry Wine”
• “Growing Sideways”
• “Halloween”
• “The View Between Villages”
• “Your Needs, My Needs”
• “Dial Drunk”
• “Paul Revere”
• “No Complaints”
• “Call Your Mom”
• “You’re Gonna Go Far”
• “The View Between Villages (Extended)”

2023 “STICK SEASON” NORTH AMERICAN TOUR (SOLD OUT):

May 21                                 Gulf Shores, AL  Hangout Music Festival

May 26                                Lewiston, NY                     ARTPARK Amphitheater^

May 27                                 Boston, MA                         Boston Calling

May 30                                Albany, NY                         Palace Theatre^

June 1                                  Montreal, QC                    MTELUS^

June 2                                  Montreal, QC                    MTELUS^

June 3                                  Lafayette, NY                    Beak & Skiff Orchards

June 6                                  Pittsburgh, PA                   Stage AE

June 7                                  New York, NY                    Radio City Music Hall^

June 9                                  Columbia, MD                   Merriweather Post Pavilion^

June 10                                Philadelphia, PA               The Mann Center^

June 11                                Charlottesville, VA           Ting Pavilion^

June 13                                Charlotte, NC                    Sky Credit Union Amphitheater^

June 14                                Raleigh, NC                        Red Hat Amphitheater^

June 16                                 Manchester, TN Bonnaroo

June 17                                Atlanta, GA                        Cadence Bank Amphitheatre at Chastain Park #

June 18                                Charleston, SC                   Firefly Distillery #

June 20                                Asheville, NC                     Rabbit Rabbit^

June 22                                Cleveland, OH                   Jacobs Pavilion @ Nautica^

June 23                                Cincinnati, OH                   The ICON Festival Stage at Smale Park^

June 24                                 Milwaukee, WI                  Summerfest

June 25                                 Dillon, CO                            Dillon Amphitheater

July 26                                  Morrison, CO                    Red Rocks Amphitheatre*

July 28                                  Newport, RI                        Newport Folk Festival

July 29                                  Burlington, VT                   Waterfront Park^

July 30                                  Burlington, VT                   Waterfront Park^

August 3                               Chicago, IL                           Lollapalooza

August 5                               Saint Charles, IA                Hinterland Music Festival

August 8                              Phoenix, AZ                       Arizona Financial Theatre^

August 9                              San Diego, CA                    Cal Coast Credit Union Amphitheater^

August 11                            Los Angeles, CA                The Greek Theatre^

August 13                            San Francisco, CA             Outside Lands Music Festival

August 15                            Redmond, WA                  Marymoor Park^

August 16                            Vancouver, BC                  Doug Mitchell Thunderbird Sports Centre^

August 18                            Spokane, WA                    Pavilion at the Riverfront^

August 19                            Bend, OR                            Hayden Homes Amphitheater^

August 20                            Palmer, AK                          Alaska State Fair

August 26-27                      Richmond, VA                    Iron Blossom Music Festival

August 31                            New York, NY                    Radio City Music Hall #

September 1                      Syracuse, NY                      St. Joseph’s Health Amphitheater at Lakeview #

September 2                      Saratoga Springs, NY Saratoga Performing Arts Center #

September 5                      Bridgeport, CT                  Hartford HealthCare Amphitheater #

September 6                      Gilford, NH                          Bank of New Hampshire Pavilion #

September 7                      Gilford, NH                        Bank of New Hampshire Pavilion #

September 9                      Mansfield, MA                  Xfinity Center #

September 12                    Columbus, OH                   KEMBA Live! #

September 13                    St. Louis, MO                     Saint Louis Music Park #

September 15                    Indianapolis, IN                TCU Amphitheater @ White River State Park #

September 16                    Detroit, MI                        Michigan Lottery Amphitheatre @ Freedom Hill #

September 17                    Toronto, ON                      Budweiser Stage #

September 30                    Ocean City, MD Ocean’s Calling

October                                Austin, TX                            Austin City Limits Music Festival

^ with Joy Oladokun

# with Ruston Kelly

* with Briston Maroney

ABOUT NOAH KAHAN

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over two billion streams, released three full length albums ( Busyhead , 2019; I Was / I Am , 2021; Stick Season , 2022) and a mid-pandemic EP ( Cape Elizabeth , 2020), picked up a Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as Jimmy Kimmel Live! , The Late Show with Stephen Colbert , Late Night with Seth Meyers , TODAY , and The Kelly Clarkson Show . After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement inspired by his New England roots, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. The result is Noah’s critically acclaimed new album Stick Season , which features his Gold-Certified viral hit single “Stick Season ” and has become his most successful release to date. Following the album release, Noah embarked on the first two legs of his sold-out “Stick Season Tour” across North America, which will continue into this summer, where he’ll play his biggest venues to date, including the iconic Radio City Music Hall, The Greek Theatre, and Red Rocks Amphitheatre.

FOLLOW NOAH KAHAN:

INSTAGRAM  |  TIKTOK  |  TWITTER  |  FACEBOOK  |  YOUTUBE  |  WEBSITE  |  SPOTIFY

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Noah Kahan: The  Stick Season  Tour

Presented By:

the Mann & Live Nation

Artists and set times are subject to change.

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Noah Kahan is bringing The  Stick Season  Tour to TD Pavilion at the Mann on Saturday, June 10 with Joy Oladokun!

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over one billion streams, released two full length albums ( Busyhead , 2019 and I Was / I Am , 2021) and a mid-pandemic EP ( Cape Elizabeth , 2020), picked up a Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as The Late Show with Stephen Colbert , Late Night with Seth Meyers , and TODAY . Not to mention, he’s collaborated with everyone from Joy Oladokun to Chelsea Cutler to mxmtoon to Quinn XCII to Gryffin. After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. Now, Noah continues to progress on his 2022 singles “Stick Season” and “Northern Attitude,” taken from his highly anticipated new album Stick Season out now. 

Noah Kahan has partnered with PLUS1 so that $1 per ticket goes towards organizations delivering mental health treatment and access to care. 

Tickets are on sale now via Ticketmaster.com and the Mann's Ticket Office .

Bags must be 12"x6"x12" or smaller. For the safety of our patrons, all bags are subject to search.

Digital Program

We're going paperless! For a copy of the season's touchless and environmentally-friendly program, text  PROGRAM  to  (215) 544-2803 . Instructions  here .

Picnics are not allowed for this performance. 

If you are 21 years of age or older and plan to consume alcohol at the concert, please be prepared to present proper I.D.

Lawn chairs are not permitted for this performance. 

Small blankets are permitted for all shows, but we do ask that you be mindful of your neighbors on the lawn. 

Not sure where to go?

Parking Information

Parking is free for this show.

Getting to the Mann is easier than ever!

No photography is permitted at this performance.

Concert review: Noah Kahan’s ‘Stick Season’ tour features small towns, big feelings

• September 13, 2023
• Meghan Beery

Folk-pop singer-songwriter Noah Kahan played KEMBA Live! Tuesday while on his “Stick Season” tour. Credit: Meghan Beery | Kraft Copy Chief

In front of a sold-out crowd, singer-songwriter Noah Kahan brought his distinct blend of folk, pop, rock and indie music to KEMBA Live! Tuesday.

The “Stick Season” tour features Kahan’s third album of the same name, released Oct. 14, 2022. In June, Kahan followed up with a deluxe edition, “Stick Season (We’ll All Be Here Forever),” adding six new songs and an extended version of sentimental track “The View Between Villages.”

“Stick Season” — named after a Vermont colloquialism for the period between fall and winter when the trees are bare, but snow hasn’t fallen — explores themes of homesickness, escape, mental health and change. Kahan, a Vermont native, infused pieces of his childhood in the album, including his experiences with therapy, depression and growing up in a small town.

Singer-songwriter Ruston Kelly opened the concert, adding a bit of country flair to Kahan’s folk-pop blend. Kelly performed original songs such as “Faceplant” — which describes someone who “took too many pills again,” mirroring Kelly’s own struggle with substance abuse — and covered Taylor Swift’s “All Too Well,” much to the delight of the crowd.

Kahan — equipped with an acoustic guitar — took the stage after Kelly’s set, starting off strong with “Northern Attitude,” a deceptively upbeat song about the effects loneliness and fear can have on relationships. Kahan juxtaposed the song’s weighty lyrics with its quick tempo, a theme that continued throughout the evening.

Kahan performed other songs from “Stick Season” and its deluxe counterpart, including “All My Love,” “Orange Juice” and “You’re Gonna Go Far.” He also went further back into his repertoire, singing “False Confidence” from his 2019 debut album “Busyhead.”

Each song was allowed space to shine, as the visual effects were limited to one screen in the background, often displaying bursts of color, patterns or live footage of Kahan.

Despite the complex topics explored in “Stick Season,” the atmosphere on and off the stage was often light. Kahan frequently joked with the audience, accepting a Paul Revere-themed shirt and hat in honor of his song “Paul Revere” and interjecting quick commentary between lyrics. The band, composed of guitarist Noah Levine, bassist Alex Bachari, drummer Marco Valles and pianist Dylan Jones, was enthusiastic and shone beneath the stage’s multicolored lights.

The concert slowed for Kahan’s “Call Your Mom,” an emotional song about mental health and supporting loved ones through their darkest moments. Kahan said the song was inspired by his experience with depression growing up; he often researched musical artists to discover if they had experienced something similar.

“I desperately needed to sing about someone who’s vulnerable,” Kahan said before launching into the song.

The concert wrapped with “Homesick” off of “Stick Season.” The song, which gained immense popularity on TikTok earlier this year, describes someone who is sick of their small town and desperate to escape. Similar to Kahan’s other songs, the melancholic lyrics were paired with a driving beat.

Overall, the successful balance of energy and gravitas made Kahan’s concert a triumph — no matter the season.

Rating: 5/5

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Event starts {{ data.showing_start_time }}, "stick season tour" with special guest ruston kelly.

Critically acclaimed Vermont singer and songwriter Noah Kahan reveals new tour dates for summer 2023 as a continuation of his sold-out “Stick Season Tour” produced by Live Nation. The run includes a stop at Michigan Lottery Amphitheatre with special guest Ruston Kelly on Saturday, September 16, 2023 at 8 p.m.

In addition to recently wrapping up the 2022 leg of his tour, Noah delivered stand-out live performances of “Stick Season” on Jimmy Kimmel Live! and “Northern Attitude” on The Kelly Clarkson Show . He also released a live acoustic performance of the fan favorite track “Homesick,” which was shot in his hometown of Strafford, VT—watch HERE .

Upon release, Stick Season debuted at #14 on the Billboard 200 Chart, #4 on Billboard’s Top Alternative Albums Chart, #5 on Billboard’s Top Rock Albums Chart, and #5 on Billboard’s Top Rock & Alternative Albums Chart. Not to mention, it skyrocketed to #6 on Spotify’s Weekly Top Albums USA Chart, and Noah had six songs from the album chart on Spotify’s Viral 100 Chart—the most of any artist on the chart. The viral breakout title track also recently hit #1 on the AAA Radio Chart, Noah’s first #1 at the format.

Stay tuned for much more to come from Noah Kahan in 2023!

Additional Ticket Information

Noah Kahan has partnered with PLUS1 so that $1 per ticket goes towards organizations delivering mental health treatment and access to care.

Noah Kahan Announces 2024 We’ll All Be Here Forever Tour North America Dates

Performing At Stadiums, Arenas And Ampitheaters Across North America In The Biggest Tour Of His Career Thus Far  

Venues include boston’s fenway park, new york’s madison square garden & los angeles’ hollywood bowl    , registration for access to tickets is op en now through sunday, september 24th at registration.ticketmaster.com/noahkahan  .

Following his massively successful, sold-out 2022 and 2023 Stick Season Tour runs, Noah Kahan today announced his 2024 We’ll All Be Here Forever Tour North America dates . Produced by Live Nation, the 32-date leg kicks off on Tuesday, March 26th in Vancouver, BC at Rogers Arena, with stops across North America in Toronto, Montreal, Nashville, Dallas, Austin, Los Angeles, New York, and more before wrapping up on Friday, July 19th with a celebratory New England stadium performance at Boston’s iconic Fenway Park with support special guests from Mt. Joy. Last month, Kahan announced 2024 dates in Europe and the UK, which will see him performing in Dublin, London, Paris and more.  

The We’ll All Be Here Forever Tour will see the critically acclaimed Vermont singer & songwriter playing the biggest and most iconic venues of his career thus far, including Hollywood Bowl in Los Angeles, Madison Square Garden in New York, Bridgestone Arena in Nashville, and many more—solidifying his widely successful breakout year.  

NORTH AMERICA TICKETS  

• PRESALE: Due to anticipated demand, fans of Noah Kahan are being asked to register ahead of tickets going on sale for the ‘We’ll All Be Here Forever Tour’ to help block bots, reduce resale and get more tickets directly into the hands of fans who want to attend the show. Fans can sign up now until Sunday, September 24 at 10 PM PT HERE for the Advance Registration Presale in North America. Once registration closes, fans will be randomly selected to receive a code that grants them access to the Registration Presale on Wednesday, September 27. Additional presales will run throughout the week ahead of the general onsale.   
• GENERAL ONSALE: A limited number of tickets will be available during a general onsale starting Friday, September 29 at 10 AM local time at ticketmaster.com while supplies last.  

Tonight, Noah will take the stage as a performer at The Americana Music Association’s 2023 Americana Honors & Awards in Nashville at the famed Ryman Auditorium. He will also perform as part of Austin City Limits TV ’s Season 49 on September 25th. Last week, Kahan enlisted Lizzy McAlpine for a newly recorded version of his deeply moving fan favorite, “ Call Your Mom .” Written about giving unconditional support to a loved one during life’s darkest moments, Noah first debuted the touching collaboration last month at his sold-out show at Los Angeles’ Greek Theater. The track was released to widespread praise from the likes of Rolling Stone , Consequence , Grammy.com , NYLON , V Magazine , UPROXX , and many more.   

Additionally, last week, Noah graced the cover of Pollstar ’s September issue and spoke about his incredible rise over the past year—read the story HERE . Kahan also was named on the 2023 TIME100 Next list—read two-time Olympic gold medalist and most decorated World Cup alpine skier in history Mikaela Shiffrin ’s tribute to him HERE .   

In July, Kahan teamed up with GRAMMY® Award-nominated global superstar Post Malone for a new version of his latest single “ Dial Drunk ”—listen HERE . “Dial Drunk,” which peaked at #1 on both the Alternative and AAA Radio Charts, is featured on his new album Stick Season (We’ll All Be Here Forever) , an extension of 2022’s Stick Season and his most successful offering to date. Stick Season was just recently Certified Gold, and the breakout title track was Certified Platinum. It debuted at #3 on Billboard 200 Chart , #1 on Top Americana/Folk Albums Chart , #1 on Billboard Top Alternative Albums Chart , #1 on Billboard Top Rock Albums Chart , and more. Impressively, Noah became the 5th artist in history with 18 songs on Billboard Hot Rock & Alternative Charts in one week , alongside David Bowie and Taylor Swift.   

In addition to the many notable dates on his 2023 “Stick Season Fall Tour” and performing to the largest audiences of his career, Noah recently drew massive crowds of thousands this summer at Boston Calling, Bonnaroo, Summerfest, Lollapalooza, Outside Lands, and more. He will also be playing Austin City Limits next month.   

WE’LL ALL BE HERE FOREVER TOUR 2024 EUROPE + UK DATES – PREVIOUSLY ANNOUNCED:  

Thu Feb 08 Dublin, IE 3Arena – SOLD OUT *  

Sat Feb 10 Glasgow, UK OVO Hydro*  

Sun Feb 11 Leeds, UK First Direct Arena *  

Tue Feb 13 Cardiff, UK Cardiff International Arena – SOLD OUT *  

Wed Feb 14 London, UK OVO Arena Wembley – SOLD OUT *  

Thurs Feb 15 London, UK OVO Arena Wembley *  

Sat Feb 17 Paris, FR L’Olympia – SOLD OUT *  

Sun Feb 18 Cologne, DE Palladium – SOLD OUT *  

Wed Feb 21 Berlin, DE Columbiahalle *  

Fri Feb 23 Copenhagen, DK K.B. Hallen *  

Sun Feb 25 Amsterdam, NL AFAS Live – SOLD OUT *  

Mon Feb 26 Brussels, BE Forest National *  

WE’LL ALL BE HERE FOREVER TOUR 2024 NORTH AMERICA DATES:  

Tue Mar 26 Vancouver, BC Rogers Arena  

Thu Mar 28 Calgary, AB Scotiabank Saddledome  

Fri Mar 29 Edmonton, AB Rogers Place  

Sat Mar 30 Saskatoon, SK SaskTel Centre  

Tue Apr 02 Winnipeg, MB Canada Life Centre  

Sat Apr 06 Toronto, ON Scotiabank Arena  

Sun Apr 07 London, ON Budweiser Gardens  

Tue Apr 09 Ottawa, ON Canadian Tire Centre  

Wed Apr 10 Quebec City, QC Videotron Centre  

Sat Apr 13 Montreal, QC Bell Centre   

Wed May 22 Asheville, NC ExploreAsheville.com Arena  

Sat May 25 Nashville, TN Bridgestone Arena   

Tue May 28 Cuyahoga Falls, OH Blossom Music Center  

Wed May 29 Burgettstown, PA The Pavilion at Star Lake  

Tue Jun 04 St. Louis, MO Hollywood Casino Amphitheater  

Wed Jun 05 Kansas City, MO Azura Amphitheatre *  

Fri Jun 07 St. Paul, MN Xcel Energy Center  

Tue Jun 11 Dallas, TX Dos Equis Pavilion  

Wed Jun 13 Houston, TX The Cynthia Woods Mitchell Pavilion  

Fri Jun 14 Austin, TX Moody Center  

Tue Jun 18 Chula Vista, CA North Island Credit Union Amphitheatre  

Fri Jun 21 Los Angeles, CA Hollywood Bowl  

Tue Jun 25 Denver, CO Fiddler’s Green Amphitheatre *  

Sat Jun 29 George, WA The Gorge  

Mon Jul 01 Ridgefield, WA RV Inn Style Resorts Amphitheater  

Wed Jul 03 Wheatland, CA Toyota Amphitheatre  

Fri Jul 05 Berkeley, CA The Greek Theatre *  

Sat Jul 06 Berkeley, CA The Greek Theatre *  

Tue Jul 09 Salt Lake City, UT USANA Amphitheatre  

Sat Jul 13 East Troy, WI Alpine Valley Music Theatre  

Tue Jul 16 New York, NY Madison Square Garden  

Fri Jul 19 Boston, MA Fenway Park ^  

* Non-Live Nation Date  

^ With Mt. Joy  

ABOUT NOAH KAHAN  

Over the past year, Vermont singer & songwriter Noah Kahan has exploded from his New England roots into the global mainstream and has been touted as one of 2023’s biggest and best new artists. At the core of his music are vulnerable lyrics and an unfiltered yet relatable honesty, as the critically acclaimed artist pens songs straight from the heart and cracks jokes with his signature, self-deprecating sense of humor. Across his three albums and an EP, Kahan has garnered global renown for his singular mix of Folk and Americana, landing more than two billion streams, a Platinum Certification for his hit single “Stick Season,” and collaborations with the likes of Post Malone, Lizzy McAlpine, Joy Oladokun, and GRAMMY-nominated artists Julia Michaels and Wesley Schulz of The Lumineers. His widely adored, Gold-Certified album, Stick Season , is inspired by his New England roots and earliest musical inspirations—from Paul Simon to Yusuf Islam (Cat Stevens)—conveying a vivid representation of what he loves, fears, and struggles with most passionately. Noah has been on his sold-out “Stick Season Tour” across North America since the album’s release last year, selling half-a-million tickets to date and performing in the biggest venues of his career, with stadium and arena dates revealed for 2024 . In June, he released an extended version of Stick Season (We’ll All Be Here Forever) , which has gone on to surpass sales of the original and shows no signs of slowing down. His latest single, “Dial Drunk,” has already amassed millions of streams and a slew of critical acclaim, cementing Noah Kahan as one of the most successful breakout artists of the year.  

NOAH KAHAN: INSTAGRAM | TIKTOK | TWITTER | FACEBOOK | YOUTUBE | WEBSITE  

ABOUT LIVE NATION ENTERTAINMENT  

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com .  

FOR MORE INFORMATION, PLEASE CONTACT:  

Nicole Hajjar | Republic Records  

[email protected]    

Marisa Bianco | Republic Records  

Live Nation Concerts  

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Noah Kahan's Big Year: How The "Stick Season" Singer Became A Folk-Pop Hero

On the heels of announcing an arena and stadium tour for 2024, Noah Kahan revisits some of the biggest moments that have led to it, from going viral with "Stick Season" to collaborating with Post Malone.

In July 2019, Noah Kahan made a promise to his fans via Twitter: "I prolly won't sell out Madison square garden, or even all the shows on my tour but I'll keep writing songs for you all for as long as you'll have me."

Four years later, he's made good on his word about continuing to write songs. But he's also proved himself wrong; not only has the Vermont-born star sold out his entire 2023 tour, but 2024 will see him play a sold-out Madison Square Garden — twice.

While Kahan himself asserts that he's always had a "very dedicated" fan base — whether from his days of posting to SoundCloud and YouTube or since he signed with Republic Records in 2017 – he admits he still finds it hard to process the level to which it's grown. "It's f—ing unbelievable," he says. "It feels so fake that it's almost like, the more time I spend thinking about it, the more abstract it becomes."

His humility is a large part of his appeal (as well as his sense of humor, both on Twitter and on stage), which carries into his folk-pop music. It's matched with extreme vulnerability, as Kahan has been open about his struggles with mental health. Even one of his biggest hits has revealing lyrics: "So I thought that if I piled something good on all my bad/ That I could cancel out the darkness I inherited from Dad," he sings the second verse of "Stick Season."

"Stick Season" became Kahan's breakout song in 2022, first making waves on social media — catching the attention of stars like Zach Bryan and Maisie Peters — and earning him his first radio hit. Its namesake album earned Kahan top 5 spots on Billboard's Top Alternative Albums, Top Rock Albums and Top Rock & Alternative Albums charts in October 2022, but it was the 2023 deluxe edition that really showed his trajectory: all 18 tracks debuted on Billboard Hot Rock & Alternative Charts, making him one of only five artists to ever land 18 songs on the chart in one week. 

Kahan's disbelief in his success is only going to continue into the new year, as his 2024 tour will also include L.A.'s Hollywood Bowl and two nights at Boston's Fenway Park. At this rate, he's seemingly on his way to Taylor Swift -level stardom — though, as he jokes, three-hour shows will never be in the cards: "From a physical health standpoint, this is as big as it can get."

In the midst of his Stick Season Tour, Kahan reminisced on the wild ride he's been on for the past 18 months. Below, he details seven of his most career-defining moments to date. 

Watching "Stick Season" Blow Up

I wrote the song in 2020 and I posted the first verse and the chorus [on social media] the next morning. It was kind of an awkward time, because I had another album coming out right after that video was posted [2021's I Was / I Am ] , and I had to promote that, and people were like, "What about that other song?" I'd be at shows and people would be like, "Play 'Stick Season'!"

I started to play it live, which is really what stoked the fire in terms of us realizing that it could be a big song. I played it in Syracuse, New York — and we hadn't posted any snippets besides what I would do on my Instagram Lives, or I'd perform it here and there on social media. Everyone in the room knew every single word to it. That was the song that got the biggest reaction all night, and it was a song that wasn't even out yet. That definitely opened my eyes to the desire for that song to be out in the world. 

A lot of my set at the time was more pop-leaning, and this song is definitely more folk-leaning. I could really see the desire for sing-along folk anthems after that performance. [I remember] talking to my team and being like, "I think this song is gonna be around for a long time."

It gave confidence to something that I had been trying to do for a long time, even subconsciously. I think I was always making folk music, and I would always gravitate toward those songs, but a part of me would be like, This isn't who you are, you make pop . So I would stay away from it. 

It took this one song — and playing it the way that I wanted to, and having people really respond — it opened my eyes to the audience that I didn't realize was there. It also opened my eyes to that confidence in myself that really comes through in this kind of songwriting. It let me look at folk music and storytelling as a bigger focus in my life instead of something that I did for fun or in the privacy of my home.

Seeing The Success Of Stick Season

When I was a kid, I would write my name on a blank CD, and I'd put it next to my Green Day CD, and I would pretend that we were the same. For a second it feels real, but it's really not.

Seeing my name on the charts and in conversations with all of these incredible famous artists, it kind of gave me the same feeling where I felt like, This just can't be real — I must be back in my childhood bedroom writing my band name on blank CDs . Because this doesn't happen to people making folk music, really. I was just kind of stunned into disbelief to the point where it took people reminding me that it was happening to actually process it.

I was in love with everything about the process of making this album, and honestly, that was enough for me. I felt so fulfilled. The organic nature of how it all came together felt so real to me, and it felt so important to me. And doing it in Vermont, and having the record be about Vermont and New England — it really felt like the album I've been waiting to make my whole life. 

I think my fans could see how much it meant to me, and it meant the same to them. We kind of shared this real emotional attachment to this album together. 

It just felt like a huge change in the way my life was gonna be. It meant that I could make music that fulfilled me that would fulfill others. I guess you could say it reinvigorated my faith in music in a lot of ways.

The chart success, and the radio play, and the co-signs from other really great artists and songwriters was incredible and overwhelming. I still haven't really processed it all. 

It definitely changed my life and put me into a place where I'm selling out shows, and there's lots of people that want me to work with them. It feels so nice, because it all came from following my heart — in the least cliché way.

Playing Boston Calling

View this post on Instagram A post shared by Noah Kahan (@noahkahanmusic)

It started to feel monumental when I got there. It's, like, three minutes away from my house, which is crazy. So I took a van from my house and I started walking around the festival, and it felt like I was Justin Bieber — people were chasing me around the festival and screaming.

It was one of the first times I've played in Boston since the deluxe [version of Stick Season ] came out, and it was the second festival of the tour, so we were not expecting this crazy reaction. We get on stage and the crowd is just a sea of people. It looked like the crowd for a headliner, and it was only, like, 6 p.m.

We had a really good performance — objectively, we kind of crushed it — and all the fans were losing their minds, and then later, I went on stage with the Lumineers , which was so insane. It just felt like this moment of this hometown crowd really coming out in full force, showing their support and showing the world that I had this kind of fan base. I felt like I was kind of stepping out into a new world in a lot of ways when I got on stage. 

Singing "Homesick" was pretty incredible. It has a line about the Boston [Marathon] bombers, and we were literally right next to Watertown where the Boston bombers were caught. And hearing like 40,000 New Englanders sing "I'm mean because I grew up in New England" was incredible — it made me tear up watching videos the next day. Seeing all those people connect over this common understanding of who we are, and that region, all at once was really, really special. It was just such a Boston moment.

Ever since then, it was kind of just crazy show after crazy show. And every hometown show has been so unbelievable. It was kind of the start of the madness.

Headlining Red Rocks

A show that felt particularly special was Red Rocks. Having gone from being an opener there to a headliner in a little less than a year was really special for me. The growth was so evident.

The crowds at Red Rocks are in this trance of community and love — it felt like the crowd was connecting with each other, and watching that happen was really incredible. Every single person there had a smile on their face. I think that everybody there had an amazing time, and that made me so happy. 

Another thing that I've loved about all the shows, but Red Rocks in particular, is that some of these songs are filled with painful feelings and thoughts, and things that, for me, required a lot of vulnerability. And when the crowd is singing every single word, it just means that a whole crowd of — in Red Rocks' case, 9,900 people — are just being vulnerable, and yelling it out loud. 

That's the greatest gift a musician can ever get — watching people express themselves and free themselves from any kind of shame at a show. That's what I try to do with my music, and I feel like I saw thousands of people shedding their guilt, their fear and their shame, and singing the lyrics. 

We were playing the song "Maine," and there's a line that's like, "If there were cameras in the traffic lights, they'd make me a star," and I remember looking up at the crowd — that line is really about knowing that you have something special, but not knowing if anyone can ever see it. 

I remember singing that song and that line, and I looked up to the crowd — 9,,000 people, that's four times bigger than everyone in my hometown — screaming that line back to me, and I cried. I couldn't believe where I was in my life. 

And I still can't, but there are moments that I get numb to all of it and there are moments when the absurdity of it all slaps me in the face. That was definitely a moment where I felt just shocked by where I had gotten to, and how things have grown.

Launching The Busyhead Project

The Busyhead Project is an endeavor to raise a million dollars for mental health awareness, and these organizations that are doing so much for fighting the stigma and supporting people who suffer around North America. We wanted to start this organization because I have spent a lot of my career thinking and about my own journey with mental health, but I always felt like I was not doing enough, or just kind of providing lip service.  

I never wanted to feel like I was accessorizing it or commodifying it. So I wanted to do something that felt boots-on-the-ground, tangible, [and] would make a real difference. We set out with a goal to raise a million dollars [for these organizations], and we're getting really close. [Editor's note: As of press time, The Busyhead Project has raised $977,055.]

I think it just comes down to putting your money where your mouth is. Like, I'm playing bigger venues and I sell merch — I'm starting to make money, and part of my philosophy on wealth and making money is that you're supposed to use it to help other people. 

I don't need a lot for myself. I live on a diet of sunflower seeds and bananas — I'm literally eating both of them right now — so I wanted to give back as much as I can. It's really that simple; trying to raise money for people that really need it, and organizations that are doing miraculous work. We're definitely not going to stop at a million — I hope not, because that would be kind of lame. [ Laughs .] If we can raise more money, we should raise it. 

When I was a kid, I would look up "Artists with depression" or "Artists on medication." I didn't find a lot of 'em, but when I did find somebody, it would feel like I was, like, saved by God or something. That became like religion to me, to see that someone who was in the music industry was also struggling with what I was really struggling with as a kid. I want to provide that for some kid making music out there.

Breaking Onto The Hot 100 (And Collaborating With Post Malone) With "Dial Drunk"

The chart is kind of, like, the one thing from movies about the music industry that signify when the band is doing well — like The Rocker , or Rockstar , where it's like, "Oh my god, the music's on the charts!" And they're doing a montage where the chart spins, and they're on a magazine cover, you know what I mean? And what's always followed by that is a horrible downward spiral, so I think when I saw the song charting well, I was like, Oh God, this is where my career starts to go bad.  

But I was really excited, and it was super cool — and, again, one of those things that's hard to actually understand from a human level. 

It was also really nice because I always feel like the last thing I did is the best thing I did, so after "Stick Season" was a big success, I was like, I have to have another song! And I was touring so much, and I was on Zoloft, so I was feeling emotionally kind of numbed-down. Writing this song was kind of a wake-me-up from what was going on. 

It was kind of a personal victory in a lot of ways — I challenged myself to make something new, and I did, and then it had this massive success. It felt like I can get through anything and do this again if I have to. It reminded me that what was happening in my career wasn't lightning in a bottle, but a real reflection of an audience being hungry for my music.

So then when Post Malone started recording his verse in the song, I felt like I was in a fever dream. I felt like it was gonna elevate my career to a new place, and I think it did.

He's always been an inspiration to me in the way he approaches music. I literally just reached out to him on DMs randomly one day, I was like, "Bro, I think you might like this song, we should do it together." He responded two months later, like, "Yeah, I f—ing love it!" It felt really natural.

We sat cross-legged and drank beers at the show in Massachusetts that I went out with him [to perform "Dial Drunk"]. It was so Post Malone — we talked about adult diapers and The Dewey Cox Story . He was just so funny and fun to be around. 

Announcing An Arena & Stadium Tour For 2024

They had been talked about for a while when we were starting the tour in the spring, but they never felt real — I always kind of think, That'll happen later. At the point that I'm doing those shows, I'll feel like I belong in those rooms.

Having these shows scheduled is truly surreal. I just don't know how we're gonna sell that many tickets. [ Laughs .] I think I'll believe it when I'm in the room — like, Madison Square Garden, to me, has always felt like just where Paul McCartney goes, and I can't believe that I get to be having my name on the marquee.

I told my managers on the phone when they booked Fenway, "I'm actually going to retire after this." [ Laughs .] There's really no way to describe what that means to someone from New England. 

As someone who grew up loving the Red Sox, going to Fenway Park all the time with my friends — getting drunk and stealing somebody's seats, and screaming at the opposing players over the dugout — that place has meant so much to me and so many people in my life. And the fact that I'm going to be one of not many people that have headlined that venue is just the craziest f—ing thing in the entire world. It feels like there's no other higher peak than playing songs about New England in the mecca of New England.

There was, like, a limit to my dreams when I was a kid — what I could do for a living and how big it could be. I'm trying to have my 8-year-old self be proud of me. I don't think he could even imagine where I'd be now. 

I'm so proud of the people I work with, I'm so proud of myself, because I have really worked hard for this, and I've sacrificed a lot of things in my life to make music happen. To get to this place, it just feels like all those hard decisions were worth it. 

I'm grateful for all the people that have supported me, and the people that have taken time out of their day to believe in my music when I couldn't believe in it. I'm just happy to feel like I belong here.

Lizzy McAlpine’s Big Year: The Viral Singer Details The Biggest Moments Behind Her Fast-Rising Career

Photo: Kevin Mazur/TCA 2008/WireImage/Getty Images

Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More

As Disney Music Group celebrates its defining era of superstars and franchises, relive the magic of the 2000s with a playlist of hits from Hilary Duff, Jesse McCartney and more.

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers . 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus , Selena Gomez and Demi Lovato . Nick , Kevin and Joe . 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience .

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie . In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears .

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

" When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls , and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic , Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles . (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly , in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus ) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus .

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie , Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me , Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Photos (L-R): Buda Mendes/TAS23/Getty Images for TAS Rights Management, Jeff Kravitz/FilmMagic, Christopher Polk/Getty Images for Clear Channel

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

Editor’s note: This story was updated on April 19 to reflect the release of The Tortured Poets Department.

The world now knows Taylor Swift as a global pop superstar, but back in 2006, she was just a doe-eyed country prodigy. Since then, she's released 11 studio albums, re-recorded four as "Taylor's Version," and cultivated one of the most feverish fan bases in music. Oh, and she's also won 14 GRAMMY Awards, including four for Album Of The Year — the most ever won by an artist.

Swift has become one of music's most notable shapeshifters by refusing to limit herself to one genre, moving between country, pop, folk and beyond. A once-in-a-lifetime generational storyteller, one could argue that she is music's modern-day maverick, constantly evolving both her music and the culture around her.

Every album era has seen Swift reinvent herself over and over, which has helped pave the way for artists to explore other musical avenues. In turn, Swift hasn't just become one of the biggest artists of all time — she's changed pop music altogether.

To celebrate Taylor Swift's newest era with The Tortured Poets Department , GRAMMY.com looks back on all of her albums (Taylor's Versions not included) and how each era shaped her remarkable career.

Taylor Swift : Finding Her Place In Music

In a genre dominated by men, the odds were already stacked against Swift when she first broke into country music as a teenage female artist. The thing that differentiated her from other writers — and still does to this day — is her songwriting. She didn't want to be just "another girl singer" and knew writing her own songs would be what set her apart. 

Written throughout her adolescence, Taylor Swift was recorded at the end of 2005 and finalized by the time Swift finished her freshman year of high school. Serving as a snapshot of Swift's life and teenhood, she avoided songwriting stereotypes typically found in country music. Instead, she wanted to capture the years of her life while they still represented what she was going through, writing about what she was observing and experiencing, from love and friendship to feeling like an outsider. 

As a songwriter, Taylor Swift set the tone for what would be expected of her future recordings — all songs were written by her, some solely and others with one or two co-writers. One writer in particular, Liz Rose , applauded Swift's songwriting capabilities, stating that she was more of an "editor" for the songs because Swift already had such a distinct vision. 

The album's lead single, "Tim McGraw," an acoustic country ballad inspired by Swift knowing her relationship was going to end, represents an intricate part of Swift's songwriting process; meticulously picking apart her emotions to better understand them. With its follow-up, "Our Song" — which spent six consecutive weeks on the top of Billboard's Hot Country Songs chart — she became the youngest person to solely write and sing a No. 1 country single; she also became the first female solo artist in country music to write or co-write every song on an album. 

Although Swift's eponymous debut is underappreciated now — even lacking its own set on Swift's Eras Tour — Taylor Swift 's forthcoming rerecording is arguably the most anticipated by fans, who are eager to hear the songs with the singer's current and more refined vocals. Still, for fans who haven't properly explored Taylor Swift , it's easy to tie together Swift's earlier work to her current discography. 

On the track "A Place In This World," a song she wrote when she was just 13, Swift sings about not fitting in and trying to find her path. While her songwriting has developed and matured, feeling like an outsider and carving her own path is a theme she still writes about now, as seen on Midnights ' "You're On Your Own, Kid." 

Even as a new country artist, critics claimed that she "mastered" the genre while subsequently ushering it to a new era — one that would soon see Swift dabble in country-pop. 

Fearless : Creating A Different Kind Of Fairytale

If Taylor Swift was the soundtrack to navigating the early stages of teenhood, Fearless is Swift's coming-of-age record. More than its predecessor, Fearless blurs the line between country and pop thanks to crossover hits like "Love Story" and "You Belong With Me," yet still keeps the confessional attributes known in country songwriting. 

Most of Fearless is Swift coming to terms with what she believed love to be. On the album's liner notes, Swift says Fearless is about "living in spite" of the things that scare you, like falling in love again despite being hurt before or walking away and letting go. The 2008 version of Taylor wanted to "believe in love stories and prince charmings and happily ever after," whereas in Swift's Fearless (Taylor's Version) liner notes, she looks back on the album as a diary where she was learning "tiny lessons" every time there was a "new crack in the facade of the fairytale ending she'd been shown in the movies." 

Much of Fearless also sees Swift being reflective and nostalgic about adolescence, like in "Never Grow Up" and "Fifteen." Still wistful and romantic, the album explores Swift's hopes for love, as heard in the album's lead single "Love Story," which was one instance where she was "dramatizing" observations instead of actually experiencing them herself. 

Unlike the slow-burn of Taylor Swift , Fearless went straight to No. 1 on the Billboard 200 and stayed there for eight consecutive weeks. It won Swift's first Album Of The Year GRAMMY in 2010, at the time making her the youngest person to win the accolade at age 20. To date, it has sold 7.2 million copies in America alone. It might not be the romantic tale Swift dreamed of growing up, but her sophomore album signalled that bigger things were to come.

Speak Now : Proving Her Songwriting Prowess

Everything that happened after the success of Fearless pushed Swift from country music's best-kept secret to a mainstream star. But this meant that she faced more publicity and criticism, from naysayers who nitpicked her songwriting and vocals to the infamous Kanye West incident at the 2009 MTV Video Music Awards.

For the first time since becoming an artist, she was forced to reckon with the concept of celebrity and how turning into one — whether she wanted it or not — informed her own writing and perception of herself. No longer was she the girl writing songs like "Fifteen" in her bedroom — now she was working through becoming a highly publicized figure. Speak Now is the answer to those growing pains. 

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Read More: For The Record: How Taylor Swift's 'Speak Now' Changed Her Career — And Proved She'll Always Get The Last Word

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

Retrospective and reflective, Speak Now is an album about the speeches she could've, would've and should've said. From addressing the aforementioned VMA incident in the forgiving "Innocent" to a toxic relationship in "Dear John," Speak Now also hinted that her rose-colored glasses were cracked, but Swift (and her songwriting) was only becoming stronger because of it.

Red : Coming Into Her Own

Highly regarded as Swift's magnum opus, Red sees the singer shed the fairytale dresses and the girl-next-door persona to craft a body of work that has now been deemed as her first "adult" record. On Red, Swift focused on emotions evoked from a hot-and-cold relationship, one that forced her to experience " intense love, intense frustration, jealousy and confusion " — all feelings that she'd describe as "red." 

Unlike most of her previous writing that had been inspired by happy endings and fairytales, Red explores the lingering pain and loss that can embed itself within despite trying your hardest to let go. In her liner notes, she references Pablo Neruda's poem "Tonight I Can Write," stating that "Love is so short, forgetting is so long" is the overarching theme for the album. She plays with time — speeding it up in "Starlight," dabbling in the past in "All Too Well," and reframing it in "State of Grace" — to better understand her experiences. 

After releasing country-pop records, Red toed the line between genres more than ever before. Swift leaned further into the full pop territory by working with esteemed producers Max Martin and Shellback for the dubstep-leaning track "I Knew You Were Trouble," the punchy lead single "We Are Never Getting Back Together," and the bouncy anthem "22." But even when the pop power players weren't involved, her country stylings still leaned more pop across the album, as further evidenced with the racing deep cut "Holy Ground" and the echoing title track. 

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now , some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red 's successor, 1989 , like "Blank Space" and "Shake It Off."

Commercially, Red debuted at No. 1 on the Billboard 200 and sold 1.2 million copies in its first week, becoming the fastest-selling country album and making Swift the first female artist to have three consecutive albums spend six or more weeks at the top of the chart. The impact of Red extended beyond its own success, too. Often mentioned as a record that inspired a generation of artists from Troye Sivan to Conan Gray , Swift's confessional, soul-bearing authenticity set a new standard for straightforward pop music. 

1989 : Reinventing Into A Pop Genius

The night Red lost the GRAMMY for Album Of The Year in 2014, Swift decided that her next album would be a full-on pop record. After years of identifying as a country artist and flirting with pop, Swift departed her roots to reinvent herself, no matter what her then-label or critics had to say. And in true Swiftian fashion, turning into a pop artist didn't just prove her genre-shapeshifting capabilities — it further solidified her as an artist who is at her best when she freely creates to her desires and refuses to adhere to anyone.

1989 was lauded by critics for its infectious synth-pop that was reminiscent of the 1980s, yet still had a contemporary sound. Swift opted to lean more into radio-friendly hits, which resulted in songs like "Style," "Wildest Dreams," "Blank Space," and "Shake It Off," all of which became singles. And where some might trade a hit or two at the expense of their artistic integrity, Swift didn't falter — instead, her lyrics were just as heartfelt and intimate as they were on prior albums.

After exploring pop-leaning sonics she first found with Red , Swift worked with Martin and Shellback again on most of 1989 . This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights .

At the time, 1989 became Swift's best-selling album to date. It sold nearly 1.3 million copies within release week in the U.S., debuting atop the Billboard 200 and reigning for 11 non-consecutive weeks. The album also earned Swift several awards — including her second Album Of The Year GRAMMY, which made her the first female artist to ever win the award twice. 

Following the release of 1989 , Swift became a cultural juggernaut, and the album has had an omnipresence in music since. Swift didn't just normalize blending genres, but proved that you can create a sound that is uniquely yours by doing so. In turn, Billie Eilish , Dua Lipa and more pop stars have refused to conform or stick to what they've done prior. 

reputation : Killing The Old Taylor

For years, Swift was on a strict two-year cycle — she'd release an album one year, tour the next, and then release a new album the following year. But following the heightened scrutiny and highly publicized tabloid drama that followed the end of the 1989 era, Swift completely disappeared for a year. She stayed away from public appearances, didn't do any press, and missed the album schedule fans became accustomed to. It wasn't until summer 2017 when she returned from her media (and social media) blackout to unveil the fitting title for her new album: reputation .

Born as a response to the naysayers and name-callers, reputation follows Swift shedding her public image — which includes the pressure to be perfect, the drama, and the criticism — by declaring, "There will be no further explanation. There will just be reputation." Leaning on the same tongue-in-cheek songwriting techniques she used while penning "Blank Space," Swift wrote from the mindset of how the public perceived her.

When Swift released the lead single "Look What You Made Me Do," a song she initially wrote as a poem about not trusting specific people, many assumed the album would center on vengeance and drama. Although Swift said that the album has its vindictive moments — even declaring that the "old Taylor" is dead on the bridge of "Look What You Made Me Do" — it's a vulnerable record for her. Swift described reputation as a bait-and-switch; at their core, the songs are about finding love in the darkest moments. 

Swift still remained in the pop lane with reputation , largely leaning on Antonoff and the Martin/Shellback team. The sound almost mirrored the scrutiny Swift faced in the years prior — booming electropop beats, maximalist production and pulsing synthesizers dominate, particularly on "End Game," "I Did Something Bad," and "Ready For It…?" But the "old Taylor" isn't entirely gone on songs like "Call It What You Want," "So It Goes…" and "New Year's Day," where she lets her guard down to write earnest love odes.

Even after Swift spent some time away from the spotlight, the public didn't immediately gravitate toward her return. And even despite matching the 1.2 million first-week sales of her previous releases, some concluded that the album was her first commercial failure when compared to 1989 . With time, though, it became clear that the response to reputation became muddled with the public's overall perception of her at the time — some even claimed that Swift was ahead of her time with the album's overall sound.

For her 2023 TIME Person of the Year profile , Swift described reputation as a "goth-punk moment of female rage at being gaslit by an entire social structure." For years, she felt the pressure to be "America's Sweetheart" and to never step out of line. Writing reputation became a lifeline following the events that catalyzed it  — a way to shed the so-called snakeskin and make peace with however the public wanted to view her. 

Lover : Stepping Into The Daylight

After finding love amongst chaos with reput ation, Swift was learning to deal with the anxiety and fear of losing her partner — became a major theme of another aptly titled album, Lover . Both sonically and visually, Lover was a complete change from reputation . After touring reputation , Swift found that her fans saw her as "a flesh-and-blood human being," inspiring her to be "brave enough to be vulnerable" because her fans were along with her. Stepping away from the dark and antagonistic themes around reputation encouraged Swift to step into the light and be playful with her work on Lover .

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone. 

Looking at Lover retrospectively, it's an album that almost symbolizes a bookend in her discography. She was playful yet poignant, picking apart her past lyrics and feelings and looking at them with the perspective of someone who was once on top of the world, hit rock bottom, and survived in spite of it. This evolution is mentioned throughout Lover, particularly in a direct callback to 2012's Red , "Daylight," which sees her describe her love as "golden" rather than "burning red." 

Lover also marked the first time Swift divulged into politics and societal issues, like campaigning against Donald Trump, releasing the Pride-infused "You Need To Calm Down," and feeling disillusioned by the political climate with "Miss Americana & the Heartbreak Prince." Swift's documentary Miss Americana explores this change further, discussing how she regrets not being vocal about politics and issues prior, in addition to opening up about her body image issues and mental health struggles.

Lover became Swift's sixth No. 1 album in America, making her the first female artist to achieve the feat. But Lover was more than any accolades could reflect — it was Swift's transitional album in many ways, notably marking the first album that she owned entirely herself following leaving Big Machine Records for Republic Records in 2018.

folklore : Looking Beyond Her Personal Stories

After the pandemic started and Swift cancelled her Lover Fest, she spent the early stages of quarantine reading and watching a myriad of films. Without exactly setting out to create an album, she began dreaming of fictional stories and characters with various narrative arcs, allowing her imagination to run free. The result became folklore , 2020's surprise archetypal quarantine album.

Crafting a world with characters like the folklore love triangle between those in "betty" and "august," as well as Rebekah Harkness from "the last great american dynasty" (who once lived in Swift's Rhode Island mansion), was Swift's way of venturing outside her typical autobiographical style of writing. She'd see visceral images in her mind — from battleships to tree swings to mirrored disco balls — and turned them into stories, sometimes weaving in her own personal narrative throughout, or taking on a narrator role and speaking from the perspective of someone she had never met. 

She worked remotely with two producers — again working with her right-hand man Jack Antonoff, and first-time collaborator Aaron Dessner from The National . Some songs, like "peace," were recorded in just one take, capturing the essence and fragility in the song's story, whereas the lyrics for the sun-drenched "august" were penned on the spot as Swift was in her makeshift home studio in Los Angeles.

Another aspect that separated folklore from her previous work was the obvious decision not to create hits made for radio play, so much so that Dessner claimed that she made an anti-pop record at a time when radio wanted clear "bops." Sonically, it ventured into genres Swift hadn't explored much outside of a few folkier tracks on Lover . Rather than relying on mostly electronic elements, Swift, Antonoff and Dessner weaved in soft pianos, ethereal strings, and plucky guitars.

folklore 's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke , Gracie Abrams , and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year , making her the fourth artist in history to win three times in the Category. 

evermore : Embracing Experimentation

It was exciting enough for Swifties to experience one surprise album drop from Swift, an artist who typically has an entire album campaign calculated. So when evermore was released just six months after folklore , fans were in shock. 

Like its (literally) folklorian sister, evermore was a surprise release at the end of 2020, marking the first time Swift didn't have distinct "eras" between albums. She felt like there was something "different" with folklore , stating in a social media post that making it was less like she was "departing" and more like she was "returning" to the next stage of her discography. In turn, the album served as a similar escape for Swift as folklore did.

Bridging together the same wistful and nostalgic themes as heard on its predecessor, evermore sees Swift venture even further into escapism. She explores more stories and characters, some based in fiction like "dorothea," and some real, like "marjorie," written in dedication to Swift's grandmother. 

Evermore follows folklore 's inclusion of natural imagery and motifs, like landscapes, skies, ivy, and celestial elements. In contrast to the fairytale motifs and happy endings of Fearless , evermore saw Swift become fixated on "unhappy" endings — stories of failed marriages ("happiness"), lifeless relationships ("tolerate it"), and one-time flings ("'tis the damn season"). 

Sonically, evermore is a slight departure from its sister record; where folklore relies on more alt-leaning and indie-tinged sounds, evermore takes the sonics from all of Swift's past records — from pop to country to indie rock — and features all of them on one album. Country songs like "cowboy like me" and "no body, no crime" reaches back to Swift's earlier work in narrative building, seamlessly crafting a three-party story with ease. "Closure" is a "skittering" track that has the same energy as tracks like Lover 's "I Forgot That You Existed," whereas the ballad "champagne problems" is thematically reminiscent of Swift's Speak Now track "Back To December" where she takes responsibility for her lover's heartache. 

Working mostly with Dessner on evermore , Swift was emboldened to continue creating and opted to embrace whatever came naturally to them rather than limiting themselves to a sound. Swift felt a "quiet conclusion" after finishing up evermore , describing that it was more about grappling with endings of all "sizes and shapes," and the record represented a chapter closing. Even so, its poetic lyricism and mystical storytelling cleverly foreshadowed what was to come with subsequent albums, particularly The Tortured Poets Department .

Midnights : Encapsulating Her Artistic Magic

After coming out of the folklorian woods following folklore and evermore , fans and critics alike were intrigued to see what direction Swift would take on her next studio album. On Midnights , Swift leaves behind indie folk sounds and returns to the pop production of 1989 and Lover .

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover. 

Although the album is a departure from the two pandemic sister albums, the overall creation process didn't differ too much. In addition to working alongside Antonoff (and bringing Dessner in for the bonus-track-filled 3am Edition), Swift's worldbuilding is still the throughline that connects Midnights and Swift's recent albums, whether she's dreaming of a Parisian escape in "Paris" or using war imagery as a metaphor for the struggle of love in "The Great War."

Read More: 5 Takeaways From Taylor Swift's New Album 'Midnights'

Following the success with folklore and evermore , Swift's intrigue was at a then-all-time high upon the release of Midnights . Along with breaking several streaming records — including becoming the first album to exceed 700 million global streams in a week — it was Swift's 11th No. 1 debut on the Billboard 200, and was the highest-selling album of 2022 (and, remarkably, the second best-selling of 2023).

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work. 

As a result, there has arguably never been more excitement for a Taylor Swift album than for The Tortured Poets Department — especially because the announcement came on the heels of her lucky 13th GRAMMY win in February. Midnights helped further solidify Swift's larger-than-life status at the finale of the 2024 GRAMMYs, too, as she became the only artist in history to win Album Of The Year four times. 

The Tortured Poets Department : A Grief-Stricken Poetic Odyssey

It’s been a while since Swift has penned a full-fledged breakup album. On The Tortured Poets Department , she navigates the five stages of grief — denial, anger, bargaining, depression and acceptance — after her long-term relationship ended. Taking a page from the release of folklore and evermore , she dropped a double album and announced The Tortured Poets Department: The Anthology at 2 a.m. on release day. Throughout a total of 31 tracks, the prolific songwriter shelved the glittery pop radio-friendly tunes in favor of more subdued, synthy and heart-wrenching songs. 

On Instagram, Swift described the album as a collection of poetic songs that reflect the "events, opinions and sentiments from a fleeting and fatalistic moment in time," Swift pulled out the fountain and quill pens to craft songs about the "tortured poets" in her life — sometimes musing about lovers, sometimes taking aim at villains, and sometimes pointing the finger at herself. 

TTPD is also her most confessional album thus far. It pokes fun at so-called fans who overstep with her personal life ("But Daddy I Love Him"), says goodbye to a city that gave her a home ("So Long London"), and muses on how her own celebrity has stunted her growth ("Who's Afraid Of Little Old Me?"). To help explain this chapter of her life, Swift brings together a myriad of collaborators — from Stevie Nicks as fellow poetess, to duets with Florence Welch and Post Malone — and leans on real and fictional characters, like Clara Bow, Peter Pan ("Peter"), and Patti Smith .

In the same post, Swift declared that once she’s confessed all of her saddest stories, she’s able to find freedom. Yet The Tortured Poets Department (and its accompanying 15-track anthology) spends much time reflecting: she toys with her own lore, self-referencing past songs from albums like 1989 and poems from her reputation era. 

Fourteen years ago, Swift declared that she would never change, but she’ll never stay the same either. The Tortured Poets Department proves that in the throughline of Taylor Swift's many artistic eras is a commitment to exploration and a love of autobiographical lyricism.

All Things Taylor Swift

Photo: Don Arnold/TAS24/Getty Images for TAS Rights Management

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album

"There is nothing to avenge, no scores to settle once wounds have healed," Taylor Swift wrote of her new album. From grapplings with fame to ultra-personal reflections on love lost, her latest set of fountain and quill pen songs marks the end of an era.

"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department , at the 66th GRAMMY Awards . 

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends. 

On the freshly released The Tortured Poets Department , Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology , adding an additional 15 songs . The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them. 

In an Instagram post , Swift called the record an anthology that reflects " events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets , "t here is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page." 

View this post on Instagram A post shared by Taylor Swift (@taylorswift)

Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth. 

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album .

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is. 

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation . The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship. 

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation ’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us." 

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour , Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.  

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?" 

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD ’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD : Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology ’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing. 

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff ’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology , mostly produced by Aaron Dessner , are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life.  Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative. 

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back. 

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS , many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Photo: Ashok Kumar/TAS24/Getty Images for TAS Rights Management

Taylor Swift’s New Album 'The Tortured Poets Department' Is Here: The Tracklisting, Guests, Easter Eggs & More

Just over two months after Taylor Swift announced 'The Tortured Poets Department' at the 2024 GRAMMYs, the sprawling, bracingly personal album is here. Before you open the department door, arm yourself with the following knowledge.

We’ll be wandering through this Department for the foreseeable future.

Not only has Taylor Swift unleashed an absolute maelstrom with her 16-song new album, The Tortured Poets Department ; she’s dropped a whopping 15 additional tracks via its expanded version, The Tortured Poets Department: The Anthology .

Clearly, there’s an absolute treasure trove here — for Swifties and the merely Swift-curious alike. A mostly downbeat and discursive affair, The Tortured Poets Department feels like the shadow cast by the gilded, giddy, exhilarating Eras Tour , which isn’t over yet. (Which makes all the sense in the world, as she was simultaneously chipping away at the album while crisscrossing the globe.)

If you’re reading this, you’re probably bracing yourself for this long, solemn, darkly funny journey. Don’t go alone: here’s a brief breakdown of what you should know going in. (And keep checking GRAMMY.com, as there’s plenty more Taylor and Tortured Poets coming your way.)

The Tracklisting

As previously reported , here’s the standard tracklist for The Tortured Poets Department:

Side A "Fortnight" (feat. Post Malone ) "The Tortured Poets Department" "My Boy Only Breaks His Favorite Toys" "Down Bad"

** Side B ** "So Long, London" "But Daddy I Love Him" "Fresh Out the Slammer" "Florida!!!" (feat. Florence + the Machine )

** Side C ** "Guilty As Sin?" "Who’s Afraid of Little Old Me?" "I Can Fix Him (No Really I Can)" "Loml"

** Side D ** "I Can Do It With a Broken Heart" "The Smallest Man Who Ever Lived" "The Alchemy" "Clara Bow"

The Expanded Tracklisting

Aside from The Black Dog Edition , The Albatross Edition , The Bolter Edition , and The Manuscript Edition — which consist of the standard edition of the album with its titular bonus track — here are the additional tracks that complete The Tortured Poets Department: The Anthology .

"The Black Dog"

"Imgonnagetyouback"

"The Albatross"

"Chloe or Sam or Sophia or Marcus"

"How Did It End?"

"So High School"

"I Hate It Here" "thanK you aIMee"

"I Look In People’s Windows"

"The Prophecy" "Cassandra" "Peter" "The Bolter" "Robin"

"The Manuscript"

Physical copies of The Tortured Poets Department feature an original poem by the one and only Stevie Nicks .

Titled "For T and me…," the poem starts off with "He was in love with her / Or at least she thought so / She was brokenhearted / Maybe he was too." It goes on to trace a doomed relationship — one party being "way too hot to handle" and the other "way too high to try."

Elsewhere, Post Malone lends a haunting vocal to opener and lead single "Fortnight," and Florence + the Machine elevate "Florida!!!".

https://www.youtube.com/watch?v=FiqoZyauhdA

The lion’s share of the album was produced by Jack Antonoff ; Aaron Dessner handled a handful of tunes on the standard edition and the majority of The Anthology .

The Easter Eggs

Where do we begin? For starters, most of the songs seem to be directed at ex Matty Healy of the 1975, but Joe Alwyn and Travis Kelce seem to pop up here and there as well.

In the title track, Swift describes embracing the "cyclone" of a relationship with a partner akin to a "tattooed golden retriever." And they’d be remiss to compare themselves to Patti Smith or Dylan Thomas or any other famously tortured poet of the 20th century: "We’re modern idiots… we’re two idiots."

Elsewhere, Lucy Dacus of boygenius — and Antonoff himself — pop up ("But you tell Lucy you’d kill yourself if I ever leave / And I had said that to Jack about you / So I felt seen").

Far be it from us to speculate on exact subjects, but there are shades of depression ("You sacrificed us to the gods of your bluest days"), a betrothal that wasn’t to be ("You swore that you loved me but where were the clues? / I died on the altar waiting for the proof") and the racket of fame ("The circus life made me mean").

As usual, Swift has dumped puzzle pieces on the carpet — daring her ardent, global fanbase to start at the edges and work their way to the center. But never to this degree, across such an ocean of material.

Tortured poets — and those who fall in love with them — assemble!

Songbook: An Era-By-Era Breakdown Of Taylor Swift’s Journey From Country Starlet To Pop Phenomenon

• 1 Noah Kahan's Big Year: How The "Stick Season" Singer Became A Folk-Pop Hero
• 2 Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More
• 3 Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon
• 4 Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album
• 5 Taylor Swift’s New Album 'The Tortured Poets Department' Is Here: The Tracklisting, Guests, Easter Eggs & More

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Due to massive fan demand,  Noah Kahan has announced seven additional dates in North America on his 2024 We’ll All Be Here Forever Tour.

The We’ll All Be Here Forever Tour will see the critically acclaimed Vermont singer & songwriter playing the biggest and most iconic venues of his career thus far.

In July, Kahan teamed up with GRAMMY® Award-nominated global superstar Post Malone for a new version of his latest single “Dial Drunk”—listen HERE . “Dial Drunk,” which peaked at #1 on both the Alternative and AAA Radio Charts, is featured on his new album Stick Season (We’ll All Be Here Forever) , an extension of 2022’s Stick Season and his most successful offering to date. Stick Season was just recently Certified Gold, and the breakout title track was Certified Platinum. It debuted at #3 on Billboard 200 Chart, #1 on Top Americana/Folk Albums Chart, #1 on Billboard Top Alternative Albums Chart, #1 on Billboard Top Rock Albums Chart, and more. Impressively, Noah became the 5th artist in history with 18 songs on Billboard Hot Rock & Alternative Charts in one week , alongside David Bowie and Taylor Swift.

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over two billion streams, released three full length albums ( Busyhead , 2019; I Was / I Am , 2021; Stick Season , 2022) and a mid-pandemic EP ( Cape Elizabeth , 2020), picked up a Platinum Certification for “Stick Season” and Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as Jimmy Kimmel Live! , The Late Show with Stephen Colbert , Late Night with Seth Meyers , TODAY , and The Kelly Clarkson Show . After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement inspired by his New England roots, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. The result is Noah’s latest critically acclaimed album Stick Season , which features his viral hit single “Stick Season.” The album is Certified Gold and has sold over 500 thousand units to date. Following the album release, Noah embarked on the first two legs of his sold-out “Stick Season Tour” across North America, which continues this summer, where he’s playing his biggest venues to date, including the iconic Radio City Music Hall, The Greek Theatre, and Red Rocks Amphitheatre. In June, Kahan released the extended version of 2022’s celebrated album, Stick Season (We’ll All Be Here Forever) , which includes seven new songs and his latest single “Dial Drunk.” The release became his most successful offering yet—topping the charts, amassing millions of streams, receiving a slew of critical acclaim, and cementing Noah Kahan as the biggest breakout artist of the year.

Ticket Information

$1 from each ticket will be donated to The Busyhead Project, a fund at the Vermont Community Foundation, which Noah created to support organizations delivering mental health treatment and providing access to care.

Noah Kahan wants to give fans, not resellers, the best chance to buy tickets at face value. If fans purchase tickets for a show and can't attend, they’ll have the option to resell them to other fans at the original price paid on Ticketmaster’s Face Value Exchange. To help protect the Face Value Exchange, Noah Kahan has also chosen to make tickets for this tour mobile only and restricted from transfer. A valid bank account or debit card within the country of the event is required to sell on the Face Value Exchange.

For safety and speed of entry, we strongly discourage guests from bringing bags of any kind to events at Xcel Energy Center. Purses no larger than 12” x 12” x 6” are allowed at designated X-ray entry points. This applies to all purses, including clear bags. Backpacks, coolers or large totes are prohibited. Medical and parenting bags are permitted and subject to X-ray screening. Wristlet, clutch or wallets 4” x 6” x 1.5” or smaller are allowed at all entrances and subject to inspection.

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Pro tip for faster mobile entry: Add your tickets to your phone's "wallet" and have a fully charged battery. This bypasses the need for Wi-Fi or cellular data at the gates.

Mobile tickets are like an airline boarding pass which can be accessed with a smartphone via the Ticketmaster app or mobile site in a bar code format and scanned at the gate for entry. Mobile tickets are protected by Ticketmaster’s SafeTix™ technology. SafeTix™ continually generates a new and unique barcode that automatically refreshes every few seconds so the barcode cannot be stolen or copied, keeping your tickets safe and secure. Screen shots are not accepted for entry.

Click here for more details on mobile tickets.

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For VIP seating, please contact [email protected].

To purchase tickets on the day of the event after 5PM, please visit the House of Blues Box Office at the venue located at 2200 North Lamar Street in Dallas. The Box Office is open 2 hours prior to door time on show days. Closing hours vary per event. All sales are subject to increase the day of the show. Support acts are subject to change without notice.

This venue has a Clear Bag Policy. 

FAN CLUB PRESALE: Monday, September 19th at 10am CST  – Thursday, September 22nd at 11:59pm CST

LIVE NATION PRESALE: Wednesday, September 21st at 10am CST – Thursday, September 22nd at 11:59pm CST  

NOAH'S BIO: 

Seasons change. Places change. People change. As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. The Vermont singer pens songs straight from the heart and cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting).

After 5 years of critical acclaim, global touring, and numerous collaborations, Kahan sought an even purer style of writing and arrangement, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately.

Through his journey from small town Vermont to global renown, he’s racked up over one billion streams, released two full length albums (Busyhead, 2019 and I Was / I Am, 2021) and a mid-pandemic EP (Cape Elizabeth, 2020). Noah has remained prolific in 2022 with his single “Stick Season.” Rife with fluttering guitar melodies, inviting vocals, and homey imagery of the Northeast on the verge of a change of seasons, the track represents another massive turning point for him.

“I wrote ‘Stick Season’ without knowing it would become, in my opinion, the most important song of my career,” he muses. “It allowed me to finally cross over into the style of songwriting that I have loved my entire life, and the second I finished writing it, I felt a level of comfort and honesty that I had never previously felt since I began my journey in music. Being able to tell a story, and being able to relate it back to my home in New England in such an honest way, made me believe in myself again.” Fans reacted immediately and after performing the song live on social media, his followers relentlessly commenting about releasing the song. Noah tested “Stick Season” live on tour to a rousing response, and a fan’s video of the moment circulated quickly online. In an instant, Kahan’s relationship with his career was altered, his conviction for storytelling and a pursuit of a more organic sound that aligned with the folk music of his upbringing had firmly arrived.

“Stick Season” paints one of his most arresting lyrical pictures yet, likening “feeling left behind and trapped” into the decomposition of leaves on the ground with a disarmingly unfiltered final visual, “Now you’re tire tracks, and one pair of shoes, and I’m split in half, but that’ll have to do.”

“It’s about seeing the other side of a place you thought was only beautiful,” he reveals. “As a relationship ends, some place or someone you used to look back at so fondly quickly transforms into a memory of pain. The beauty of autumn foliage in Vermont transforms into a brown and gray wasteland as we wait for the first snow. It is an unfortunate but necessary transition, similar in so many ways to the transition from familiar lovers into heartbroken strangers. I like to look at the song as hopeful; winter will come, the snow will fall, melt, and eventually summer will be back in all its beauty. You will suffer, move on, and survive again. The last line speaks to the acknowledgement of the end: an inventory of the pieces left behind and an acceptance of the future.”

For as much as he may have changed, Noah’s goal stays the same.

“I still want to be able to connect to folks in the way I do and value when I listen to music,” he leaves off. “Change is something you can learn from. It’s never too late to be a better person and to move forward. Always work on yourself and give yourself a fucking break every once in a while. I hope listeners feel like there’s more to learn about me, just like I do when I listen to my favorite artists. I also hope they’re happy to stay along for the ride, because I’ve been so grateful for them so far.”

We’re committed to doing everything we can to ensure we can continue bringing amazing live concerts to fans. Prior to entry into House of Blues Dallas, ALL shows will require attendees to provide proof of a negative COVID-19 test result within 72 hours of the event OR full COVID-19 vaccination (at least two weeks after final dose). Proof must be a negative test result or the original vaccination card. Photocopies of vaccination cards will also be accepted. More information is available here .

For the latest safety guidelines, please review our enhanced venue protocols at www.houseofblues.com/dallas/faq .

NOTE OUR CLEAR BAG POLICY: Only the following bags are allowed:

• Clear plastic, vinyl or PVC bags (maximum size: 12"x6"x12")
• Small clutch bags approximately the size of a hand (maximum size: 4.5"x6.5")

The following bag policy is in place: Bags up to 12"x6"x12" are allowed in the venue. All bags will be searched prior to entry. Bags that are not clear will be subject to additional search.

Make it a Complete Night Out! Enjoy House of Blues & all it has to offer!

Bring the whole family & join us at the Restaurant & Bar for your official pre-show fuel. Reservations are encouraged. Book your tables here !

Looking for a more elevated experience? Guests 21+ are invited to join us in the Foundation Room before the show for the finest in food & craft cocktails. On most nights, keep the party going after the show, and experience the after-hours experience at the Foundation Room. Click here for more information & to RSVP your spot!

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Noah Kahan Announces New Summer 2023 “Stick Season Tour”

Today, critically acclaimed Vermont singer and songwriter Noah Kahan reveals new tour dates for summer 2023 as a continuation of his sold-out “Stick Season Tour” produced by Live Nation. The run includes stops at the iconic Radio City Music Hall in New York on June 7th, The Greek Theatre in Los Angeles on August 11th, and more with Joy Oladokun and Ruston Kelly as support—see the full list of new tour dates below. Tickets will go on sale via pre-sale on December 14th at 10AM local time and via general on-sale on December 16th at 10AM local time at https://noahkahan.com/tour/.

In addition to recently wrapping up the 2022 leg of his tour, Noah delivered stand-out live performances of “Stick Season” on Jimmy Kimmel Live! and “Northern Attitude” on The Kelly Clarkson Show. He also released a live acoustic performance of the fan favorite track “Homesick,” which was shot in his hometown of Strafford, VT—watch HERE.

Upon release, Stick Season debuted at #14 on the Billboard 200 Chart, #4 on Billboard’s Top Alternative Albums Chart, #5 on Billboard’s Top Rock Albums Chart, and #5 on Billboard’s Top Rock & Alternative Albums Chart. Not to mention, it skyrocketed to #6 on Spotify’s Weekly Top Albums USA Chart, and Noah had six songs from the album chart on Spotify’s Viral 100 Chart—the most of any artist on the chart. The viral breakout title track also recently hit #1 on the AAA Radio Chart, Noah’s first #1 at the format.

As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. At the core of the music’s upbeat energy and unfiltered lyrics, you’ll hear who he was before and who he became—almost in real-time. The Vermont singer still pens songs straight from the heart and still cracks jokes with his signature, self-deprecating sense of humor; he’s just changed in all of the right ways (and chronicled them via his songwriting). He gained that understanding through quite the journey from small town Vermont to global renown. He’s racked up over one billion streams, released three full length albums (Busyhead, 2019; I Was / I Am, 2021; Stick Season, 2022) and a mid-pandemic EP (Cape Elizabeth, 2020), picked up a Gold Certification for “Hurt Somebody” feat. Julia Michaels, and performed on television shows such as Jimmy Kimmel Live!, The Late Show with Stephen Colbert, Late Night with Seth Meyers, TODAY, and The Kelly Clarkson Show. After 5 years of critical acclaim and global touring, he sought an even purer style of writing and arrangement inspired by his New England roots, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately. The result is Noah’s critically acclaimed new album Stick Season, which features his viral hit single “Stick Season” and has become his most successful release to date. Following the album release, Noah embarked on his sold-out “Stick Season Tour” across North America, which will continue into 2023.

2023 “STICK SEASON” NORTH AMERICAN TOUR:

PREVIOUSLY ANNOUNCED DATES January 27 Houston, TX White Oak Music Hall* January 28 Austin, TX Emo’s* January 29 Dallas, TX House of Blues* January 31 Birmingham, AL Iron City* February 2 Nashville, TN Ryman Auditorium* February 3 Chattanooga, TN The Signal* February 7 Indianapolis, IN Egyptian Room at Old National Centre* February 8 Columbus, OH KEMBA Live!* February 10 Detroit, MI The Fillmore* February 11 Milwaukee, WI The Riverside Theater* February 14 St. Louis, MO The Pageant* February 15 Kansas City, MO The Truman* February 17 Denver, CO The Mission Ballroom* February 18 Denver, CO The Mission Ballroom* *Sold Out

NEW DATES May 26 Lewiston, NY ARTPARK Amphitheater^ May 30 Albany, NY Palace Theatre^ June 2 Montreal, QC MTELUS^ June 3 Lafayette, NY Beak & Skiff ~ June 6 Pittsburgh, PA Stage AE ~ June 7 New York, NY Radio City Music Hall^ June 9 Washington, DC The Anthem^ June 10 Philadelphia, PA Skyline Stage @ The Mann^ June 11 Charlottesville, VA Ting Pavilion^ June 13 Charlotte, NC Charlotte Metro Credit Union Amphitheater^ June 14 Raleigh, NC Red Hat Amphitheater^ June 17 Atlanta, GA Coca-Cola Roxy # June 18 Charleston, SC Firefly Distillery # June 20 Asheville, NC Rabbit Rabbit^ June 22 Cleveland, OH Jacobs Pavilion @ Nautica^~ June 23 Cincinnati, OH The Andrew J Brady Music Center^ July 29 Burlington, VT Waterfront Park^ August 8 Phoenix, AZ Arizona Financial Theatre^ August 9 San Diego, CA Cal Coast Credit Union Amphitheater^ August 11 Los Angeles, CA The Greek Theatre^ August 15 Redmond, WA Marymoor Park^~ August 16 Vancouver, BC Doug Mitchell Thunderbird Sports Centre ^ August 18 Spokane, WA Pavilion at the Riverfront^ August 19 Bend, OR Hayden Homes Amphitheater^ September 12 Columbus, OH KEMBA Live! #~ September 13 St. Louis, MO Saint Louis Music Park # September 15 Indianapolis, IN TCU Amphitheater @ White River State Park # September 16 Detroit, MI Michigan Lottery Amphitheatre @ Freedom Hill # September 17 Toronto, ON RBC Echo Beach # ^ with Joy Oladokun # with Ruston Kelly ~ Non-Live Nation Date

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Pop singer Noah Kahan to bring Stick Season Tour to Tallahassee

Critically acclaimed Vermont singer and songwriter Noah Kahan reveals new tour dates for Fall 2023 as a continuation of his sold-out “Stick Season Tour” produced by Live Nation.

The run includes a stop at the Tucker Civic Center on Thursday, Oct. 12. Verified fan presale registration starts on Wednesday, July 12, at verifiedfan.ticketmaster.com . Presale starts at 10 a.m. Wednesday, July 19. Tickets go on sale to the general public at 10 a.m. Friday, July 21. All ticket prices are subject to applicable fees.

Tickets can be purchased online at ticketmaster.com or at the Donald L. Tucker Civic Center Box Office Monday through Friday 10 a.m. to 5 p.m. For more information, visit tuckerciviccenter.com .

In addition to recently wrapping up the 2022 leg of his tour, Noah delivered stand-out live performances of “Stick Season” on Jimmy Kimmel Live! and “Northern Attitude” on The Kelly Clarkson Show. He also released a live acoustic performance of the fan favorite track “Homesick,” which was shot in his hometown of Strafford, Vermont.

Noah’s critically acclaimed new album "Stick Season," which features his viral hit single “Stick Season” and has become his most successful release to date. Following the album release, Noah embarked on his sold-out “Stick Season Tour” across North America, which will continue into 2023.

Upon release, Stick Season debuted at #14 on the Billboard 200 Chart, #4 on Billboard’s Top Alternative Albums Chart, #5 on Billboard’s Top Rock Albums Chart, and #5 on Billboard’s Top Rock & Alternative Albums Chart.

Noah Kahan has partnered with PLUS1 so that $1 per ticket goes towards organizations delivering mental health treatment and access to care.

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Noah Kahan Concert Setlists & Tour Dates

We'll all be here forever tour, upcoming shows.

• Date and Venue Doors Scheduled
• May 03 2024 Shaky Knees Music Festival 2024 Atlanta, GA, USA Doors 11:30 AM  –  Scheduled: 9:30 PM 11:30 AM 9:30 PM
• May 05 2024 Lovin' Life Music Fest 2024 Charlotte, NC, USA Add time Add time Add times
• Jun 01 2024 Railbird Festival 2024 Lexington, KY, USA Add time Add time Add times
• Jun 14 2024 Moody Center Austin, TX, USA Add time Add time Add times
• Jul 13 2024 Alpine Valley Music Theatre East Troy, WI, USA Add time Add time Add times
• Jul 18 2024 Fenway Park Boston, MA, USA Add time Add time Add times
• Aug 02 2024 Osheaga Festival 2024 Montreal, QC, Canada Add time Add time Add times
• Aug 04 2024 Hinterland 2024 Saint Charles, IA, USA Add time Add time Add times
• Aug 13 2024 Co-op Live Manchester, England Add time Add time Add times
• Sep 14 2024 Sea.Hear.Now Festival 2024 Asbury Park, NJ, USA Add time Add time Add times
• Sep 22 2024 Sing Out Loud Festival 2024 St. Augustine, FL, USA Add time Add time Add times
• Sep 29 2024 Pilgrimage Music & Cultural Festival 2024 Franklin, TN, USA Add time Add time Add times

Noah Kahan at Moon Crush Pink Moon 2024

• New Perspective
• Everywhere, Everything
• False Confidence
• Paul Revere
• All My Love
• Your Needs, My Needs
• Growing Sideways
• Northern Attitude
• She Calls Me Back
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Noah Kahan at High Water Fest 2024

• The Great Divide

Noah Kahan at Budweiser Gardens, London, ON, Canada

• You're Gonna Go Far

Noah Kahan at Scotiabank Arena, Toronto, ON, Canada

• No Complaints
• Pain Is Cold Water

Noah Kahan at Centre Bell, Montreal, QC, Canada

Noah kahan at centre vidéotron, quebec city, qc, canada, noah kahan at canadian tire centre, ottawa, on, canada, noah kahan at canada life centre, winnipeg, mb, canada.

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Most played songs

• Stick Season ( 168 )
• False Confidence ( 166 )
• Northern Attitude ( 150 )
• New Perspective ( 149 )
• Growing Sideways ( 148 )

More Noah Kahan statistics

Gracie Abrams Áine Deane Michael Aldag Katie Alling Amelia Day Bellah Mae Elle Coves downey G-Sharp Evan Honer Johnny Mainstream Darren Kiely Dean Lewis Liam Carnell Mark Ambor Kacey Musgraves New Rules The First Day of Spring Tom Odell Robyn Ottolini Our Last Night Post Malone Olivia Rodrigo

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Artists covered

Coldplay Chelsea Cutler Jason Isbell and the 400 Unit The New Basement Tapes King Princess Olivia Rodrigo Bruce Springsteen

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Gigs seen live by

1,155 people have seen Noah Kahan live.

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Illinoise Begins Its Broadway Run and Celebrates the Last Opening Night of the Season

Illinoise , the dance-centric musical adaptation of Sufjan Stevens' album  Illinois ,  opens April 24 at the St. James Theatre, the night of its very first Broadway performance. Directed and choreographed by Tony Award winner Justin Peck with a book by Peck and Pulitzer Prize winner Jackie Sibblies Drury,  Illinoise  comes to Broadway following successful runs at Bard College's Fisher Center, Chicago Shakespeare Theater and New York City's Park Avenue Armory. 

Set around an intimate campfire,  Illinoise  harnesses dance and music to delve into themes of self-exploration and community. The Broadway cast features Gaby Diaz ( So You Think You Can Dance ),  Ben Cook  (the Broadway production and 2021 film of  West Side Story ), Ricky Ubeda (the Broadway production and 2021 film of  West Side Story ), Yesenia Ayala, Kara Chan, Jeanette Delgado, Carlos Falu, Christine Flores, Jada German, Zachary Gonder, Rachel Lockhart, Brandt Martinez, Dario Natarelli, Tyrone Reese, Craig Salstein, Ahmad Simmons, Byron Tittle and Alejandro Vargas.

The production's vocalists are Elijah Lyons, Shara Nova and Tasha Viets-VanLear, who performed in the Park Avenue Armory and Chicago Shakespeare Theater productions. Nova, who sang on the original  Illinois  album and performed on the subsequent tour, shared insights into the making of Stevens' album with Broadway.com. 

Pianist and frequent Stevens collaborator Timo Andres lends the production new arrangements.

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Caitlin Clark effect? WNBA's Dallas Wings sell out season tickets for the first time ever

For the first time in the franchise's history, the WNBA 's Dallas Wings have sold out of season tickets ahead of their preseason opener on May 3 versus the Indiana Fever. 

The game will be college basketball sensation Catlin Clark’s debut after she was drafted by the Fever this season, and demand to see Clark in action has boosted ticket sales for the Dallas team.

For Clark’s preseason debut, individual ticket prices range from $210 to $350. Prices climbed higher than $1,000 in some places, according to UTATickets . 

But the Wings have also seen an overall ticket sales revenue increase of 220%, including over a 1,200% increase in individual ticket sales revenue, according to the Dallas Morning News.

Dallas Wings also look forward to playing Chicago Sky, Angel Reese

The league has seen plenty of excitement as other notable players were drafted this season. Notably, Angel Reese was drafted by the Chicago Sky.

Later this month, Wings fans could have a chance to see Reese in action when the Wings play back-to-back season games against the Chicago Sky, on May 15 and May 18.

Pitbull to bring his ‘Party After Dark Tour’ to Phoenix in October

PHOENIX — Mr. Worldwide from the 305 is coming to the 602! Pitbull is bringing his ‘Party After Dark Tour’ to Maryvale in October!

Get ready! I’m heading your way for the #PartyAfterDarkTour w/ special guest @TPAIN . Tix on sale Friday at 10am. Daleeee pic.twitter.com/gjWOytVXZh — Pitbull (@pitbull) April 23, 2024

The international star will hit the stage at Talking Stick Resort Amphitheatre; T-Pain is the show’s special guest!

• Tickets go on sale for the public on Friday, April 26 at 10 a.m. local time at LiveNation.com
• Event venue: Talking Stick Resort Amphitheatre [   2121 N 83rd Ave] in Phoenix
• Concert date: October 4

ICYMI: Who else is performing at Talking Stick Resort Amphitheatre? Here’s a quick look at some of the artists that will hit the stage there: Alanis Morissette , Imagine Dragons , 21 Savage, Avril Lavigne , Niall Horan, Sammy Hagar, Thirty Seconds to Mars, Dan + Shay, and New Kids on the Block with Paula Abdul & DJ Jazzy Jeff!

RELATED: 70+ CONCERTS, MUSIC FESTIVALS COMING TO THE VALLEY

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Taco Chelo announces opening date for its Tempe location

Know before you go: Salt River Tubing season starts April 27

Valley trails and outdoor attractions to visit before the summer's extreme heat

The video in the player above showcases the best things to do in the Valley this April. Read more about it right here .

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No longer the kid, Ty Majeski is as good a teacher as a young short-track racer could want

SLINGER – “Old” is relative.

In some ways, it does seem as though Ty Majeski has been around the Wisconsin, Midwest and national super late model scene for quite a while. He just started his 12 th season with the same group from the La Crosse area.

The kid from Seymour will turn 30 this August.

“I don’t feel like I’m the old guy, but I am,” Majeski said. “Probably the veteran. When you’re racing guys half your age, I think that classifies you.”

The veteran put a hurting on competition young and old Sunday, winning the 100-lap ASA Midwest Tour season-opening Jerry “Bear” Priesgen Memorial at Slinger Speedway by more than six seconds.

Ty Fredrickson, the impressive 15-year-old Midwest Tour rookie to whom Majeski alluded, didn’t challenge a week after scoring an impressive victory at Dells Raceway Park, getting into several tangles and falling out early in 21 st .

Still, youth was well represented with Max Kahler, 21, finishing second and Luke Fenhaus, 20, in third. Both have talked about watching Majeski race while they were growing up.

“I used to be those 15-year-olds,” said Kahler, a finalist in the Kulwicki Driver Development Program, nine years after Majeski won the first.

“I’m not an old guy, but I’m one of the older young guys for sure. It’s kind of hard to believe Ty is that old. … But hopefully we’ll be winning as many races when I’m 30.”

Majeski’s super late model victory total includes three Slinger Nationals, 35 on the Midwest Tour plus five championships, and all the major races of that type around the country. The biggest, the Snowball Derby, he’s won twice. Majeski also has three NASCAR truck victories.

“You always learn from people, even if they’re not (directly) helping you, just racing against other guys, the veterans – I’ve been able to travel all across the country, race different people, experience different racetracks and be in a lot of different scenarios,” Majeski said. “And you learn from those different scenarios you’re in.

“In every race I run, I learn something, good or bad. All the years of racing really good racers, whether it be in the South or in the Midwest, you always take something and remember it and be better next time.”

Which brings us back to Sunday.

Kahler started on the pole after the 12 fastest qualifiers were inverted and led the first 21 laps. Majeski got past on a restart, and from there Kahler just tried to glean what he could on the tricky quarter-mile track.

“After that final restart in that race, he got clear of me, I got down and followed him for 10-15 laps and then he just set sail,” Kahler said. “Then toward the end, everyone was the same pace, and he just seemed to have something left. I’d like to think he saved something. But he just figured something out and was able to drive a lot better than the rest of us.

“Whether that be my driving or the car, either one, both combined will have to be better than (Majeski) hopefully at the end of the day.”

Majeski, who started fourth, is known for being strong on restarts, so Kahler had a good teacher, just like the veterans from whom the winner learned.

If wisdom comes with age, then Majeski is wise enough to know that his learning on the racetrack will continue for as long he straps in a car. Like Kahler, Majeski and crew chief Toby Nuttleman added to their base of knowledge Sunday, too.

“Anytime you win a race like this, everybody else is going to be getting better next week,” Majeski said. “It’s always evolving, and it’s hard to continually win races. It just is. Just thinking of how far our cars and me and Toby have come and our entire team in the last 11 years is just crazy how far we’ve all come on all facets of our program. You have to keep evolving with the sport.

“Racing evolves very, very quickly and it’s very humbling very quickly at times. Always got to keep your nose down, try to get better. I feel like we could get maybe a little better today. I know it maybe doesn’t look like that, but you have to keep getting better, right? When you get content, that’s when you’re going to get beat.”

 ASA Midwest Tour Jerry “Bear” Priesgen Memorial at Slinger Speedway

Feature results

1. Ty Majeski

2. Max Kahler

3. Luke Fenhaus

4. Alex Prunty

5. Derek Kraus

6. John DeAngelis

7. Steve Apel

8. Brad Keith

9. Gabe Sommers

10. Levon VanDerGeest

11. Jonathan Shafer

12. Justin Mondeik

13. Dennis Prunty

14.  Jesse Bernhagen

15. Riley Stenjem

16. Joe Valento

17. RJ Braun

18. Braden Berge

19. Grant Griesbach

20. Brad Mueller

21. Ty Fredrickson

22. Nick Egan

23. Ryan DeStefano

24. Rich Loch

Ohio State to Face Grand Canyon in 2024 NCAA Opener

4/21/2024 5:00:00 PM | Men's Volleyball

Buckeyes, Antelopes battle April 30 in Long Beach, California

Season Stats | NCAA Bracket | NCAA Tournament Tickets

COLUMBUS, Ohio – Ohio State (22-8) will be making its 23rd appearance in the NCAA Tournament when the Buckeyes take on Grand Canyon (25-4) April 30 in Long Beach, California, in the NCAA Quarterfinals.

The 2024 NCAA Tournament will be played April 30-May 4 at Walter Pyramid with Long Beach State University serving as the host institution. Ohio State is 16-3 overall in the series with the Antelopes, a former member of the MIVA. The teams last met on a neutral court at George Mason early in the 2023 season. Grand Canyon won that matchup 3-2 Jan. 14, 2023.

The Buckeyes earned the Midwestern Intercollegiate Volleyball Association's automatic bid to the 2024 NCAA Tournament after defeating Lindenwood (3-1) Saturday in the MIVA Tournament Final at Worthen Arena on the Ball State University campus. It was Ohio State's 19th MIVA Tournament championship in 28 finals appearances.  Ohio State has gone undefeated in its last nine MIVA Tournament appearances and has won 11 of the last 12 MIVA championship matches involving the Buckeyes.   Ohio State has won back-to-back conference tournament titles 10 times in its history after winning the 2023 championship against Ball State, also in Muncie, Indiana.  Justin Howard , a senior from Pacific Palisades, California, which is about 40 minutes away from Long Beach, looks forward to heading west for the NCAA Championships. "As a unit we are super excited to get back to the NCAA Tournament," Howard said. "Personally, I have a bit of extra motivation being back in my home state and having family and friends support. We are ready to get out there and show everybody what Buckeye Nation is about." The Buckeyes spent much of the year with postseason success as the goal, Howard said.  "The MIVA (regular season) and this season overall for us was interesting," Howard said. "I think everybody (on our team) would say we knew we were the best team and we just had to go out and prove it. The season itself had its highs and lows, which made it unique for our expectations but at the end of the day you have to win the three games (MIVA Tournament) in April to continue to fight. We put a heavy emphasis on that and it paid off. So happy and proud of this group. Winning back-to-back MIVA tournaments is pretty surreal. The job however is not finished in our eyes." Kevin Burch , now in his fifth season as head coach of the Buckeyes, has led Ohio State to consecutive conference tournament titles and back-to-back appearances in the NCAA Tournament. He said the win over Lindenwood, after being down a set after losing the opener 25-20, shows the grit the Buckeyes have demonstrated down the stretch of the season.  "The (MIVA) finals match encapsulates what we did so well the last eight matches," Burch said. "We played with a lot of toughness. There are a lot of situations in this sport where it is real easy to roll over and play on your heels. Our guys did the exact opposite of that. To lose 25-20 to a good team like Lindenwood and then come out firing and punching right back that is one of the hardest things to do on our sport. To see us do it on one of the biggest stages this season gives me a lot of confidence and encouragement going into the NCAA Tournament."  Burch said there is more of a comfort level participating in his second-consecutive NCAA Tournament with a veteran team. "(Winning back-to-back MIVA titles) shows our guys have played through some expectations and pressure," Burch said. "They've proven they can be successful under that pressure and that is what (the NCAA) tournament is all about. In order to win this tournament you have to be good under pressure. Our guys have no reason to fear that and have proven they can handle it." 

Ohio State last appeared in the NCAA Tournament in 2023. The Buckeyes defeated King 3-0 in the Play-In Match before a 3-1 loss to Penn State in the quarterfinals.

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