taylor swift dance party tour

▶Taylor Swift Party Nights Tour Across The U.S.

Taylor Swift Night—a dance party inspired by all things Taylor—is coming to a location near you soon!

The Taylor Party: Taylor Swift Night

The Swifties are back at it again! From loving every song on Midnights to breaking Spotify and Billboard records, Taylor fans are enthusiastic to say the least. This time, they’re showing their love and enthusiasm for Swift by planning “tours.” The Taylor Party: Taylor Swift Night is a tour for the masses. In fact, venues around the U.S. will host Taylor Party nights. Thus, Swifties can get tickets to dance and sing along to Taylor all night, surrounded by fellow Taylor lovers. The Taylor Party website, full of Taylor-related wordplay, puts it best.

“We promise that you’ll never find another party like THE TAYLOR PARTY: TAYLOR SWIFT NIGHT, a Taylor Swift Inspired Dance Party. Our party is Taylor-made for ultimate fans. Surrounded by friends and Swifties, you’ll dance the night away singing along to every song.”

Find the tour dates, venues, tickets, and other information here ! Also, to access presale passwords and news, fans can sign up to join The Taylor Party’s Lovers Club.

Swiftogeddon

By the way, The Taylor Party isn’t the only group of fans that have been doing the whole dance-party-tour thing. In the UK and Ireland, Swiftogeddon does its own tours for Swifties.

Check out how Swiftogeddon describes itself below.

“Swiftogeddon is a night run by fans, for fans to come together and worship at the altar of Taylor Swift: non-stop Swifty all night: deep cuts, extended mixes, fan favourites and all the hits.”

Clearly, it doesn’t matter where you are, anyone can celebrate Taylor Swift. Find Swiftogeddon ticket information here .

And that’s a wrap! Subscribe and follow us on social media for more content like this! Check out our  Words ,  Sessions , and  Drops  sections for more music news.

The post ▶Taylor Swift Party Nights Tour Across The U.S. appeared first on Music Daily .

Staring down 30 at the Taylor Swift dance party

On finding enjoyment, and cringe, in the world’s biggest pop star.

by Rebecca Jennings

Two weeks ago, Taylor Swift received an honorary doctorate from NYU. One week later I went to a party in her honor in Brooklyn, an event devoted entirely to dancing — and more often, screaming — to the music of Taylor Swift.

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The event had nothing to do with her getting a degree; rather, it was part of a popular traveling series called the Taylor Party that has, over the past five months, made stops in cities from Honolulu to Montreal, Omaha to Boston. It’s pretty straightforward: You pay something like $20 to go to a concert venue where a DJ plays literally nothing but Taylor Swift. In New York, where Taylor Parties take place every few months, tickets sell out fast.

There is something inherently cringey about attending a Taylor Swift dance party, but to be fair, there is also something cringey about Taylor Swift herself. There’s the ineffable, just-this-side-of-saccharine stuff: When she first got famous, the then-teenager was known for the “little ol’ me?” reactions she gave when accepting awards despite her glaring perfectionism . She has baked cookies for fans and sent her followers surprise Christmas presents; one time she wrote a Tumblr post about loving plaid clothing and pumpkin spice .

And then there’s the actually-cringey stuff: the tone-deaf music videos , her tendency to decry any criticism as sexist , the whole era where she trotted out various famously beautiful friends in some kind of performance of feminism . For the most part, though, Swift is the normal kind of embarrassing: Upon joining TikTok last summer, fans commented on her — truly quite cheesy — first video, writing things like, “Sometimes I forget she’s a millennial.”

So if Taylor Swift is unapologetically cringe, the Taylor Party is even more so. Most people, at least 80 percent of them women, dress up as Taylor and take photos in front of a giant Taylor Swift step-and-repeat. There are Taylor Swift-themed balloons, and the screen behind the DJ booth plays clips from Taylor Swift music videos on an endless loop. Founded by Pittsburgh-based DJs and nightlife producers Brian Howe, Josh Bakaitus, and Steve Soboslai, the first Taylor Party took place on December 3, 2021. Howe and Bakaitus were thinking of fun theme parties to organize in a post-vaccine world, and the latter had been listening to a lot of Swift’s music.

“He wanted a place where he could hang out and listen to the songs,” explains Howe. Tickets sold fast, and within 24 hours they planned and hosted another party in Chicago. “Based off the numbers and all the social media engagement, it made it really easy for us to start reaching out to other markets,” Howe says. So far, they’ve done about 50 shows, with dozens more scheduled through the rest of this year.

The Taylor Party is not so different from the wave of vaguely nostalgic theme nights that have sprouted up over the past decade. In the early 2010s, nightclubs began hosting a rash of parties dedicated to the emo and pop punk that was topping the charts only a few years previously; they remain big moneymakers to this day. Sign up for newsletters from Eventbrite or Bandsintown and you’ll receive an onslaught of emails about parties coming to your city centered around genres like dubstep, indie pop, mid-aughts hip-hop, or ’80s new wave, using the foolproof method of getting people in the door by offering a dance-ready crowd and the guarantee of a good playlist.

The Taylor Party offers that, sure, but to its organizers, it’s more like a fan convention. “An interesting comparison would be to a Comic Con or a Star Wars convention,” Howe says. “A bunch of people in a room that love one thing, and want to be around other like-minded people without the pressures of the outside world for a limited amount of time.” (Yes, the most-requested song is the 10-minute version of “All Too Well.”)

Rather than Taylor herself dominating conversations, though, the topics discussed outside the venue were more about attendees’ own feelings, our own histories and humiliations. In line for the bathroom, I meet a 21-year-old who’s in the process of cutting off her ex and has found solace in Swift’s oeuvre. (It’s a cliché to describe the particular intimacy of drunk girls in bar bathrooms, but at a Taylor Swift-themed event, in which everyone has already admitted to a certain level of sentimentality by being here, it is doubly true.) “Ever since I got heartbroken, I’ve never had someone describe that feeling so well,” she told me.

I’ve been listening to Taylor Swift’s music long enough that I’ve experienced most of the emotions she’s articulated over her career — heartbreak, lust, disillusionment, joy, vengeance — but the theme I’ve thought about most recently is Swift’s grappling with her own irrelevance, the fear that women, mostly, experience as they approach an age deemed worthless to society. I spent my early 20s terrified of getting older, convinced that the only value I offered the world was the dwindling resource of my youth.

“Lord, what will become of me, once I lose my novelty?” Swift sings on “Nothing New,” a track she wrote when she was just 22, which is sort of hilarious in retrospect. In the decade since then, and particularly since the pandemic, she’s shifted some of that navel-gazing ennui toward subjects outside of herself — imagined characters, invented worlds — and become a much better artist because of it.

I turn 30 in about three weeks, which means I’ve become very annoying and sentimental about the topic of one’s 20s. It also means that I have a far more reasonable perspective on womanhood and aging than I did a decade ago. It’s much harder, for instance, for me to care about “ vibe shifts ” or garbage trends or New York’s supposed “ hipster wars ,” media-invented cultural phenomena that affect precisely 12 people and won’t last beyond a few think pieces, things that are meant to make anyone outside these niche worlds feel woefully out-of-touch and unimportant.

Which is to say I’ve also been much more interested in embracing cringe, or enjoyment for its own sake. Attending a Taylor Swift dance party, or really any themed club night, is sort of an embarrassing thing to do; it’s an admission to the world that perhaps you’re not quite as comfortable in a regular club as you used to be, or that you’re more interested in reliving a bygone era than creating a new one. It can be embarrassing in itself to be part of a fandom for anything, but particularly that of the most famous pop star in the world, a wealthy, white, thin woman who has built a billion-dollar empire by portraying herself as the underdog.

But it’s also hard to think about any of those things when you’ve somehow managed to convince seven other friends, all in their late 20s and early 30s, to join you for the Taylor Swift dance party, and not only to attend but to dress up as various iterations of Swift over the course of her career (I went as her Lover era.) It’s impossible to worry about being cringe when you’re decking out your friend’s face in glitter and making St. Germain cocktails, and it’s impossible to feel stupid when you’re screaming “22” surrounded by a hundred other people who are for the most part emphatically not 22.

While addressing the class of 2022, a sizable portion of Swift’s commencement speech was spent extolling the virtue of unbridled enthusiasm. “Learn to live alongside cringe,” she said. “It seems to me that there is a false stigma around eagerness in our culture of ‘unbothered ambivalence.’ This outlook perpetuates the idea that it’s not cool to ‘want it.’ That people who don’t try hard are fundamentally more chic than people who do.”

This is an incredibly funny thing to say to graduates of NYU, a school I also attended and that is full of the people most terrified in the world of being considered cringe. While I bristle at the hustle porn of it all, or the idea that “hard work” is a more important virtue than anything else, it is also exactly the thing that people obsessed with performing disinterest need to hear most.

The true genius of the Taylor Party, I think, is that it capitalizes on the fact that Taylor Swift is one of the few celebrities who would be the type of person to actually attend a Taylor Swift-themed party if she were not Taylor Swift herself. She’d probably be here too, letting off steam from her advertising job in Red -era heart-shaped sunglasses. She isn’t present, of course, so besides the looped music videos, there isn’t much to look at. Instead we all turn toward each other, gazing at our friends as we scream the songs we know all too well, feeling cringe and feeling free.

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The Taylor Party: Taylor Night

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Critic’s notebook

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

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

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By Brian Seibert

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Inside the World of Taylor Swift

Chart Wars: “The Tortured Poets Department” logs a fourth week at No. 1. Next week’s competition is a battle  between Billie Eilish and Swift with multiple versions of their LPs for sale.

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

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

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

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

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