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Why taylor swift almost completely ignores her debut album on the eras tour (despite the title).

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Not Even The Eras Tour (Taylor's Version) Will Restore The Movie's Most Surprising Cut Taylor Swift Song

Disney+ has to release another taylor swift eras tour movie after her new 15-year-old surprise song performance, hugh jackman's underrated sci-fi movie becomes global netflix hit.

• Swift's Eras Tour celebrates her career with hits from each album, but excludes songs from her self-titled debut due to minimal popularity.
• Swift is re-recording her albums as "Taylor's Version," but has yet to re-record her debut album.
• Swift connects more with current music and plays surprise songs from her debut album on The Eras Tour acoustic set.

As seen in Taylor Swift: The Eras Tour , Swift encapsulates her decades-long career on stage, but doesn't sing anything from her self-titled debut album. Swift embarked on The Eras Tour beginning in 2023 with the idea of celebrating her impressive career by performing her greatest hits from each "era" or album . Swift also got the chance to perform songs from albums that had come out between her last tour and The Eras Tour, such as f olklore and Midnights . Still, Swift has yet to include her first album, Taylor Swift , on the setlist.

Throughout the past few years, Swift has been on the journey to re-record her albums , renaming them with the subtitle, Taylor's Version . Before the release of Speak Now (Taylor's Version) , songs from the original album were given a similar treatment to Taylor Swift , having a limited presence on tour. Even so, while Swift only performed one song from Speak Now , "Enchanted," it was still part of the official setlist and later, she added "Long Live" as well. However, the same cannot be said for Taylor Swift, as it only appears periodically in the acoustic section of The Eras Tour.

After already being cut from the theatrical and VOD releases, it seems a hit song will still be missing from Taylor Swift: The Eras Tour on Disney+.

Taylor Swift's Eras Tour Ignores Her Debut Album Due To Its Lack Of Popularity

Taylor swift's debut album doesn't contribute much to her overall streams..

While there's no definitive answer as to why Swift ignores her debut album on The Eras Tour, one of the most notable factors setting it apart is the lack of streams . Due to the success of The Eras Tour and public interest in her re-recording endeavors, Swift ended 2023 as the top artist on Spotify (via CNN ). However, of her biggest hits on Spotify, which include "Cruel Summer" from Lover and "Don't Blame Me" from Reputation , the presence of Swift's debut is scarce. According to kworb.net , the first song from Taylor Swift to appear is "Our Song" at number 64.

At the time of publication, these numbers were last updated as of March 14, 2024.

Taylor Swift was released in 2006, when Swift was 16 years old, and includes her diaristic writing from an early age.

It's also important to consider Swift's inability to connect with the content of her older music. Taylor Swift was released in 2006, when Swift was 16 years old, and includes her diaristic writing from an early age, including a song she wrote at age 12, "The Outside." Swift has addressed her younger self in recent music, such as "You're On Your Own, Kid" from Midnights , but this is done from the perspective of an adult , reflecting on her life thus far, rather than detailing current adolescent experiences as she does on her debut album.

Every Song From Her Debut Album Taylor Swift Has Played On The Eras Tour

Taylor swift has played almost every song from her debut album as a surprise song..

On The Eras Tour, Swift implemented an acoustic set, also known as the "surprise songs," for each show, where she performs a song of hers excluded from the setlist. As a result, Swift has performed almost the entirety of her debut album. The only songs that remain are "Mary's Song (Oh My My My)" and "A Perfectly Good Heart."

Taylor Swift: The Eras Tour

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

Taylor Swift's 'The Tortured Poets Department' ushers in a new era of her music. Here's a guide to every era of her groundbreaking career.

• Taylor Swift's 11th studio album, "The Tortured Poets Department," officially comes out on Friday.
• Each of Swift's album cycles has had its own unique aesthetic expressed through fashion and staging.
• The "Fearless" era was full of sparkles and romance, while "Reputation" ushered in her villain era.

Taylor Swift's Eras Tour became the first tour in history to gross over $1 billion, making it the highest-grossing tour of all time, the Associated Press reported in December, citing Pollstar data.

With a nearly three-hour-long set list and sparkling costume changes , the Eras Tour pays tribute to Swift's 10 studio albums and the unique styles and staging that accompanied them.

Swift's 11th studio album, "The Tortured Poets Department," ushers in a new era of her music.

Here's a guide to every album era of her groundbreaking career.

When she released her self-titled debut album in 2006, Taylor Swift became known as a rising young country star with a talent for songwriting.

Swift, who was 16 when the album was released, sang hit tracks like "Tim McGraw," "Our Song," and "Teardrops On My Guitar" with a country twang, and she graced red carpets in sundresses and cowboy boots.

"I get so excited about these things because I love to dress up. But I wear cowboy boots so that when I walk down the stairs I won't fall," Swift told Entertainment Weekly in 2007 about attending award shows like the Country Music Awards.

The album earned Swift her first Grammy nomination, for best new artist, and a nomination for new female vocalist of the year at the Academy of Country Music Awards. "Our Song" made her the youngest artist in history to have written and performed a No. 1 song on the Hot Country Songs chart.

Swift's "Fearless" era was defined by sparkly dresses and hopeless romanticism.

Swift released her sophomore album, "Fearless," in 2008. It won four Grammys , including album of the year and best country album. It also won album of the year at both the Country Music Association Awards and the Academy of Country Music Awards.

Her music video for "You Belong With Me" won best female video at the 2009 MTV Video Music Awards. In the middle of her acceptance speech, Kanye West grabbed the microphone and declared that Beyoncé had been robbed, sparking a long-running feud .

Swift sang that she liked "glitter and sparkly dresses" and getting back at exes by "writing their names into songs so they're ashamed to go in public" when she hosted "Saturday Night Live" in 2009. Both were fixtures of her "Fearless" era, which explored the highs of grand romantic gestures in songs like "Love Story" and the lows of heartbreak in tracks like "Forever & Always." 

On the Fearless Tour, Swift wore ball gowns and sequins while performing on a stage featuring a fairy-tale castle.

During her "Speak Now" era, purple became Swift's signature color as she clapped back at critics and wrote increasingly confessional material.

Swift wrote the entirety of "Speak Now" (2010) by herself, without any cowriters, in response to critics who claimed she didn't write her own songs.

"I've had several upheavals in my career," she told Rolling Stone in 2019. "When I was 18, they were like, 'She doesn't really write those songs.' So my third album I wrote by myself as a reaction to that."

Swift's "Speak Now" era maintained some of the magic and whimsy of "Fearless" with tracks like "Sparks Fly" and the anthemic "Long Live," but it also included scathing songs like "Dear John," "Better Than Revenge," and "Mean," which won two Grammys for best country song and best country solo performance.

Swift appears in a purple dress on the original album cover of "Speak Now," and she wore a purple dress on the Speak Now World Tour. She also released a perfume in a purple bottle called "Wonderstruck" in 2011, referencing lyrics in the chorus of her song "Enchanted:" "I'm wonderstruck, blushing all the way home."

"Red" marked the beginning of Swift's shift away from country music with vintage looks and experimental sounds.

The "Red" era, naturally, featured lots of vibrant red colors. Swift also began experimenting more with her style and sound. She straightened her famously curly hair, traded sparkly dresses for vintage looks like high-waisted shorts, and collaborated with pop producers such as Max Martin and Shellback.

"Musically and lyrically, 'Red' resembled a heartbroken person," Swift wrote in a 2021 Instagram post announcing the release of her re-recorded album, "Red (Taylor's Version)." "It was all over the place, a fractured mosaic of feelings that somehow all fit together at the end."

"Red" was nominated for four Grammys, including album of the year and best country album. It spent seven weeks at the top of the Billboard 200, making Swift the first female artist and the second artist ever (aside from The Beatles) to have three consecutive albums spend at least six weeks at No. 1.

Swift's "1989" album cemented her as a global pop icon. It was also the era of her famous "squad."

When Swift released "1989" in 2014 with catchy tracks like "Shake It Off" and "Style," she left no doubt that she had transcended her country roots and become a full-blown pop star. It won three Grammys, including album of the year, and became the fastest-selling album of the last decade, Variety reported.

"The best choices are bold choices," Swift said in a 2014 interview with "On-Air With Ryan Seacrest," per Taste of Country . "With my last album 'Red,' I kind of had one foot in pop and one foot in country, and that's really no way to walk and get anywhere. If you want to continue to evolve, I think eventually you have to pick a lane, and I just picked the one that felt more natural to me at this point in my life."

Her "1989" era was dominated by her "squad" of famous friends . Squad members Karlie Kloss , Cara Delevingne, Selena Gomez, Gigi Hadid, Lena Dunham, and others starred in her music video for "Bad Blood."

On the 1989 World Tour, Swift debuted an edgier style with sequined bustiers and illusion jumpsuits.

"Reputation," released in 2017, ushered in Swift's villain era.

Swift went dark during this era, wiping her social-media accounts and refraining from interviews and public appearances. Her mantra was "There will be no further explanation. There will just be reputation."

In "Look What You Made Me Do," Swift declared that "the old Taylor can't come to the phone right now" because "she's dead." In music videos and on tour, she leaned into the snake imagery that emerged out of her feud with Kim Kardashian and Kanye West , when fans of the latter flooded her social media accounts with snake emojis.

"I went through some times when I didn't know if I was going to get to do this anymore," she told the crowd in Glendale, Arizona, on the opening night of the Reputation Stadium Tour, Buzzfeed reported. "I wanted to send a message to you guys that if someone uses name-calling to bully you on social media, and even if a lot of people jump on board with it, that doesn't have to beat you. It can strengthen you instead."

Despite the darkness of the era, songs like "Delicate" and "Gorgeous" also chronicle the beginning of her relationship with Joe Alwyn. The two dated for six years before breaking up in April 2023.

The album received one Grammy nomination for best pop vocal album. The Reputation Stadium Tour became the highest-grossing US tour in history — a record she has since beaten — Forbes reported.

The short-lived "Lover" era was full of rainbows, dreamy pastel colors, and political activism.

"Lover," released with Republic Records in 2019, was the first album that Swift fully owned after her master recordings were sold to music executive Scooter Braun . The acquisition caused a public feud, with Swift calling the acquisition her "worst case scenario" in a Tumblr post and Braun saying he "regrets" how it was handled . 

The singer leaned fully into political activism with her song and music video for "You Need To Calm Down" advocating for LGBTQ+ rights. She also wrote more upbeat autobiographical songs about her relationship, such as "London Boy" and "Paper Rings." 

"I'm in a much better mood," Swift said in a 2019 appearance on "The Graham Norton Show" when asked about her new music's bright pop aesthetic.

Lover Fest would have been her sixth concert tour, but all shows were canceled due to the COVID-19 pandemic.

The album received three Grammy nominations, won four MTV Video Music Awards, and won favorite pop/rock album at the American Music Awards.

"Folklore" and "Evermore" emerged out of quarantine, with Swift embracing folk sounds, storytelling, and cottagecore.

Swift collaborated with producers Jack Antonoff and Aaron Dessner to craft a new sound and approach to songwriting. She also wrote a few tracks with Alwyn, who used the pseudonym "William Bowery."

Instead of writing purely autobiographical songs, Swift was inspired by characters and stories of her own creation.

"In isolation my imagination has run wild and this album is the result, a collection of songs and stories that flowed like a stream of consciousness," she wrote in an Instagram post announcing "Folklore." "Picking up a pen was my way of escaping into fantasy, history, and memory. I've told these stories to the best of my ability with all the love, wonder, and whimsy they deserve."

Swift left the sheen and vibrancy of "Lover" behind in favor of a more understated, woodsy style. She wore her natural curls in loose braids and buns, and her wardrobe consisted of cozy cardigans, plaid coats, and jewel-toned velvet.

Swift won her third Grammy award for album of the year for "Folklore," making her the first woman to win album of the year three times . "Folklore" was also the best-selling album of 2020, Rolling Stone reported.

Swift ushered in a new darker, '70s-inspired era with "Midnights."

"Midnights" explores Swift's feelings of wistfulness, self-loathing, and loneliness that keep her up at night. The album art and "Anti-Hero" music video feature the singer wearing retro outfits in spaces with wood paneling and warm colors straight out of the 1970s, while the music video for "Bejeweled" adds a glitzy, celestial element to the era.

"This is a collection of music written in the middle of the night, a journey through terrors and sweet dreams," she wrote on Instagram . "The floors we pace and the demons we face. For all of us who have tossed and turned and decided to keep the lanterns lit and go searching — hoping that just maybe, when the clock strikes twelve... we'll meet ourselves."

Swift became only artist in history to claim all top 10 entries on the Billboard Hot 100 in a single week when songs from "Midnights" filled all 10 spots.

At the 2024 Grammys, it won album of the year , making Swift the first person in history to win the award four times. "Midnights" also won best pop vocal album.

For her 11th studio album, "The Tortured Poets Department," Swift leaned into a greyscale color palate and academia themes.

When she announced the upcoming release of "The Tortured Poets Department" at the Grammys, Swift hinted at the album's black-and-white color theme with her outfit of a white Schiaparelli corset gown paired with black gloves and heels.

On the greyscale album cover, Swift appears lying mournfully in a pile of pillows on a bed.

"All's fair in love and poetry," Swift captioned the image on Instagram .

Ahead of the album's release, Swift shared themed playlists on Apple Music that categorized songs from her previous albums into the five stages of grief popularized by psychiatrist Elisabeth Kübler-Ross. Combined with the melancholy, tortured artist aesthetic, the album is widely believed to chronicle the end of Swift's six-year relationship with Alwyn.

A library-themed Spotify pop-up in Los Angeles featured books, statues, and typewritten messages teasing song lyrics from tracks on the new album. Typewriters also appeared in a video posted to Swift's Instagram.

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Taylor Swift Kicks Off Eras Tour with Career-Spanning 44-Song Setlist

Swift broke her career down into her respective album eras as she treated Glendale, Arizona to a three-hour gig Friday

Melody Chiu is an Executive Editor at PEOPLE overseeing music, events and emerging content. She has been with the brand since 2009, editing, writing and reporting across all entertainment verticals. She has written cover stories on Taylor Swift, Selena Gomez, Melissa McCarthy, Blake Shelton, Jordan Turpin and Sandra Oh. The Los Angeles native graduated from the University of Southern California and has appeared on Extra! , The Talk, Access Hollywood and Good Morning America .

After months of ticketing dilemmas , new song releases and even having her name honored in the city where it all went down , Taylor Swift 's long-awaited Eras Tour officially kicked off in Glendale, Arizona on Friday night.

It was the career celebration fans had been expecting since it was announced in November — and perhaps even an extended (Taylor's Version) of what they expected!

Swift, 33, captivated her audience with a massive, career-spanning 44-song setlist, as the show ran for 3 hours and 13 minutes — with the singer-songwriter nodding to each of her respective album eras and saving room at the end for her latest LP: Midnights .

The setlist itself featured a bit of everything, from debut-era favorite " Tim McGraw " to her latest No. 1 smash "Anti Hero," as Swift ran through selections from all of her studio LPs, from Taylor Swift to Midnights .

During the night, which was opened by Paramore , Swift took a few moments to explain her artistic turns, too. Before performing Folklore 's "Betty," she opened up about her decision to create characters for the Grammy-winning album.

"Sort of a running theme in my music is that I love to explain to men how to apologize ," Swift said. "I just love it. It's kind of my thing. I love to tell them, step-by-step, here's how simple this is to fix things. If you just follow these easy steps that I'm laying out for you in a three-minute song... Just love the idea of men apologizing. And basically, this is a song about a teenage boy named James who was trying to apologize to the love of his life, and her name is Betty."

"Betty" wasn't the only Folklore cut of the night, as Swift also treated attendees to "Mirrorball," "Invisible String," "Last Great American Dynasty," "August," "Illicit Affairs," "My Tears Ricochet" and "Cardigan." But those didn't come until later in the set, as she opened the show with six songs off Lover, before performing three Fearless tracks, five Evermore cuts, four favorites from Reputation, "Enchanted" from Speak Now, and later four selections from Red . The Red era moment wrapped with Swift sharing her Billboard Hot 100 No. 1 single, "All Too Well (10 Minute Version)."

"The fact that you embraced [ Red ] the way that you did when it came out in 2012, that blew me away," she said. "But then, I never imagined then what you would end up doing a decade later when I wanted to claim that album as my own. So, thank you."

After her detour into Folklore , the musician dazzled with "Shake It Off," "Blank Space" and a few others off 1989 , a brief return to Folklore and her self-titled debut album with "Mirrorball" and "Tim McGraw," and a closing run of Midnights tracks such as "Mastermind" and "Karma."

The opening night notably marked the live debut for several of her songs, especially some off Midnights and Evermore , and gave fans a first glimpse into Swift's elaborate on-stage set-up and outfits.

Swift didn't just throw things back with her set list or stories on stage, either, as her performance attire also nodded back to previous eras. Lover saw Swift rock a Versace bodysuit and blazer, a stunning Roberto Cavalli dress as a nod to Fearless, a Nicole + Felicia gown for Speak Now, an Alberta Ferretti dress for Folklore and a Cavalli top and skirt for 1989 . Elsewhere, she wore an entirely Oscar de la Renta fit with Christian Louboutin boots (which she rocked a few times) for Midnights , a Jessica Jones dress for an acoustic moment, an Ashish T-shirt/romper/coat combo for Red with a Gladys Tamez hat, a Cavalli catsuit and boots for Reputation , and an Etro dress and cape for Evermore .

At times, the stage included a see-through house with lit-up rooms, an enormous platform and many, many nods to her album eras — from familiar visuals displayed in the background to sequences of her diving between songs .

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Swift, who wanted to look "nice" for her " guys, gals and non-binary pals ," ultimately put on the career-spanning performance for those who were able to secure tickets despite previously reported Ticketmaster hassles, where the company had to cancel the tour's general sale back in November. And as she said Friday night, she was grateful fans took the time to help her kick of the monumental occasion.

"I'm gonna take a wild guess and say, that if you're here tonight, there's a pretty good chance that you went through a considerable amount of effort to be with us tonight, is that true," Swift asked her crowd, which erupted in applause. "Well, first of all, let me say, on behalf of me and every single performer that you see on this stage — all the band, all the crew, every single person who has been putting together this tour for years — thank you from the bottom of our hearts for wanting to be with us on night one."

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‘Taylor Swift: The Eras Tour’: Review

By Tim Grierson, Senior US Critic 2023-10-12T08:56:00+01:00

Another format, another smash for beloved pop icon Taylor Swift

Source: Vue Cinemas

‘Taylor Swift: Eras Tour’

Dir: Sam Wrench. US. 2023. 169mins

A dazzling flex of musical muscle, Taylor Swift: The Eras Tour finds the global superstar delivering a rousing big-screen experience that runs nearly three hours while demonstrating her dexterity with different genres. Drawing from three sold-out shows at SoFi Stadium in Los Angeles in August, the concert film captures the tour’s central conceit — the 33-year-old artist selects a handful of tracks from each of her nine most recent albums — and what comes across strongest is her thrilling evolution over the last two decades. Filled with both spectacle and strikingly intimate moments, The Eras Tour is almost too much of a good thing — so many hits, so many memorable set pieces, so many peaks.

Grosses that could rival the year’s major blockbusters.

The film will open worldwide October 13, with Swift working directly with US theatre chains to release the picture. (Trafalgar Releasing is handling most international territories.) Strong reviews and, more importantly, ecstatic word of mouth from Swifties could propel the film to grosses that rival the year’s major blockbusters.

Director Sam Wrench ( Billie Eilish Live At The O2 ) and editor Dom Whitworth keep the proceedings humming along, resisting the urge to employ gimmicky quick cuts to artificially goose the excitement. Instead of going through her 10 albums chronologically — her self-titled 2006 debut contributes only one track — Swift has sequenced the setlist around shifting tempos, segueing back and forth between high-energy numbers and more contemplative tunes.

Wrench emphasises each album’s strengths. The acoustic Folklore songs are filmed with stately elegance, while Reuptation ’s bangers are visual feasts, the director pulling back so that we can take in the thrilling lighting scheme and Mandy Moore’s slinky choreography. Swift’s concerts are already examples of stellar stagecraft — the imaginative backdrops often change — and The Eras Tour has enough confidence to let the hard work that went into the tour’s design speak for itself, although Wrench’s camera puts the viewer much closer to the action that most ticket holders would have enjoyed at the actual show.

First rising to fame as a teenager, Swift has grown up in front of our eyes, but the different phases of life she experienced while making these albums, which often inspired her to pursue different creative directions, remain within her. As a result, she proves to be a charming chameleon in The Eras Tour . We see the sensitive troubadour, the dreamy romantic, the sexy flirt and the goofy dork. Remarkably, none of these personae feel forced as she effortlessly sheds one skin to don another, joyfully honouring all the disparate parts of herself.

Considering that her shows regularly run three-and-a-half hours, it’s impressive that The Eras Tour manages to fit in roughly 40 songs in the span of 169 minutes. As with many massive stadium shows, the film can occasionally be exhausting, the prolonged high levels of technical mastery risking becoming monotonous. But the way that Swift brings fresh gusto to familiar smashes such as ‘We Are Never Ever Getting Back Together’ speaks to her boundless enthusiasm and competitive fire. Although she evinces a likably nerdy demeanour, the steeliness of her focus as she prowls the stage suggests an artist who wants to be the biggest in the world. That ambition isn’t oppressive, though: without overstating the case, The Eras Tour underlines the deep emotional connection she has with her audience, who see their own struggles for contentment in her tales of self-empowerment. 

Screened for critics in IMAX, the film makes excellent use of large-format screens, especially when Wrench shows Swift as a rather small speck in a sea of fans, their cellphone lights illuminating the darkness. But The Eras Tour also finds ideal moments to highlight what’s so resonant about her most heartfelt songs. Her epic breakup ballad ‘All Too Well,’ which she plays on acoustic guitar, has a stunning directness in which SoFi’s massive scale slips away, the singer connecting with the viewer through candid close-ups.  

That said, The Eras Tour peaks highest when Swift revisits her uptempo, dance-y numbers. Favourites like ‘…Ready for It?’ and ‘Anti-Hero’ are top-flight pop songs further animated by Swift’s passionate performance and her boisterous backup dancers, but her transition from country darling to pop royalty hasn’t blunted her insightful lyrics, which have only grown more sophisticated with time. The complicated portraits of love found in reflective tunes such as ‘Lover’ and ‘The 1’ argue that her long-running search for a soulmate may continue, but she’s finding new, more nuanced ways to plumb her broken heart. Whether weepy or accusatory, shattered or sarcastic, Taylor Swift puts all of her different selves on display in The Eras Tour . You’ll sing along with all of them.

Production company: Taylor Swift Productions

International distribution: Trafalgar Releasing

Producer: Taylor Swift

Cinematography: Brett Turnbull

Production design: Ethan Tobman

Editing: Dom Whitworth

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Taylor Swift Adds ‘The 1’ to Setlist, Plus More New Moments as Eras Tour Arrives in Texas

The Friday night setlist in Arlington, Texas, saw the addition of three new tracks & kicked off Swift's first of three AT&T Stadium concerts this weekend.

By Kristin Robinson

Kristin Robinson

Music Publishing Reporter

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Taylor Swift continued her history-making Eras Tour on Friday night (March 31), kicking off three shows through Sunday in Arlington, Texas.

Though fans and media who caught the tour at its first stop in Glendale, Ariz., and subsequent shows in Las Vegas have already revealed key details about the extensive 3 hour and 15 minute set list, elaborate costumes, and more, Friday’s concert held some special surprise moments for Swifties.

Leading up to the night, local news outlets made a slew of announcements that urged citizens to beware of Eras Tour-induced traffic jams and parking issues in Arlington, which sits right in between Dallas and Fort Worth and boasts most of the metroplex’s major amusements, including Globe Life Field, Six Flags Over Texas and the Dallas Cowboys’ AT&T Stadium — where Swift performed — but many concertgoers seemingly avoided the regular rush by arriving early, planting themselves in line for merchandise and entrance to the concert.

So what made Swift’s first Arlington show stand out from the previous Eras shows? Read below for some brand-new moments from the Friday night concert.

Self-Titled Debut Skipped on Night 1

One of the notable changes in Swift’s evolving Eras Tour setlist on Friday was the omission of songs from Taylor Swift on night 1 in Arlington. In the opening night of each of the previous weekends so far, one song from her self-titled project made it into the acoustic portion of her show. The first night in Glendale, she played her debut single “Tim McGraw,” and night 1 in Las Vegas, she played crowd favorite “Our Song.”

Three Songs Get Their Eras Tour Debut

After playing “The 1” — a swap-out for her usual Folklore opener “Invisible String” — Swift admitted, “You know, I’ve never played that song live before,” making its performance both a debut on the Eras Tour setlist and a live debut in general.

She also worked in “Sad Beautiful Tragic” from Red to the setlist during her acoustic portion. Strumming it on just an acoustic guitar, she introduced the song saying, “I love this one. When I love a song, I don’t care what anyone says.”

To follow it up, Swift moved over to an upright piano at the end of the stage and began playing “Ours” from Speak Now. Another surprise for fans: “Ours” became the second Speak Now cut to make it onto the setlist, the first being “Enchanted,” which has been played every night of the tour so far.

MUNA Joins as an Opening Act

Los Angeles-based trio MUNA joined the Eras Tour on Friday for their first performance, following fellow opener GAYLE. Comprised of Katie Gavin, Josette Maskin and Naomi McPherson, the Saddest Factory-signed band made full use of the stage, parading up and down the catwalk while performing a number of songs from their 2022 self-titled album. “They’re all over every playlist of mine,” Swift said of MUNA in a break after singing “Lover.” “They absolutely killed it.”

Swift Says to Expect the Unexpected

After surprising the crowd with her first-ever performance of “The 1,” Swift grabbed the mic, smiling as she teased her fans: “You think you can just scroll the setlist? You think you can just come prepared? Let it be said about The Eras Tour … there’s high jinks.” The taunt may not just be a reference to the Arlington set and could be an overall message for the rest of the U.S. stadium tour.

Arlington Night 1 Full Setlist

Miss Americana & The Heartbreak Prince Cruel Summer The Man You Need to Calm Down Lover The Archer Fearless You Belong With Me Love Story ‘Tis the Damn Season Willow Marjorie Champagne Problems Tolerate It …Ready for It? Delicate Don’t Blame Me Look What You Made Me Do Enchanted 22 We Are Never Ever Getting Back Together I Knew You Were Trouble All Too Well (10-Minute Version) The 1 Betty The Last Great American Dynasty August Illicit Affairs My Tears Ricochet Cardigan Style Blank Space Shake It Off Wildest Dreams Bad Blood Sad Beautiful Tragic (acoustic) Ours (acoustic) Lavender Haze Anti-Hero Midnight Rain Vigilante Shit Bejeweled Mastermind Karma

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clock This article was published more than  1 year ago

Taylor Swift’s Eras Tour has finally arrived. Here’s what to know.

Just a month after it hosted the Super Bowl, State Farm Stadium in Glendale, Ariz., will be the site of an event that the people packing the venue will no doubt claim dwarfs America’s biggest sporting event — the opening night of Taylor Swift’s highly-anticipated Eras Tour on Friday. “Highly-anticipated” might be an understatement, given that this is the 52-date U.S. stadium tour — with an international schedule to be released later — that crashed Ticketmaster and sold 2 million tickets in one day. Here’s what to know before the first show.

How the search for clues in Taylor Swift's music became all-consuming

Why this is such a big deal again?

Swift, one of the most popular superstars on the planet, used to tour on a fairly regular schedule, in accordance to her once-every-two-years album cycle. But she hasn’t toured since 2018, when she embarked on her sold-out Reputation Stadium Tour. (Incidentally, that also launched in Glendale in March 2018, back when it was called University of Phoenix Stadium.)

Swift released her seventh studio album “Lover” in 2019, and planned to take it on the road with multiple international concert dates and then a U.S. “Lover Fest” in summer 2020, with two massive shows each in Los Angeles and Boston. Alas, the pandemic postponed and then permanently scrapped those plans.

Live Nation Entertainment, Ticketmaster’s parent company, cited Swift’s absence from touring as one reason for the hype after the singer announced her Eras Tour in November — which, when tickets went on sale , sparked a Ticketmaster meltdown of glitches, hours of waiting in virtual waiting rooms and cancellation of the general admission sale. Some tickets were later posted on resale sites for absurdly high prices .

“This exceeded every expectation,” Live Nation chairman Greg Maffei told CNBC last year, noting that they could have sold out “900 stadiums” with the demand. This spurred furious Swifties to file a lawsuit alleging violation of antitrust laws, as well as a congressional hearing in January to investigate consolidation in the entertainment ticketing market.

How is the 'eras’ part of the Eras Tour going to work?

This is the top question that has Swifties in a frenzy. The only description Swift has offered is that the tour is “a journey through the musical eras of my career (past and present!).” This encompasses quite a range, given that Swift’s self-titled debut album was released in 2006 back when she was a rising country star in Nashville, and goes through October 2022 with the record-shattering “Midnights,” her 10th studio album with the synth-pop sound that she has experimented with in recent years. Not to mention her detour into indie folk/cottagecore with sister albums “Folklore” — Grammy album of the year winner — and “Evermore” that she released at the height of the pandemic in 2020.

Her “eras” are made more complicated by the fact that she has gone back into the studio to rerecord her first six albums, due to a dispute with her former Nashville label, Big Machine. So since the last time she hit the road, she also rereleased her 2008 album as “Fearless (Taylor’s Version)” and her 2012 album as “Red (Taylor’s Version),” both with bonus tracks from “the vault” — such as the updated, 10-minute version of her breakup ballad “All Too Well,” which she turned into an enormous streaming hit and short film in 2021.

The story behind Taylor Swift’s 10-minute version of ‘All Too Well,’ the song making fans lose their minds

What will the Eras Tour set list be like?

It’s all tightly under wraps, naturally, though you can essentially guarantee big songs from “Midnights” that got the music video treatment: singles “Anti-Hero” and “Lavender Haze,” and perhaps “Bejeweled.”

The rest is a mystery, especially because in the past, Swift has switched up one or two songs each night for an acoustic set. And will she go with the obvious career-makers (“Shake It Off,” “Love Story,” “You Belong With Me,” etc.) individually or as a medley? How will she meld together stadium-shaking pop extravaganzas with quiet, piano-driven moments on “Folklore” and “Evermore?” Was she being serious on TikTok when a fan begged her to include 2018 sleeper hit “Delicate” and she replied “done” in the comments?

One thing is certain: Fans will never let her hear the end of it if she doesn’t include “Cruel Summer,” a yearning pop track on “Lover” that seemed destined to become a summertime smash, yet never saw the light of day as a single — and she has still never played it live , a fact that is now a running, desperate joke among Swifties.

Who are the openers?

Paramore will open the first two shows in Glendale — the band’s recently reunited and Swift is longtime friends with lead vocalist Hayley Williams — along with singer-songwriter-viral TikTok star Gayle, who will stick around for several more dates.

Other openers include names you might recognize: indie rocker Phoebe Bridgers, who collaborated with Swift on vault song “Nothing New” from “Red (Taylor’s Version),” and Haim, the sister trio and Swift’s BFFs who were featured on murder ballad “No Body, No Crime” on “Evermore.” There will also be newer acts such as Gracie Abrams, Girl in Red, Beabadoobee, Muna and Owenn, the latter of whom is a choreographer-dancer and appeared in Swift’s “Lover” music video.

Will there be special guests?

How could there not be? Swift very memorably had special guests practically every night of her 1989 World Tour in 2015. But on the Reputation Tour, she only featured other stars in a handful of big cities, such as her close pal Selena Gomez in Los Angeles or Tim McGraw and Faith Hill in Nashville.

Still, over the last several albums, she has collaborated with a collection of artists, including Keith Urban, Chris Stapleton, Bon Iver and Lana Del Rey — and it’s hard to imagine she won’t bring out Aaron Dessner from the National, who has become one of her closest collaborators.

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

How are the fans handling the Eras Tour?

The Swifties are losing it, of course. TikTok is full of videos with the singer’s die-hard fan base predicting set lists, mash-ups, and even choreography, let alone a whole genre of videos about what to wear to the concert. As always, they are out in full force dissecting all of Swift’s social media activity for what surprises could be in store.

How is the city of Glendale handling the Eras Tour?

The city of Glendale is losing it, of course. Officials held a Swift pun-filled news conference on March 13 — a significant date in the Swiftverse, if you know, you know — and announced that they really would change the name of Glendale , as promised, to welcome Swift to town. (The Arizona Republic reported the name change is both “temporary and symbolic” and only lasts Friday and Saturday.)

They ran through a list of names that Swift fans had suggested: Swiftdale, Glendale (Taylor’s Version), Tizzle Town, and our personal favorite, ERAS-zona. But in the end, they went with “Swift City.”

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Check Out Taylor Swift’s The Eras Tour Setlist

For those getting ready to see taylor swift in concert, we have the full setlist for the eras tour..

By Hugh McIntyre on March 21, 2023 @popbanghugh

Taylor Swift’s The Eras Tour officially kicked off just a few days ago, and fans couldn’t be more excited.

After a five-year hiatus from touring, Swift announced her return last November. Fans all over the world have been discussing what their perfect setlists would be and trying to guess which songs she’ll perform from her vast repertoire of 10 studio albums.

The Eras Tour is designed to represent each of Swift’s musical eras – as the name suggests – with each album receiving its own chapter.

The show is split into 10 chapters, though not each album receives the same amount of time – and her self-titled debut is seemingly largely left out entirely most nights.

The Midnights and Folklore chapters contain the most songs – seven each – which isn’t surprising, considering they are both relatively new and incredibly successful.

Swift has left one chapter completely shrouded in mystery. During this time in the show, she’ll change up what tune or tunes she plays every night of the tour. This means that every stop of the trek will feature a unique experience, with fans getting a different taste of the superstar’s vast discography every time they attend the show.

At the opening night of The Eras Tour, attendees got a special treat as Swift included “Tim McGraw,” a song from her self-titled debut album. However, this was the only time that era was represented in the show, and Swifties can only speculate as to what other songs they might hear during the mystery chapter.

Running at over three hours long and including no less than 44 songs each night, The Eras Tour is tailor-made for Swift’s biggest and most ardent fans – the only ones who seemingly were able to get a ticket.

For those getting ready to see Swift in concert, or even for those who wish they could, read on below to catch the full setlist for The Eras Tour.

​​Act I: Lover

• “Miss Americana & the Heartbreak Prince”
• “Cruel Summer”
• “The Man”
• “You Need to Calm Down”
• “Lover”
• “The Archer”

Act II: Fearless

• “Fearless”
• “You Belong with Me”
• “Love Story”

Act III: Evermore

• “‘Tis the Damn Season”
• “Willow”
• “Marjorie”
• “Champagne Problems”
• “Tolerate It”

Act IV: Reputation

• “…Ready for It?”
• “Delicate”
• “Don’t Blame Me”
• “Look What You Made Me Do”

Act V: Speak Now

• “Enchanted”

Act VI: Red

• “22”
• “We Are Never Ever Getting Back Together”
• “I Knew You Were Trouble”
• “All Too Well (10 Minute Version)”

Act VII: Folklore

• “Seven” (spoken interlude) / “Invisible String”
• “Betty”
• “The Last Great American Dynasty”
• “August”
• “Illicit Affairs”
• “My Tears Ricochet”
• “Cardigan”

Act VIII: 1989

• “Style”
• “Blank Space”
• “Shake It Off”
• “Wildest Dreams”
• “Bad Blood”

Act IX: Surprise songs

• First surprise song
• Second surprise song

Act X: Midnights

• “Lavender Haze”
• “Anti-Hero”
• “Midnight Rain”
• “Vigilante Shit”
• “Bejeweled”
• “Mastermind”
• “Karma”
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JoJo Siwa is Moving On from Her Flop Single

Jojo siwa is teasing her next single, "choose ur fighter," shortly after her most recent song "karma" failed to become a real hit..

By Hugh McIntyre on June 1, 2024 @popbanghugh

2024 was supposed to be the year of JoJo Siwa. The TV star, dancer, and musician is aiming to grow out of her kid-friendly image and gain an adult following, and she’s doing so by switching up her sound and using more sexualized imagery.

Siwa clearly had a plan for this new chapter of her career, and while things aren’t going as well as she and her team surely hoped they would, the multi-talented star isn’t letting a few setbacks get her down.

Siwa is currently teasing her next single, "Choose Ur Fighter," but so far, not much else is known about the song. The singer hasn’t shared a release date, nor any lengthy snippets that could give her following a sense of what it will sound like.

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Taylor Swift's Eras Tour is about to go international. Here's a guide to every era of her groundbreaking career.

Taylor Swift's Eras Tour  is on track to make history as the highest-grossing tour of all time and the first tour to gross over $1 billion,  The Wall Street Journal reported in June .

• Taylor Swift's Eras Tour wrapped up its first US leg on Wednesday and goes abroad from August 24.
• Each of Swift's album cycles has had its own unique aesthetic expressed through fashion and staging.
• The "Fearless" era was full of sparkles and romance, while "Reputation" ushered in her villain era.

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And now that Swift has wrapped the first leg of the tour in the US, she's gearing up to take her show abroad, with her international tour starting on August 24 in Mexico City, according to the star's official website .

With a nearly three-hour-long set list and sparkling costume changes , the Eras Tour pays tribute to Swift's 13 albums and the unique styles and staging that accompanied them.

Here's a guide to every album era of her groundbreaking career.

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Taylor Swift's Eras Tour Has Officially Begun: Here's What Swifties Have To Say About It

From a colossal three-hour setlist to more than a dozen costume changes, Taylor Swift's Eras Tour is nothing short of sensational. Here's how Swifties are reacting on social media to the GRAMMY winner's massive stadium trek.

It's not every day that a city renames itself after you, but Taylor Swift added this unique honor to her ever-growing list of accolades on March 17, 2023.

The date marks the first leg of Swift's monumental Eras Tour, which kicked off in Glendale, Arizona — or, rather, "Swift City," temporarily renamed in tribute to the 12-time GRAMMY winner 's highly-anticipated tour.

The versatile singer/songwriter kicked off her tour playing to more than 69,000 people at State Farm Stadium, breaking the 36-year-old record for the most-attended U.S. concert by a female performer. The record was previously held by Madonna 's 1987 performance at Los Angeles' Anaheim Stadium on her MDNA tour.

The tour is the latest example of how Swift continues to one-up herself. After her tenth studio album Midnights smashed records, the Eras Tour emerged as one of the buzziest tours of 2023 (and even sparked a Senate hearing about Ticketmaster). Spanning 52 legs and 22 cities, the tour takes viewers on an odyssey through Swift's vast discography, divided into 10 sections for her 10 studio albums.

Now that the Eras Tour has launched, Swifties who have seen the epic show — and even those who haven't yet — are losing their minds over every detail. Sharing their creative outfits, takes on the setlist, and live reactions to the show's astonishing spectacles, the online Swiftie community is storming social media once again.

“You guys. This is a whole, entire experience,” one fan wrote on Twitter . “This isn't just a concert. This is a FULL experience. I'm not even there and I can tell already. She did this, for ALL her fans. This is incredible.

In honor of Swift's monumental tour launching last week, here are how some Swifties reacted to a few of the biggest moments from the Eras Tour's opening night.

Yes, The Setlist Is Longer Than 'Avengers: Endgame'

Think watching Lord of the Rings or taking the SAT… that's approximately the length of the Eras Tour. Considering Swift's discography, it's no surprise that the setlist is extensive, but fans were still impressed (and shocked) by the whopping three-hour show.

Her massive stadium tour for reputation was just over two hours, and four albums later (or six, if you include Taylor's Version re-releases), Swift needed an extra hour to pack in just a few more of her hits.

nothing but admiration for taylor because Wow this set list is unbelievably LONG — marina ✿ (@bubblewrapboys) March 18, 2023

honestly taylor is insane for such a long and perfect setlist — olka⁷ 🪞 (@komhvmin) March 18, 2023

someone explain how Taylor’s set list is 44 songs long, like how???? — neve (@neve41379523) March 18, 2023

"Cruel Summer" Gets Justice As The (Almost) Tour Opener

All Swifties know that "Cruel Summer" should have been a single from Lover , and the popular deep cut is finally getting its deserved attention as the second song in Swift's setlist, after fellow Lover track "Miss Americana & the Heartbreak Prince." Here are some fans reacting to the fever dream high in the quiet of night.

TAYLOR SWIFT PERFORMING CRUEL SUMMER OH MY GOD #GlendaleTSTheErasTour https://t.co/OZ2mLWLrNX — squid || fan account 💙 (@greedymotivez) March 18, 2023

me being airlifted out of the stadium after experiencing cruel summer at the eras tour pic.twitter.com/Qd41rZRcyR — Daniel (@Daniel_Tigerr) March 13, 2023

CRUEL SUMMER BRIDGE OH MY GOD TAYLOR.. HER VOCALS #GlendaleTSTheErasTour pic.twitter.com/bXqQE9AqfX — squid || fan account 💙 (@greedymotivez) March 18, 2023

shout out to my bf for filming me ascend to heaven during the cruel summer bridge without me even asking pic.twitter.com/V8bXRSDt4g — Jemima Skelley (@jemimaskelley) March 18, 2023

I JUST REALIZED THAT IT WAS THE FIRST TIME SHE PERFORMED CRUEL SUMMER LIVE IM SHAKING https://t.co/DYIHDC1fnc — c 💌 (@celestialswiftt) March 18, 2023

Even Kelsea Ballerini , who was 2,000 miles away on a stage of her own, paused her own performance to ask her audience if "Cruel Summer" had made the setlist.

💬 | Kelsea Ballerini stops her set at a concert in Detroit to ask about #TSTheErasTour : “I just have one question. I’m gonna stop after this but I just have one question," she said. "Has she ... is 'Cruel Summer' on the setlist?” pic.twitter.com/ku2EjR5jjR — Taylor Swift Museum (@theswiftmuseum) March 18, 2023

Swift Assures Fans She Does Indeed Love evermore

Since evermore 's late 2020 release, fans have long advocated for Swift to show some extra love to her ninth album. While Swift celebrated the anniversary of its sister album folklore and released the live Folklore: Long Pond Studio Sessions , evermore was alternatively posted on the singer's socials the least, prompting fans to jokingly theorize that she doesn't know evermore exists.

Yet, at the Eras Tour, Swift reassured crowd goers that evermore does in fact hold a special place in her heart.  To fans' delight, Swift performed "'tis the damn season," "willow," "marjorie," "champagne problems" and "'tolerate it," amping up the album's soft whimsy into a stadium-level spectacle.

“I’m here to dispel the rumors and prove wrong the allegations that I hate evermore… I don’t even wish people on social media a happy birthday.” SHE’S SO HAPPY AND NATURAL SPEAKING TO US AND MAKING JOKES ABOUT THIS 😭🥹 #TSTheErasTour pic.twitter.com/GW749ZFkYR — Taylor Swift Updates (@SwiftNYC) March 19, 2023

EVERMORE?????? TAYLOR KNOW THAT EVERMORE EXISTS GUYS OMG WTF pic.twitter.com/acNZCOBGVA — Taylor Throwbacks | fan page (@ThrowbackTaylor) March 18, 2023

taylor swift performing tis the damn season is the pinnacle of evermore rights pic.twitter.com/lz00aHJFjs — miguel I arlington 4/1 (@cowboyinwoods13) March 18, 2023

taylor put tolerate it on the setlist pic.twitter.com/VfRqFvGLCw — caro 🧸 (@stylesgala) March 18, 2023

SHE DIDN'T FORGET ABOUT EVERMORE #TSTheErasTour pic.twitter.com/XOt5cOu1Iy — ًm (@jchnnyshan) March 18, 2023

But… Where's The Love For Speak Now And Self-Titled Debut?

It's impossible to please every Swiftie, but some fans spoke up about the Speak Now and Taylor Swift erasure on Swift's 44-song setlist. "Enchanted" was the only song from either album that made it to the setlist, though it's likely Swift will perform more Speak Now songs as her interchangeable "surprise" songs of each show.

it all makes sense now pic.twitter.com/jBsu4lzXTz — snowglobe allie leading the midnights rug campaign (@reckedmaserati) March 19, 2023

@clairenotdanes listen, im SO HAPPY about the setlist but also why speak now erasure 😭 #taylorswift #speaknow #erastour #setlist #swiftie #swifttok #longlive #haunted #taylorsversion #SeeHerGreatness ♬ You're On Your Own, Kid - Taylor Swift

She sang one speak now song …….. pic.twitter.com/ZmrVsxmMKe — shan (@wildIyenchanted) March 18, 2023

the biggest eras tour easter egg we all missed pic.twitter.com/rXctAQ2iVW — lina🧚‍♀️ (5/21 eras tour!!) (@tswizzlecat) March 18, 2023

6 songs from lover and 5 songs from evermore but only 1 song from speak now pic.twitter.com/LYob2Azk2V — 𝒍𝒊𝒂𝒎🌙 (@NotFancy_) March 18, 2023

From "Gorgeous" To Comical: Eras Tour Fashion Stuns

Whether it's a dazzling iridescent custom Versace for Lover or a golden flapper fringe dress for Fearless , Swift's tour fashion never fails to disappoint — and neither does fans'.

While Swift pulled off more than a dozen costume changes on stage, her fans dressed up in outfits inspired by her eras, iconic lyrics, fanbase inside jokes, and more. See some of the top dressing-for-revenge looks below.

taylor went from “not a lot going on at the moment” to “a lot going on at the moment” in 10 years #GlendaleTSTheErasTour pic.twitter.com/xCP9HjKSx1 — Ron || ERAS TOUR (@midnightstrack2) March 18, 2023

the midnight rain costume change is so good stfuuu 😭 #GlendaleTSTheErasTour pic.twitter.com/oLaSmEZ8DZ — 𝙠𝙖𝙩𝙧𝙞𝙣𝙖 (taylor’s version) 🦋‎🪩 (@swiftiestanwbu) March 18, 2023

taylor’s reputation costume was the best part of the show last night like i am obsessed pic.twitter.com/Pj1xnxWVBx — becky 🥐 (@benditlikebecky) March 19, 2023

SOMEONE DID IT YOU GUYS pic.twitter.com/JVDiMMevOQ — lea | eras spoilers🍓SEEING GRACIE (@cowboylikehale) March 19, 2023

they’re having a camp off pic.twitter.com/OxWsZ4nYE6 — 𝗮𝗻𝗱𝘆 💫 eras tour TX 4/1 & 4/22 (@xThisIsAndyG) March 20, 2023

We’re dressed up as TVs, a play on Taylor’s Version. 😂 It was a hit and people took pics with us and all. 😊 @taylornation13 #erastouroutfit #erastour #erastourglendale pic.twitter.com/gwhsOdXEys — KelseyLioness (@kelseyLioness) March 20, 2023

I went with a guy and we dressed up as Taylor in her getaway car outfit backstage hugging Joe. A couple girls picked up on it at our show & it was fun. pic.twitter.com/9sxqM2qPJb — Melissa - Eras Tour Vegas 3/24 3/25 (@MelissaEnchant) March 20, 2023

@briannaxrenee SEE U AT NIGHT 2 🫶🏻💕✨ first time at a Taylor concert so excited! #taylorswift #erastour #erastouroutfits #swiftcity #taylornation #glendaletstheerastour #swifttok ♬ ERAS TOUR OUTFIT TRANSITION - paige!

Lucky Fans Caught The Jaw-Dropping, Fearless Dive On Camera

One of the most surprising moments of Eras Tour was most definitely Swift's shocking dive off stage. Stirring a collective gasp from the crowd, the moment served as a transition from her debut era to Midnights .

Between a three-hour show and a flawless swan dive, the Eras Tour begs one question: Is there anything Taylor Swift can't do?

Idk how I caught this @taylorswift13 #GlendaleTSTheErasTour pic.twitter.com/y8FqEwMcWH — Daniel McGreevy (@DanielJMcGreevy) March 18, 2023

📲 UPDATE | Taylor has won the gold medal in the high dive! — kaitlyn🪩 69 (@fearlesskait) March 18, 2023

The dive was the craziest thing ive ever seen I was so caught off guard LMAO — 𝒓𝒚𝒍𝒆𝒆 is seeing taylor!!!! (@ucanbemyjailer) March 18, 2023

The Taylor Swift Essentials: 13 Songs That Display Her Storytelling Prowess And Genre-Bouncing Genius

Photo: Mike Formanski

"Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.

Moby ’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play , the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night .  

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night ’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon."  

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors ; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago .  

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc . The two films are produced by his production company, Little Walnut , which also makes music videos, shorts and the podcast "Moby Pod ." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com.  

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights . The narrative was broken up by acoustic performances of songs from Play , as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums.  

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen?  

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself ?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift 's favorite singers .   

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you?  

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special .  

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of   Play . We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish.   She actually liked it.   And I thought,   Huh, that's interesting. I didn't think anyone was going to like this record .  

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that   Play   was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was   Backstreet Boys   and   Limp Bizkit   and   NSYNC ; big major label records that were flawlessly produced.   Play   was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."   

Was your approach in making  'Play'  different from other albums?  

The record I had made before   Play ,   Animal Rights , was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years.   When it's good, it's paradise; it's really special.   But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the   most gentle   thing, "I know you enjoy making punk rock and metal. People really   enjoy   when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f— ing   idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results.   But his response was very emotional and gentle and sweet, and that got through to me.   I had this moment where I realized,   I can make music that potentially people will   enjoy   that will make them happy.   Why not pursue that?  

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and   Pantera   and   instead make something more melodic and electronic.  

After years of swearing off touring, what’s making you hit stages this summer?  

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.   

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins.  

Your DJ sets are great fun. Would you consider doing DJ dates locally?  

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m .  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point?  

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times , lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

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The Environmental Impact Of Touring: How Scientists, Musicians & Nonprofits Are Trying To Shrink Concerts' Carbon Footprint

"It’s not just [about] a single tour, it’s every tour," singer Brittany Howard says of efforts to make concerts more sustainable. From the nonprofit that partnered with Billie Eilish, to an MIT initiative, the music industry aims to curb climate change.

Beloved by fans around the globe, yet   increasingly unaffordable   for many artists, concert tours are central to the world of entertainment and   local economies . After the pandemic-era   global shuttering of concert venues   large and small, tours are back, and bigger than ever.   

Taylor Swift ’s Eras Tour is   smashing records , selling more than four million tickets and earning more than $1 billion. But that tour made headlines for another reason: as reported in   Business Insider   and other outlets, for a six-month period in 2023, Swift’s two jets spent a combined 166 hours in the air between concerts, shuttling at most a total of 28 passengers.  

Against that backdrop, heightened concerns about the global environmental cost of concert touring have led a number of prominent artists to launch initiatives.   Those efforts seek both to mitigate the negative effects of touring and communicate messages about sustainability to concertgoers.  

A   2023 study   sponsored by Texas-based electricity provider Payless Power found that the carbon footprint of many touring bands was massive. In 2022, concert tours in five genres — country, classic rock, hip-hop/rap, metal and pop — were responsible for CO 2   emissions totaling nearly 45,000 metric tons. A so-called greenhouse gas, carbon dioxide contributes to climate change by radiative forcing; increased levels of CO 2   also contribute to health problems.   

No serious discussion of climate issues suggests a worldwide halt to live music touring, but there exists much room for improvement. Both on their own and with the help of dedicated nonprofit organizations, many artists are taking positive steps toward mitigating the deleterious effects that touring exerts upon the environment.   

Smart tour planning is one way to lessen an artist’s carbon footprint.   Ed Sheeran ’s 2022 European run minimized flights between concert venues, making that leg of his tour the year's most environmentally efficient. Total carbon dioxide emissions (from flights and driving) on Sheeran’s tour came to less than 150 metric tons. In contrast,   Dua Lipa ’s tour during the same period generated 12 times as much — more than 1800 metric tons — of CO 2 .   

In July, singer/songwriter and four-time GRAMMY nominee Jewel will embark on her first major tour in several years, alongside GRAMMY winner Melissa Etheridge . During the planning stage for the 28-city tour, Jewel suggested an idea that could reduce the tour’s carbon footprint.

"I always thought it was so silly and so wasteful — and so carbon footprint-negative — to have separate trucks, separate lighting, separate crews, separate hotel rooms, separate costs," Jewel says. She pitched the idea of sharing a backing band with Etheridge. "I’ve been trying to do this for 25 years," Jewel says with a laugh. "Melissa is the first person who took me up on it! "  

The changes will not only reduce the tour’s carbon footprint, but they’ll also lessen the cost of taking the shows on the road. Acknowledging that there are many opportunities to meet the challenges of touring’s negative impact upon the environment, Jewel emphasizes that “you have to find [solutions] that work for you.”

Sheeran and Jewel aren’t the only popular artists trying to make a difference. A number of   high profile   artists have become actively involved in creating the momentum for positive change. Those artists believe that their work on sustainability issues goes hand in hand with their role as public figures. Their efforts take two primary forms: making changes   themselves, and advocating for action among their fans.   

The Climate Machine  

Norhan   Bayomi   is an Egypt-born environmental scientist at Massachusetts Institute of Technology and a key member of the   Environmental Solutions Initiative , a program launched to address sustainable climate action. She’s also a recording artist in the trance genre, working under the name   Nourey .   

The ESI   collaborates with industry heavyweights   Live Nation, Warner Music Group and others as well with touring/recording acts like   Coldplay   to examine the carbon footprint of the music industry. A key component of the ESI is the   Climate Machine , a collaborative research group that seeks to help the live music industry reduce carbon emissions. "As a research institution, we bring technologies and analytics to understand, in the best way possible, the actual impact of the music industry upon climate change," says John Fernández, Director of the ESI.   

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"I’m very interested in exploring ways that we can   bridge between   environmental science, climate change and music fans,"   Bayomi   says. She explains that the tools at the ESI’s disposal include "virtual reality, augmented reality and generative AI," media forms that can communicate messages to music fans and concertgoers. Fernández says that those endeavors are aimed at "enlisting, enabling and inspiring people to get engaged in climate change."  

The Environmental Solutions Initiative cites Coldplay as a high-profile success. The band and its management issued an   "Emissions Update" document   in June 2024, outlining   its   success at achieving their goal of reducing direct carbon emissions from show production, freight, band and crew travel.   The established target was a 50 percent cut in emissions compared to Coldplay’s previous tour; the final result was a 59 percent reduction between their 2022-23 tour and 2016-17 tour.   

A significant part of that reduction came as a result of a   renewable-energy   based battery system that powers audio and lights. The emissions data in the update was reviewed and independently validated by MIT’s Fernández.   

Change Is Reverberating  

Guitarist Adam Gardner is a founding member of Massachusetts-based indie rockers   Guster , but he's more than just a singer in a rock band. Gardner is also the co-founder of   REVERB , one of the organizations at the forefront of developing and implementing climate-focused sustainability initiatives.   

Founded in 2004 by Gardner and his wife, environmental activist Lauren Sullivan,   REVERB  began   with a goal of making touring more sustainable; over the years its focus has expanded to promote industry-wide changes. Today, the organization promotes sustainability throughout the   industry  in   partnership with music artists, concert venues and festivals.   

REVERB initiatives have included efforts to eliminate single-use plastics at the California Roots Music & Arts Festival, clean energy projects in cooperation with   Willie Nelson   and   Billie Eilish , and efforts with other major artists. Gardner has seen sustainability efforts grow over two decades  

"It’s really amazing to see the [change] with artists, with venues, with fans," Gardner says. "Today, people are not just giving lip service to sustainable efforts; they really want to do things that are real and measurable."   

The   Music Decarbonization Project   is one tangible example of REVERB’s successes. "Diesel power is one of the dirtiest sources of power," Gardner explains. "And it’s an industry standard to power festival stages with diesel generators." Working with   Willie Nelson , the organization helped switch the power sources at   his   annual Luck Reunion to clean energy. At last year’s festival, Nelson’s headlining stage drew 100 percent of its power from solar-powered batteries. "We set up a temporary solar farm," Gardner says, "and the main stage didn’t have to use any diesel power."   

Billie Eilish was another early supporter of the initiative. "She helped us launch the program," Gardner says. Eilish’s   set at Lollapallooza 2023   drew power from solar batteries, too.   

With such high-profile successes as a backdrop, Gardner believes that REVERB is poised to do even more to foster sustainable concerts and touring. "Our role now," he says, "isn’t just, ‘Hey, think about this stuff.’ It’s more how do we push farther, faster?"   

Adam Gardner believes that musicians are uniquely positioned to help make a difference where issues of sustainability are concerned. "When you’re a musician, you’re connecting with fans heart-to-heart. That’s what moves people. And that’s where the good stuff happens."   

Small-scale, individual changes can make a difference — especially when they’re coordinated and amplified among other concertgoers. Gardner provides real-world examples. "Instead of buying a plastic bottle, I brought my reusable and filled it up. Maybe I carpooled to the show." Conceding that such steps might seem like drops of water in a giant pool, he emphasizes the power of scale. "When you actually multiply [those things for] just one summer tour, it adds up," he says. "And it reminds people, ‘You’re not alone in this;   you’re   part of a community that’s taking action."   

Gardner understands that REVERB’s arguments have to be framed the right way to reach concertgoers.   "Look," he admits, "It’s a concert. We’re not here to be   a buzzkill . Our [aim] now is making sure people don’t lose hope." He says that REVERB and its partners seek to demonstrate that, with collective action and cultural change, there is reason for optimism.   

"There’s a wonderful feedback loop between hope and action," Gardner says with a smile. "You can’t really have one without the other."   

Sustainable Partnerships  

Tanner Watt is Director of Partnerships at REVERB; he works directly with touring artists to develop, coordinate and implement initiatives that bring together his organization’s objectives and the specific personal concerns of the artists. "I get to come up with all the fun, big ideas," he says with a wide smile.   

Watt acknowledges that like every concertgoer, each touring artist has a certain level of responsibility where sustainability is concerned.   "And everyone can be doing something," he says, noting a number of straightforward actions that artists can put in place while on tour.   "They can eliminate single-use waste. They can donate hotel toiletries that [would otherwise] hit the landfill."   

Watt stresses that artists can lead by example. "Nobody wants to listen to an artist telling them what to do if they’re not doing it themselves," he says. "But we believe that everybody cares about something." He suggests that if an artist has cultivated a following, "Why not use [that platform] to be that change you want to see in the world?"   

Each artist has his or her own specific areas of concern, but Watt says that there’s a base level of "greening" that takes place on every REVERB-affiliated tour. Where things go from there is up to the artist, in coordination with REVERB. Watt mentions Billie Eilish and her tour’s sustainability commitment. "The Venn diagram of food security, community health, access to healthy food, and the impact on the planet is a big cause for her," he says. " So   there’s plant-based catering for her entire crew, across the entire tour."  

Speaking to   Billboard , Eilish's mother Maggie Baird said championing sustainability starts with artists. "If artists are interested, it does really start with them telling their teams that they care and that it’s foremost in their thoughts." In the same conversation, Eilish called the battle for sustainability "a never-ending f–king fight."   

Watt acknowledges that with so many challenges, it’s important for a concerned artist to focus on the issues that move them the most, and where they can make the biggest difference. " Jack Johnson   is   a great example," he says. While Johnson is a vocal advocate for many environmental issues, on tour he focuses on two (in Watt’s words) "cause umbrellas": single-use plastics solutions and sustainable community food systems. Each show on the tour hosts tables representing local nonprofit organizations, presenting concertgoers with real-world, human-scale solutions to those specific challenges.   

Four-time GRAMMY winner   Brittany Howard   is another passionate REVERB partner. "Knowing that I wanted to make my tours more sustainable was a start," she tells GRAMMY.com, "but working with REVERB really helped me bring it to life on the road. REVERB has helped us with guidelines and a green rider to keep our stage, greenrooms and buses more sustainable."  

After listing several other specific ways that her tour supports sustainability, Howard notes, "By supporting these efforts, I am helping ensure future generations have access to clean water, fish, and all that I love about the outdoors." A dollar from every ticket sold to a Brittany Howard concert goes toward support of REVERB’s Music Decarbonization project. "I’m also excited to see industry-wide efforts that are reducing the carbon pollution of live music," Howard continues. "Because it’s not just [about] a single tour, it’s   every   tour."  

There’s a popular aphorism: "You can’t manage what you can’t measure."   From its start, REVERB has sought not only to promote change, but to measure its success.   "As long as I’ve been at REVERB, we’ve issued   impact reports ," says Tanner Watt. "We include data   points, and   give the report to the artists so they understand what we’ve done together." He admits that some successes are more tangible than others, but that it’s helpful to focus on the ones that can be quantified. "We’re very excited that our artists share those with their fans."   

Watt is clear-eyed at the challenges that remain. "Even the word ‘sustainable’ can be misleading," he concedes, suggesting that the only truly sustainable tour is the one that doesn’t happen. "But if folks don’t step it up and change the way we do business in every industry — not just ours — we’re going to get to a place where we’re forced to make sacrifices that   aren’t   painless." Getting that message across is REVERB’s aim. "We can’t stop the world," Watt says. " So   we find ways to approach these things positively."   

Watt says that the fans at concerts featuring Jack Johnson and the   Dave Matthews Band   — both longtime REVERB partners — are already on board with many of the sustainability-focused initiatives which those artists promote. "But there are lots of artists — and lots of fan bases — out there that aren’t messaged to, or have been mis-messaged to," he says.   "I’m really excited to find more ways to expand our reach to them, beyond mainstream pop music.   Because these are conversations that are meaningful for everyone, regardless of political affiliation or other beliefs."   

Reimagining The Planet’s Future  

Singer, songwriter and multi-instrumentalist Adam Met does more than front   AJR , the indie pop trio he founded in 2005 with brothers Jack and Ryan. Met has a PhD in sustainable development and is a climate activist; he's also the founder/Executive Director of   Planet Reimagined , a nonprofit that promotes sustainability and activism through its work with businesses, other organizations and musicians.   

"I’ve spent years traveling around the world, seeing the direct impact of climate change," Met says. He cites two recent and stark examples. "When we pulled up to a venue in San Francisco, the band had to wear gas masks going from the bus into the venue, because of forest fires," he says. AJR’s road crew had to contend with a flash flood in Athens, Greece that washed out their hotel. "And in Rome, some of our crew members fainted because of the heat."   

Encouraged by representatives from the United Nations, Met launched Planet Reimagined. Met’s approach focuses on tailored, city-specific actions to empower fans and amplify diverse voices in the climate movement. Through social media and live shows, Met strives to galvanize climate activism among AJR fans. And the methods he has developed can be implemented by other touring artists.   

Met points out that one of the most climate-unfriendly parts of the entire concert tour enterprise is fans traveling to and from the concerts. And that’s something over which the artist has little or no control. What they can do, he says, is   try   to educate and influence. Working closely with Ticketmaster and other stakeholders, Met’s nonprofit initiated a study — conducted from July to December 2023, with   results published in April 2024   — to explore the energy that happens at concerts. "In sociology," he explains, "that energy is called collective effervescence." The study’s goal is to find ways to channel that energy toward advocacy and action.   

Polling a quarter million concertgoers across musical genres, the study collected data on attitudes about climate change. "Seventy-three percent of fans who attend concerts believe that climate change is real, and that we need to be doing more about it," Met says. "Seventy-eight percent have already taken some sort of action in their lives." He believes that if his organization can activate even a fraction of the estimated 250 million people annually who attend concerts around the globe, "that’s the ballgame."   

Met’s goal is to do more than, say, get concertgoers to switch from plastic to paper drinking straws. "At   scale   those things make a difference. But people want to see actions where there’s a track record," he says; a return on investment.   

AJR will be putting a plan into action   on   the second half of their upcoming arena tour.   Part of the initiative is encouraging concertgoers to register to vote, and then actually vote.   Beyond that, Met has specific actions in mind. "At every single stop, we’re putting together materials around specific policies that are being debated at the local level," he explains. "We give people a script right there, so they can call their elected representative and say, ‘I want you to vote [a certain way on this issue].’"   

He believes the initiative will lead to thousands of people contacting – and hopefully influencing – their representatives.   With regard to sustainability issues, Met is convinced that "the most impact that you can have as an artist is when you give fans ways to pick up the mantle themselves."  

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Photo: ROBYN BECK/AFP via Getty Images

11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More

From Paul McCartney to Paramore, Emily Dickinson and even "Game of Thrones," read on for some of the major influences Taylor Swift has referenced throughout her GRAMMY-winning career.

As expected, much buzz followed the release of Taylor Swift 's 11th studio album, The Tortured Poets Department , on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record). 

Shoutouts abound in The Tortured Poets Department : Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and   Florence + the Machine ’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation -era feud with Kim Kardashian. 

Swift casts a wide net on The Tortured Poets Department , encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD , consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.

Stevie Nicks

If Taylor Swift is the chairman of The Tortured Poets Department , Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre- Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.

For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department . "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"

Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me " before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless . More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie .

Patti Smith

Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department . Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album. 

Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog .

Emily Dickinson

When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed !) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.

"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.

Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore ’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").

The Lake Poets

Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.

Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions . "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff . "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"

Paul McCartney

Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue . The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").

However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.  

The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.

From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore ’s Haim-assisted murder ballad "no body, no crime" and her own Lover -era collab with the band, "Soon You’ll Get Better.") 

In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter , Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"

"Game of Thrones"

When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."

"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."

Joni Mitchell

Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red , which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red ’s release, the country-pop titan gushed over Blue ’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."

Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights .

Fall Out Boy & Paramore

When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore . 

"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version) , which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams .

For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music. 

In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.

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

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.

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5 Questions I Have About Taylor Swift’s Eras Tour Concert Film

Not quite 'Ready For It!'

Taylor Swift’s Eras Tour has been the place to see and be seen this year, with thousands of fans waiting for hours to try to get tickets, and celebrities like Flavor Flav living their best life at the concert. Now the artist has made it much easier to witness the pop culture phenomenon, regardless of whether or not you were able to catch it live. I’m thrilled at the opportunity to see Taylor Swift: The Eras Tour in theaters , but I do have some questions about the concert film and how it will differ from the in-person experience.

While Swifties may already be familiar with the rules of Eras Tour etiquette , many are wondering how moviegoers will be expected to act at the theater come October 13, or which surprise songs were chosen for Taylor Swift : The Eras Tour . More casual fans of Taylor Swift may be wondering what to wear, or what’s the deal with the friendship bracelets ? Below are some of the big questions I have about the upcoming theatrical experience. 

What Should I Wear To The Eras Tour Movie? 

Taylor Swift has been rocking some truly stunning Eras Tour outfits , and many Swifties have used those looks as inspiration so that when they walk in the room, they make the whole place shimmer. I’m hoping that audiences will carry that energy into the theaters come October.

Just like everybody went full Barbiecore to see Margot Robbie and Ryan Gosling in Barbie , I want to see people having fun with their outfits, and if you want to shop for looks based on your favorite Taylor Swift era , we can certainly help with that. From cardigans to cowboy boots, sparkly dresses or just a concert tee with jeans, there should be plenty of wardrobe options that honor Taylor Swift and are still comfortable enough to enjoy the two-plus-hour event . 

What Surprise Songs Will Taylor Swift Play In The Movie? 

The Eras Tour playlist is widely available for Swifties to see which of their favorite hits from each era made the cut. However, the crowd is always treated to a mini-acoustic set, when she sings two surprise songs that vary with each of her tour dates. The movie footage comes from her first three Los Angeles concerts — August 3-5 — according to Billboard . 

Since we at CinemaBlend have been keeping track of all the surprise songs on Taylor Swift’s Eras Tour , we can deduce that the movie’s surprise songs will likely be two of these six songs: “I Can See You,” “Maroon,” “Our Song,” “You Are in Love,” “Death by a Thousand Cuts” and “You’re on Your Own, Kid." 

Since the preview named her self-titled album as being among those featured in the movie — and none of the other songs on Taylor Swift appear elsewhere on the setlist — it seems like “Our Song” is a good bet to make the cut.  

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Will Some Songs On The Eras Tour Set List Be Left Out Of The Movie? 

If you’ve caught the Eras Tour live, you’re aware that her set exceeds the three-hour mark, yet the concert film is being billed as just 2 hours and 45 minutes long. What gives? I can’t imagine Swifties would take too kindly to finding out that any of the songs have been edited out of the film version. Sure, there are segments in between the songs where Taylor Swift talks to the crowd, but since we see at least one of those moments in the trailer, that’s not likely where the cuts came from.

Hopefully being able to edit out the time taken for Taylor Swift’s costume changes and set changes for her different eras is the full explanation for the difference in length, but with no official word out of Swift’s camp, we may just have to wait until October 13 to find out for sure.

Will Swifties Be Trading Friendship Bracelets At The Movie Theater? 

It’s become a Swiftie tradition to exchange friendship bracelets with fellow fans during Eras Tour concerts, and even celebrities have joined in, with Jennifer Garner showing off an on-point bracelet game (pictured above) and Simu Liu boasting his own impressive haul . Will that continue for the theatrical version of the show? According to Taylor Swift it will! In her initial concert announcement on Instagram , she wrote, “Eras attire, friendship bracelets, singing and dancing encouraged,” and asked fans, “What’s your friendship bracelet going to say?”

I don’t actually know what mine are going to say, and I don’t know how many would be appropriate to make. Are people going to be walking around the theater beforehand to do their exchanges? During the show? And that leads to one final question, and it’s a pretty big one:

Will People Be Standing, Singing And Dancing During The Eras Tour Movie? 

Taylor Swift concerts are loud, interactive affairs, with dancing, shouting, “1, 2, 3 let’s go bitch” and lots of screaming in general. Movie theaters are technically meant to be, well, the opposite of that. As mentioned above, the artist herself is encouraging singing and dancing during Taylor Swift: The Eras Tour , and I’m really curious as to how that’s going to go over with everyone else in the theater, not to mention those trying to watch other movies. 

On one hand, I really have no interest in sitting silently for 2.5 hours and listening to Taylor Swift. I can do that in my car (and let’s be honest, even then I’m still singing and dancing like Taylor at the VMAs ). This seems like more of a concert setting, because enjoying it with the group is part of the appeal. However, I also understand the concerns of some discussing this very question on Reddit . Lots of people say they’re prepared to be all, “You need to calm down. You’re being too loud,” because they actually want to hear Taylor Swift sing, and you can’t really fault them for that. 

At least one theater chain in Texas has said they're anticipating fans getting "a little rowdy," within reason, of course. Hopefully fans will be able to have a blast while still keeping others around them in mind. I'd think singing is fine, but screaming not as much. Dancing in your chair? Great. Running around the theater? No. Also, there will be fans who aren’t able to (or simply don’t want to) stand up for that long, so hopefully people will be courteous, though I imagine this aspect of the experience will vary theater-to-theater.

There’s no question how huge this tour is for Taylor Swift and her fans, but taking such an epic pop culture moment and bringing it to a smaller venue does come with a little uncertainty. While I may not have all of the answers, I know for sure that this is an experience I need to witness first-hand. Taylor Swift: The Eras Tour tickets are available at AMC, Cinemark, Regal and other theaters, and while we wait for October 13, take a peek at everything else Swifties have to be excited about . And in the words of T-Swift in regards to her tour: See you there. 

Heidi Venable is a Content Producer for CinemaBlend, a mom of two and a hard-core '90s kid. She started freelancing for CinemaBlend in 2020 and officially came on board in 2021. Her job entails writing news stories and TV reactions from some of her favorite prime-time shows like Grey's Anatomy and The Bachelor. She graduated from Louisiana Tech University with a degree in Journalism and worked in the newspaper industry for almost two decades in multiple roles including Sports Editor, Page Designer and Online Editor. Unprovoked, will quote Friends in any situation. Thrives on New Orleans Saints football, The West Wing and taco trucks.

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10 Snubs from the Era’s Tour Setlist

On March 17, Taylor Swift began her highly anticipated The Eras Tour, debuting a setlist of 44 songs spanning her entire discography. Yes, you read that correctly. Forty. Four. Songs. The setlist covered some of her biggest hits like “Love Story” as well as surprising deep cuts such as “tolerate it.” Yet, even with a nearly perfect setlist, some of her best and most loved songs didn’t make the cut. Here are 10 songs that were painfully snubbed from the Era’s Tour setlist.

Swift not giving her debut self-titled album its own section is understandable due to her expansive discography. But as one of her most iconic country songs to date, “Our Song” deserved a moment to shine.

“The Way I Loved You”

A very underrated album track with an infectious chorus simply meant to be played in a stadium, “The Way I Loved You” was overshadowed by the sheer number of hits from 2008’s “Fearless.” The song sends you on a rollercoaster of emotions that Swift would have executed perfectly for the audience. Ultimately, even the song's resurgence on TikTok wasn’t enough to earn it a spot on the setlist.

The entire “Speak Now” album

Every “Speak Now” stan’s face dropped when Swift moved onto the “Red” era after performing just one song — “Enchanted” — from “Speak Now.” No “Sparks Fly?” No “Mine?” No “Long Live?” To not give the stadium a chance to sing “I had the time of my life fighting dragons with you” is an actual travesty. Justice must be had for Swift’s most underrated album.

“I Bet You Think About Me (Taylor’s Version)”

Yes, Swift performing another vault track is unrealistic but let's be delusional for a second. The theatrics of the song would translate perfectly into the high production of the Era’s tour. Imagine the on-screen visuals: the silver-spoon gated community; The living room dancing and kitchen table bills; The million dollar couch. The vision is clear.

“Out of the Woods”

The vocals that Swift gives every time she plays this song live demand a spot on the setlist. Not to mention that the track contains one of the best bridges Swift has ever written – and yet it was paid dust.

“Getaway Car”

We’ve all seen the iconic video of the song’s bridge being created and the power it holds. The storytelling is a highlight from “Reputation” drawing a clear picture of her jumping into a new relationship in order to escape an old one through the clever imagery of a getaway car.

“I Think He Knows”

Imagine Swift strutting down the enormous stage while singing “He got my heartbeat skipping down 16th Avenue.” Paired with cute choreography on the chorus, it’s a track that would’ve been legendary.

Though the “Folklore” portion of the tour was the longest out of all the eras, the absence of this song was still felt. The iconic opening line — “I'm doing good, I'm on some new shit” — and the instrumentals which evoke images of a forest, immediately make this song one of her best album openers. Playing at least the first verse and chorus would have made the show just that much better.

“long story short”

The most upbeat song on “evermore” deserved its moment. The drums that start right as the chorus kicks in are phenomenal. Particularly given that “evermore” is one of the more mellow segments of the concert, this song would have been a great way to bring the energy up.

10. “You’re on Your Own, Kid”

Though Swift often leans toward fun pop songs for the closing song on her tours, this song could’ve been an amazing exception. It perfectly encapsulates the concept of the Era’s tour as the song describes Swift’s journey through her career. Singing this song to a stadium of fans and celebrating that she really did give her blood, sweat, and tears for this would have been beautiful.

—Staff writer Maxi Duncan can be reached at [email protected].

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Taylor Swift’s ‘Eras Tour’ Movie Sets Disney+ Record With 16.2 Million Hours Viewed in First Weekend

The concert movie was the most-watched music film ever on the streamer, besting films from Billie Eilish and Swift herself

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Taylor Swift’s “Eras Tour” movie debuted to a fearless audience.

In its opening weekend, the concert film logged 4.6 million views and 16.2 million hours on Disney+, marking the streamer’s most-watched music film to date, according to internal viewing data.

The three-and-a-half-hour movie, which premiered Thursday night on digital, features performances of new songs not featured in the theatrical release, such as “cardigan” and four additional acoustic songs: “Maroon,” “Death by a Thousand Cuts,” “You Are in Love” and “I Can See You.”

The viewership keeps the triumphant streak going for “Taylor Swift | The Eras Tour,” as the film grossed nearly $262 million worldwide at the global box office and is another example of Disney+ being home to major events. The movie outperformed other music films released on Disney+, including Billie Eilish’s “Happier Than Ever: A Love Letter to Los Angeles,” “Elton John: Farewell From Dodger Stadium,” “Black Is King: A Film by Beyoncé,” “The Beatles: Get Back” and Swift’s own “folklore: the long pond studio sessions.”

Disney+ went all out for the release of the “Eras Tour” film. The streamer engineered a full homepage makeover on release day , honoring Swift’s various eras with collections highlighting Disney+’s existing content.

Some examples of the collections included: The “Fearless (Disney’s Version)” collection, highligting heroic and brave adventures like “Moana,” “Percy Jackson and the Olympians,” “Brave,” “The Marvels” and “Limitless with Chris Hemsworth,” to name a few; while “Speak Now (Disney’s Version)” focused on enchantment, princesses and dragons with stories like “The Princess Diaries,” “Enchanted” and “The Princess Bride.”

Her self-titled era, which is also awaiting a release date for its re-recording along with “Reputation,” was noticeably absent from the feature. The singer is set to release her next studio album, “The Tortured Poets Department,” on April 19.

“Taylor Swift | The Eras Tour (Taylor’s Version)” is now streaming on Disney+.

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Taylor Swift, ‘Eras’ tour shatters highest-grossing tour milestone

I t was inevitable that Taylor Swift and her “ Eras” tour was going to become the highest-grossing concert tour ever. She beat out the likes of Elton John , Coldplay, and U2 for the honor. And the tour isn’t over yet.

In a new report from the BBC, they reveal that Swift’s “Eras” tour has sold 11 million tickets. That has resulted in an estimated £1.7 billion in estimated revenue (that’s over $2.1 billion USD). These numbers come across the 152 dates that Swift has planned for the tour across 22 countries.

This makes the “Eras” tour the highest-grossing concert tour of all time. It’s on pace to gross over $2 billion when it’s all said and done. This is a stark contrast from her “Reputation” tour, which reportedly failed to sell out in the UK. BBC cites a report that said that Swift’s opening night in Manchester had 18,000 empty seats. These days, it’s nearly impossible to spot one.

To make the figures even more impressive, the “Eras” tour haul doesn’t even include merchandise sales or the theatrical box office haul of Swift’s concert film. Taylor Swift: The Eras Tour was released mid-tour in October 2023 and grossed over $260 million at the box office (the highest-grossing concert film of all time).

The “Eras” tour

On March 17, 2023, Swift kicked off her sixth concert tour. The “Eras” tour is her most ambitious tour to date — Swift takes fans on a three-hour journey through her discography throughout the 45-song set.

She spent most of 2023 playing shows across North America before making her way to Mexico, Argentina, and Brazil.

In 2024, Swift resumed the tour with shows in Japan, Australia, and Singapore before taking another break. On May 9, 2024, Swift picked up the tour with a European leg of the “Eras” tour.

This current leg of the tour will conclude with a five-night stay at Wembley Stadium in London, England. Swift will then return to North America and play shows in Florida, Louisiana, and Indiana.

To close out the “Eras” tour, Swift will go to Canada. Nine dates are planned across Toronto and Vancouver. The final shows will take place from December 6-9 in Vancouver.

Who is Taylor Swift?

Taylor Swift is one of the highest-selling artists of all time. She is decorated with accolades and awards.

Thus far in her career, Swift has received 52 Grammy Award nominations. She has won 14 awards and is coming off of a year in which she won two awards — Album of the Year and Best Pop Vocal Album for Midnights.

At the ceremony, Swift announced her eleventh album of original music, The Tortured Poets Department. This was her follow-up to Midnights and a break from her re-recorded work. An extended version of the album came out hours after the original album with 15 more tracks.

In addition to her original music, Swift has spent a lot of the last few years re-recording her past work released by Big Machine Records. She began the (Taylor’s Version) series in 2021 with a re-recorded version of Fearless. She subsequently re-recorded Red, Speak Now, and 1989.

The only albums left for Swift to re-record are Reputation and her self-titled debut album.

The post Taylor Swift, ‘Eras’ tour shatters highest-grossing tour milestone appeared first on ClutchPoints .

Taylor Swift’s Eras Tour: All Her Looks From Opening Night (Photos)

By Ellise Shafer

Ellise Shafer

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Taylor Swift kicked off her Eras Tour in Glendale, Ariz. last night, delivering a 44-song set that lasted more than three hours. Somehow, the only time Swift paused throughout the night was to make a quick outfit change, disappearing into thin air only to return in a brand-new (and often bejeweled) look.

Instead of journeying through her 10 albums chronologically, Swift opted to mix up her musical eras, starting with 2019’s “Lover” before transitioning into 2020’s “Evermore.” “Reputation” was up next, followed by a short stint in “Speak Now,” during which she only performed “Enchanted.” Songs from “Red,” “Folklore” and “1989” came after, and then Swift performed a short acoustic set consisting of “Mirrorball” and “Tim McGraw” from her first, self-titled album — a tradition she said she’ll change up for every show, without repeating a song. Swift ended the night with her most recent release, “Midnights,” bringing fans back to the present.

Each era was accompanied by jaw-dropping sets, stunning choreography and, of course, custom outfits to represent each specific moment in Swift’s life and career. See all of the looks from the first night of the Eras Tour below.

Swift opened the show with the “Lover” era, wearing a sparkly pink-and-blue bodysuit.

Lover — The Man

When it came time to sing “The Man,” Swift donned a sparkly blazer with matching boots.

Swift’s “Fearless” era was met with a flapper-like gold dress.

“Evermore” called for an orange corset dress with ruffles and gold embellishments.

When performing songs from “Reputation,” Swift wore an asymmetrical black body suit with red snake detailing.

Though the only song Swift performed from “Speak Now” was “Enchanted,” the glittery ball gown she floated out in was breathtaking.

Red — 22

Swift kicked off her “Red” era with “22,” for which she sported a bowler hat and a white t-shirt proclaiming she actually has “a lot going on at the moment.”

For the majority of the “Red” era set, Swift rocked this glittery red-and-black bodysuit.

Red — All Too Well (10 Minute Version)

When it was time to sing “All Too Well (10 Minute Version),” Swift put on a red sparkly jacket that matched her acoustic guitar.

For “Folklore,” Swift wore a flowy purple dress that stood out against a mossy backdrop.

“1989” called for a fuchsia two-piece set with plenty of tassles.

Acoustic Set

Swift stayed in “1989’s” color palette for an acoustic performance of “Mirrorball” and “Tim McGraw,” donning a magenta dress with ruffled sleeves.

Midnights — Lavender Haze

The “Midnights” portion started with “Lavender Haze,” so it only made sense for Swift to wear a purple fur coat over a sparkly frock.

Swift’s outfit for the majority of her “Midnights” set was this navy blue bodysuit with sparkly fringe.

Midnights — Karma

The show ended with “Karma,” during which Swift added a ruffled rainbow jacket to her look.

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All the Song Mashups Taylor Swift Has Played During the Eras Tour

F ive months into Taylor Swift’s wildly successful Eras Tour , after she’d brought the tour across the United States and to Mexico, she took the epic concert experience to Buenos Aires, Argentina, where she switched up one of the most anticipated parts of her shows. Instead of singing two surprise songs that aren’t on the three-and-a-half-hour-long show’s expansive setlist toward the end of the performance, she began doing mashups of those surprise songs.

The first time around, she combined two 1989 (Taylor’s Version) songs: “Is It Over Now?” and “Out of the Woods.” Following a perhaps unsurprisingly positive reception, the singer has continued to do mashups while touring throughout Brazil, Japan, Australia, and Singapore. 

As of March 14, the box-office juggernaut Eras Tour concert film is available to stream on Disney+. This version includes a number of songs that didn’t appear in the film's theatrical release or its VOD release in December, including “Cardigan,” “Maroon,” “Death By a Thousand Cuts,” “You Are In Love,” and “I Can See You.”

Here’s a guide to all of the mashups Swift has done of her surprise songs.

“Is It Over Now?” and “Out of the Woods” from 1989 (Taylor’s Version)

Taylor Swift performing an acoustic Out of the Woods and Is It Over Now? mash-up is so important. My two favorite 1989 era songs. 😭🙌 pic.twitter.com/gaKlyRX3PA — Alex Goldschmidt (@alexandergold) November 12, 2023

In the first mashup to be presented as one of Swift’s surprise songs, the pop star chose two songs from her latest re-release, 1989 (Taylor’s Version) . The album had just come out a few weeks prior, and she decided to surprise the audience with one of the new vault tracks and a fan favorite—both of which are rumored to be about her former relationship with singer Harry Styles . Theories from fans point to the same lyrics in each song that seem to hint at a snowmobile accident the two got into in 2012. 

“Getaway Car”/ “August”/ and “Other Side of the Door”

GETAWAY CAR x AUGUST x THE OTHER SIDE OF THE DOOR I AM DONE WITH TAYLOR SWIFT pic.twitter.com/wySEkfQwGJ — DON’T VISIT MY PROFILE⚠️ (@embrrrrrrrrr) February 18, 2024

At her stop in Melbourne, Australia, on Feb. 17, Swift played “Getaway Car” off her 2017 album, Reputation (the next album that fans are theorizing will be released as part of her re-recording project). Swift first played the song in May during her New Jersey stop, where she brought out her collaborator, Jack Antonoff. The mashup took an interesting turn when she included the Folklore cut “August,” which is already on the original setlist, and then took another turn to include a song from Fearless (Taylor’s Version) called “Other Side of the Door.”

“Come Back… Be Here” and “Daylight”

🎥| Taylor Swift for the 'Come Back Be Here' and 'Daylight' mashup #MelbourneTSTheErasTour pic.twitter.com/EWRarz3sJ3 — The Swift Society (@TheSwiftSociety) February 18, 2024

Swift busted out a deep cut from her Red (Taylor’s Version) album called “Come Back… Be Here” and mashed it up with “Daylight,” a song off of Lover —the first album in her discography that she retained the masters to when she signed her new record deal with Republic Records in 2018. It was during this third Melbourne show that she said she might repeat some surprise songs as the tour continues. “I want to be as creative as possible with the acoustic set moving forward, and I don’t want to limit anything or say, ‘Oh if I played this song, I can’t play it again,’” she said at the show . “So, from now on, I don’t want to take any paint colors out of the paintbox [or] tools out of the toolbox.”

“White Horse” and “Coney Island”

Taylor Swift and Sabrina Carpenter sing a mashup of “White Horse” & “coney island” at the Eras Tour in Sydney. https://t.co/7LA0yKhEUi — Pop Crave (@PopCrave) February 23, 2024

Inclement weather during the Eras Tour’s first stop in in Sydney, Australia made it so Swift’s opener, Sabrina Carpenter, could not perform her set. Later, Swift brought out Carpenter to do a duet mashup of “White Horse” from Fearless (Taylor’s Version) and “Coney Island” from Evermore . Carpenter took to Instagram to describe the moment she shared with Swift onstage. “9-year-old Sabrina singing white horse would never see this sh-t coming,” she wrote in the caption of the post.

View this post on Instagram A post shared by Sabrina Carpenter (@sabrinacarpenter)

“Should’ve Said No” and “You’re Not Sorry”/ “Peace” and “New Year’s Day”

🚨| Taylor Swift performing a mashup of "Should've Said No" and "You're Not Sorry" at today's show of 'The Eras Tour'! #SydneyTSTheErasTour pic.twitter.com/C01woyVBHV — The Eras Tour (@tswifterastour) February 24, 2024

The second Sydney night got two surprise song mashups. Swift performed “Should’ve Said No” from her debut self-titled album and mixed it with “You’re Not Sorry” from Fearless (Taylor’s Version) . The second set of surprise songs was “Peace” from Evermore and “New Year’s Day” from Reputation —which her fans believe will be the next re-release.

🚨| Taylor Swift performing a mashup of "New Year's Day" and "peace" at tonight's show of 'The Eras Tour'! #SydneyTSTheErasTour pic.twitter.com/c2IJ1imDg1 — The Eras Tour (@tswifterastour) February 24, 2024

“Is It Over Now?” (Again) and “I Wish You Would/ “Haunted and “Exile”

🎥| Full HD video of Taylor Swift performing "Is It Over Now?" & "I Wish You Would" mashup in Sydney 🇦🇺 pic.twitter.com/kwsOhkrOsp — The Swift Society (@TheSwiftSociety) March 1, 2024

Swift stuck to her word and repeated a surprise song. She combined ”Is It Over Now?” with a different 1989 (Taylor’s Version) track, “I Wish You Would.” For the second portion of the surprise songs section, she performed the rock-heavy cut “Haunted” from Speak Now (Taylor’s Version) and her Bon Iver collaboration, “Exile” from Folklore .

🚨| Taylor Swift performing a mashup of "Haunted" and "exile" at today's show of 'The Eras Tour'! #SydneyTSTheErasTour pic.twitter.com/FcQ5BZg7cR — The Eras Tour (@tswifterastour) February 25, 2024

Swift’s “Exile” performance led to a woman going viral after she posted her emotional reaction to hearing the song live, as she sat outside of the stadium with her friends. Though she became the butt of a joke, she told Rolling Stone , she said she was in on it. “I understand why people are laughing at it. I laughed at the video myself once I first watched it back,” she said.

THIS IS TAKING ME OUT I'M SORRY😭😭😭 pic.twitter.com/VMDrtHrKVO — 𝗱𝗮𝗻𝗻𝘆🫧💚 (@beyoncegarden) February 25, 2024

“Forever & Always” and “Maroon”/ “Would’ve, Could’ve, Should’ve” and “Ivy”

🚨| Taylor Swift performing a mashup of "Forever & Always" and "Maroon" at today's show of 'The Eras Tour'! #SydneyTSTheErasTour pic.twitter.com/rJRlrgEOFA — The Eras Tour (@tswifterastour) February 26, 2024

The singer treated her fans to another two mashups for her final night in Sydney with the Fearless (Taylor’s Version) track “Forever & Always” and “Maroon” from Midnights . However, that wasn’t the only Midnights song she did. Later, the pop star mixed “Would’ve, Could’ve, Should’ve” with “Ivy” from Evermore .

🎥| Taylor Swift performing the 'WCS' and 'ivy' mashup #SydneyTSTheErasTour pic.twitter.com/jzBGOhKGAJ — The Swift Society (@TheSwiftSociety) February 26, 2024

“Mine” and “Starlight”/ “I Don’t Wanna Live Forever” and “Dress”

Taylor Swift performing "Mine" & "Starlight" mashup #SingaporeTSTheErasTour pic.twitter.com/rV6cdnsjRM — The Eras Tour (@TSTheErasTour) March 2, 2024

The singer had a couple of days off before returning to the stage for a few dates in Singapore. At the first show on this leg, she sang a fan-favorite from Speak Now (Taylor’s Version) : “Mine” and combined it with “Starlight” from Red (Taylor’s Version) . That same night, she busted out the song she collaborated with Zayn Malik on the 50 Shades Darker soundtrack, “I Don’t Wanna Live Forever,” and incorporated her Reputation song, “Dress,” into the mashup.

🎥| Taylor Swift performing "I Don't Wanna Live Forever" and "Dress" mashup pic.twitter.com/CJLG7DsIhY — The Swift Society (@TheSwiftSociety) March 2, 2024

“Long Story Short” and “The Story of Us”/ “Clean” and “Evermore”

🎥| Taylor Swift performing "long story short" x "The Story Of Us" pic.twitter.com/xwOVX0bMd7 — The Swift Society (@TheSwiftSociety) March 3, 2024

Another two mashup night came at the second show in Singapore. Swift decided to combine “Long Story Short” from Evermore with “The Story of Us” from Speak Now (Taylor’s Version) . 

still can't believe i got 'CLEAN' x evermore😭💖💖 #TheErasTour #TaylorSwift #TaylorSwiftErasTour pic.twitter.com/dRacyyu4Ob — 🎀𝙇𝙤𝙤𝙠𝙢𝙤𝙤🍒 (@farfrombabygirl) March 10, 2024

Before Swift got into the second mashup on the night (which was “Clean” from 1989 (Taylor’s Version) and the title track from Evermore ), she shared “the final edition” of her forthcoming 11th studio album, The Tortured Poets Department . She said, “It’s the final cover … [and] there’s a song called "The Black Dog." I can’t wait for you to hear it, and I just appreciate the enthusiasm.” She posted the cover to Instagram.

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

“Foolish One” and “Tell Me Why”/ “This Love” and “Call It What You Want”

Taylor Swift for "Foolish One" x "Tell Me Why" tonight! #SingaporeTSTheErasTour #TSTheErasTour 🎥: TAS pic.twitter.com/Kjb7cRZdy3 — The Eras Tour (@TSTheErasTour) March 4, 2024

The third Singapore night featured two mashups: the vault track “Foolish One” from Speak Now (Taylor’s Version) and “Tell Me Why” from Fearless (Taylor’s Version) . The second mashup was the 1989 (Taylor’s Version) song “This Love” and “Call It What You Want” from Reputation .

🎥 I Taylor Swift mashed up This Love x Call It What You Want at #SingaporeTSTheErasTour ! #TSTheErasTourSingapore pic.twitter.com/itT0HHClD3 — Taylor Swift News (@DailyTSwiftNews) March 4, 2024

“Death by a Thousand Cuts” and “Babe”/ “Fifteen” and “You’re On Your Own Kid”

Taylor Swift played a mashup of "Death By A Thousand Cuts" & "Babe" as surprise song(s) for the acoustic set. #SingaporeTSTheErasTour N4 https://t.co/8cd9bfva2e — Pop Hive (@thepophive) March 7, 2024

Swift’s fourth Singapore show featured some of her most emotional songs. She sang Lover’s “Death By a Thousand Cuts” and “Babe” from Red (Taylor’s Version). On piano, the singer performed “Fifteen” from Fearless (Taylor’s Version) and the most played surprise song, “You’re On Your Own Kid,” which she’s played five times, according to Us Weekly . 

“Sparks Fly” and “Gold Rush”/ “False God” and “Slut!”

🎥| Taylor Swift for "Sparks Fly" & "gold rush" mashup #SingaporeTSTheErasTour pic.twitter.com/Jqun2HtkHz — The Swift Society (@TheSwiftSociety) March 8, 2024

During another two mashup nights, Swift performed “Sparks Fly,” the second song on Speak Now (Taylor’s Version), and “Gold Rush” off of Evermore on the guitar. The pop star then took to the piano to sing “False God” and “Slut!” to close out the surprise songs portion of the show.

Taylor Swift cantando un mashup de "False God" X "Slut!" en Singapur! #SingaporeTSTheErasTour pic.twitter.com/oGcKnlSCli — Taylor Swift Uruguay 🇺🇾 (@TaylorSwiftUy) March 8, 2024

“Tim McGraw” and “Cowboy Like Me”/ “Mirrorball” and “Epiphany”

🎥| Taylor Swift for "Tim McGraw" & "cowboy like me" mashup #SingaporeTSTheErasTour pic.twitter.com/H2zH2yQNPZ — The Swift Society (@TheSwiftSociety) March 9, 2024

At her last show on the Singapore leg, Swift opted for yet another two-mashup night. This was her last show before the tour picked up again in May in Europe. For the acoustic portion of the set, the singer did “Tim McGraw” from her self-titled debut album and “Cowboy Like Me,” a cut off of Evermore . She closed out the surprise songs portion on the piano and delivered a somber performance of two Folklore songs, “Mirrorball” and “Epiphany.”

Taylor Swift - mirrorball / epiphany (Live at The Eras Tour) (Singapore Night 6) #TaylorSwift #SingaporeTSTheErasTour pic.twitter.com/YvfaWAD7YD — Taylor Swift Edits (@TSwiftEdits_13) March 9, 2024

"The Alchemy" and "Treacherous" / "Begin Again" and "Paris"

On the fourth and final night of her Paris tour dates on May 12, Swift treated her fans to a mashup of “The Alchemy,” a new song from her recently released album The Tortured Poets Department, and “Treacherous,” a song from Red that she included in her surprise songs set in April 2023. “The Alchemy” is rumored to be about Swift's boyfriend, Travis Kelce, the Kansas City Chiefs’ tight end. Kelce and Swift's friends Gigi Hadid and Bradley Cooper were spotted on the final night of the four Paris dates.

When she performed the second half of the surprise song set, she played “Begin Again” from her Red album and “Paris,” a cut off Midnights . She also sang “Paris” during her first night in the city.

🚨| Taylor Swift performing a mashup of "Begin Again" and "Paris" at today's show! #ParisTSTheErasTour https://t.co/kZF9ZY1ZgR — The Eras Tour (@tswifterastour) May 12, 2024

“I Think He Knows” and “Gorgeous”

@thetaylorswiftofitall I Think He Knows x Gorgeous 🥹 5/17 Stockholm, Sweden (N1) SHE LOOKS SO HAPPY #erastourstockholm #stockholmtstheerastour #erastourtaylorswift #surprisesong taylorswift #taylornation #erastour #swifttok #erastourtaylorswift #theerastour #stockholmn1 #taylorswiftedits #tswift ♬ Guilty as Sin? - Taylor Swift

After a short hiatus following her Paris dates, Swift returned to the stage in Stockholm, Sweden, for three nights at the Friends Arena. During the surprise portion of the night, she took fans back to her Lover and Reputation days. She performed a mashup of her songs “I Think He Knows” and “Gorgeous.”

“Say Don’t Go,” “Welcome to New York,” and “Clean”

🚨| Taylor Swift performing a mashup of "Say Don't Go", "Welcome To New York" and "Clean" at today's show in honor of the 89th show of 'The Eras Tour'! #StockholmTSTheErasTour pic.twitter.com/nkODHp9q7g — The Eras Tour (@tswifterastour) May 18, 2024

In celebration of her 89th show, Swift decided to do a triple mashup of songs from her 1989 (Taylor’s Version) album. She did two songs off the original album, “Wellcome to New York” and “Clean,” and a vault track, “Say Don’t Go.” This was her first time ever doing a triple mashup.

“Message in a Bottle”/ “How You Get the Girl” and “New Romantics”

Taylor singing the 3 way Max Martin Medley mashup of ‘Message In A Bottle’ x ‘How You Get The Girl’ x ‘New Romantics’ for #StockholmTStheErasTour Night 3! via @tswiftupdates4 pic.twitter.com/qeEws8FyKj — Taylor Swift Updates (@SwiftNYC) May 19, 2024

For her last night in Sweden, Swift did yet another three-song mashup in honor of her close friend and former collaborator, Max Martin, who was in the audience. At the show, she performed “Message in a Bottle” from Red (Taylor’s Version) and two tracks from 1989 (Taylor’s Version) , “How You Get the Girl” and “New Romantics,” all songs where Martin has writing credits.

“Come Back, Be Here,” “The Way I Loved You,” and “The Other Side of the Door”/ “Fresh Out the Slammer,” and “High Infidelity”

Taylor performing the first surprise song on the guitar as a triple mashup remix of “Come Back Be Here” x “The Way I Loved You” x “The Other Side of the Door” 🤍 #LisbonTStheErasTour Night 1 via @CorneliaDynasty pic.twitter.com/oXryOvbdxG — Taylor Swift Updates (@SwiftNYC) May 24, 2024

On her first of two nights in Lisbon, Portugal, Swift performed two songs from Fearless (Taylor’s Version) : “The Way I Loved You,” which she performed for the first time on this tour, and “The Other Side of the Door.” She combined those two songs with “Come Back, Be Here” from Red (Taylor’s Version) . For the piano section of the surprise songs, she mashed up “Fresh Out the Slammer” and “High Infidelity.”

Taylor performing “Fresh Out The Slammer” x “High Infidelity” mashup remix for the second surprise song on the piano for #LisbonTStheErasTour Night 1! BRB dying because this is a DREAM 🤍🥹 via @pttswift pic.twitter.com/hznWuyZtDz — Taylor Swift Updates (@SwiftNYC) May 24, 2024

“The Tortured Poets Department” and “Now That We Don’t Talk”/ “You’re On Your Own Kid” and “Long Live”

🎥 FULL video of Taylor performing “The Tortured Poets Department” x “Now That We Don’t Talk” as the first surprise song of Lisbon Night 2! #LisbonTStheErasTour via @pttswift 🇵🇹🤍 pic.twitter.com/1ucSG7Nivj — Taylor Swift Updates (@SwiftNYC) May 25, 2024

On night two in Lisbon, Swift surprised fans with another first: the title track from The Tortured Poets Department , a song she had yet to sing on tour, mashed with the 1989 (Taylor’s Version) vault track, “Now That We Don’t Talk.” As she sat behind the piano, Swift then played a mashup of “You’re On Your Own Kid” from Midnights and “Long Live” from Speak Now (Taylor’s Version) .

🎥 FULL video of Taylor performing “You’re On Your Own Kid” x “Long Live” as the second surprise song of LIsbon Night 2! 🥹🤍🇵🇹 #LisbonTStheErasTour via @pttswift pic.twitter.com/AHWYNcRg5h — Taylor Swift Updates (@SwiftNYC) May 25, 2024

“Sparks Fly” and “I Can Fix Him (No Really I Can)”/ “I Look in People’s Windows” and “Snow on the Beach”

Taylor performing “Sparks Fly” x “I Can Fix Him (No I Really Can)” mashup remix on the guitar! 🥹🤍 Madrid Night 1 #MadridTStheErasTour via @9tay8tay9_ pic.twitter.com/gqCKfNGsOt — Taylor Swift Updates (@SwiftNYC) May 29, 2024

Following two shows in Portugal, Swift made her way over to Madrid, Spain, and played two shows there. On night one, she played the Speak Now (Taylor’s Version) track, “Sparks Fly” and mixed that with “I Can Fix Him (No Really I Can)” for the first part of the surprise songs mashup section. For the second part, she did “I Look In People’s Windows” with her Lana Del Rey collab from Midnights , “Snow on the Beach.” Her fans thought she was going to bring Lana out and Swift had to quell the excitement by telling her fans, “It’s just me guys, sorry!”

Taylor performed “I Look In People’s Windows” x “Snow On The Beach” mashup remix as the second surprise song on the piano for #MadridTStheErasTour 🥹 pic.twitter.com/2MUaBNUoaE — Taylor Swift Updates (@SwiftNYC) May 29, 2024

“Our Song” and “Jump Then Fall”

“Especially Spain, you guys have supported me since the VERY beginning and I know that.” - Taylor’s opening speech to singing Debut “Our Song” x Fearless “Jump Then Fall” mashup as the first surprise song! 🥹 #MadridTStheErasTour pic.twitter.com/y2YUoqBthd — Taylor Swift Updates (@SwiftNYC) May 30, 2024

During her second night in Spain, she did one of her early singles, “Our Song” from her debut self-titled album, and mashed it up with “Jump Then Fall” from Fearless (Taylor’s Version) . 

“The Prophecy” and “Long Story Short”/ “Fifteen” and “You’re On Your Own Kid”

Taylor performing “The Prophecy” x “Long Story Short” mashup remix on the guitar for Lyon Night 1! 🥹🤍 #LyonTSTheErasTour pic.twitter.com/0hWEpeS06N — Taylor Swift Updates (@SwiftNYC) June 2, 2024

Swift then made her way north to France for two nights in Lyon. She debuted another song off The Tortured Poets Department , “The Prophecy,” and combined that with “Long Story Short” from Evermore . She then took the piano to do “You’re On Your Own Kid” again and mashed it up with “Fifteen” from Fearless (Taylor’s Version) .

Taylor performing “Fifteen” x “You’re On Your Own Kid” mashup remix on the piano for Lyon Night 1! 🥹🤍 #LyonTSTheErasTour pic.twitter.com/oe9rRxJxr8 — Taylor Swift Updates (@SwiftNYC) June 2, 2024

“Glitch” and “Everything Has Changed”

Taylor performing a mashup remix of “Glitch” x “Everything Has Changed” on the guitar as surprise song one of Lyon Night 2! #LyonTSTheErasTour pic.twitter.com/vzzTLQ30oj — Taylor Swift Updates (@SwiftNYC) June 3, 2024

On her second night in France, Swift did a track off of the 3 AM version of Midnights , “Glitch” and combined it with the Ed Sheeran duet song, “Everything Has Changed” from Red (Taylor’s Version) .

"Would've, Could've, Should've" and "I Know Places"/ "'Tis the Damn Season" and "Daylight"

🚨| Full video of Taylor Swift performing - mashup of "Would've Could've Should've" and "I Know Places" at today's show including her stopping singing for a fan to get help and her hand cramping! #EdinburghTSTheErasTour pic.twitter.com/kjspdFalAs — The Eras Tour (@tswifterastour) June 7, 2024

Swift took the Eras tour to Edinburgh, Scotland, and for the guitar portion of the surprise songs section of the show, she performed a mashup of “Would’ve, Could’ve, Should’ve” and “I Know Places.” She stopped the performance midway through when a fan began asking for help. Swift told security that someone needed help and pointed at them with her guitar as she continued playing. “She’s right there. I’m just gonna keep playing until somebody helps them, I’m gonna be singing this song. Just let me know. I can do this all night.”

🚨| Taylor Swift performing a mashup of "tis the damn season" and "Daylight" at today's show! #EdinburghTSTheErasTour pic.twitter.com/D2JtSfAIRb — The Eras Tour (@tswifterastour) June 7, 2024

For the piano section, she did a mashup of “tis the damn season” from Evermore and “Daylight” from Lover .

“The Bolter" and "Getaway Car"/ "All of the Girls You Loved Before" and "Crazier"

🚨| Taylor Swift performing a mashup of "The Bolter" and "Getaway Car" at today's show! #EdinburghTSTheErasTour pic.twitter.com/u2T8pUIujO — The Eras Tour (@tswifterastour) June 8, 2024

On her second night in Edinburgh, Swift sang “The Bolter” from The Tortured Poets Department and mashed it up with a fan favorite, “Getaway Car,” from 2017’s Reputation . For the second half of the surprise song section, she busted out a song she’s never performed live: a cut from Lover , “All the Girls You Loved Before,” and for the first time ever, Swift performed “Crazier” from the Hannah Montana movie soundtrack. She told fans, “You get extra credit points if you know this next song at all because it is really, really old.”

🚨| Taylor Swift performing a mashup of "All Of The Girls You Loved Before" and "Crazier" for the FIRST TIME EVER at today's show! #EdinburghTSTheErasTour pic.twitter.com/Le48VFmUtP — The Eras Tour (@tswifterastour) June 8, 2024

“It’s Nice to Have a Friend” and “Dorothea” / "Haunted” and “Exile”

At her most recent show, the last night in Edinburgh, Swift performed the Lover track, “It’s Nice to Have a Friend” and put it together with “Dorothea” from Evermore . She also performed a mashup of “Haunted” off of Speak Now and “Exile” from Folklore , a mashup she already did at her show in Sydney, in February.

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Who Runs The World? Taylor Swift And Beyoncé Are Now Worth $2 Billion Combined

Self-made women beyoncé and taylor swift continue to break their own records and write “the manuscript” for success., june 7th, 2024, by justin conklin , forbes staff.

ights, camera, and smile,” Taylor Swift sings on one track off her new double album, The Tortured Poet’s Department . She certainly has plenty to smile about, as does fellow pop star Beyoncé. This past year has been phenomenal for both superstars, with hugely popular tours, super successful movies based on those tours and new albums to boot. Those factors lifted their net worths and raised their ranks on Forbes ’ recently released list of America’s Richest Self-Made Women .

The two women have a long friendship, supporting each other’s successes over the years. In 2021, Beyoncé sent Swift a bouquet to celebrate her win of Album Of The Year for Folklore at the 63rd Annual Grammy Awards. Most recently, each of them attended the premieres for the films of their record-breaking tours.

Friendship Goals: Beyoncé and Taylor Swift at the premier of The Eras Tour movie in October 2023. Taylor Swift poses at the premier of Renaissance: A Film by Beyoncé in December 2023.

Swift is now worth an estimated $1.3 billion–up from $1.1 billion in October and $740 million on the 2023 Self-Made Women list. The boost last fall came as a result of the first leg of her Eras Tour, which added an estimated $300 million to her fortune. The $200 million jump in her fortune since October came thanks to the increased value of her catalog–now worth an estimated $600 million–plus royalties earned from all the play her songs get, in addition to an estimated $55 million in her earnings from the film version of The Eras Tour , which was released in mid-October. Swift now ranks No. 24 on the 100-person strong Self-Made Women list, up from No. 34 a year ago.

The chanteuse continues to dazzle crowds with all new costumes and choreography on her Eras Tour as it moves through Europe, with new music from the double album The Tortured Poets Department, released in April. The 31-track album broke multiple records, including ones she’d previously set: It reached 1 billion streams within five days of its release and claimed the top 14 spots on the Billboard Hot 100–prompting a celebratory billboard in Times Square .

Beyoncé, meanwhile, wrapped up her five-month, 17-country Renaissance World Tour last October with an estimated $100 million in earnings for her. In December she released the film Renaissance: A Film by Beyoncé, which documented the creation and execution of The Renaissance World Tour; it pulled in nearly $44 million at the box office. Then in March she released her first country album, Cowboy Carter , which incorporated and sampled musical powerhouses both past and present, including Chuck Berry, Stevie Wonder, Dolly Parton and Willie Nelson. Cowboy Carter received over 300 million streams in its first full week of release and broke Spotify’s record (which Swift then broke the following month). Together these milestones helped boost her fortune by $220 million since last year to an estimated $760 million, and moved her up three notches from a year ago on the Self-Made list to No. 45.

Queen B still has more in store. In February, she launched her own high-end (and pricey) hair care line, Cécred; it’s too soon to have made a difference in her fortune but we’ll revisit it next year. And she will share the silver screen with daughter Blue Ivy in Mufasa: The Lion King, a prequel set to hit theaters in late December.

Read on to see how these two dynamic women on America’s Richest Self-Made Women list stack up.

PHOTOS BY LARRY BUSACCA/GETTY IMAGES FOR COACHELLA; DAVE HOGAN/GETTY IMAGES; EZRA SHAW/GETTY IMAGES; JOHN SHEARER/TAS23/GETTY IMAGES; ETHAN MILLER/ACMA/GETTY IMAGES; TAS RIGHTS MANAGEMENT 2021

How are Beyoncé and Taylor Swift considered self-made? And what does “Self-Made Score” mean? Check out this detailed explainer of the Forbes Self-Made Score .

Marital status.

Married to Jay-Z since 2008. The couple has three kids: Blue Ivy, Rumi and Sir.

Beyoncé and her husband, Jay-Z.

Swift has been dating Kansas City Chiefs tight end Travis Kelce since fall of 2023. Kelce was most recently spotted supporting Swift in mid-May at an Eras Tour show in Paris.

Travis Kelce and Taylor Swift celebrate together after the AFC Championship Game.

Streaming & Social

PHOTOS BY KEVIN MAZUR/WIREIMAGE; 13TH WITNESS/INVISION FOR PARKWOOD ENTERTAINMENT/AP; CARLOS AVILA GONZALEZ/THE SAN FRANCISCO CHRONICLE

The world remains enamored with both women in a landscape where some celebrities are losing their digital goodwill. Swift saw a 9% increase in Instagram followers while the Beyhive grew 3% on the platform. That was enough for Beyoncé to keep her lead on that platform. She has also nearly doubled her monthly listeners on Spotify, while Swift has claimed the title of number 1 streamed artist on the platform.

Number Of Social Media Followers

Spotify ranking.

30th / 1st BEYONCÉ / TAYLOR

Source: Influential

Top streamed song on spotify, spotify monthly listeners, top youtube video, ‘shake it off’.

For both artists, creating hits may be one of the most notable ways they declare “I Was Here.” Swift’s album count has jumped ahead this year with the release of The Tortured Poet’s Department and last year’s re-releases of Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) . Beyoncé has presented her fans with an album full of depth and history in Cowboy Carter , leaving fans with electric anticipation for what act iii may have in store.

Platinum, Multi-Platinum and Diamond Records

Egot status.

Swift added two Grammy awards and a new record to her mantle this year. She’s the only artist in Grammy history to win Album Of The Year four times. But Bey continues her reign as Queen of the Grammys, retaining her crown as the most awarded artist in Grammy history, with 32 awards. Speculation and rumor have abounded since Swift filed an application with the U.S. Patent and Trademark Office on May 11 for “Female Rage: The Musical” after coining the phrase to describe the new additions to The Eras Tour setlist. No word yet on what Swift plans to do with the trademark. Neither star has earned the coveted EGOT (Emmy, Grammy, Oscar and Tony award winner) status yet, but just give it some time.

Beyoncé’s Grammy Wins

Taylor’s grammy wins, america’s richest self-made women 2024.

JAMEL TOPPIN FOR FORBES

A Record Year For America’s Richest Self-Made Women 2024

VIEW ARTICLE

THE HOLLYWOOD REPORTER/GETTY IMAGES; ART STREIBER/DISNEY; NEILSON BARNARD/GETTY IMAGES

America’s Richest Women Celebrities

jamel toppin for forbes

How To Build A Whiskey Unicorn

GUERIN BLASK FOR FORBES

How This Chinese Immigrant Became One Of America’s Most Successful Self-Made Women

IMAGE CREDITS

KEVIN MAZUR/GETTY IMAGES; JULIEN DE ROSA/GETTY IMAGES

STREAMING & SOCIAL

Egot status.

Beyoncé’s Grammy Wins: PHOTOS BY FRANK MICELOTTA/GETTY IMAGES; STEVE GRANITZ/WIREIMAGE/GETTY IMAGES (2); CHRIS POLK/FILMMAGIC; MICHAEL CAULFIELD/WIREIMAGE; STEVE GRANITZ/WIREIMAGE (2); JASON LAVERIS/FILMMAGIC; ROBERT GAUTHIER/LOS ANGELES TIMES/GETTY IMAGES (2)

Taylor’s Grammy Wins: PHOTOS BY MICHAEL CAULFIELD/WIREIMAGE/GETTY IMAGES; STEVE GRANITZ/WIREIMAGE; DAN MACMEDAN/WIREIMAGE; JASON LAVERIS/FILMMAGIC; JAY L. CLENDENIN/LOS ANGELES TIMES/GETTY IMAGES; JOHN SHEARER/GETTY IMAGES

Statue Credits: PHOTOS BY MICHAEL BUCKNER/CONTRIBUTOR; STEVE GRANITZ/ CONTRIBUTOR;MICHAEL TULLBERG/STRINGER; JEMAL COUNTESS/STRINGER

EDITORIAL CREDITS

Creative Director: ALICIA HALLETT-CHAN, Senior Art Director: FERNANDO CAPETO, Design: YUNJIA YUAN, Photo: GAIL TOIVANEN

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