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Taylor Swift Adds TTPD Songs (and Subtracts Others) from Eras Tour Setlist as European Leg Kicks Off in Paris

The singer's May 9 show marks her first since releasing 'The Tortured Poets Department' — see all the setlist changes

Kevin Mazur/TAS24/Getty

• Taylor Swift resumed her Eras Tour in Paris on May 9
• The concert marked her first since releasing her latest album, The Tortured Poets Department
• She added songs from TTPD to the tour setlist, while removing a handful of other album tracks throughout the show

Taylor Swift is back and better than ever!

After a nearly two-month break from her historic Eras Tour , during which she released her latest album, The Tortured Poets Department , the singer has taken the stage once again, and this time, she’s in Europe.

The pop star, 34, took the stage at Paris La Défense Arena in France on May 9 to perform her career-spanning set list — which has been edited to make room for TTPD tracks, meaning some others have been cut (at least for now). New outfits, set pieces and choreography were also present.

Fans realized they were in for a fresh Eras Tour experience when the concert's introduction video was changed to include a TTPD section of the Lover house representing each of Swift's eras.

As per usual, she opened the show Thursday with the Lover section — but skipped "The Archer." From there, the Grammy winner went into Fearless followed by Red , performing the sections in a different order than during the previous tour legs. Another nod to the setlist switch-ups? Swift sported a t-shirt that read, "This Is Not Taylor's Version," while performing "22."

Kevin Mazur/Getty

Next came the Speak Now section, and she removed "Long Live," which was initially added following the July 2023 release of the album's rerecorded Taylor's Version .

The Reputation segment then arrived, followed by a combined Folklore and Evermore section with "The 1," "The Last Great American Dynasty," "Tolerate It" and "'Tis the Damn Season" getting cut.

"I have always talked about Folklore and Evermore as sister albums," explained Swift on stage. "On the Eras Tour, we have reunited the sisters, combined them into one chapter, you can call it 'Folkmore,' 'Everlore,' you can call it whatever you want as long as you promise to sing 'Champagne Problems' really loud."

The 1989 section came afterwards, and then The Tortured Poets Department . The section highlighting Swift's latest album featured "But Daddy I Love Him," "So High School," "Who's Afraid of Little Old Me," "Down Bad," "Fortnight," "The Smallest Man Who Ever Lived" and "I Can Do It with a Broken Heart."

Swift then performed two surprise songs: "Paris" from Midnights and "loml" from TTPD .

The show concluded with the Midnights section, with all seven tracks from previous shows remaining in the setlist.

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Since Swift's last round of Eras Tour shows in Singapore in March — which the pop star dubbed an “unforgettable way to end this leg of the tour” — she has kept busy, attending Coachella , enjoying date nights with boyfriend Travis Kelce and, of course, releasing her latest album.

Julien De Rosa/AFP/Getty

The ”Florida!!!” singer will play three more shows at the Paris La Défense Arena on May 10, 11 and 12 before heading to the rest of her May tour stops, which include Stockholm, Lisbon and Madrid.

Then, the Eras Tour’s European leg will continue, returning to France (Lyon this time!) and hitting the U.K. before heading to Dublin in late June.

Swift will continue performing in Europe throughout the summer before wrapping in London in August and heading back to North America for a slew of shows in Toronto and, finally, Vancouver.

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Don’t Have Eras Tour Tickets? Go to These South Florida Swiftie Events Instead

The Eras Party by Le Petite Fete

A starlit tribute to taylor swift, not taylor's version by lost girls theatre, the tay tay dance party with dj swiftie.

Laser Evenings at the Phillip and Patricia Frost Museum of Science

The taylor party at revolution live, candlelight: a tribute to taylor swift.

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Taylor Swift debuts ‘Tortured Poets’ songs live as Eras Tour resumes

Swift made some significant changes to the 3-hour-and-15-minute set when she kicked off the European leg of her record-shattering tour Thursday after a two-month break.

Taylor Swift’s record-shattering Eras Tour has essentially been a well-oiled, steady machine since it launched in March 2023 — she switched up a few songs on occasion, but mostly stuck to the same set list during the 3-hour-and-15-minute spectacle. And Swift’s loyal fan base has spent hours studying footage from around the world, with millions tuning in on fan-hosted live-streams to memorize every detail.

But on Thursday, Swift made some significant changes to the show for the first time as the tour kicked off its European leg at Paris La Défense Arena in Nanterre, France, for the first of four sold-out concerts. As many predicted, she debuted live performances of her songs from her 11th studio record, “The Tortured Poets Department,” a double album that contains 31 tracks and sold the equivalent of 2.61 million albums in its first week (combining physical sales and streams) when it dropped in mid-April .

🚨| Taylor Swift performing "Who's Afraid Of Little Old Me?" on 'The Eras Tour'! #ParisTSTheErasTour pic.twitter.com/O9FkuejQrN — The Eras Tour (@tswifterastour) May 9, 2024

“You are so present and it means the world to us as performers when you show up to a concert and when you act this way. … It makes us want to show you all kinds of fun surprises,” Swift, 34, told the extremely enthusiastic audience early in the night, calling the Eras Tour “the best experience of my life, honestly.”

The concert was live-streamed by fans on TikTok. One viewed by The Post featured a news ticker running at the bottom of the video with updates about the show: new outfits, new video screen visuals, a new order for some of the songs. Swift, who divides her set list into “eras” from her 18-year career, kicked off the “Tortured Poets” era about two hours into the concert with “But Daddy I Love Him” — a track that many interpret to be a message to her fan base about their, ah, extreme interest in her love life and the men she dates.

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“I’ll tell you something about my good name, it’s mine alone to disgrace,” Swift sang, running back and forth across the stage throughout. “… God save the most judgmental creeps who say they want what’s best for me, sanctimoniously performing soliloquies I’ll never see.” At the end, she sat down with her dancers and added a verse from “So High School” with lines that include “You know how to ball; I know Aristotle” — thought to be a reference to her boyfriend , the very famous football player Travis Kelce. (Swift did not sit for any interviews about the album and has provided very little detail for the ideas behind the lyrics.)

Taylor Swift performs "So High School" at her Paris Eras Tour show. pic.twitter.com/iOyXlGVUeA — Variety (@Variety) May 9, 2024

Even if they were being scolded, the fans loved it. The ecstatic screaming and cheering continued in the audience as Swift continued through “Who’s Afraid of Little Old Me?,” which appears to detail the downsides of fame, along with breakup anthems “Down Bad” and “The Smallest Man Who Ever Lived,” along with her new single with Post Malone, “Fortnight.” Swift added all kinds of new dance routines and set pieces, including one that made it look as if she were levitating across the stage.

And she performed a brief play before “I Can Do It With a Broken Heart,” an upbeat track about how she was able to perform on the Eras Tour even through heartbreak. Two magicians dragged her lifeless body to another part of the stage where they “forced” her to change into another sparkly outfit as she rolled her eyes and reluctantly got ready to dance.

Taylor Swift's outfit change between "The Smallest Man Who Ever Lived" and "I Can Do It With a Broken Heart" during her Paris Eras Tour show. pic.twitter.com/rdwTqL0M3y — Variety (@Variety) May 9, 2024

“So you were the first crowd ever to see ‘The Tortured Poets Department’ chapter of the Eras Tour!” Swift said cheerfully during the next set where she played a couple of surprise acoustic songs. “Or as I like to call it, ‘Female Rage: The Musical.’”

Otherwise, many chapters of the show stayed the same. Though some wondered whether Swift would simply extend the concert to four hours, she cut six songs overall and condensed the “Folklore” and “Evermore” eras into one, explaining that she considers them “sister albums” because she recorded them during the same year early in the pandemic.

“I’ve always thought ‘Folklore’ to me represents spring and summer and ‘Evermore’ represents fall and winter. So on the Eras Tour, we have now reunited the sisters and combined them into one chapter,” she said. She wrapped up the concert with “Karma” a little after 11 p.m. Paris time after running through 45 songs, and thanked her dancers and band for learning all the new material.

The European leg of the Eras Tour will run through mid-August, and the tour will resume in the United States and Canada in the fall.

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Taylor Swift Ticketing Tiff Kept AEG From Signing Live Nation’s Anti-Scalping Pact

The companies had agreed to loosen Ticketmaster's exclusivity requirements in a 2021 agreement that didn't hold up for the Eras Tour.

By Dave Brooks

Dave Brooks

The country’s two leading concert companies, Live Nation and AEG, are at odds over how Congress should address the future of ticketing after a disagreement over Taylor Swift ’s record-breaking The Eras Tour.

Long before the pop star’s Nov. 15 sale dominated the news cycle, where hundreds of thousands of Swift fans experienced service disruptions that kept them from buying the tickets they wanted, the two companies had signed an agreement that many thought might take AEG out of the ticketing business entirely. In 2021, when AEG announced that its facility management division ASM had struck a deal to make Ticketmaster its preferred ticketing partner, many assumed that meant the company was on the way to shutting down its own ticking platform, AXS Tickets.

Live Nation, Ticketmaster Have Boosted Lobbying by Almost 400%

Trending on billboard.

The provision was a sort of double victory for AEG, Live Nation’s leading competitor: The company was able to leverage its control over 350 ASM venues to get those clients large payouts for re-signing with Ticketmaster without forsaking its own ticketing service. AEG officials had also hoped this might mark the beginning of a more open ticketing ecosystem away from the sorts of exclusive deals that have helped Ticketmaster gain such dominance in the space. But less than two years later, AEG and Live Nation find themselves at odds, divided over the handling of Swift’s The Eras Tour.

Live Nation Had a Record-Setting 2022. Expect This Year to Be Even Bigger

AEG is now refusing to join a coalition of music companies supporting Live Nation’s Fair Ticketing campaign, a piece of proposed anti-scalper legislation born out of the bot attack on Ticketmaster’s Nov. 15 presale for Swift’s tour. While Universal Music Group, Red Light Management, Irving and Jeffrey Azoff, and all four major talent agencies are backing the FAIR Ticketing reforms to ban scalping practices like “speculative” ticket selling and mandating all-in pricing across all ticketing marketplaces nationally, AEG has been taking a different approach to what they see as some of ticketing’s biggest problems. Sources tell Billboard that AEG executives have been quietly lobbying the Department of Justice to investigate Ticketmaster’s use of exclusive ticketing contracts to lock up the ticket market as a possible violation of its consent decree governing its merger with Live Nation in 2010. AEG leadership is also lobbying politicians to include restrictions on such exclusive ticketing practices in new legislation that could be introduced as soon as this week.

Sources say Live Nation executives have been careful not to engage with AEG publicly about its exclusivity agreements. Privately, they have accused AEG of trying to have it both ways, accepting the money that comes with exclusive ticketing contracts, while trying to expand AXS ticketing beyond the ASM deal into all NFL stadiums ticketed by Ticketmaster.

“This is a bad look for them,” one source at Ticketmaster tells Billboard .

Since Live Nation merged with Ticketmaster in 2010 and AEG launched its own ticketing platform in 2012, both companies have found they can earn more from the concerts they promote if they also control the ticketing, collecting more fees for themselves, while keeping data generated by the concert in house. The additional revenue for a promoter like AEG could be substantial, especially for an artist like Swift, who sold a total of 2.4 million tickets for The Eras Tour.

Ticketmaster’s Post-Swift Strategy: Take On Ticket Fees

With Swift’s tour, sources say AXS was expecting to handle some of the ticketing under the ASM-Ticketmaster provision, since AEG was a co-promoter with partner Messina Touring Group. ASM managed five stadiums, representing 12 shows on the 52-date trek, and sources say AXS officials were hoping its ties to the tour could lead to it getting some, if not all of the tour. Except that Ticketmaster executives said their exclusive contracts with more than a dozen NFL teams (and the venues they own) superseded AXS’ claim. Under that reading of the deal, two of the 12 ASM dates — a pair of concerts at State Farm Stadium in Glendale, Ariz. — would be ticketed by SeatGeek under its exclusive deal with the Arizona Cardinals. Making matters worse, two of ASM’s management clients decided to partner with Ticketmaster for the sale.

Down to just five shows at two stadiums, AEG dropped the matter. According to a source, AEG executives have since spoken with the Department of Justice, encouraging them to look at Live Nation and Ticketmaster’s use of exclusive contracts as anti-competitive.

Relations only worsened in the days following The Eras Tour presale. After the fiasco, Live Nation chairman Greg Maffei appeared on CNBC to defend Ticketmaster and cited the company’s arrangement with AEG in response to claims of monopolistic behavior. “AEG, who is the promoter for Taylor Swift, chose to use us because, in reality, we are the largest and most effective ticket seller in the world,” he said. “Even our competitors want to come on our platform.” AEG leadership was quick to respond with a statement, saying the promoter had no choice but to use Ticketmaster. “Ticketmaster’s exclusive deals with the vast majority of venues on The Eras Tour required us to ticket through their system,” an AEG spokesperson said. “We didn’t have a choice.”

Ticketmaster Isn’t the Only One at Fault for Taylor Swift Fiasco, Another Planet’s Gregg…

AEG hopes its private lobbying of politicians and anti-trust officials will lead to regulatory change that could include abolishing exclusive ticketing contracts in the United States and ultimately move toward an industry more similar to Europe, where promoters generally don’t sign exclusive ticketing deals and work with multiple partners to sell tickets.

Despite the disagreement, the ASM-Ticketmaster deal remains in place, and AEG officials have had success convincing buildings like the Greek Theater in Los Angeles and the Quicken Home Arena in Cleveland to avoid exclusive ticketing agreements and remain open to multiple systems.

Live Nation and AEG declined to comment for this story.

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Demand for Taylor Swift and Others' Concerts Lifts Live Nation Sales to Q1 Record

Key takeaways.

• Live Nation Entertainment's sales for the first quarter soared as Taylor Swift and other performers drove a surge in demand for concert tickets.
• The promoter, which owns Ticketmaster, set a first-quarter revenue record of $3.8 billion.
• Shares of Live Nation jumped Friday after the earnings news and moved into positive territory for the year.

Live Nation Entertainment ( LYV ) shares surged over 7% Friday as demand for tickets to Taylor Swift’s Eras Tour and other concert performances helped propel the company's sales to a record in the first quarter.

Q1 Sales Record

The concert promoter and owner of the Ticketmaster ticket outlet reported first-quarter revenue soared 21% year-over-year to $3.8 billion, an all-time high for the first three months of the year and better than estimates. However, its loss of 53 cents per share was greater than expected.

Concert sales jumped 26% to $2.9 billion. Ticketmaster sales advanced 7% to $723.2 million, while sponsorship and advertising revenue climbed 24% to $211.3 million.

First-quarter show attendance gained 21% to 23 million and the company reported selling a record 77 million fee-bearing tickets.

'Demand Is Stronger Than Ever'

CEO Michael Rapino said the results indicate that “live events remain a priority for fans around the world.” He said "demand is stronger than ever," with more artists out on the road, and more venues being added for performances.

It hasn't hurt that one of those artists is Taylor Swift, with the Eras Tour reportedly becoming the first in history to surpass $1 billion in gross revenue .

Live Nation shares also likely got a lift from comments by CFO Joe Berchtold, who told analysts it’s unlikely Live Nation and Ticketmaster will be broken up by regulators for violating antitrust laws . 

Shares of Live Nation Entertainment finished 7.2% higher at $94.66 Friday, bringing them into positive territory for the year.

Read the original article on Investopedia .

Taylor Swift kicks off European tour in Paris with setlist changes

Taylor Swift fans from North America are going the extra mile — literally.

The pop star kicked off the 18-city European leg of her “Eras Tour” on Thursday in Paris, where she was joined in the París La Défense Arena by thousands of American Swifties who flew overseas to see her.

Thursday’s concert introduced a new setlist that reordered certain eras — including by moving “Red” up to earlier in the night — and combining the “Evermore” and “Folklore” eras, according to social media users who posted from the concert. She also performed songs from “ The Tortured Poets Department ” for the first time .

More than a quarter of tickets for the four Paris shows this weekend were purchased by Americans, according to Frédéric Longuépée, CEO of the París La Défense Arena. Tickets for the venue’s shows all sold in under an hour, he added.

“To the best of my understanding, a lot of Americans chose to come to Paris to attend this show and obviously visit our beautiful city,” said Longuépée, who estimated “something like 25–30%” of the crowd would be Americans, “which is big.”

Kennedy Smith, 21, skipped her college graduation to fly with her mother, Kathleen Smith, 56, from Texas to Paris to attend Swift’s concert instead.

Kathleen Smith said getting to see the singer was “nothing short of a miracle” — the pair stayed up all night in hopes of securing tickets, which cost them around $1,500 each. The two were first in line Wednesday to purchase merchandise at the venue, walking away with two bags full of Swift-themed gear.

Her daughter called the experience the “trip of a lifetime.”

“This is my graduation-from-college gift at Texas A&M,” she said. “And I’ve always wanted to come to Europe. ... And then to be seeing Taylor Swift, it’s just a dream come true.”

Securing tickets for the North American “Eras Tour” initially proved so difficult that the Senate Judiciary Committee held a hearing criticizing Ticketmaster’s “monopoly” after the platform canceled ticket presales in November 2022 amid overwhelming demand.

Some fans had reported that their invite codes failed to work, while others said they abruptly lost the tickets they had already placed in their cart. The chaos, which garnered a response from Swift herself , led Ticketmaster to offer some scorned fans a second chance at buying tickets.

The saga continued last year when Ticketmaster halted ticket sales for the “Eras Tour” shows in Paris and Lyon, after the website crashed amid technical glitches and hourslong wait times plaguing the more than 700,000 fans in the queue.

Zoe McCormack, a Canadian fan who experienced the Ticketmaster crash , said she managed to get tickets the following week for multiple nights in Paris, where she now lives. She said her non-VIP tickets here cost €190 each, or about $205, making them more affordable than U.S. tickets.

Many tickets for Swift’s shows in Europe cost only a fraction of what tickets cost for her U.S. dates, making them more financially accessible for North American fans who either failed to secure tickets in the U.S. last year or found prices too exorbitant. Some resale tickets sold for tens of thousands of dollars.

“I’m so happy that she came to Paris, especially since she has that ‘Paris’ song. I’ve been waiting for this moment ever since I moved to Paris,” McCormack said. “I’m so excited to be here. I can’t believe that it’s already here because we got the tickets almost a year ago. So it’s been a whole year of anticipation, getting the costumes ready, getting our bracelets ready.”

Traveling to see concerts abroad is not a new phenomenon, as buying tickets for concerts in the U.S. has become an increasingly competitive and highly expensive ordeal for fans of popular artists such as Swift, Beyoncé and Olivia Rodrigo . Many American fans of Beyoncé also opted to see her “Renaissance World Tour” in Europe instead .

Swift’s next stop, in Stockholm, expects to see about 10,000 American attendees, Stockholm Chamber of Commerce Chief Economist Carl Bergqvist told The Associated Press . Airlines have also added extra flights from bordering Nordic countries, he added.

The pop star was lauded last year by the U.S. Federal Reserve and several municipal governments for her economic impact as “The Eras Tour” boosted tourism revenue nationwide. Europe may experience the same effect, as Bergqvist said Stockholm’s 40,000 hotel rooms are sold out for Swift’s three tour dates there, and that “Eras Tour” concertgoers are expected to inject around 500 million Swedish krona, or more than $46 million, into the local economy.

Angela Yang is a culture and trends reporter for NBC News.

Nancy Ing is a Paris-based producer.

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Taylor Swift resumes ‘Eras Tour’ in Paris with a new setlist. What to know

Taylor Swift is lighting up Paris!

The singer is in the French capital for the European leg of her "Eras Tour" at the Paris La Défense Arena from May 9 to May 12 with new costumes, an edited setlist and an era she's nicknamed "female rage, the musical."

During her May 9 show, Swift shouted out the crowd, saying the energy in Paris makes her want to bring out "all kinds of fun surprises."

Some Swifties are traveling thousands of miles to catch one of the singer’s four Paris shows — and in fact, anywhere between 20% and 30% of fans set to watch Swift in Paris are American, the arena’s CEO, Frederic Longuépée, told NBC News.

Parisian hotels and restaurants will be packed throughout the weekend, which is a good test for the city’s infrastructure and security leading up to another major event this summer: the 2024 Paris Olympics .

“For four nights, we’ll be the center of the world, which is important to us, because it’s a rehearsal for the Olympics, obviously,” Longuépée said.

These shows mark the first time Swift has performed onstage since the release of her record-shattering studio album , “The Tortured Poets Department ." After much speculation, Swift officially switched up her more than three-hour setlist, cutting some songs to make room for a new section dedicated to her 11th album.

Swifties are also wondering whether a certain NFL star will be spending time with the singer in the City of Light.

Read on to learn more about Taylor Swift’s Paris “Eras Tour” shows , including how to buy last-minute tickets.

When are Taylor Swift’s Paris tour dates?

There will be four "Eras Tour" dates in Paris on May 9, 10, 11 and 12, with shows beginning at 6:30 p.m. local time.

Each show will take place at the Paris La Défense Arena, which is the largest indoor performance venue in Europe. The massive venue can accommodate 40,000 spectators in "concert mode," according to the arena’s website . Gates will open for attendees at 4:45 p.m.

Paramore will open for Swift at her Paris shows.

What time is it in Paris?

Paris is six hours ahead of the U.S.

Since Swift's shows start around 6:30 p.m. in Paris, Americans looking to follow along online should anticipate doing so at 12:30 p.m. ET.

Can fans still get tickets to Taylor Swift’s Paris concerts?

According to SeatPick , there are tickets available for the May 10 and May 11 shows starting at around $160, and tickets for the final Paris show on May 12 starting at $180. 

Prices are kept so (comparatively) low due to France’s stricter laws around reselling tickets. Fans are not allowed to resell tickets for more than their original sale value, according to Ticketmaster’s French website .

Is Travis Kelce going to Taylor Swift’s Paris shows? 

Kelce hasn’t confirmed whether he will be joining Swift in the City of Light, but he did show support as she restarts her record-breaking tour.

Swift's longtime guitarist Paul Sidoti shared a picture of him and Swift performing onstage with the caption, "The Eras Tour Europe starts tonight.. Paris you’re up first.. who’s coming?"

Kelce hopped into the comments section with, "Lfg!!!" and several raised hands emoji.

Kelce was not spotted at the May 9 show by the start of the concert. TODAY.com has reached out to his representatives on if he plans to attend any of her concerts in France.

Kelce said in the past he would definitely be supporting his girlfriend during the European leg of her "Eras Tour."

“London’s always an amazing city, Paris is a beautiful city. She’ll be all over Europe, so there won’t be a bad show, I promise you that,” the Kansas City Chiefs tight end told "Entertainment Tonight" in April. 

Asked whether he would be packing his bags for any show in particular , Kelce replied, “Oh, you know I gotta go support.”

“Yeah, I mean, I think we’re both very career driven,” he added. “I think we both love what we do, and any chance that I can show my support to her, and knowing that she’s showing me all the support in the world throughout the season, it’s just been an amazing experience getting to know Tay.”

The weekend before Swift headed to Paris, Kelce was living his best life at the Kentucky Derby. The NFL star opened up about the “once-in-a-lifetime experience” at the May 4 race at Churchill Downs in Louisville, Kentucky.

“I’m a Derby guy now, man,” Kelce said on the May 8 episode of the “New Heights” podcast with his brother, Jason Kelce. “It was so much fun.”

The question now is, will Kelce be taken by the view in Paris?

What will be changing during this leg of the ‘Eras Tour’? 

Swift’s Paris shows will be her first live performances since the release of her latest album, “The Tortured Poets Department,” in April.

Six songs (plus one bridge) from the new double album made it into the "Eras Tour" set list: "But Daddy I Love Him," “Who’s Afraid of Little Old Me? ," "Down Bad," “Fortnight ," "The Smallest Man Who Ever Lived," "I Can Do It With A Broken Heart" and part of “So High School ."

The singer hinted a t the a ddition in an April 25 YouTube Shorts video , which showed a montage of Swift and her backup dancers rehearsing for their European shows.

Many of the scenes were familiar from previous "Eras Tour" shows, but fans noticed one brand-new scene: Swift standing with her backup dancers behind her sporting top hats and holding canes.

That clip previewed an energetic performance of "I Can Do It With a Broken Heart."

“OMG SHE IS ADDING A NEW ERAAAAAAAAAA,”one fan commented on her YouTube video.

“WHY IS NO ONE TALKING ABOUT HOW THIS MEANS TAYLOR IS ADDING TTPD TO THE ERAS TOUR SETLIST!?!?” another person wrote.

“The Tortured Poets Department” has been shattering records since its April 19 release. The day it came out, the album became Spotify’s most-streamed album in a single day, and Swift became Spotify’s most-streamed artist in a single day, the streaming service announced on Instagram .

The album also launched with a record-breaking 2.6 million equivalent album units (which includes downloads, streams, and CD, vinyl and cassette sales) earned the first week of its release in the U.S., according Luminate, Billboard reported.

Swift said her “mind is blown” by the album’s success.

“I’m completely floored by the love you’ve shown this album,” she wrote in an April 28 Instagram post . “2.6 million ARE YOU ACTUALLY SERIOUS?? Thank you for listening, streaming, and welcoming Tortured Poets into your life. Feeling completely overwhelmed.

“I was already so fired up to get back to the tour but you doing THIS??” she added. “May 9th can’t come soon enough.”

Lindsay Lowe has been a regular contributor to TODAY.com since 2016, covering pop culture, style, home and other lifestyle topics. She is also working on her first novel, a domestic drama set in rural Regency England.

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What time will taylor swift's eras tour paris concert start here's the answer, share this article.

That’s right, it’s Eras Tour time again for Taylor Swift fans with a stop in Paris.

She’s back on the road for more of the international leg of the tour that’s made stops in Asia and Australia as of late, and while we’re not sure about whether her boyfriend Travis Kelce will be there or not, we know some things: who her opening act is and what time the concert in France.

We’re going to use East Coast time here — it’s six hours ahead in Paris. So it’s supposed to start at 6:30 p.m. Paris time, which means it’ll be 12:30 p.m. East Coast time.

There you have it!

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It's not just Taylor Swift. Musicians describe the 'demented struggle' of touring in a shrinking industry where one giant company sells the tickets for most major venues.

• Musicians, like workers across the world, were dealing with worsening conditions pre-pandemic.
• COVID exacerbated this: smaller venues closed, incomes fell into peril, and pent-up demand grew.
• With Taylor Swift shining a light on Ticketmaster, artists are pushing back against the status quo.

Cadence Weapon lost $2,000 going on tour in the US last year.

That's one reason the critically acclaimed Canadian rapper, writer, and activist — whose given name is Rollie Pemberton — is sounding the alarm on how industry practices are leaving artists in the lurch with stagnant pay, cuts out of ticket-and-merchandise sales, and limited venue options.

"The weird thing about music is the artist is always the person who takes the brunt of things and they're always the person who the labor is extracted from," Pemberton said. Tour costs like gas money, plane tickets, and lighting designers are "increasing exponentially" with inflation, he said. A tour like last year's wouldn't even be financially feasible for him this year, he said.

He's not alone. A slew of musicians have canceled shows due to what the indie band Animal Collective described as "an economic reality that simply does not work and is not sustainable" when they called off their European tour.

The indie-pop singer Lorde said that while she's one of the lucky ones, "for pretty much every artist selling less tickets than I am, touring has become a demented struggle to break even or face debt." 

And the indie singer Santigold said in her cancellation announcement : "As a touring musician, I don't think anyone anticipated the new reality that awaited us."

That new reality has musicians determined to clarify that while they are artists, they are also laborers . They are, quite literally, gig workers, and have said that the economic deck is stacked against them . The prominent Live Nation Entertainment kerfuffle at the center of the controversy around Taylor Swift's ticket sales drew fan ire and led to renewed conversations about how fans and artists alike are at the mercy of the industry. On top of that, the Justice Department is reportedly investigating the 2010 merger of industry leaders Ticketmaster and Live Nation.

"Imagine how many shows you could go to and how many scenes you could support, how many local bands you could go watch, how many out-of-town small bands at your local 250-cap venue you could go see if your Taylor Swift ticket was a reasonable price," Spencer Peppet, a musician, writer, and odd-job worker who plays guitar and sings in the indie-rock band The Ophelias, said. "It just frees up everything."

Swift's controversy is just the tip of the touring iceberg

Even Swift, one of the most dominant pop stars in the industry, found herself at the mercy of Ticketmaster. Her stature limits her mostly to large venues for which this  dominant market player  handles  ticketing .

"When you're an artist the size of Taylor Swift, you can't just rent some VFW Hall or something," George Howard, a professor of music-business management at Berklee College of Music and longtime music-industry executive and entrepreneur, told Insider. "You're pretty much locked in to touring with these well-established big arenas, and it's hard to find substitutes for them." 

Ticketmaster ticketed for all but two of the venues Swift is performing in, according to an analysis by Insider. That means that 47 out of her 52 tour dates will take place in venues ticketing through Ticketmaster. She's playing two dates at State Farm Stadium in Glendale, Arizona, and three at AT&T Stadium in Arlington, Texas, which both sold tickets for the tour through SeatGeek. One data analysis found that fans were more likely to snag tickets at the SeatGeek-ticketed venue than at any of the Ticketmaster-ticketed venues. 

"She could choose a different venue if she isn't happy with a particular partner that they're dealing with. But then she would have to skip the market in a lot of these cases, because there's only one stadium in that city," Kevin Erickson, the director of the Future of Music Coalition, told Insider.

Live Nation Entertainment said in a statement that it owns and operates just over 100 of the nearly 4,000 total live music venues in the United States. When in comes to major arenas played by the likes of Swift, the New York Times reported  Ticketmaster tickets 80 of the top 100. 

One call to action from musicians and some members of Congress: unwind the 2010 Ticketmaster/Live Nation merger to increase competition in the market.

"Put simply, artists, venues, and consumers should no longer be at the mercy of a single seller," Sens. Richard Blumenthal, Amy Klobuchar, and Ed Markey wrote in a letter to the Department of Justice.

The DOJ — which had reportedly launched an antitrust investigation into the company prior to the Eras Tour madness — originally allowed the merger of the two giants on the condition that they couldn't retaliate against, or threaten, concert venues for opting into a different ticketing service.

But, "​​Live Nation repeatedly and over the course of several years engaged in conduct that, in the Department's view, violated the Final Judgment," according to a 2019 release from the Department of Justice . 

"We strongly disagree with the DOJ's allegations in the filing and the conclusions they seek to draw from six isolated episodes among some 5,000 ticketing deals negotiated during the life of the consent decree," Live Nation Entertainment said in a statement. "Nevertheless, in keeping with our decision to settle, our focus is now on bringing this matter to its conclusion and continuing to deliver the best live event experiences to fans everywhere."

Merger opponents argue it's shrunk the market and sent costs flying for fans — a ripple effect that all artists, not just Swift, are feeling.

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"It is terrible because we're trying as an artist community desperately to emerge from an existential threat to the ongoing ability to have a healthy music ecosystem," Howard said. "And a big part of that music ecosystem is touring."

A love for music doesn't pay the bills when artists are paid peanuts and lose a cut of merch and ticket sales

Live-music fans know there are two big ways to support their favorite acts: Buying tickets, and buying branded merchandise, known in the industry as "merch."

Both of these avenues are increasingly slipping out of artists' hands and pockets. It's a standard that, artists said, has changed as the industry has become more consolidated, with ticket fees rising higher, companies garnishing merch revenue, and musicians having to fend for themselves.

Pemberton has been helping lead a campaign in conjunction with the Union of Musicians and Allied Workers, or UMAW, to ask venues to no longer take a cut of artists' merch sales, which he said can range from 15% to 35%. Live Nation said its clubs "have moved to giving artist 100% of merch sales."

—Cadence Weapon (@cadenceweapon) November 21, 2022

"I think a lot of people were shocked to realize that the money that they think they're giving directly to an artist to support them — and that they've been told time and time again, this is the best way to support an artist — is actually being garnished by the venues," Pemberton said. 

In addition to cuts of merch sales, big ticketing companies, of which Ticketmaster is the biggest , charge ticket fees that average out to 27% of the cost of a ticket, according to a report from the Government Accountability Office.

Ticketmaster said that figure is closer to 20% of the base ticket price, "but this is neither uniform nor dictated by Ticketmaster." Typically, artists and promoters determine a ticket price, and then the venue, who is likely in an exclusive contract with a ticketer, negotiates the service fees.

Using the GAO's findings, that means purchasing a $100 ticket would only net the artist $73. But Pemberton said an artist would be lucky to get to keep all of that. Instead, it often goes towards paying tour costs or is split with a promoter. An artist might make more like $40 at the higher end, or even lose money, he said.

"Our core mission is to support and empower artists as they connect with their fans at live shows," Live Nation said in a statement. "We're proud that on average more than 90% of ticket sales revenue for Live Nation tours go directly to artists."

For Peppet, it was "very exciting" the first time she realized she made enough on tour to pay her rent. One night, The Ophelias opened for a band with an older following who bought their vinyl records and "cushioned" their finances for later in the tour, including a time Peppet got sick and had to miss a few shows.

As a smaller band, venues usually pay The Ophelias what Peppet said is average for an opener or small headliner — $250 a night. 

"A lot of times that comes out to pennies per member per day. And then if you do that for enough days, maybe you make some dollars," she said. 

That's a pretty standard rate, according to sources and booking offers viewed by Insider, and it hasn't changed since at least 2014. Part of the problem, artists say, is that openers are presented with essentially non-negotiable offers. Some come from a promotion company or booking agency of the headliner, and might offer up to $500. But as Insider viewed, those offers are often blasted out to several groups, and artists say that attempts to negotiate could cost them the gig.

Peppet compared it to the stagnant $7.25 federal minimum wage. And as Pemberton said, all of the expenses for musicians have gone up with inflation, "but the problem is fees have not gone up to make up for that expense."

"Artists make more money from touring than any other piece of their business including recorded, streaming and more," Live Nation said in a statement. "The live industry is centered around paying artists first - promoters pay artists guarantees for their shows, and take the bulk of the risk and financial loss if tickets don't sell. Over the last 10 years, the amount of money we guarantee to the artist has grown annually."

According to the Bureau of Labor Statistics , musicians and singers made a median of just over $30 an hour in 2021 — a $3-an-hour bump from 2012 pay when adjusted for inflation. 

While that's just a touch below November 2021's average hourly earnings of $31, wage tracking for musicians is bound to be imprecise. Music teachers, or in-house musicians, are much more likely to have a regular income. But as the BLS notes, many musicians can find only part-time or intermittent work, and many have stints of unemployment between those paying jobs. It's also unlikely that this measure captures musicians who primarily work in other professions — like service jobs — to subsidize touring or music.

Additionally, it's unclear whether those wages reflect the cuts that touring musicians have to pay out to their workers, to their managers, and to pay for other tour costs. Those wages are also unlikely to capture work that musicians do off the clock, such as rehearsals. The bottom 10% of musicians made a little under $12 an hour in 2021, according to the BLS.

"Pre-pandemic to go on tour, you were hoping you would break even," or just make a little money, Pemberton said.

It comes back to what scholars theorize as the " gift economy " of music, where artists are expected to show that they're not in the art to make money or change their lot in life; they do it just for the feeling of creative satisfaction. In essence, artists who are seen as creating music solely for the love and pursuit of art, rather than profit, are seen more favorably, as opposed to the much-derided "sellouts." At the same time, Live Nation Entertainment is seeing a record year due to more shows than ever.

"We always welcome the opportunity to discuss important issues facing the live entertainment industry," Live Nation said in a statement. "The industry is more competitive than ever, but there are many industry reforms that would make the ticketing experience better for fans and artists."

But a love of touring and music alone doesn't pay the rent, especially in the current landscape. 

"I wouldn't be doing it if I didn't love it," Peppet said. "It can't just be like, 'Oh, I love this. I'm going to do it even if I make no money.' Because that's how you end up with only previously wealthy people making music."

This story was originally published in December 2022.

• Main content

Live Nation Defends ‘Fan-Friendly’ Ticketmaster as Stock Hammered by Taylor Swift Tour Ticket Sales Debacle

UPDATED: Parent firm's lengthy statement asserts Ticketmaster 'invests in technology' and 'does not set or control ticket prices'

By Cynthia Littleton

Cynthia Littleton

Business Editor

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Live Nation Entertainment issued a lengthy defense of its ticketing giant subsidary Ticketmaster in the wake of the platform’s tech meltdown against the feverish demand for Taylor Swift ‘s upcoming The Eras tour dates.

Shares of Live Nation Entertainment took a big hit Friday amid reports that the Justice Department was looking into widespread complaints over how Ticketmaster’s platform botched the pre-sale auction and other aspects of the first-day rush to buy tickets to Taylor Swift’s jaunt that begins March 18 in at State Farm Stadium in Glendale, Ariz.

Popular on Variety

“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” Swift wrote.

Swift did not call out Live Nation or Ticketmaster by name. But she indicated that her team inquired in advance of the sale if “they could handle this kind of demand and we were assured they could.”

On Friday evening, Live Nation issued an impassioned defense of the much-maligned Ticketmaster with a long statement asserting that the platform was “the most transparent and fan-friendly” service of its kind available. And the company emphasized that it has invested in technology that has made app-based ticketing the norm not the exception these days.

The highly public Swift debacle appears to have come as the Justice Department was already beginning to probe whether Live Nation has too much control of the live music marketplace given its prominence as a promoter of events and its dominance of ticketing via Ticketmaster.

Ticketmaster has long faced criticism and scrutiny of its business practices and the fees added on to each transaction. In the 1990s, the service had a long-running feud with Pearl Jam over the issue of pricing and fees.

Here is Live Nation’s full statement:

As we have stated many times in the past, Live Nation takes its responsibilities under the antitrust laws seriously and does not engage in behaviors that could justify antitrust litigation, let alone orders that would require it to alter fundamental business practices.

The concert promotion business is highly competitive, with artist management in control of selecting their promoting team. The demand for live entertainment continues to grow, and there are more promoters than ever working with artists to help them connect with fans through live shows. The Department of Justice itself recognized the competitive nature of the concert promotion business at the time of the Live Nation-Ticketmaster merger. That dynamic has not changed.

Ticketmaster has a significant share of the primary ticketing services market because of the large gap that exists between the quality of the Ticketmaster system and the next best primary ticketing system. The market is increasingly competitive nonetheless, with rivals making aggressive offers to venues. That Ticketmaster continues to be the leader in such an environment is a testament to the platform and those who operate it, not to any anticompetitive business practices. 5 years ago tickets were paper, now you scan in with your phone, and can transfer tickets to your friend with one tap. We innovate and invest in our technology more than any other ticketing company, and we will continue to do so.

Secondary ticketing is extremely competitive, with Ticketmaster competing with StubHub, SeatGeek, Vivid and many others. No serious argument can be made that Ticketmaster has the kind of market position in secondary ticketing that supports antitrust claims.

For the past 12 years Live Nation has operated under a Consent Decree that among other things seeks to prevent anticompetitive leveraging of Live Nation promoted content to advantage Ticketmaster. Pursuant to the Amended Decree voluntarily entered in 2020, Live Nation’s compliance is monitored by a former federal judge. There never has been and is not now any evidence of systemic violations of the Consent Decree. It remains against Live Nation policy to threaten venues that they won’t get Live Nation shows if they do not use Ticketmaster, and Live Nation does not re-route content as retaliation for a lost ticketing deal.

We are proud of the work we do across both concerts and ticketing, and will continue working to improve and support the live events industry.

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Taylor Swift's European Eras Tour leg kicked off in Paris with a new setlist. See which songs are in and out.

May 9, 2024 / 8:24 PM EDT / CBS/AFP

Taylor Swift fever struck Paris on Thursday as the highest-grossing tour in history finally arrived in Europe, with fans treated to the first-ever performance of songs from her latest album.

The Eras Tour began its European leg with four dates at the La Defense Arena in Paris.

"I wish I could have toured Europe more. This is a dream crowd," the 34-year-old megastar told the ecstatic audience.

There were deafening shrieks as images of typewriter sheets indicated that songs off the new album "The Tortured Poets Department" were starting late in the show.

Emerging in a lyrics-covered dress, she ran through several of the darker new tracks starting with "But Daddy I Love Him" and "Fortnight", a particularly furious rendition of "Who's Afraid of Little Old Me?" and an elaborate "I Can Do it with a Broken Heart," with a golden-era Hollywood dance routine.

Other "The Tortured Poets Department" songs performed included "So High School," "Down Bad" and "The Smallest Man Who Ever Lived," according to ETonline .

"You were the first crowd to see songs from 'The Tortured Poets Department'," she said, before adding: "Or, as I like to call it, 'Female Rage: the Musical.'"

That was a dream come true for many in the audience.

"I've been so excited for so long, I can't believe it's actually happening," said 11-year-old Emma, who had flown in with her mother from New York.

Adding songs from "The Tortured Poets Department" wasn't the only change to the show and its 45-song setlist.

Perhaps the biggest change, according to ETonline, is the "Folklore" and "Evermore" setlists were combined, cutting four songs across the two albums: "'Tis the Damn Season," "Tolerate It," "The 1" and "The Last Great American Dynasty."

"On the Eras Tour, we have now reunited the sisters, combined them into one chapter," Swift said, according to video posted to social media. "You can call it "Folklore, Evermore" or you can call it the Sister Albums! You can call it whatever you want as long as you promise to sing 'Champagne Problems' with me."  

"The Archer" was removed from the "Lovers" portion of the show and "Long Live" was cut from the "Speak Now" era setlist, according to ETonline.

One of the secret songs was, fittingly, the "Midnights" bonus track "Paris."  

Parts of the show were also rearranged to make room for the newest era. The "Red" era was moved from the fifth to the third slot, according to ETonline, and the newest album was introduced following the "1989" set.

The venue said a fifth of the crowd were from the United States — many attracted by Europe's rules against charging huge mark-ups on resale tickets that can save Americans thousands of dollars compared with shows at home.

Georg'Ann Daly decided to celebrate her 23rd birthday with the Paris show. It meant flying from Nashville to Chicago to London and catching the Eurostar to Paris.

"I've always been obsessed with Taylor Swift," she told AFP.

A handful of superfans camped out from Tuesday in Paris to ensure they got a prime spot.

"I didn't plan to, but I came to check it out and I saw the first tents and I panicked a little," said Chris, 30.

Noah, 20, is seeing all four Paris concerts — he used 22 email addresses to get through the lottery system and secure the tickets.

After wrapping up her run in Paris, Swift will head for dates in Sweden, Portugal, Spain, Britain, Ireland, the Netherlands, Switzerland, Italy, Germany, Poland and Austria.

The Eras Tour has worked its way across North and South America and Asia since starting in March 2023.

By the end of the year, it had already become the first to sell more than $1 billion in tickets and is on track to more than double that by the time it concludes in Vancouver this December.

Swift's popularity shows no sign of dimming — the new album sold 1.4 million copies on its first day and broke every streaming record , reaching a billion streams on Spotify within five days.

Swift's tell-all dissections of her love stories have been the fuel powering her global domination, and fans have been poring over "The Tortured Poets Department" for cryptic clues about ex-boyfriend Joe Alwyn, her short-but-dramatic fling with Matty Healy (lead singer of The 1975), and her current partner, American football star Travis Kelce.

"Taylor talks about toxic relationships, impossible love, politics, mental health, and so much more," said Chris as she waited by her tent for the big moment. "I think we can all find a song that resonates with our experiences." 

• Taylor Swift
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Taylor Swift Eras tour adds Tortured Poets Department and combines Folklore and Evermore eras – as it happened in Paris

Join us live as the epic show begins again at La Défense Arena in Paris

• Read more: Taylor Swift debuts new tracks as she returns to The Eras Tour
• 4h ago End Game
• 4h ago The missing songs
• 4h ago Eras Tour Europe: the new setlist
• 4h ago First Europe show ends
• 5h ago On to Midnights...
• 5h ago It's the acoustic set
• 5h ago Taylor moves to I Can Do It With a Broken Heart
• 5h ago Taylor sings The Smallest Man Who Ever Lived
• 5h ago Taylor sings Who’s Afraid of Little Old Me?
• 5h ago Taylor performs But Daddy I Love Him
• 5h ago Taylor moves to The Tortured Poets Department
• 6h ago On to 1989!
• 6h ago Evermore and Folklore eras combined.
• 6h ago On to Folklore
• 6h ago Another shift, with several Folklore songs skipped
• 6h ago Reputation
• 7h ago Another change: Long Live skipped
• 7h ago Taylor sings epic 10-minute All Too Well
• 7h ago International crowd in Paris
• 7h ago Moving on to the Red era
• 7h ago Second setlist change: Red instead of Evermore!
• 7h ago Taylor moves to Fearless era
• 7h ago First setlist change…
• 8h ago Lover Era
• 8h ago Taylor Swift appears on stage
• 9h ago How will tonight’s performance differ from earlier performances?
• 9h ago Paramore on stage
• 9h ago 'The tour will be different,' Paris arena official says
• 9h ago French fans in the merch line
• 9h ago Welcome to the blog

Eras Tour Europe: the new setlist

Will this be the new lineup for this leg of the show? Time will tell, but here’s what we witnessed in Paris tonight.

Miss Americana and the Heartbreak Prince

Cruel Summer

You Need to Calm Down

You Belong With Me

We Are Never Ever Getting Back Together

I Knew You Were Trouble

All Too Well (10-minute version)

… Ready For It?

Don’t Blame Me

Look What You Made Me Do

Folklore/Evermore

Now combined as one Era

champagne problems

illicit affairs

my tears ricochet

Blank Space

Shake It Off

Wildest Dreams

The Tortured Poets Department

But Daddy I Love Him

So High School

Who’s Afraid of Little Old Me?

The Smallest Man Who Ever Lived

I Can Do It With A Broken Heart

Surprise songs

Paris (from Midnights)

loml (from TTPD)

Lavender Haze

Midnight Rain

Vigilante Shit

Thanks so much to everyone who followed the blog, to the fans in Paris who shared their thoughts throughout the day and to the readers who sent tips. It’s been a memorable evening.

Special thanks to the Guardian’s head of digital (live) Claire Phipps , a fellow Swiftie.

You can read more about tonight’s show here:

Taylor has three more nights at Paris La Défense Arena before heading to Stockholm, Lisbon and Madrid in the coming weeks.

1/4 ✅ Thank you @taylorswift13 🥹💖 #ParisTSTheErasTour pic.twitter.com/KKF3X4rlUA — Paris La Défense Arena (@ParisLaDefArena) May 9, 2024

The missing songs

To make way for seven new performances of songs from The Tortured Poets Department, some songs that previously were staples of the Eras tour weren’t there tonight and presumably have now disappeared from the setlist … for now.

The Archer (from Lover era)

Long Live (from Speak Now era)

the 1 (from folklore era)

the last great american dynasty (from folklore era)

’tis the damn season (from evermore era)

tolerate it (from evermore era)

Thanks to Phoebe Woodward for compiling this list.

Catch up here on Taylor’s performance of the song Paris… in Paris!

🚨| Taylor Swift performing "Paris" for the first time ever in Paris! #ParisTSTheErasTour pic.twitter.com/eQOCYAAm6p — The Eras Tour (@tswifterastour) May 9, 2024

Fans will certainly be analysing this evening’s performance for some time.

New setlist, new performances, new outfits – while some songs were cut.

First Europe show ends

“I love you so much,” Taylor tells the crowd in the Paris arena, closing the first night of the Europe leg of her Eras tour, where she revamped her setlist and performed new music for the first time.

Taylor is singing Karma.

‘Cause karma is my boyfriend Karma is a god Karma is the breeze in my hair on the weekend Karma’s a relaxing thought Aren’t you envious that for you it’s not? Sweet like honey, karma is a cat Purring in my lap ‘cause it loves me Flexing like a goddamn acrobat Me and karma vibe like that

We’re on the last song :(

“This has been an unforgettable night in Paris, we love you so much!” Taylor tells the audience.

We’re close to the end of the show…

Taylor is now singing Mastermind. Love these lyrics:

What if I told you none of it was accidental And the first night that you saw me, nothing was gonna stop me? I laid the groundwork and then, just like clockwork The dominoes cascaded in a line

“So on the weekends She don’t dress for friends Lately she’s been dressing for revenge”

She’s moved to Vigilante Shit.

And here’s footage from the earlier TTDP set:

🚨| Taylor Swift performing "The Smallest Man Who Ever Liver" on 'The Eras Tour' #ParisTSTheErasTour pic.twitter.com/c4OI2lkcl9 — The Eras Tour (@tswifterastour) May 9, 2024

Midnight Rain is up now.

“It’s me, hi, I’m the problem, it’s me At tea time, everybody agrees I’ll stare directly at the sun but never in the mirror It must be exhausting always rooting for the anti-hero”

• Taylor Swift

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Every Change Taylor Swift Made to ‘The Eras Tour’ in 2024: Song Cuts, ‘TTPD’ and More

Taylor Swift is giving her Eras Tour a fresh update as she hits the road again for the next leg.

Swift took the stage in Paris on May 9 after a two-month hiatus. During her first show of the European leg, fans were quick to notice the changes Swift made to the show from costume changes to edits to her extensive setlist. When talking to the audience, Swift teased she had a lot in store for her fans that evening.

“It makes us want to give you all sorts of surprises!” she hinted.

Since Swift last hit the road, she dropped her 11th album The Tortured Poet’s Department . Ahead of the Paris show, Swift’s French tour promoter, Arnaud Meersseman , confirmed that the singer was adding some TTPD songs to the show.

“She’s going to include new pieces from her new album,” he said in an interview with Radio France on Thursday, May 9.

Keep scrolling to see what changes Swift has made to the Eras Tour so far:

A New Intro

Before Swift takes the stage for each show, she plays her famous intro that includes a mention of all her albums and eras. Swift updated the mix to include a reference to TTPD .

With new songs coming into the three-hour set, it was inevitable that fans would have to say goodbye to some tracks. “The Archer” and “Long Live” were the first ones to get the ax. Swift also cut “The 1,” “Tolerate It,” “The Last Great American Dynasty” and “Tis the Damn Season.”

To keep Swifties on their toes, Swift mixed up the order of her setlist. In the original leg after Fearless , she transitioned into Evermore . Swift moved Red into Evermore’s original spot and later combined Folklore and Evermore into one era.

“On The Eras Tour we have now reunited the sisters!” she said of the two records she dropped in 2020. “You can call it Folklore , Evermore or you can call it the sister albums!”

After Red , Swift goes into her Speak Now era, which includes a new transition featuring floral images on the screen and her dancers performing a new routine before she sings “Enchanted.”

New Outfits

Swift also took a second to update her show with a brand-new wardrobe to mark the occasion. She rocked a new Lover bodysuit, Fearless dress and “Enchanted” gown. During the Red set, Swift also donned a new T-shirt that read, “This is Not Taylor’s Version.” When it was time for her Folklore era, Swift also brought out a new dreamy yellow dress.

One look remained the same: her iconic Reputation bodysuit. ( Reputation and debut are the two albums Swift has not rerecord yet, perhaps that’s why she didn’t update the look yet.)

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For 1989 , Swift introduced a new blue-and-pink sequined outfit. She also dazzled in a new sparkly Midnights bodysuit which featured a halter top and side cutouts.

‘TTPD’ Era

Following her 1989 era, Swift performed several songs from the TTPD anthology and wore a white gown. The set included “But Daddy I Love Him,” “So High School,” “Who’s Afraid of Little Old Me?,” “Down Bad,” “Fortnight,” “The Smallest Man Who Ever Lived” and “I Can Do It With a Broken Heart.” The Paris audience also got “loml” as one of their surprise songs.

During the performance, Swift is abducted by aliens and levitates on a moving platform. After “Fortnight,” Swift removed her gown and wore a sequined black set.

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

Thousands of Taylor Swift fans are following her across the pond after missing out on her U.S. concert tour last year or being put off by marked-up ticket prices

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

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

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

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

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

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

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

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

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

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

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

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

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

“As people who enjoy traveling and enjoy music, if you can find an opportunity to combine the two, it's really special,” Hale said.

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

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

Houston resident Caroline Matlock, 29, is making friendship bracelets and trying to learn a few words of Swedish as she prepares to see the 3 1/2-hour show in Stockholm. Also on the itinerary: visiting the Scandinavian cities of Oslo and Gothenburg.

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

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

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

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

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

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

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Justice Dept. Is Said to Investigate Ticketmaster’s Parent Company

The inquiry predates the botched presale of Taylor Swift tickets this week and is said to focus on whether Live Nation has abused its power in the live music industry.

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By David McCabe and Ben Sisario

Follow for live updates on the Ticketmaster Senate hearing .

WASHINGTON — The Justice Department has opened an antitrust investigation into the owner of Ticketmaster, whose sale of Taylor Swift concert tickets descended into chaos this week, said two people with knowledge of the matter. The investigation is focused on whether Live Nation Entertainment has abused its power over the multibillion-dollar live music industry.

That power has been in the spotlight after Ticketmaster’s systems crashed while Ms. Swift fans were trying to buy tickets in a presale for her tour, but the investigation predates the botched sale, the people said.

Members of the antitrust division’s staff at the Justice Department have in recent months contacted music venues and players in the ticket market, asking about Live Nation’s practices and the wider dynamics of the industry, said the people, who spoke on the condition of anonymity because the investigation is sensitive. The inquiry appears to be broad, looking at whether the company maintains a monopoly over the industry, one of the people said.

In a statement posted to its website on Friday night, Live Nation said that it “takes its responsibilities under the antitrust laws seriously and does not engage in behaviors that could justify antitrust litigation.” It said that the markets for concert promotion and ticketing services were both competitive. A spokeswoman for the Justice Department declined to comment.

Officials in the Biden administration have spent the last two years trying to push the boundaries of antitrust law. The Justice Department has mounted several challenges to major mergers, successfully persuading a judge to block Penguin Random House’s purchase of Simon & Schuster but losing some other cases. The Federal Trade Commission has sued to block Meta, Facebook’s parent company, from acquiring a small virtual reality start-up.

The new investigation is the latest scrutiny of Live Nation Entertainment, which is the product of a merger between Live Nation and Ticketmaster that the Justice Department approved in 2010. That created a giant in the live entertainment business that still has no equals in its reach or power.

In 2019, its last year of business unaffected by the Covid-19 pandemic, Live Nation put on 40,000 events around the world and sold 485 million tickets through Ticketmaster, according to the company’s annual report. Live Nation is one of the music industry’s biggest powers in the management of artists, meaning the personal representatives who negotiate business deals on behalf of artists. According its most recent annual report, Live Nation had 100 managers working with more than 450 artists. It does not manage Ms. Swift.

When the Justice Department approved the merger — over significant opposition from the music industry — it required the company to sell some parts of its business. It also reached a legal settlement with the company that forbade Live Nation to threaten concert venues with losing access to its tours if those venues decided to use ticketing providers other than Ticketmaster. Those terms were set to last for 10 years, until 2020.

In late 2019, after an investigation , the Justice Department found that Live Nation had repeatedly violated this provision of its decree. It extended the terms of the settlement by five years, to 2025, and adjusted some of the agreement’s language to clarify what the company was allowed to do when negotiating ticketing deals with venues.

Members of the Justice Department staff have asked whether Live Nation is complying with the agreement as part of their new inquiry, said one of the people with knowledge of the matter. Officials at the agency have grown increasingly wary of such settlements, believing the best way to settle antitrust concerns is through changes to a company’s structure.

The debacle involving Ms. Swift’s concert tickets this week has exacerbated complaints in the music business and in Washington that Live Nation’s power has constrained competition and harmed consumers. But it was also an example of extraordinary demand for a highly desired commodity in very limited supply.

The problems began Tuesday when Ticketmaster’s Verified Fan system, which aims to weed out bots and professional scalpers from the process, began doling out access codes to fans who were interested in buying tickets to Ms. Swift’s Eras tour, scheduled to start in March.

According to a blog post by Ticketmaster, which was published on Thursday but deleted within hours, 3.5 million fans registered for the program. The company “invited” 1.5 million of those customers to the presale by sending them codes, and the remaining two million were placed on a waiting list.

That day, Ticketmaster received 3.5 billion system requests, causing its app to crash for many users; some who were in the process of buying tickets with their codes were unable to complete their transactions. According to Ticketmaster, two million tickets were sold on Tuesday alone. Another presale, for Capital One cardholders, was held on Wednesday.

But Thursday afternoon, Ticketmaster canceled its plans for a public ticket sale on Friday, when it would typically sell any tickets remaining after presales. It was unclear how many tickets had already been sold for Ms. Swift’s tour, and how many — if any — remained.

On Friday, in her first comments about the ticketing debacle, Ms. Swift posted a statement to social media saying she was looking into the situation to see how it could be improved. But she also expressed disappointment in Ticketmaster.

“I’m not going to make excuses for anyone,” Ms. Swift wrote, “because we asked them, multiple times, if they could handle this kind of demand, and we were assured that they could.”

David McCabe reported from Washington, and Ben Sisario from New York.

David McCabe covers tech policy. He joined The Times from Axios in 2019. More about David McCabe

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

Inside the World of Taylor Swift

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

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

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

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

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

Taylor Swift unveils new Eras Tour set list in Paris with these 'Tortured Poets' tracks

PARIS, France — Fans waited two months for Taylor Swift to return to her Eras Tour . It was worth it. On Thursday, the singer-songwriter relaunched the massive tour at La Défense Arena in Paris after releasing her 11th era album "The Tortured Poets Department" last month.

Swift extended the set list by one track to land at 46 songs. But many changes were made along the way. She added a new era for "The Tortured Poets Department," cut a handful of songs from other eras and rearranged most of the eras including combining the sets for "Folklore" and "Evermore."

A year ago, the 3-hour, 10-era set list with 44 songs was unveiled in Glendale, Arizona. The singer switched her "Folklore" opener from "Invisible String" to "The 1" in Texas (only bringing the former song back once in Nashville where a bench is dedicated to her in Centennial Park ). After the release of "Speak Now (Taylor's Version)" in Kansas City, Missouri, crowd-favorite "Long Live" was added to make the set list 45 tracks long.

Here's everything she played in Paris to kick off the European leg of the Eras Tour:

Live from Paris: Taylor Swift adds 'Tortured Poets' songs to Eras Tour in France

Need a break? Play the USA TODAY Daily Crossword Puzzle.

More: Taylor Swift adds surprise songs to every Eras Tour setlist. See all the songs she's played so far

Year 2 Eras Tour set list

• "Miss Americana & the Heartbreak Prince"
• "Cruel Summer"
• "You Need to Calm Down"
• "You Belong With Me"
• "Love Story"
• "We Are Never Ever Getting Back Together"
• "I Knew You Were Trouble"
• "All Too Well (10-Minute Version)"
• "Enchanted"
• "Ready For It?"
• "Don't Blame Me"
• "Look What You Made Me Do"
• "Champagne Problems"
• "Illicit Affairs"
• "My Tears Ricochet"
• "Blank Space"
• "Shake it Off"
• "Wildest Dreams"
• "Bad Blood"
• "But Daddy I Love Him"
• "So High School"
• "Who's Afraid of Little Old Me"
• "Fortnight"
• "The Smallest Man Who Ever Lived"
• "I Can Do It with a Broken Heart"
• "Lavender Haze"
• "Anti-Hero"
• "Midnight Rain"
• "Vigilante S---"
• "Bejeweled"
• "Mastermind"

Songs cut from the set list in Year 2

• "The Archer" from "Lover"
• "Long Live" from "Speak Now"
• "'Tis the Damn Season"
• "Tolerate It"
• "The Last Great American Dynasty"

Year 1 Eras Tour set list

• "The Archer"
• "Long Live"
• "The 1" (previously "Invisible String")
• "Mirrorball"
• "Tim McGraw"

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