Even a whole month after its annoucement, and all fans could do was ask questions about Midnights, though Taylor kept sprinkling hints and clues like glitter eye-shadow every couple of days. The fan folklore was getting deeper and deeper as Swiftologists were trying to decode them. But: Nobody knew a thing until October 21, when Taylor came down from her mountain-top with the New Tay-stament.
Table of Contents
Songwriter-Artist of the Decade
Reaching Yet Another Career Peak
And as Taylor turned 33 on December 13, she was turning the page on one of her most industry-influencing years yet (which is saying a lot) — one that’s seen US officials literally making a federal case out of how popular Taylor is. In fact, in addition to the US congress more than four dozen of Taylor’s fans were suing Ticketmaster and parent company Live Nation over the technical-difficulty-plagued rollout of ticket sales for her 2023 “The Eras Tour,” alleging fraud, misrepresentation and antitrust violations. Responding to the class-action lawsuit, Live Nation said in a statement posted to its website that it “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.”Though verified fan club members were supposed to have a leg up on the competition with invite codes, it almost felt as if the shows were sold out before the pre-sale even began. At least 12 million unique visitors, including automated bots, joined the fray, resulting in hours-long waits (often with nothing to show for it at the end), a crashing website and countless disgruntled aspiring audience members, though 2 million tickets were ultimately purchased in one day.
Ticketmaster announced on November 17 it was canceling the general public sale “due to extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”
“It goes without saying that I’m extremely protective of my fans,” Taylor wrote a day later in an Instagram Story message. “We’ve been doing this for decades together and over the years, I’ve brought so many elements of my career in house. I’ve done this SPECIFICALLY to improve the quality of my fans’ experience by doing it myself with my team who care as much about my fans as I do.” Relaying that she thought her concertgoers were in good hands, she concluded, “It’s truly amazing that 2.4 million people got tickets, but it really pisses me off that a lot of them feel like they went through several bear attacks to get them.”
The next day Ticketmaster apologized to Taylor’s fans and whoever had a “terrible experience” trying to secure “The Era Tour” tickets, vowing to “shore up [their] tech for the new bar that has been set by demand.” At the behest of Taylor’s team (as the message explained), Ticketmaster started reaching out December 12 to fans who were registered to participate in the mid-November pre-sale to offer them an “additional opportunity” to buy seats. But Live Nation and Ticketmaster weren’t out of the woods yet: The Justice Department had opened an antitrust investigation into their business practices, so the cost of superfandom may be destined for a clash on Capitol Hill.
In the meantime, Taylor released a behind-the-scenes video from All Too Well (The Short Film), the Grammy-nominated video companion to her 10-minute re-recording of 2012’s “All Too Well.”
And when it was announced that Taylor had written the script for a feature film, and that she’s going to direct it herself, a new chapter began.