«I’ll never forget the call when I explained my idea of the concept for 'The Eras Tour' to my team. At the time, I was working on the Midnights album and if we were to do what I’ve always done, I would’ve embarked on planning 'The Midnights Tour.' But there’s nothing I hate more than doing what I’ve always done. ‘We’re going to call it 'The Eras Tour' and each album will have its own chapter, its own world.’ I told them that I want to fully commit to each era, musically, stylistically and aesthetically. They should feel like time capsules. If we do this right, I said, we can celebrate and honor both new fans and fans who have been here from day one.»
«Well. It goes without saying that I'm extremely protective of my fans. 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. 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. There are a multitude of reasons why people had such a hard time trying to get tickets and I'm trying to figure out how this situation can be improved moving forward. I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could. 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. And to those who didn't get tickets, all I can say is that my hope is to provide more opportunities for us all to get together and sing these songs. Thank you for wanting to be there. You have no idea how much that means.»
Midnights October 21, 2022 Midnights is Taylor’s tenth studio album, released on October 21, 2022, through Republic Records. A concept record about nocturnal ruminations, it was written and produced by Taylor with longtime collaborator Jack Antonoff. She has described the album as a collection of songs encapsulating “a journey
«It had been six years since I’d toured. In those six years, a lot had transpired for me creatively. I released Lover, folklore, evermore, and eventually Midnights. In another realm of my priorities was my passion project: re-recording my first six albums that were sold away from me by my former record label. Reclaiming my past made me fall back in love with it. Revisiting that past work made me want to honor it and honor what the fans had done for me with the Taylor’s Version albums. And so the new albums and my re-records left me with the dilemma: HOW on Earth are we going to play all of this music live?»
«I always knew the Lover era should open the show, and specifically the line ‘It’s been a long time coming’. Because it had been! I’d never gotten to tour the Lover album and so this was a brand new era we were creating. Bright and romantic and celebratory. One thing I knew from the start: We had to open with ‘Cruel Summer’ to blast us into the energy of this show. Something about the combination of that song and that Versace glittery bodyuit I got to wear could pull me out of any funk, fix any headache, heal sore muscles…I always adored the shows when the sunset happened at the same time as the Lover era, just pink skies on pink skies. I learned how to say ‘Welcome to The Eras Tour’ in 15 languages.»
«I made the Fearless album between the ages of 16 and 18, so I wanted to harken back to the hopeful, effervescent girlhood of that point in my life. It was all glitter and whimsy and daydreams. High school crushes and possibility. Frolicking across stages with my crystal covered guitar (which was bedazzled by my parents and my brother), fringe dress, and boots – alongside my band. This is the first moment in the show where we highlight the magnicificent musicians in my live band, who are also the studio musicians who play on the Taylor’s Versions of my re-records. It’s always one of my favorite moments, seeing a stadium of people hold their hands up in the shape of a heart, and watching the crowds EXPLODE at the line 'Marry me, Juliet’. Many crowd proposals later, this era completely captured the nostalgic magic of Fearless.»
«evermore was my second pandemic album, the sister album to folklore. It was rooted in storytelling and nature. Wintertime myths and fireside tales of love lost and found. There were trees that grew up from beneath the stage and a moss covered piano where I played ‘champagne problems’. An unhappy marital table set for ‘tolerate it’. Every night the crowd would hold their phone flashlights up during ‘marjorie’, a spontaneous act that turned into a nightly tradition. It moved me endlessly that this happened during a song I wrote about my late grandmother, an opera singer who always dreamed of singing in stadiums herself. My favourite moment of this era was the meeting of forest sorcerers during ‘willow’, all of the dancers and me in our velvet capes with their glowing magical orbs – twirling through the mist like a coven of mythical creatures.»
«The reputation era included my favorite entrance of the night. I always imagined the sound of mysterious footsteps timing up perfectly with the omnious synth beats of ‘...Ready For It?’ This point in the show goes absolutely wild with choreography, strobe lights, snakes everywhere, and dancers dressed as me from former eras trapped in glass boxes. This album was all about rebellion and defiance. Every night before the beat kicks in on 'Delicate', the crowd screams ‘1, 2, 3, LET’S GO BITCH.’ Another ‘Eras Tour’ crowd tradition I looked forward to every night.»
«My third album was all about romance, or the idea of it. I chose the epic ‘Enchanted’ to represent this album because it was always my favorite song on the album. Even though it was never chosen as a single, the fans made sure it became one of the most recognizable songs from that album (this is one of my favorite things they have tended to do over the years!). In a dreamscape of purple twinkling lights, ballet and ball gowns, I wanted to elicit that midsummer haze of intrigue we feel when we lock eyes with someone across a room.»
«With the help from the designer Ashish, we recreated the exact original look from one of my outfits from the ‘22’ video. I’d skip out in a black hat and oversized sequin t-shirt, shorts and Oxford shoes. Just like when I was actually 22. Every night, we’d pick a fan from the crowd for me to give my hat to, which was signed on the inside. Those hugs and moments of such joy warmed my heart every night. Playing ‘All Too Well (10 Minute Version)’ was always my chance to stop and really take in the size of these crowds, and how loudly they were singing every single lyric. It was so surreal every time. As the snow fell at the end, I’d disappear beneath the stage.»
«One of my favorite set pieces was the folklore cabin. Designed by Ethan Tobman (who helped me create the cabin from the ‘cardigan’ music video and my Grammy performance of the song), we were able to transport those stadiums to the forest. It even had a smoking chimney and moss covered roof. I start the era sitting on the roof and make my way into the cabin, then down the stairs and out onto the main stage. The storytelling element is what we wanted to convey most, and I think this chapter really transported us to a different world.»
«From the folklore forest, grew an entire city scene. It was a stark contrast to snap us into a new sonic landscape of fashion, freedom, and fun. We strut and shimmy and shake, as the dancers destroy a car with light up golf clubs. Everything culminated in the blasting flames of pyro in ‘Bad Blood’. It was hands down the danciest, bounciest chapter of the night.»
«This chapter was added in halfway through the tour after I released THE TORTURED POETS DEPARTMENT. We conceptualized and rehearsed it secretly, and surprised the Paris crowd with it when we started our European leg of the tour. I wanted it to be minimalist, white, stark, and bold. There was nothing else in the show like it, and it was such an exciting challenge to try to improve upon a show I already loved. Costumes were designed by Vivienne Westwood, with my lyrics printed in cursive all over my white dress. The ‘rover’ platform I travel on was actually operated by a crew member, who layed inside the platform and drove it from inside. I wanted to create the illusion of an alien abduction, a battle scene, a religious institution, a mental institution, a haunted house, and a showgirl’s dressing room routine. It was ambitious as hell but we pulled it off, creating what I think was the most dramatic, cathartic, female-rage driven part of the night.»
«The Acoustic Section had gone through many iterations and rules. At the start of the US tour, I decided I was going to challenge myself to only play a song one time, pushing myself to play as many songs from my discography as possible. Because of this, fans would watch the concert and keep track of which songs had been ‘lost’ that night. Then once I’d played pretty much every song I’d ever released, I announced that all my songs were fair game again. Pretty soon after that, I started mashing up 2 or 3 songs that go together thematically or rythmically, so by the end of the tour I was playing between 4-5 mashed up songs a night in the acoustic set. It took a lot of rehearsing to get the mashups just right, but when the crowd screamed like crazy when I transitioned into a new song, it was beyond worth the prep time involved. At the end of the second song, the stage became an ocean and I ‘dived’ into it, which involved a lot of blind faith and a big airbag under the stage. It was the coolest illusion of the night and I’ll never forget the sound of the crowd the first time they saw it, somewhere between shock, horror, and elation. Mission accomplished.»
«The final chapter of the show began with lavender clouds and a fantasy world from a dream. We continued on to some of my favorite choreographed numbers, like ‘Midnight Rain’ with its umbrellas and trust fall into an onstage quick change. Then, my favorite moment of the night: ‘Vigilante Shit’. It was just the most fun I’d ever had, that one. The chair choreography! The catty, vengeful, mischievous personas we got to try on and play with. ‘Bejeweled’ was always a sparkling frolicking party. And for ‘Mastermind’, we recreated a chessboard and when I signaled the dancers to move to different spots on the board, they actually created the exact sequence for a checkmate. ‘Karma’ ended the show in a flurry of confetti and celebration, and I’ll never forget the feeling of standing there with my fellow performers, utterly exhausted and invigorated at the same time, knowing we just pulled off another night of getting to live the childhood dreams we never in a million years thought would be this cool.»
Midnights Era 2022-2024 “Meet me at midnight.” With the release of her tenth studio album, Midnights, in October 2022, Taylor cemented her status as one of the most universally celebrated artists of all time. Just months later, as crowds of 50,000 began gathering outside her sold-out “The Eras Tour” stadium shows,
«I just want to talk to you guys for a second about how this tour, and what you have done — you know, this tour, I hear so many people talking about how they wanted to come to these shows just because of you guys, and the joy, and the friendship, the open heartedness with which you guys have approached this tour. Like you’re making friendship bracelets and trading them with each other, you’re dancing with each other, you’re making friends with the people next to you. I see you FaceTiming people who are your friends and like, singing with them too. It’s really beautiful, and like the nicest thing in the world is how you guys have approached this tour with so much excitement, and you’ve gotten so into it, and you dress up, and the fact that you care this much is what has made this tour so special for me, and everyone that you see onstage. So thank you, thank you, thank you, thank you, thank you, thank you. I figured it would be fun, but I did not know it would be like this. I just didn’t. And the thing is that you guys have made it so much fun.»
| Associated Albums | |||
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| Start Date | March 17, 2023 | ||
| End Date | |||
| Locations | North America South America Asia Australia Europe | ||
| Legs | 7 | ||
| No. of Shows | 149 | ||
| Attendance | 10.1 million | ||
| Box Office | $2,077,618,725 | ||
| Opening Acts | Paramore HAIM Phoebe Bridgers beabadoobee girl in red MUNA GAYLE Gracie Abrams OWENN Sabrina Carpenter Louta Mette Griff Benson Boone Sofia Isella Holly Humberstone Suki Waterhouse Maisie Peters RAYE | ||
| Website | |||
TAYLOR SWIFT CONCERT CHRONOLOGY | |||
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