The Eras Tour: Difference between revisions

The Eras Tour

Tour by Taylor Swift
Promotional poster
Location	Asia Australia Europe Latin America North America
Associated albums	Various
Start date	March 17, 2023 (2023-03-17)
End date	August 17, 2024 (2024-08-17)
No. of shows	117
Supporting acts	Gracie Abrams Beabadoobee Phoebe Bridgers Sabrina Carpenter Gayle Girl in Red Haim Muna Owenn Paramore
Website	tstheerastour.taylorswift.com
Taylor Swift concert chronology

The Eras Tour is the ongoing sixth concert tour by American singer-songwriter Taylor Swift. Dubbed as a journey through all of her "musical eras", the Eras Tour is a tribute to all of Swift's studio albums, including her latest, Midnights (2022), and those that did not have a corresponding tour due to the COVID-19 pandemic: Lover (2019), Folklore (2020), and Evermore (2020). It is Swift's second all-stadium tour after the 2018 Reputation Stadium Tour.

The tour commenced on March 17, 2023, in Glendale, Arizona, and is set to conclude on August 17, 2024, in London, England. An Eras Tour concert spans over three hours, with a set list of 44 songs divided into 10 distinct acts that rely on worldbuilding to portray the albums conceptually. The show received unanimous critical acclaim, with emphasis on the concept, production, diverse aesthetics, and Swift's musicianship, vocals, charisma, stamina, and versatility as an entertainer.

Met with unprecedented demand globally, the ticket sales of the Eras Tour faced several technical obstacles, leading to the implementation of various scalping and price regulation laws. In the United States, 3.5 million people registered to Ticketmaster's presale, which quickly crashed after going online on November 15, 2022, but over 2.4 million tickets were sold that day, breaking the record for the most concert tickets sold by an artist in a single day. However, Ticketmaster received widespread public criticism and political scrutiny in addition to allegations of monopoly within the concert industry. The tour also elevated the economies of all its stops by revitalizing local businesses and tourism revenues. It attracted large crowds of spectators beyond the stadiums and dominated news cycles and social media. Various governments and organizations paid tribute to Swift. Publications described the Eras Tour as a monocultural event demonstrating Swift's impact on popular culture.

Background

Taylor Swift performing on her Reputation Stadium Tour (2018), the highest-grossing U.S. concert tour

Taylor Swift embarked on the Reputation Stadium Tour, her fifth concert tour, in 2018, in support of her sixth studio album, Reputation (2017). It broke the record for the highest-grossing U.S. tour in history. Due to the outbreak of the COVID-19 pandemic in early 2020, Swift canceled her scheduled sixth concert tour, then titled Lover Fest, which was planned to support her seventh studio album, Lover (2019), with performances in stadiums as well as open-air venues and European festivals. She released three studio albums: Folklore (2020), Evermore (2020), and Midnights (2022), and the re-recorded albums Fearless (Taylor's Version) and Red (Taylor's Version) in 2021.

During promotion of Midnights on talk shows such as The Tonight Show Starring Jimmy Fallon and The Graham Norton Show in October 2022, Swift hinted at a forthcoming concert tour. On November 1, 2022, Swift announced on Good Morning America and through her social media accounts that her sixth concert tour was called the Eras Tour and described it as "a journey through the musical eras of [her] career". The U.S. leg's first announced 27 dates across 20 cities began on March 17, 2023, in Glendale, Arizona, and will conclude on August 9, 2023, in Inglewood, California. The opening acts are Paramore, Haim, Phoebe Bridgers, Beabadoobee, Girl in Red, Muna, Gayle, Gracie Abrams, and Owenn, each two of whom share a date. Messina Touring Group, an Anschutz Entertainment Group (AEG) partner, is the tour's promoter.

Popular demand led to Swift adding eight U.S. dates to the existing cities on November 4, and 17 dates the following week, making the Eras Tour the most extensive U.S. tour of Swift's career with 52 dates, surpassing the Reputation Stadium Tour with 38 dates. Billboard described the tour's announcement as "the most chaos-inducing tour announcement of the decade." Among the tour's prospective partners were the now-bankrupt cryptocurrency exchange company FTX, which offered Swift a US$100 million sponsorship deal. On January 31, tour merchandise inspired by all of Swift's ten album "eras" were made available for purchase on her website.

Swift released four songs on the day of the opening show to celebrate the tour's launch: "Eyes Open (Taylor's Version)" and "Safe & Sound (Taylor's Version)", originally from the 2012 soundtrack The Hunger Games: Songs from District 12 and Beyond; "If This Was a Movie (Taylor's Version)", a re-recording of one of the deluxe tracks from Speak Now (2010); and "All of the Girls You Loved Before", a previously unreleased song from Lover. A special CD edition of Midnights, subtitled The Late Night Edition, was sold exclusively at certain concerts on the tour beginning in East Rutherford, New Jersey, on May 26. On June 27, a sixth date was announced in Los Angeles.

International demand

On June 2, 2023, Swift announced the Latin American dates of the Eras Tour, with Sabrina Carpenter as the opening act. A third show in Buenos Aires was announced on June 6, hours after the public sale commenced, due to high demand. Additional shows in Mexico City, Rio de Janeiro, and São Paulo were announced on June 12. On June 20, the dates for Asia, Australia, and Europe were announced.

Certain countries that were expected to receive dates for the Eras Tour were absent in Swift's announcement on June 20, drawing dismay and demands from fans and government officials in those territories. Gabriel Boric, President of Chile, wrote to Swift requesting her to bring the Eras Tour to Chile following the country's absence from the announced Latin American dates. Canadian members of Parliament filed a grievance with the Speaker of the House of Commons, displeased with the Eras Tour "snubbing" Canada. Budapest mayor Gergely Karácsony wrote a personal letter to Swift requesting her to bring the tour to Hungary.

In Australia, the Eras Tour is set to stop at Sydney and Melbourne for seven dates in total; fans and lawmakers in South Australia, Western Australia, and Queensland expressed their dismay at the tour not visiting Adelaide, Perth, and Brisbane, respectively. ABC News journalist Antonia O'Flaherty reported that, as per AEG, Brisbane was "definitely holding dates" for the tour at Lang Park but was dropped after finalized Asian and European dates left only two weeks for Australia. New Zealand was completely absent from the tour dates; finance minister Grant Robertson stated although he was disappointed, and despite Swift's popularity in the country and the potential economic boom that the tour would bring, he would not spend public money on the tour. Nick Sautner, CEO of Eden Park stadium in Auckland, claimed he could not compete with the funding of Australia's Eras Tour campaign.

Across Asia, Swift received backlash from fans for the lack of dates in the Philippines, China, India, Malaysia, Thailand and South Korea and demanded that the tour be brought to these countries. Her return to the Philippines had been highly anticipated; media outlets reported crowds gathering in a Quezon City mall to watch a drag show recreation of the Eras Tour. Some journalists and fans opined that unlike Singapore and Japan—the only Asian countries part of the Eras Tour—the venues in Thailand and the Philippines might not have the proper infrastructure required to host the tour. Meanwhile, Malaysia may have been excluded due to potential conservative and religious backlash over her open support of LGBT rights, as some political and religious leaders had issues with Coldplay scheduling a concert in Kuala Lumpur, as Chris Martin waves a pride flag while performing; scheduling and production would have been further complicated by the Malaysian government's recent ban on foreign performers during Ramadan and other strict regulations that has dissuaded many artists from performing in Malaysia.

On June 25, additional shows were announced for Singapore, bringing the total to six. On June 27, eight additional dates were added in Europe. The following day, two additional shows were announced for Australia.

Ticketing

United States

In the U.S., tickets were set to go on sale to the general public on November 18, 2022. As a result of Swift's multi-year partnership with Capital One, cardholders had presale access, which was set to begin in the afternoon of November 15. Fans could register for the Ticketmaster Verified Fan program from November 1 through 9 to receive a presale code that granted exclusive access to the TaylorSwiftTix Presale on November 15; those who purchased merchandise from Swift's website received "boosts", and previous Lover Fest ticket holders also received preferred access to the presale if they registered using the same Ticketmaster account. Swift confirmed ticket prices in advance, abandoning the "platinum ticket" model; they ranged from $49 to $449, while VIP packages ranged from $199 to $899. USA Today reported that the listing for the Nashville, Tennessee tour dates included the disclaimer that "ticket prices may fluctuate, based on demand, at any time." According to Ticketmaster, the TaylorSwiftTix Presale provided "the best opportunity to get more tickets into the hands of fans who want to attend the show" by evading bots and scalpers. The ticketing platform noted that if demand from the fan program "exceeds supply", it is possible that "verified fans may be selected at random to participate in the presale." Ticketmaster later reported that it received a record 3.5 million verified fan registrations for the Eras Tour.

Ticketmaster controversy

Main article: 2022 Ticketmaster controversy

On November 15, Ticketmaster's website crashed following what Variety called a "historically unprecedented demand"—Greg Maffei, chairman of Live Nation, said Ticketmaster prepared for 1.5 million verified fans, but 14 million showed. Ticketmaster immediately published a statement saying they were working to fix the issues because they were "unprepared" to accommodate all fans and announced on November 17 that they had to cancel the November 18 public on-sale due to their inability to meet demand. Swift, via Instagram on November 18, said she was "pissed off" and was "not going to make excuses for anyone because we asked [Ticketmaster], multiple times, if they could handle this kind of demand and we were assured they could". Ticketmaster issued an apology to Swift and her fans via Twitter the same day.

The fiasco was a subject of public criticism and political scrutiny. Customers and fans criticized Ticketmaster for its allegedly flawed systems and inefficient technical resolutions. U.S. lawmakers including attorneys general and members of the Congress took notice of the issue, which became a subject of multiple congressional inquiries. The New York Times reported that the U.S. Department of Justice had opened an antitrust investigation into Live Nation Entertainment and Ticketmaster. Media publications deemed the controversy a testament to Swift's influence and said it could bode well for the music industry by propelling conversations about economic inequality and antitrust laws in the U.S. Bloomberg News journalist Augusta Saraiva termed the phenomenon "Swiftonomics"—a microeconomic theory that explains Swift's supply and demand, and political impact following the COVID-19 pandemic. Inspired by the fiasco, various U.S. congress and state legislature members proposed and enacted a string of bills to ban scalping bots and regulate pricing model.

On December 12, 2022, Ticketmaster began mailing select fans—"identified as [fans] who received a boost during the Verified Fan presale but did not purchase tickets"—and notified them of a second ticket-buying opportunity to purchase a maximum of two tickets per user through the platform Ticketstoday. Billboard reported that Ticketmaster opted to sell the remaining 170,000 tickets to the U.S. leg over four weeks through Ticketstoday, a ticketing platform originally built for Dave Mathews Band's fan club in the 2000s that was purchased by Live Nation in 2008, to "significantly reduce fan wait times".

Latin America

Tickets for the Latin American shows went on sale in early June 2023. Presale access was granted to Banco Patagonia clients in Argentina, scheduled for June 5; around one million customers were reported to be queueing for the 24,000 available presale tickets for the Buenos Aires shows, and over three million for the general sale. DF Entertainment served as Swift's tour promotion partner for the Argentinian concerts; CEO Diego Finkelstein called the demand "unprecedented", based on which Perfil opined that Swift could fill the stadium 36 times if she wanted to.

In Brazil, previous Lover Fest ticket holders and C6 Bank Mastercard holders gained access to presales on June 6 and June 10, respectively. However, immediately following the tour announcement on June 2, people began camping outside Allianz Parque to purchase physical tickets to the São Paulo shows that would not go on sale to the general public until June 12. The Mastercard presale tickets sold out in 30 minutes, with over one million customers queueing for them. Unrest was reported on June 11 in the queues outside the box offices of the Brazilian venues, with scalpers attempting to bypass fans in purchasing tickets, including some armed scalpers who threatened violence; police arrived at the scene to maintain order. On June 12, over two million users queued for the general sale online. The ticket sale agency, T4F – Time For Fun, was reported over 100 times to authorities. On June 20, federal lawmakers in Brazil filed the "Taylor Swift Law", which would penalize scalpers with up to four years in prison and a fine of up to 100 times the value of the ticket.

In Mexico, ticket presale was handled by Ticketmaster's Verified Fan program; registrations ran from June 2 through June 7, followed by a general public on-sale.

Asia-Pacific

In Australia, tickets were only available via Ticketek. Guardian Australia reported that the Australian leg was met with unprecedented demand as well. Within 12 hours, over one million people signed up for a presale code. American Express cardholders were able to purchase VIP packages from June 26 to 28; however, the website crashed within half an hour, and all the VIP packages sold out on June 26. Following the scalping highlighted by Australian consumer organization Choice, the Victoria State Government declared the Eras Tour in Melbourne a "major event", a legal provision that penalizes scalping and misleading advertisement in Victoria. Because reselling a ticket for more than 10% above the original price is illegal by default in New South Wales, its government initiated an investigation into the ticket resale platform Viagogo following scalping reports. On June 28, those registered with concert promoter Frontier Touring Company gained access to a presale, for which over four million users queued, setting a national record; tickets sold out within three hours. Ticketek stated that it neutralized over 500 million bot purchase attempts during the presale. The general public on-sale began on June 30.

For the Singaporean dates, United Overseas Bank (UOB) cardholders will have presale access on July 5, 2023. The general sale is scheduled for July 7. The Straits Times reported that Swift's fans in Singapore and other eligible Southeast Asia countries began "scrambling" to sign up for UOB cards in response. Marina Bay Sands sold tickets bundled with hotel stays and other facilities.

Europe

The Lisbon shows, whose ticketing is handled by See Tickets, will open for sale on July 12, 2023, with non-transferrable access codes mailed to registered users the day before. Buyers will be limited to four tickets per code. The shows in Warsaw saw around 600,000 users register to buy tickets. For Paris and Lyon, TF1 reported the highest demand ever for a presale in France. Angelo Gopee, head of Live Nation France, stated, "the demand is such that many have found themselves in a virtual queue just to subscribe to the mailing list which, potentially, will open access to the ticket office. From memory, we had never seen that in France". In the United Kingdom, tickets were sold via Ticketmaster. Registrations opened until June 22, and the on-sale for London's Wembley Stadium will begin on July 18, followed by other cities on July 19.

Production

The Wall Street Journal reported that the Eras Tour is one of the most expensive and "technically ambitious" productions of the 21st century.

Music

Designed as a tribute to Swift's discography across her 17-year career, the Eras Tour covers all styles of music from her 10 studio albums, ranging from country and pop to folk and alternative rock genres. Some media outlets have described the Eras Tour as a "greatest hits" tour of an artist still in her commercial prime. The set list placed a slightly greater focus on albums Swift had not previously toured, including first-ever live performances of several tracks. The concert ensemble included four female backing vocalists, six instrumentalists, and fourteen backup dancers.

Stage and lighting

The Eras Tour staging from Raymond James Stadium, Tampa, Florida, showing the main stage, middle stage and connecting ramp.

The Eras Tour staging is expansive, consisting of three separate stages made of digital displays: a main stage with a giant, curved screen; a rhombic middle stage; and a T-shaped rectangular stage at the middle of the floor; all are connected by a broad ramp. The digital stages display various visuals and effects throughout the show. They together form a "hyperactive" hydraulic platform, with the main and middle stages equipped with mobile blocks that rise from the center to form platforms of different shapes. The tour's "massive" production is heavily inspired by Broadway. It has been described as a 4D cognitive experience, featuring pyrotechnics, laser lights, indoor fireworks, PixMob LED bracelets, and image projection technology, such as projection mapping.

Swift during the Reputation act, performing atop a mobile block that rises from the center of the middle stage

The tour's concept centers on worldbuilding and thus employs a diverse set of stage set-ups, props, and performing styles to convey the varying moods and aesthetics of Swift's albums. Interior design magazine Architectural Digest named the Eras Tour Swift's "most ambitious" set design and praised its worldbuilding.

Fashion

Swift's wardrobe at the Eras Tour was a subject of widespread media coverage. Her costumes and those of her accompanying dancers as well as her microphones and guitars at the tour paid homage to her 10 album cycles. They were inspired by previous performances and music videos, intended to align with the overarching themes and palette of the era Swift referenced in each act, showcasing the various sonic and visual aesthetics she had adopted throughout her career. However, media outlets noted that the unifying fashion choice were crystals: the costumes of every act adorned with them in one way or the other.

Swift, in an Oscar de la Renta bodysuit, performing "Vigilante Shit" with a burlesque choreography during the Midnights act.

Attire and accessories were mostly custom-made by fashion houses such as Atelier Versace, Etro, Roberto Cavalli, Nicole + Felicia Couture, Zuhair Murad, Ashish, Alberta Ferretti, Jessica Jones, and Oscar de la Renta. Swift wore variations of some costumes for different shows. Fausto Puglisi, a designer for Roberto Cavalli, stated that he took an "artisanal approach to craftsmanship" while customizing outfits for Swift, focusing on the fact that "everything must be eye-catching" when designing for concerts. He incorporated Swarovski crystals in the costumes Swift wore during the Fearless, 1989, and Reputation act, which required over 170 hours of meticulous "hand-craftsmanship by skilled artisans" to make. The sequined tulle ball gown that Murad designed for the Speak Now act required "over 350 hours of atelier handwork". Ferretti used chiffon and micro-beading for the Folklore era dresses, while the Midnights Oscar de la Renta fringed bodysuit was hand-adorned with more than 5,300 beads and crystals.

StyleCaster regarded the Eras Tour wardrobe as Swift's best fashion collection for a tour. The New York Times' chief fashion critic Vanessa Friedman considered the Eras Tour a fashion show beyond merely live music, and praised Swift's "fabulous" but purposeful wardrobe choices setting the bar high for the future concerts of other artists.

Concert synopsis

It's easy to compare one of Swift's stadium shows to something you'd see on Broadway—never has that been more true than for The Eras Tour. The setlist is cut up into acts, grouped by eras for each of Swift's ten studio albums. For each era/act, Swift went full-send into that album's look, feel, costume, color blocking, and more.

— David Waiss Aramesh, "Taylor Swift's The Eras Tour Is a 3-Hour Career-Spanning Victory Lap", Rolling Stone

The show is approximately three hours and 15 minutes long, the longest of Swift's career, and heavily features elements of theater. It consists of 44 songs divided into 10 acts. Each act is characterized by a specific color scheme, while transitions between acts are facilitated by on-screen interlude visuals and marked by costume changes with negligible intermissions. Swift also addresses the crowd throughout the show.

An Eras Tour show commences with the Lover act. A clock on-screen counts down to show time as Lesley Gore's "You Don't Own Me" (1963) plays. Surrounded by pastel-colored, fan-like tapestry, Swift emerges from the platform at mid-stage in a glimmering bodysuit and knee-high boots. She opens the show with "Miss Americana & the Heartbreak Prince" leading into "Cruel Summer". Swift then delivers the welcome note with the dollhouse from the "Lover" music video on-screen, depicting her various album eras. Accompanied by dancers and in a sequined blazer, she performs "The Man" and "You Need to Calm Down" through a set emulating office cubicles and plays "Lover" on a guitar, followed by a stripped-down rendition of "The Archer" alone on the ramp.

During the Evermore act, Swift sings "Willow" in a séance-inspired performance.

The second act, Fearless, begins with the screen showing gold electric sparks raining down. Swift reappears in a gold fringed dress and country boots characteristic of her early style. She performs "Fearless" on the main stage, "You Belong with Me" at mid-stage, and "Love Story" on the T-stage, all alongside her band. The third act, Evermore, adopts a forest aesthetic. Swift begins singing "'Tis the Damn Season" in a burnt orange gown, followed by a dark theme that leads to "Willow" in a "witchy" séance; she wears an emerald cape and performs with dancers holding luminescent orange orbs. She continues with "Marjorie", then "Champagne Problems" on a moss-covered piano beneath an oak tree, concluding the act with "Tolerate It" on a dinner table setup.

Snakes visuals and dimming lights commence the Reputation act. Swift reemerges in a black and red asymmetrical catsuit with snake motifs reminiscent of her Reputation Stadium Tour costumes, with dancers wearing black leotards. She delivers a high-energy performance of "...Ready for It?" with gothic dancers and "Delicate" surrounded by beams of light. Performing "Don't Blame Me" supported by elevated harmonies, Swift leaps skyward on a platform. She transitions to "Look What You Made Me Do", which features on-screen visuals of Swift from all of her eras trapped in glass boxes and dancers dressed in some of Swift's older looks. The act's conclusion is marked by a snake slithering away on-screen. The fifth act, Speak Now, begins with an abstract mosaic of purple lights on the stage. Swift, in a ball gown, walks in from the screen and performs "Enchanted", accompanied by acoustic strums and a full-band crescendo.

During the Folklore act, Swift performs in a frilly Alberta Ferretti gown complementing the album's cottagecore aesthetic.

For the next act, Red, the color scheme turns red; a dancer opens a box that plays snippets of "Red", "Everything Has Changed"/"Holy Ground", and "State of Grace". Balloons emerge, and Swift performs "22" wearing a modified version of the hippie-inspired white T-shirt from the song's music video. She sings "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" next, dressed in a red and black romper and with the dancers in red. She dons a red coat and an acoustic guitar to perform "All Too Well (10 Minute Version)", backed by the band. The act concludes with artificial snow falling. Cottagecore dominates the seventh act, Folklore, introduced with a spoken word interlude of "Seven". Onstage is a bucolic, A-frame cabin setup, similar to the one from Swift's performance at the 63rd Annual Grammy Awards (2021), on an elevated platform with a staircase. Swift performs "Invisible String" on the cabin's roof, "Betty" with her band, and "The Last Great American Dynasty" with dancers dressed in period clothes. She then sings "August", which transitions to the bridge of a rock-tinged "Illicit Affairs", followed by "My Tears Ricochet" on the secondary stages with a choreography resembling a funeral procession. Swift returns to the cabin to perform "Cardigan". The act ends with fireflies as the cabin retreats into the screen.

1989, the eighth act, commences with the screen showing a neon-lit city skyline. Swift wears a beaded crop top and skirt and sings "Style". Moving to mid-stage, the dancers dressed in black and white outfits ride neon bicycles for "Blank Space" and use blue-lit golf clubs to smash an animated Shelby Cobra car, a reference to the song's official music video and the choreography from the 1989 World Tour. She follows with "Shake It Off", performed as a robust dance party; "Wildest Dreams", backed with clips of a couple in bed; and "Bad Blood", accentuated by intense pyrotechnics. After the 1989 act, Swift performs two surprise songs on acoustic guitar and piano. In an optical illusion, a body of water develops around the piano and envelops the stage; Swift then dives into the stage and appears to swim underwater, along the ramp and the main stage.

Swift performing "Lavender Haze" for the Midnights act, surrounded by artificial clouds.

The final act, Midnights, begins with a wave from the illusion crashing against the screen, revealing Swift, who wakes up from a bed and climbs a ladder into a cloud. The lower screen splits, and dancers carry out clouds as Swift reemerges in a purple faux fur coat to sing "Lavender Haze". She removes the coat and performs "Anti-Hero" with a video of herself as a creature terrorizing a city on-screen. Dancers perform with umbrellas as Swift sings "Midnight Rain" and undergoes an onstage costume change, reappearing in a rhinestone-adorned midnight blue bodysuit. She then performs a "chair dance" choreographed for "Vigilante Shit", influenced by "sultry" burlesque and the 1975 musical Chicago. Swift follows with "Bejeweled", featuring choreography inspired by the song's viral TikTok dance, and "Mastermind" with the entire dance crew. "Karma" closes the show with fireworks, colorful visuals, and confetti.

Critical reception

The tour received rave reviews from music and entertainment critics. Neil McCormick of The Daily Telegraph, Keiran Southern of The Times, Adrian Horton of The Guardian, Kelsey Barnes of The Independent, Ilana Kaplan of i, and Erica Campbell of NME gave the Eras Tour total five-star ratings. McCormick called the show "one of the most ambitious, spectacular, and charming stadium pop shows ever seen", lauding Swift's musicianship, vocals, and energy. Southern declared the Eras Tour "a pop genius at the top of her game". Horton praised the "rapturous" music selection, concept, "extravagant" staging, and Swift's stamina and vocals. Barnes noted the tour as "a career-defining spectacle" with acts marking the shifts in Swift's artistry, while Kaplan commended the "unparalleled" showmanship, "spicier" choreography, camp styles, and "seamless" transitions between acts. Campbell praised the storytelling aspect of the show that ties all the 10 acts together, enhanced by staging, cinematic ambience and fashion.

"Taylor Swift keeps building the legend of her Eras Tour, week after week, city by city, making every night so much longer, wilder, louder, more jubilant than it has to be. There's nothing in history to compare. This is her best tour ever, by an absurd margin. It's a journey through her past, starring all the different Taylors she's ever been, which means all the Taylors that you've ever been."

Rob Sheffield, Rolling Stone

The versatility of the show's music, visuals, and performance art was often a point of praise in its reviews. Journalists Rebecca Lewis and Carson Mlnarik of Hello! and MTV, respectively, commended Swift's stage presence and commitment to her artistry; Lewis described Swift's alter egos during the tour as shifting from "country ingénue to pop princess and folklore witch", whereas Mlnarik affirmed that the on-screen visuals stayed true to every album's aesthetic. The Week and Dallas Observer critics agreed, highlighting the "jaw-dropping" visuals and "bedazzled" fashion. Billboard editor Jason Lipshutz underscored Swift's "powerhouse" vocals, engaging artistic personas, and skill set. Jon Caramanica of The New York Times highlighted the tour's scale, ambition, and portrayal of all the musical pivots of Swift's career, whereas The Atlantic's Spencer Kornhaber complimented the show's art direction, suspense, and the sequencing of the acts. Mikael Wood of Los Angeles Times described the show as a "masterclass in pop ambition", showcasing Swift's range. According to The New Yorker senior editor Tyler Foggatt, the Eras Tour is a product of Swift's understanding of herself, building a tour "solely devoted to the idea of a trajectory—that of a career, of a musical identity, of a life—that can be traced cleanly from one era to the next."

Critics also appreciated the tour's production value and artistic direction. Philip Cosores of Uproxx dubbed it the "most impressive stadium show ever conceived", atypical of pop and rock artists, with USA Today's Melissa Ruggieri noting that no mainstream artist since Bruce Springsteen has "packed so much music into one show." Spin critic Jonathan Cohen admired the rich stage design, usage of "state-of-the-art" technology, and immersive experience into Swift's "increasingly accomplished musical world-building". He added that artists at their prime very rarely present their discography as Swift did. Variety journalist Chris Willman felt that the "epic" show demonstrated that "the person who has come up with the single greatest body of pop songwriting in the 21st century is also its most popular performer." Pollstar's Christina Fuoco and Rolling Stone's Waiss David Aramesh opined that the tour is "live music at its highest spectacle" and "a production spectacle of the highest echelon", commending Swift's showmanship. Melinda Sheckels of Consequence praised the tour's "nuanced and interpretive" approach in depicting Swift's albums and the "sheer magnitude, artistry, and technical prowess" of the production.

Commercial performance

In the first day of its presale alone, the Eras Tour sold over 2.4 million tickets, the most sold by an artist in a single day, surpassing Robbie Williams, who had sold 1.6 million tickets for his Close Encounters Tour in 2005. Billboard reported on December 15 that the Eras Tour had already grossed an estimated $554 million, and projected the U.S. leg to finish with $591 million, surpassing the former all-time female record set by Madonna's Sticky & Sweet Tour ($407 million) in 2008–2009. Following the tour's launch, Swift rose to number one on Pollstar's Artist Power Index chart. MetLife Stadium named her their "#1 best-selling artist" of all time after the tour's third East Rutherford show, which was the 100th concert in the stadium's history. The Wall Street Journal reported that the Eras Tour "on track to become the biggest in concert history, with the potential to gross over $1 billion"; conservative Pollstar estimates projected a $1.4 billion gross. The Economic Times reported that the average gross per concert on the U.S. leg is $13 million.

Venue records

List of venue-based achievements, showing year, dates, venue, country and description

Year	Dates	Venue	Country	Description	Ref.
2023	March 17 and 18	State Farm Stadium	United States	First act to perform two shows on a single tour.
	March 24 and 25	Allegiant Stadium		First female act to perform one and two shows on a single tour.
	March 31–April 2	AT&T Stadium		First act to perform three shows on a single tour.
				Biggest three-day attendance (210,607)
	April 13–15	Raymond James Stadium		First act to perform two and three shows on a single tour.
	April 21–23	NRG Stadium		First act to perform three shows on a single tour.
	April 28–30	Mercedes-Benz Stadium
	May 5–7	Nissan Stadium
	May 7			Biggest single-day attendance (71,000)
	May 12–14	Lincoln Financial Field		First female act to perform three shows on a single tour.
	May 26–28	MetLife Stadium		Biggest three-day attendance (217,635)
	June 2–4	Soldier Field		First female act to perform three shows on a single tour.
	June 9 and 10	Ford Field		First female act to perform two shows on a single tour.
	June 16 and 17	Acrisure Stadium		First act to perform two shows on a single tour.
	June 17			Biggest single-day attendance (73,117)
	June 30 and July 1	Paycor Stadium		First female act to schedule one and two shows on a single tour.
	July 7 and 8	GEHA Field at Arrowhead Stadium		First act to schedule two shows on a single tour.
	July 14 and 15	Empower Field at Mile High
	July 22 and 23	Lumen Field
	August 3–5 and 7–9	SoFi Stadium		First act to schedule five and six shows on a single tour.
	August 24–27	Foro Sol	Mexico	First female act to schedule four shows on a single tour.
	November 17–19	Estádio Olímpico Nilton Santos	Brazil	First female act to schedule three shows on a single tour.
2024	February 16–17	Melbourne Cricket Ground	Australia	Biggest virtual queue in Australian history, with four million customers.
	February 23–25	Accor Stadium
	February 23–26			First act to schedule four shows on a single tour.
	March 2–4 and 7–9	Singapore National Stadium	Singapore	First solo act to schedule three, four, five, and six shows on a single tour.

Impact

See also: Cultural impact of Taylor Swift

The Eras Tour has impacted the music industry, internet, popular culture, and economies of various cities and states. According to Pollstar, the tour "[did not just enter] the broader discourse but, in so many ways, its gravity is so formidable that the tour and everything that's fallen into its orbit drives the discourse."

"[Swift's] Eras Tour, which launched in Glendale, Arizona on March 17, hasn't launched a viral moment so much as the tour itself has gone viral, further spreading to every corner of the internet with every successive date. Each stop has dominated the news cycle for days, whether due to its special guests, its surprise songs, its celebrity attendees, its Easter eggs, or its volcanic fan response—even the introduction of a new outfit to Swift's rotation can be headline-worthy."

Andrew Unterberger, journalist, Billboard

Music charts

Following the opening shows of the Eras Tour, five of Swift's albums entered the top 40 of the UK Albums Chart. Billboard reported that Swift's entire discography rose in daily streams, especially the songs on the set list. She subsequently placed seven albums in the top 40 region of the U.S. Billboard 200 chart, the first living artist to do so; several weeks later, she became the first artist to chart eight albums in the top 40 and nine albums in the top 50. Billboard's Andrew Unterberger wrote, the "really unprecedented thing" about the Eras Tour's streaming impact is that "the initial bump did not start receding back to its usual sea after a week or two [as with the case of artists than Swift]—it continued to grow. And grow." He reported that even at the tenth week of the tour, Swift's discography has shown a 79% increase in streams from where it was pre-tour, amassing "hundreds of millions more streams" weekly.

Following the ticket release in Australia in June 2023, Swift scored five albums in the ARIA top 10 and nine in the top 50, additionally ten singles in the ARIA top 50.

Civic economy

According to business journalists, the Eras Tour's unprecedented ticket sales represents a "post-COVID demand shock" in the U.S., with consumers prioritizing entertainment over an imminent recession. Economics academic Melissa Kearney opined, COVID has affected the public's views about "what's really important to them, and what brings them joy." The demand shock was also reported in Argentina and Australia. Marketing professor Seshan Ramaswami wrote that the Eras Tour is one of the significant steps in a movement involving Government of Singapore's conscious attempts to expand the demographic reach of the city-state's cultural tourism "to young music fans... From all over Asia and perhaps even the Middle East."

The impact of the Eras Tour extends beyond ticket and merchandise sales, influencing the economy of all the territories it visited. In urban areas, the Eras Tour boosted local businesses' and tourism revenues by millions of dollars. Its dates in Las Vegas propelled the city's tourism to "pre-pandemic levels". The three-day stop in Tampa caused a huge increase in demand for hotel rooms, car-parking services and clothing stores; the concerts generated US$730,000 in taxes throughout Tampa. According to the Houston First Corporation, the sold-out three-night stop at NRG Stadium resulted in Houston's highest hotel revenue week of 2023. All hotel rooms, restaurant reservations, and train tickets were sold out in Boston days before the Eras Tour shows in nearby Foxborough, Massachusetts. Chicago's Eras Tour dates marked the highest hotel occupancy in the city's history. As per Booking.com, the average hotel room prices in Pittsburgh, Minneapolis and Kansas City increased three to five folds in anticipation of the tour; the hotel occupancy rate in Allegheny County, Pennsylvania approached 100% and reservation platforms crashed due to web traffic.

CNN labeled Swift a "public transit savior", reporting that transit agencies across the U.S. received a "much-needed" post-pandemic boost, thanks to concert-goers relying on subways, buses, and trains to commute to and from concert venues. Flight bookings to and within Australia peaked around the tour dates, especially arrivals from New Zealand and South Korea. Air New Zealand announced new flights from Auckland, Wellington and Christchurch to Sydney and Melbourne. Philippine Airlines have also promoted flights to Tokyo, Sydney, Melbourne, and Singapore for concertgoers.

The tour increased the demand in sales of apparel like metallic boots and sequin dresses. According to CNN, fashion and clothing retailers across the U.S. are "carefully" marketing their products to actively target attendees of the Eras Tour. Companies such as Altar'd State, Bipty, and Hazel & Olive created a separate section of items inspired by Swift and her eras. Sales of rhinestone boots and cowboy hats also spiked, helping Hazel & Olive achieve its "biggest sales year yet."

According to a survey by online research company QuestionPro, 58% of the Eras Tour attendees were between ages 35 and 64, 37% between ages 18 and 34, and less than 5% under age 18. The tour's economic valuation was also estimated to be $5 billion, higher than the gross domestic product (GDP) of 50 countries. Business magazine Fortune reported that fans spent an average $1,300 on tickets, travel, and clothing in order to attend the tour, implying that the Eras Tour could raise $4.6 billion in consumer spending in the U.S. Swift earned $11 million to $12 million from every concert of the tour.

Popular culture

The New York Times author Ben Sisario called the Eras Tour a "cultural juggernaut". The Recording Academy published, the tour is "the most legendary of [Swift's] generation", emphasizing it is "hard to imagine that any other tour this year will have a cultural impact as big". Music journalist Amanda Petrusich wrote, despite the noted decline of monocultural affairs in contemporary popular culture as consumers "no longer consume the same cultural objects at the same time or in the same way", the Eras Tour is an exception, achieving a rare, "mind-boggling inescapability". USA Today described the Eras Tour as a "historically monumental event".

The tour was a social media phenomenon. To Horton, it grew into a "mass cultural moment", generating "unceasing buzz" and "a vast, ever-expanding digital world of clips, reactions, live-streams, dissections and analysis"; hence, apart from just Swift's performances, the mythology, celebrity gossips and fan culture surrounding the tour drove news cycles, expanding the "Swiftverse and dissolving its borders with everything else even further." She described the Eras Tour as "not so much as a series of concerts, but as an ongoing, sprawling, interactive and ever-mutating reality show, with new chapters every week." Various brands and companies posted parodies of the Eras Tour poster on social media.

A topic of constant media coverage, a number of celebrities across various fields have attended the Eras Tour, leading to Billboard described the Eras Tour as a "genuinely epic event". Culture journalist Kate Lindsay dubbed the tour "post-reality TV" in her Substack newsletter. According to Tyler Foggatt of The New Yorker, Swift "has done to stadium shows what Beyoncé did to Coachella, and to millennials what Bruce Springsteen did to baby boomers. She has crafted a spectacle—a long-form, real-life experience in an age that is otherwise dominated by short-form online content—though the tour is also perfectly designed to be consumed online." Billboard critics agreed that Swift has dominated 2023 commercially and culturally, and some of them opined that the persisting success of Midnights, followed by the Eras Tour, and Swift's upcoming Speak Now (Taylor's Version) in July 2023 could "overexpose" Swift once again.

A large number of fans who did not have tickets to the Eras Tour gathered outside the venues to listen to Swift performing, a phenomenon media outlets termed "Taylor Swift mania" or "Taylor-gating". According to NBC News, such gatherings in open spaces outside the stadium premises have been attributed to a sense or experience of community in Swift's fandom. Thousands gathered in Tampa, Philadelphia and Nashville, among other cities, following which people "shared positive experiences" about Taylor-gating via TikTok, leading to growing crowds at subsequent shows. The Philadelphia shows attracted around 20,000 ticketless fans every night. New Jersey State Police issued a warning on May 26, 2023, asking those without tickets not to gather outside the concert venue in East Rutherford. In Chicago, fans occupied the public parks outside Soldier Field, where the concert was "clearly" audible. Concert attendees and Taylor-gating fans made friendship bracelets to trade with each other or give to celebrity attendees, inspired by lyrics in the song "You're on Your Own, Kid". The Messenger reported that the confetti gathered from the Eras Tour evolved into its own niche market—being sold online at prices ranging from $10 to $200 on eBay and Facebook Marketplace—with some fans recouping full costs of their tickets in the process. Journalist Julia Gray wrote, "Confetti is like an extension of Swift's sought-after, limited-release merch. There's an element of scarcity and exclusivity."

Vogue further noted the tour's impact on social media fashion, which used to only be a phenomenon of music festivals such as Coachella; many fans wore replicas of Swift's outfits or costumes based on her music to the concert. Shannon Aducci of Footwear News opined that Swifties at the Eras Tour shaped the direction of 2023 summer fashion. Many fans also reported a "post-concert amnesia", struggling to remember the concert after attending it. Psychologists explained that intensely happy emotions have the same effect on the brain as traumatic events, and can lead to loss of memory, as the "highly stimulating environment" of the show overwhelms the amount of information the brain can handle at a time.

The Guardian journalist Dave Simpson wrote that the 44-song set list of the Eras Tour might increase the demand for "longer" concerts and may "trigger a set list arms race as artists battle to play longer than each other." He opined that the It's All a Blur Tour, an upcoming co-headlining tour by Drake and 21 Savage, was inspired by the concept of the Eras Tour, with the former's promotional poster depicting a "career retrospective" similar to the latter. Rolling Stone further noted the influence of Swift's tour on the upcoming Jonas Brothers tour, on which they will perform "five albums every night". Foggatt wrote, the Eras Tour transformed "a football stadium, typically a center of male aggression, into a sanctum of gleeful femininity." She compared it to the 2017 Women's March, though mentioned there were sequins instead of pussyhats, and the tour included "probably the same number of male allies."

Tributes

Governments, city administrations, and other organizations celebrated their respective dates of the Eras Tour in various ways:

State Farm Stadium in Glendale, Arizona hosted the first show of the tour. Glendale renamed itself Swift City to honor the tour.

• Glendale changed its name from March 17 to 18 as it hosted the first shows of the Eras Tour. Mayor Jerry Weiers announced the "symbolic" name, Swift City, on March 13. The Westgate Entertainment District, a mixed-use complex in Glendale, put up welcome messages, and local restaurants offered Swift-themed menu items. The Arizona Department of Transportation also changed a number of freeway message signs to say such things as "Cut off? Don't get Bad Blood, Shake it off."
• Las Vegas displayed light shows inspired by the color palettes of the Eras Tour every night through March 25 at the Gateway Arches on Las Vegas Boulevard.
• Arlington, Texas renamed Randol Mill Road, the street outside AT&T Stadium, to Taylor Swift Way on March 30. Mayor Jim Ross declared March 31 through April 2 "Taylor Swift Weekend", during which the steel sculptures outside Arlington City Hall were lit red in reference to her album Red; Swift was also presented with a key to the city. Additionally, the Arlington Museum of Art announced on March 30 that it would host an exhibit exploring Swift's "evolving, boundary-pushing" artistry, featuring costumes, photographs, and concert videos from her album eras. Titled The Eras Tour Collection, the exhibit runs from June 2 to September 24, 2023.
• Tampa presented Swift with a key to the city; Mayor Jane Castor invited Swift to be the city's honorary mayor for a day. Tampa City Hall, Tampa Riverwalk, and downtown bridges were lit red. Hillsborough County temporarily changed its name to Swiftsborough.
• Houston illuminated its city hall lavender as a nod to "Lavender Haze", celebrated "The Eras Tour weekend", and renamed NRG Stadium to NRG Stadium (Taylor's Version) from April 21 to 23, per a proclamation by Harris County judge Lina Hidalgo.

• 

  The Eras Tour inspired many exhibitions. Pictured is the showcase of an outfit Swift wore in the "Lavender Haze" music video at a Nashville exhibition.

  In Atlanta, Georgia's Own Credit Union welcomed Swift with a large "Welcome to A-TAY-L" sign displayed atop its skyscraper building. Taylorsville, Georgia declared April 28, 2023 "Taylor Swift Day" and presented Swift with a key to the city following her three sold-out shows at Mercedes-Benz Stadium.
• In Nashville, the Country Music Hall of Fame and Museum opened an exhibit titled Through Taylor Swift's Eras, displaying original outfits from every album era throughout May 2023. Mayor John Cooper recognized May 5 to 7 as "Taylor Swift Homecoming Weekend" and placed an "honorary bench" at Centennial Park as a monument dedicated to "Nashville and Swift's long-standing relationship", in reference to lyrics in "Invisible String".
• Philadelphia unveiled a mural on South Street on May 12. Radio station 96.5 WTDY-FM temporarily renamed itself to "Ninety-Swift-Five T-A-Y".
• Massachusetts governor Maura Healey conferred a "Governor's Citation" upon Swift in recognition of her Foxborough shows.
• New York City's Museum of Arts and Design announced an exhibit called Taylor Swift: Storyteller on May 3, describing it as a "career-spanning look at [Swift's] artistic reinventions"; it opened May 20, ahead of Swift's shows in East Rutherford, and will run until September 4.
• New Jersey governor Phil Murphy declared the "Taylor Swift ham, egg, and cheese" as the state's official sandwich on May 25, referencing the cultural debate about Taylor ham and pork roll.
• Chicago's Willis Tower lit up its antennae in the colors of the Eras Tour.
• Michigan governor Gretchen Whitmer welcomed Swift to the state for the Detroit shows by posting a video speech on Twitter referencing several of her songs.
• In Pittsburgh, Mayor Ed Gainey renamed the city Swiftsburgh for the weekend. The Gateway Clipper Fleet threw Swift-themed parties for passengers; the Carnegie Science Center organized an Eras Tour-themed scavenger hunt of miniature Swift dolls hidden throughout the Miniature Railroad and Village exhibition on June 16 and 17; and the Buhl Planetarium hosted a Swift-themed laser show.
• Minneapolis mayor Jacob Frey temporarily renamed the city Swiftieapolis. Minnesota governor Tim Walz proclaimed June 23 and 24 as "Taylor Swift Days" in the state.
• Cincinnati mayor Aftab Pureval proclaimed June 30 as "Taylor Swift Day" in the city. Hamilton County, Ohio renamed itself to "Hamilton County (Taylor's Version)", and neighboring Bellevue, Kentucky renamed Taylor Avenue to Taylor Swift Avenue. Cincinnati Zoo and Botanical Garden will host a "Swiftie Weekend"; businesses at the Banks will offer Swift-themed specials throughout the weekend.
• North Kansas City, Missouri, renamed Swift Street to Swift Street (Taylor's Version) in honor of the shows at Arrowhead Stadium.
• Air New Zealand added special seats for those attending the tour in Australia, renaming one of the flights to "NZ1989".
• In Warsaw, PGE Narodowy lit up its facade with Swift's name after the announcement of the first show in Poland.

Philanthropy

Swift made "sizeable donations" to food bank units at every stop of the Eras Tour and directly employed various local businesses.

Set list

The following is the set list from the first show of the tour on March 17, 2023, in Glendale. It is not intended to represent all shows.

Act I – Lover

1. "Miss Americana & the Heartbreak Prince"
2. "Cruel Summer"
3. "The Man"
4. "You Need to Calm Down"
5. "Lover"
6. "The Archer"

Act II – Fearless

7. "Fearless"
8. "You Belong with Me"
9. "Love Story"

Act III – Evermore

10. "'Tis the Damn Season"
11. "Willow"
12. "Marjorie"
13. "Champagne Problems"
14. "Tolerate It"

Act IV – Reputation

15. "...Ready for It?"
16. "Delicate"
17. "Don't Blame Me"
18. "Look What You Made Me Do"

Act V – Speak Now

19. "Enchanted"

Act VI – Red

20. "22"
21. "We Are Never Ever Getting Back Together"
22. "I Knew You Were Trouble"
23. "All Too Well (10 Minute Version)"

Act VII – Folklore

24. "Seven" (spoken interlude) / "Invisible String"
25. "Betty"
26. "The Last Great American Dynasty"
27. "August"
28. "Illicit Affairs"
29. "My Tears Ricochet"
30. "Cardigan"

Act VIII – 1989

31. "Style"
32. "Blank Space"
33. "Shake It Off"
34. "Wildest Dreams"
35. "Bad Blood"

Act IX – Acoustic set

36. First surprise song
37. Second surprise song

Act X – Midnights

38. "Lavender Haze"
39. "Anti-Hero"
40. "Midnight Rain"
41. "Vigilante Shit"
42. "Bejeweled"
43. "Mastermind"
44. "Karma"

Notes

• Starting with the first show in Arlington, "Invisible String" was replaced with "The 1", except at the second show in Nashville, where Swift performed "Invisible String" in honor of the bench at Centennial Park dedicated to her.
• At the third show in Tampa and the second show in Pittsburgh, Swift reversed the order of the instruments she used to perform the surprise songs, playing the first on piano with Aaron Dessner and the second on acoustic guitar.
• At shows where Phoebe Bridgers opened, she performed "Nothing New" with Swift before "All Too Well (10 Minute Version)".
• At the third show in Foxborough, Swift performed both surprise songs on acoustic guitar due to technical difficulties with the piano caused by the previous night's rain.
• At the first show in East Rutherford, Swift premiered the music video for "Karma" featuring Ice Spice prior to the first surprise song. Ice Spice later performed "Karma" as a special guest with Swift to close the three East Rutherford shows.
• At the second show in Cincinnati, Swift performed "I Miss You, I'm Sorry" on acoustic guitar with Gracie Abrams on the piano between the first and second surprise songs.

Surprise songs

Swift performed two tracks from her discography as "surprise songs" in the ninth act—the first on acoustic guitar and the second on piano.

• March 17 – Glendale: "Mirrorball" and "Tim McGraw"
• March 18 – Glendale: "This Is Me Trying" and "State of Grace"
• March 24 – Las Vegas: "Our Song" and "Snow on the Beach"
• March 25 – Las Vegas: "Cowboy like Me" (with special guest Marcus Mumford) and "White Horse"
• March 31 – Arlington: "Sad Beautiful Tragic" and "Ours"
• April 1 – Arlington: "Death by a Thousand Cuts" and "Clean"
• April 2 – Arlington: "Jump then Fall" and "The Lucky One"
• April 13 – Tampa: "Speak Now" and "Treacherous"
• April 14 – Tampa: "The Great War" (with special guest Aaron Dessner) and "You're on Your Own, Kid"
• April 15 – Tampa: "Mad Woman" (with Dessner) and "Mean"
• April 21 – Houston: "Wonderland" and "You're Not Sorry"
• April 22 – Houston: "A Place in This World" and "Today Was a Fairytale"
• April 23 – Houston: "Begin Again" and "Cold as You"
• April 28 – Atlanta: "The Other Side of the Door" and "Coney Island"
• April 29 – Atlanta: "High Infidelity" and "Gorgeous"
• April 30 – Atlanta: "I Bet You Think About Me" and "How You Get the Girl"
• May 5 – Nashville: "Sparks Fly" and "Teardrops on My Guitar"
• May 6 – Nashville: "Out of the Woods" and "Fifteen"
• May 7 – Nashville: "Would've, Could've, Should've" (with Dessner) and "Mine"
• May 12 – Philadelphia: "Gold Rush" and "Come Back... Be Here"
• May 13 – Philadelphia: "Forever & Always" and "This Love"
• May 14 – Philadelphia: "Hey Stephen" and "The Best Day"
• May 19 – Foxborough: "Should've Said No" and "Better Man"
• May 20 – Foxborough: "Question...?" and "Invisible"
• May 21 – Foxborough: "I Think He Knows" and "Red"
• May 26 – East Rutherford: "Getaway Car" (with special guest Jack Antonoff) and "Maroon"
• May 27 – East Rutherford: "Holy Ground" and "False God"
• May 28 – East Rutherford: "Welcome to New York" and "Clean"
• June 2 – Chicago: "I Wish You Would" and "The Lakes"
• June 3 – Chicago: "You All Over Me" (with special guest Maren Morris) and "I Don't Wanna Live Forever"
• June 4 – Chicago: "Hits Different" and "The Moment I Knew"
• June 9 – Detroit: "Haunted" and "I Almost Do"
• June 10 – Detroit: "All You Had to Do Was Stay" and "Breathe"
• June 16 – Pittsburgh: "Mr. Perfectly Fine" and "The Last Time"
• June 17 – Pittsburgh: "Seven" (with Dessner) and "The Story of Us"
• June 23 – Minneapolis: "Paper Rings" and "If This Was a Movie"
• June 24 – Minneapolis: "Dear John" and "Daylight"
• June 30 – Cincinnati: "I'm Only Me When I'm with You" and "Evermore"
• July 1 – Cincinnati: "Ivy" (with Dessner) and "Call It What You Want"

Shows and schedule

List of 2023 concerts

Date	City	Country	Venue	Opening acts	Attendance	Revenue
March 17	Glendale	United States	State Farm Stadium	Paramore Gayle	—	—
March 18
March 24	Paradise		Allegiant Stadium	Beabadoobee Gayle	—	—
March 25
March 31	Arlington		AT&T Stadium	Muna Gayle	—	—
April 1				Beabadoobee Gracie Abrams
April 2
April 13	Tampa		Raymond James Stadium	Beabadoobee Gayle	—	—
April 14				Beabadoobee Gracie Abrams
April 15
April 21	Houston		NRG Stadium		—	—
April 22
April 23
April 28	Atlanta		Mercedes-Benz Stadium		—	—
April 29
April 30				Muna Gayle
May 5	Nashville		Nissan Stadium	Phoebe Bridgers Gracie Abrams	—	—
May 6				Phoebe Bridgers Gayle
May 7				—
May 12	Philadelphia		Lincoln Financial Field	Phoebe Bridgers Gayle	—	—
May 13
May 14				Phoebe Bridgers Gracie Abrams
May 19	Foxborough		Gillette Stadium	Phoebe Bridgers Gayle	—	—
May 20
May 21				Phoebe Bridgers Gracie Abrams
May 26	East Rutherford		MetLife Stadium	Phoebe Bridgers Gayle	—	—
May 27				Phoebe Bridgers Gracie Abrams
May 28				Phoebe Bridgers Owenn
June 2	Chicago		Soldier Field	Girl in Red Owenn	—	—
June 3
June 4				Muna Gracie Abrams
June 9	Detroit		Ford Field	Girl in Red Gracie Abrams	—	—
June 10				Girl in Red Owenn
June 16	Pittsburgh		Acrisure Stadium	Girl in Red Gracie Abrams	—	—
June 17				Girl in Red Owenn
June 23	Minneapolis		U.S. Bank Stadium	Girl in Red Gracie Abrams	—	—
June 24				Girl in Red Owenn
June 30	Cincinnati		Paycor Stadium	Muna Gracie Abrams	—	—
July 1				Muna
July 7	Kansas City		GEHA Field at Arrowhead Stadium	Muna Gracie Abrams	—	—
July 8
July 14	Denver		Empower Field at Mile High		—	—
July 15
July 22	Seattle		Lumen Field	Haim Gracie Abrams	—	—
July 23
July 28	Santa Clara		Levi's Stadium		—	—
July 29
August 3	Inglewood		SoFi Stadium		—	—
August 4				Haim Owenn
August 5				Haim Gayle
August 7				Haim Gracie Abrams
August 8
August 9				Haim Gayle
August 24	Mexico City	Mexico	Foro Sol	Sabrina Carpenter	—	—
August 25
August 26
August 27
November 9	Buenos Aires	Argentina	Estadio River Plate		—	—
November 10
November 11
November 17	Rio de Janeiro	Brazil	Estádio Olímpico Nilton Santos		—	—
November 18
November 19
November 24	São Paulo		Allianz Parque		—	—
November 25
November 26

List of 2024 concerts

Date	City	Country	Venue	Opening acts	Attendance	Revenue
February 7	Tokyo	Japan	Tokyo Dome	—	—	—
February 8
February 9
February 10
February 16	Melbourne	Australia	Melbourne Cricket Ground	Sabrina Carpenter	—	—
February 17
February 18
February 23	Sydney		Accor Stadium		—	—
February 24
February 25
February 26
March 2	Singapore		Singapore National Stadium		—	—
March 3
March 4
March 7
March 8
March 9
May 9	Nanterre	France	Paris La Défense Arena	—	—	—
May 10
May 11
May 17	Stockholm	Sweden	Friends Arena		—	—
May 18
May 24	Lisbon	Portugal	Estádio da Luz		—	—
May 30	Madrid	Spain	Santiago Bernabéu Stadium		—	—
June 2	Lyon	France	Groupama Stadium		—	—
June 7	Edinburgh	Scotland	BT Murrayfield Stadium		—	—
June 8
June 14	Liverpool	England	Anfield		—	—
June 15
June 18	Cardiff	Wales	Principality Stadium		—	—
June 21	London	England	Wembley Stadium		—	—
June 22
June 28	Dublin	Ireland	Aviva Stadium		—	—
June 29
July 5	Amsterdam	Netherlands	Johan Cruyff Arena		—	—
July 6
July 9	Zürich	Switzerland	Letzigrund		—	—
July 10
July 13	Milan	Italy	San Siro		—	—
July 18	Gelsenkirchen	Germany	Veltins-Arena		—	—
July 23	Hamburg		Volksparkstadion		—	—
July 24
July 27	Munich		Olympiastadion		—	—
July 28
August 2	Warsaw	Poland	PGE Narodowy		—	—
August 3
August 9	Vienna	Austria	Ernst-Happel-Stadion		—	—
August 10
August 15	London	England	Wembley Stadium		—	—
August 16
August 17
Total					—	—

Footnotes

Show details

External links

• The Eras Tour official website