mccartney 1989 tour

The Paul McCartney World Tour

26 September 1989

Drammenshallen, Knoffs gate 18, 3044 Drammen, Oslo, Norway

28 September 1989

Scandinavium, Valhallagatan 1, 412 51 Göteborg, Sweden

29 September 1989

Isstadion, Johanneshov, Stockholm, Sweden

30 September 1989

3 October 1989

Alsterdorfer Sportshalle, Krochmannstraße 55, 22297 Hamburg, Germany

4 October 1989

6 October 1989

Festhalle, Ludwig-Erhard-Anlage 1, 60327 Frankfurt am Main, Germany

7 October 1989

9 October 1989

Palais Omnisport Bercy, 8 Boulevard de Bercy, 75102 Paris, France

10 October 1989

11 October 1989

16 October 1989

Westfalenhalle, Rheinlanddamm 200, 44139 Dortmund, Germany

17 October 1989

20 October 1989

Olympiahalle,  Spiridon-Louis-Ring,  80809 München,  Munich,  Germany

21 October 1989

22 October 1989

24 October 1989

Palaeur, Piazzale Pier Luigi Nervi, 00144 Roma, Italy

26 October 1989

Palatrussardi, Via Antonio Sant'Elia, Italy

27 October 1989

29 October 1989

Hallenstadion, Wallisellenstrasse 45, 8050 Zürich, Switzerland

30 October 1989

2 November 1989

Palacio De Deportes, Av. Felipe II, s/n, 28009 Madrid, Spain

3 November 1989

5 November 1989

La Halle Tony Garnier, 20 Place docteurs Charles et Christophe Mérieux, 69007 Lyon, France

7 November 1989

Ahoy Sportpaleis  Ahoy-weg 10,   Rotterdam  3084 BA,  Netherlands

8 November 1989

9 November 1989

10 November 1989

Los Angeles

23 November 1989

Forum,  3900 W Manchester Blvd,  Los Angeles,  CA 90305,   United States

24 November 1989

27 November 1989

28 November 1989

3 December 1989

Horizon, 6920 N Mannheim Rd, Rosemont, 60018-3622 IL, United States

4 December 1989

5 December 1989

7 December 1989

Skydome, 1 Blue Jays Way, Toronto, ON M5V 1J1 Canada

9 December 1989

Forum, 2313 Rue Ste-Catherine O, Montréal, QC H3H 1N2, Canada

11 December 1989

Madison Square Garden, 4 Pennsylvania Plaza,  New York,  10001 NY,  United States

12 December 1989

14 December 1989

15 December 1989

2 January 1990

NEC, North Ave, Birmingham B40 1NT United Kingdom

3 January 1990

5 January 1990

8 January 1990

9 January 1990

12 January 1990

Wembley Arena Engineers Way, London, HA9 0AA United Kingdom

13 January 1990

14 January 1990

16 January 1990

17 January 1990

19 January 1990

20 January 1990

21 January 1990

23 January 1990

24 January 1990

26 January 1990

1 February 1990

Palace of Auburn Hills, 6 Championship Dr, Auburn Hills, MI 48326, United States

2 February 1990

4 February 1990

Civic Arena, 1001 Fifth Ave, Pittsburgh, PA 15219, United States

5 February 1990

8 February 1990

Worcester Centrum, 50 Foster Street, Worcester, MA 01608 United States

9 February 1990

11 February 1990

Rupp Arena, 430 W Vine St Lexington KY 40507 United States

12 February 1990

Riverfront Coliseum, 100 Broadway St, Cincinnati, OH 45202, United States

Indianapolis

14 February 1990

Market Square Arena, 300 East Market Street, Indianapolis, IN 46204, United States

15 February 1990

17 February 1990

Omni, 100 Techwood Drive, Atlanta, GA 30303, United States

18 February 1990

3 March 1990

Tokyo Dome, 1 Chome-3-61 Koraku, Bunkyo, Tokyo 112-0004, Japan

5 March 1990

7 March 1990

8 March 1990

9 March 1990

11 March 1990

13 March 1990

29 March 1990

Kingdome, 422 2nd Ave S, Seattle, WA 98104, United States

31 March 1990

Berkeley Memorial Stadium, 210 Stadium Rim Way, Berkeley, CA 94720, United States

1 April 1990

4 April 1990

Sun Devil Stadium, 500 E Veterans Way, Tempe, AZ 85287 United States

7 April 1990

Texas Stadium 2401 E Airport Fwy, Irving, TX 75062, United States

9 April 1990

Rupp Arena, 430 W Vine St, Lexington, KY 40507, United States

12 April 1990

Tampa Stadium, 4201 North Dale Mabry Highway, Tampa, Florida 33607, United States

14 April 1990

Joe Robbie Stadium 347 Don Shula Dr, Miami Gardens, FL 33056, United States

15 April 1990

Rio De Janeiro

19 April 1990

Estadio Mario Filho (Marcana), Av. Pres. Castelo Branco, s/n - Maracanã, Rio de Janeiro - RJ, 20271-130, Brazil

21 April 1990

23 June 1990

SECC, Exhibition Way, Glasgow, G3 8YW United Kingdom

28 June 1990

King's Dock Kings Dock Street, Liverpool, L1 8LE United Kingdom

30 June 1990

Knebworth House, Knebworth, Hertfordshire, SG1 2AX United Kingdom

Washington D.C.

4 July 1990

RFK Stadium, 2400 East Capitol St, SE Washington, D.C, United States

6 July 1990

East Rutherford

9 July 1990

Giants Stadium 50 Route 120, East Rutherford, New Jersey 07073 United States

11 July 1990

Philadelphia

14 July 1990

Veterans Stadium, 3501 S Broad St, Philadelphia, PA 19148, United States

15 July 1990

18 July 1990

Cyclone Stadium, 1732 S 4th St, Ames, IA 50011, United States

20 July 1990

Municipal Stadium, 1085 West 3rd Street, Cleveland, Ohio 44114 United States

22 July 1990

Carter-Finley Stadium, 4600 Trinity Rd, Raleigh, NC 27607, United States

Tour Information

Incredibly, the Paul McCartney ‘Get Back’ Tour of 1989-90 – his first since 1979 – travelled 100,331 miles, with Paul playing to a total of 2,843,297 fans over 102 gigs. At the Maracana Stadium in Rio de Janeiro, Brazil, on April 21st 1990, Paul even set a new world record, performing to the largest stadium crowd ever gathered in the history of rock and roll at 184, 368. Unsurprisingly, this tour was the most successful of Paul's illustrious career. In America, Paul became the artist with the most ticket sales in 1990 (an average of 49,209 per gig), beating the likes of Madonna, The Grateful Dead and Janet Jackson. The highlight of the tour for Paul was when he played to over 50,000 on the banks of the Mersey – his biggest ever gig so far in his hometown of Liverpool – and, at the end of a medley dedicated to John, the band stopped playing ‘Give Peace A Chance’, only for the crowd to carry on chanting the lyrics, forcing Paul to restart the song. “That,” he said “was one of the greatest moments of my career. That was what you do it all for, really”.

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FLASHBACK: PAUL McCARTNEY LAUNCHES 1989 COMEBACK TOUR

It was 31 years ago tonight (November 23rd, 1989) that after a 13-year-stretch, Paul McCartney returned to the North American concert stage for the first of a five-night stand at the L.A. Forum. McCartney's band featured wife Linda McCartney on keyboards, Average White Band co-founder Hamish Stuart on guitar and bass, Former Pretenders lead guitarist Robbie McIntosh , keyboardist Paul “ Wix ” Wickens , and drummer Chris Whitten .

McCartney's last North American trek had been the blockbuster 1976 Wings Over America tour, and Wings ' 1979/1980 tour was canceled after only 20 UK shows following his infamous January 1980 pot bust in Tokyo. Following the Japan debacle and John Lennon 's murder the following December, McCartney continued to record and wrote and starred in the big budget, big screen flop Give My Regards To Broad Street , which was universally panned.

By the time of the 1989 tour, McCartney had released four studio albums — Pipes Of Peace (1983, #15); Give My Regards To Broad Street (1984, #21); Press To Play (1986, #30); and Flowers In The Dirt (1989, #21) — which, to that date, marked his worst charting releases. McCartney also hadn't racked up a Top 20 single hit since 1985's “Spies Like Us” scored him his last Top Ten hit to date. His 1987 double-album solo retrospective All The Best! only rose as high as a dismal Number 62.

For the 1989/1990 world tour — which kicked off with a 28-date European leg on September 26th, 1989 in Oslo, Norway — McCartney, in response to his dwindling chart appearances — packed the comeback show with 50 percent Beatles classics — most of which the “Fab Four,” who retired from the road in 1966, never got the chance to play live.

After such a long time away from the concert stage, McCartney explained how he came about figuring out the 1989 setlist: “What I did was I just sat down and kind of asked myself what I would like to see 'him' play, y'know, if I was just somebody just coming to the show, what I thought I'd like to see the band play. The interesting thing about some of the Beatles stuff was I've never actually performed it onstage before — and we never got to do it with the Beatles, 'cause we stopped touring at that time. I got up on stage and said 'I've never done this one before.' So that's nice, 'cause they're fresh.”

Among the Beatles classics getting their first-ever live airings on the 1989/1990 world tour were “Sgt. Pepper's Lonely Hearts Club Band,” “Good Day Sunshine,” “Eleanor Rigby,” “Strawberry Fields Forever,” “Birthday,” “Back In The U.S.S.R.,” “Hey Jude” and the Abbey Road closing medley — “Golden Slumbers/Carry That Weight/The End.”

The shows also featured McCartney's first-ever solo performances of “Can't Buy Me Love,” “Things We Said Today,” and a short-lived dance medley of “Love Me Do” and “P.S. I Love You” — as well as “McCartney's first-ever North American performances of “The Fool On The Hill,” “Got To Get You Into My Life,” and “Let It Be.”

Paul McCartney's setlists since returning to the stage in 1989 have been dominated with Beatles hits and rarities. We asked him if playing the songs ever brings back tough memories for him: “No, I don't really feel that. I used to — just after the Beatles had broken up — I think all of us thought, y'know 'Is there life after the Beatles?' And, 'It's a tough act to follow.' As time's gone by, I've rediscovered the songs. And instead of the sort of anger and the pain that we all felt when we were breaking up, I just like the songs now and they're a pleasure to do.”

McCartney also world premiered songs from that spring's Flowers In The Dirt collection along with assorted Wings hits — and his 1982 Number One hit “Ebony And Ivory.” Guitarist Hamish Stuart usually took over Stevie Wonder 's part during the tour, but on the third night of the L.A. stand — November 27th, 1989 — Stevie Wonder came out to reprise the duet with McCartney.

Multi-instrumentalist Hamish Stuart performed with McCartney from 1987 until the end of 1993. Both fans and Stuart alike were acutely aware of the vocal chemistry between him and McCartney: “Paul did something and I sang with him, and it worked right from the first time that we sang together. I know that Paul did enjoy singing with me. 'And I Love Her,' when we did the acoustic thing that was a blast to do that, and 'Here, There And Everywhere,' and things like that.”

Stuart says that Linda was always an integral part of Paul's music: “Ah, Linda was great. She got a lot of bad press. She wasn't there because she was a great musician, she was there because she was Paul's partner. I remember there was one day early on when she didn't turn up for rehearsals, and it didn't feel right. She was lovely.”

McCartney's 1989/1990 world tour is his most extensive to date, taking in a total of 108 concerts in Europe, North America, Japan, and South America.

McCartney's full setlist was represented on double-disc live set Tripping The Live Fantastic , which was released on October 29th, 1990. The album's single CD releases featured bonus live and soundcheck tracks from the tour.

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1989 highlights

"Flowers In The Dirt" sessions with Chris Hughes / Ross Cullum

January 1989 • Songs recorded during this session appear on Flowers In The Dirt

Session with Alan Parsons

Mixing "Flowers In The Dirt"

Designing the stage sets for “The Paul McCartney World Tour”

Designing the packaging for “Flowers In The Dirt”

Interview with Music Connection

Interview with MTV

1989 • From MTV

Mixing "How Many People"

Jan 06, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "Figure Of Eight"

Jan 08, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "That Day Is Done"

Jan 12, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Recording "Motor Of Love"

Mixing "Don't Be Careless Love"

Jan 14, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "You Want Her Too"

Jan 16, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "Distractions"

Jan 19, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "Put It There"

Jan 20, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "This One"

Jan 23, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Granny's Chest

Jan 26, 1989 • United Kingdom • London • BBC World Service headquarters • Radio show

Mixing "We Got Married"

Jan 26, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "My Brave Face"

Jan 28, 1989 • Songs recorded during this session appear on Flowers In The Dirt

Mixing "'Motor Of Love"

Jan 30, 1989 • Songs recorded during this session appear on Flowers In The Dirt

An open letter from Paul McCartney in the Liverpool Echo about his old school

Feb 24, 1989

Mixing "Good Sign"

Feb 27, 1989 • Songs recorded during this session appear on This One

Paul receives an “Outstanding Services To British Music” award

Apr 04, 1989

Get Back / Don't Let Me Down (UK - 1989)

By The Beatles • 7" Single

Get Back / Don't Let Me Down (UK - Picture disc - 1989)

"Ou Est Le Soleil?" remixing

April 20-21, 1989 • Songs recorded during this session appear on Ou Est Le Soleil?

"Put It There" video sessions

April 26-28th, 1989

Ferry Cross The Mersey

By Various Artists • 7" Single

May 03, 1989 • United Kingdom • The Barn at the Mill • TV show

My Brave Face

By Paul McCartney • CD Single

My Brave Face / Flying To My Home

By Paul McCartney • 7" Single

Avis de recherche

May 13, 1989 • France • Paris • TV show

Mensch Meier

May 18, 1989 • Germany • TV show

May 19, 1989 • United Kingdom • London • TV show

May 22, 1989 • Netherlands • Bussum • Studio Concordia • TV show

Sacrée soirée

May 24, 1989 • France • Paris • TV show

May 24, 1989 • Netherlands • Bussum • Studio Concordia • TV show

The Ballad Of John And Yoko / Old Brown Shoe (UK - Picture disc - 1989)

The Ballad Of John And Yoko / Old Brown Shoe (UK - 1989)

May 31, 1989 • France • Paris • TV show

Interview with Linda McCartney

1989 • From Diamond Hard Music Entertainment

Flowers In The Dirt

By Paul McCartney • Official album

Ou Est Le Soleil?

By Paul McCartney • 12" Single

Can Paul McCartney get back?

Jun 15, 1989 • From RollingStone

Barn Rehearsals

July 1989 • Songs recorded during this session appear on Band On The Run (25th Anniversary)

This One / The First Stone

Mixing "This One (Club Lovejoys Mix)"

Jul 25, 1989 • Songs recorded during this session appear on Figure Of Eight / This One (Club Lovejoys Mix)

London • Playhouse Theatre • United Kingdom

Jul 26, 1989 • United Kingdom • London • Playhouse Theatre

Jul 27, 1989 • United Kingdom • London • Playhouse Theatre

Press conference

New York City • Lyceum Theatre • USA

Aug 24, 1989 • USA • New York City • Lyceum Theatre

Interview with Scene

Aug 31, 1989 • From Scene Entertainment Weekly

Maybe I'm amazed

31 years later, Paul McCartney repays “debt” over blanket

September 1989

Sep 14, 1989 • Songs recorded during this session appear on Figure of Eight

"The Paul McCartney World Tour" book

Dress rehearsal for The Paul McCartney World Tour

Sep 21, 1989 • Part of The Paul McCartney World Tour

Drammen • Drammenshallen • Norway

Sep 26, 1989 • Part of The Paul McCartney World Tour

Gothenburg • Scandinavium • Sweden

Sep 28, 1989 • Part of The Paul McCartney World Tour

Stockholm • Johanneshovs Isstadion • Sweden

Sep 29, 1989 • Part of The Paul McCartney World Tour

Sep 30, 1989 • Part of The Paul McCartney World Tour

An Interview With Paul McCartney

1989 / 1990

Hamburg • Alsterdorfer Sporthalle • Germany

Oct 03, 1989 • Part of The Paul McCartney World Tour

Oct 04, 1989 • Part of The Paul McCartney World Tour

Frankfurt • Festhalle • Germany

Oct 06, 1989 • Part of The Paul McCartney World Tour

Oct 07, 1989 • Part of The Paul McCartney World Tour

Paris • Bercy Omnisport Arena • France

Oct 09, 1989 • Part of The Paul McCartney World Tour

Oct 10, 1989 • Part of The Paul McCartney World Tour

Oct 11, 1989 • Part of The Paul McCartney World Tour

Recording and mixing "Party Party"

Oct 11, 1989 • Songs recorded during this session appear on Party Party

Dortmund • Westfalenhalle • Germany

Oct 16, 1989 • Part of The Paul McCartney World Tour

Oct 17, 1989 • Part of The Paul McCartney World Tour

Munich • Olympiahalle • Germany

Oct 20, 1989 • Part of The Paul McCartney World Tour

Oct 21, 1989 • Part of The Paul McCartney World Tour

Oct 22, 1989 • Part of The Paul McCartney World Tour

Rome • Palaeur • Italy

Oct 24, 1989 • Part of The Paul McCartney World Tour

Milan • Palatrussardi • Italy

Oct 26, 1989 • Part of The Paul McCartney World Tour

Oct 27, 1989 • Part of The Paul McCartney World Tour

Zurich • Hallenstadion • Switzerland

Oct 29, 1989 • Part of The Paul McCartney World Tour

Something / Come Together (UK - Picture Disc - 1989)

Something / Come Together (UK - 1989)

Oct 30, 1989 • Part of The Paul McCartney World Tour

Madrid • Palacio de los Deportes • Spain

Nov 02, 1989 • Part of The Paul McCartney World Tour

Nov 03, 1989 • Part of The Paul McCartney World Tour

Lyon • Halle Tony Garnier • France

Nov 05, 1989 • Part of The Paul McCartney World Tour

Rotterdam • Ahoy Rotterdam • Netherlands

Nov 07, 1989 • Part of The Paul McCartney World Tour

Nov 08, 1989 • Part of The Paul McCartney World Tour

Nov 10, 1989 • Part of The Paul McCartney World Tour

Nov 11, 1989 • Part of The Paul McCartney World Tour

Figure Of Eight / Ou Est Le Soleil?

Figure of Eight

Figure Of Eight / This One (Club Lovejoys Mix)

Los Angeles • Great Western Forum • USA

Nov 23, 1989 • Part of The Paul McCartney World Tour

Nov 24, 1989 • Part of The Paul McCartney World Tour

Party Party

Figure Of Eight

Nov 27, 1989 • Part of The Paul McCartney World Tour

Press conference at Los Angeles

Nov 27, 1989

Nov 28, 1989 • Part of The Paul McCartney World Tour

Nov 29, 1989 • Part of The Paul McCartney World Tour

Linda Lets Her Voice Be Heard

Nov 29, 1989 • From San Diego Union

They'll never gag me - says Paul McCartney

December 1989 ? • From Daily Mirror

Chicago • Rosemont Horizon • USA

Dec 03, 1989 • Part of The Paul McCartney World Tour

Dec 04, 1989 • Part of The Paul McCartney World Tour

Dec 05, 1989 • Part of The Paul McCartney World Tour

Toronto • SkyDome • Canada

Dec 07, 1989 • Part of The Paul McCartney World Tour

Montreal • Montreal Forum • Canada

Dec 09, 1989 • Part of The Paul McCartney World Tour

New York • Madison Square Garden • USA

Dec 11, 1989 • Part of The Paul McCartney World Tour

Dec 12, 1989 • Part of The Paul McCartney World Tour

Dec 14, 1989 • Part of The Paul McCartney World Tour

Dec 15, 1989 • Part of The Paul McCartney World Tour

"Daumier's Law" soundtrack sessions

1988 and Dec 18th-24th, 1989

Figure of Eight (version 1)

1989 • For Paul McCartney • Directed by Andy Morahan

Figure of Eight (version 2)

1989 • For Paul McCartney

Figure of Eight (version 3)

1989 • For Paul McCartney • Directed by Roger Lunn

1989 • For Paul McCartney • Directed by David Lodge

1989 • For Paul McCartney • Directed by Peter Brookes

This One (version 1)

1989 • For Paul McCartney • Directed by Tim Pope

This One (version 2)

1989 • For Paul McCartney • Directed by Dean Chamberlain

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You're missing the interview he did with The Australian on the 5th of August 2023! He did an audio but too, and I believe the photo is new.

Thanks Jade - I have added it at https://www.the-paulmccartney-project.com/interview/nightmares-dads-advice-why-paul-mccartney-is-returning-to-australia/

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How Big Is Taylor Swift?

Taylor Swift?

As big as the Beatles? Michael Jackson? Beyoncé? We crunched the numbers.

By Joe Coscarelli Graphics and additional reporting by Courtney Cox and Fred Bierman

You might have heard: Taylor Swift cannot be stopped.

Her new album , “The Tortured Poets Department,” sold 2.6 million copies in its opening week last month, earning Swift her eighth Billboard No. 1 album since 2020.

At the Grammy Awards in February, she became the first artist to win album of the year for a fourth time, breaking a tie with Frank Sinatra, Stevie Wonder and Paul Simon.

And earlier this month, Swift’s Eras Tour, the 152-date, billion-dollar stadium takeover that began last year, resumed abroad before it returns to the U.S. in October.

Taylor Swift onstage at an Eras Tour show in New Jersey last year.

In 2023, according to the data tracking service Luminate, one in every 78 songs streamed in the U.S. was by Swift.

With a mix of prolific artistic output and relentless business savvy, plus cultural dominance as a celebrity, Swift, 34, has created such a swell of momentum that she is probably more popular — more omnipresent — 19 years into her professional music career than she ever has been.

That is not normal.

Swift fans in the parking lot of MetLife Stadium in New Jersey.

But just how big is Taylor Swift, in terms of the all-time pop pantheon?

The singer’s ongoing surge has inspired inevitable debates about how her success stacks up not only against her pop peers, like Beyoncé and Drake, but to the greats that came before them. Even Billy Joel said he could only compare this Swift moment to Beatlemania.

Enraptured Beatles fans in 1964.

It may be impossible to do an exact, one-to-one comparison between Swift’s career and that of the Beatles — or Madonna, Michael Jackson, Britney Spears, Bruce Springsteen, Elton John or your icon of choice. Besides music being personal and subjective, the nature of success (and how it is calculated) has changed drastically over time. Much of a star’s grip on the zeitgeist is also intangible — a vibe in the air, their influence moving subtly but undeniably through culture.

But the absence of a truly scientific comparison has never stopped the amusement that comes from the eternal sports and pop culture debates of our time: Jordan vs. LeBron (or Kareem, or Kobe). Brady vs. Montana (or Marino, or Mahomes). “Star Wars” vs. “Star Trek” (or Harry Potter, or the Marvel Universe).

Even without definitive conclusions, it’s impossible for certain loyalists, haters and obsessives not to wonder how giants match up using whatever evidence might be available.

So with Swift’s career still peaking late into its second decade, we ran the numbers and analyzed the data, taking stock of what she has accomplished so far — and when — alongside some of the heaviest hitters in each category.

Taylor vs. the Beatles Hit Singles

First, there are the Beatles, who for most music fans still represent the gold standard of pop mania in modern times.

When it comes to Billboard No. 1 singles …

… they set the benchmark.

From the early 1960s, when pop music usually came in the form of two-sided vinyl singles, until the Fab Four broke up in 1970, the band released 64 songs that landed on Billboard’s all-genre chart, known as the Hot 100.

In that time, the Beatles helped to usher in the rock ’n’ roll revolution — and the album age — by releasing more than a dozen LPs.

But many of the records they set for hit singles still stand today.

THE BEATLES

TAYLOR SWIFT

‘Change’

‘We Are Never Ever Getting

Back Together’ (2012)

Let’s look at how Swift’s Top 10 hits compare to the Beatles’ over the course of their careers, starting with the year each of them released their first original single in the U.S.

What is incredible to remember is that almost all of the Beatles’ success — and their entire artistic output — happened very quickly.

Of the band’s 35 total Top 10 hits, 32 of them arrived in just eight years. (Three more Top 10s came after the band split.)

The Beatles came in hot, then they were gone — a risk for groups, with their various egos and complications, that Swift will never have to face.

Her career, on the other hand, has been a much slower burn, as she grew from country music ingénue to full-bore pop star.

Swift’s first Top 10 song (“Change”) didn’t hit until around her second album, “Fearless,” in 2008.

When we focus on No. 1s, the Beatles really dominate, with more chart-toppers than any other artist, a record they’ve held since 1965.

Out of the Beatles’ 20 No. 1s, the majority also came quickly, with 11 songs , including “I Want to Hold Your Hand,” “Love Me Do” and “Yesterday,” topping the chart in 1964 and 1965, their earliest years as a fresh-faced phenomenon.

Swift’s first chart-topper, “We Are Never Ever Getting Back Together,” in 2012, needed a more dramatic twist.

Seven years into her career, she left behind her Nashville sound and collaborated with the pop guru Max Martin, who trails only John Lennon and Paul McCartney with 25 career No. 1s as a songwriter.

The bulk of Swift’s singles success has come even later, with seven of her 12 total No. 1s, including “Fortnight,” “Cruel Summer” and “All Too Well (Taylor’s Version),” arriving in the last five years , as her career entered its teens.

By that point in their musical lives, the individual Beatles were well into their various solo endeavors, with McCartney experimenting with new wave and George Harrison writing songs about race cars .

But as with any comparison across eras, there must be footnotes and asterisks. When we look at Top 10s from the 1960s, we’re only counting an artist’s actual “singles” — songs released for purchase outside of a full album.

After 1998, the rules began changing to include any song on the radio, regardless of how it was released, and eventually counting digital downloads and streams. By today’s rules, the Beatles would have even more hits than Billboard’s official count.

Swift, whose new album features 31 songs, each of which hit the Hot 100, has dominated with these new metrics: In 2022, she became the first artist to occupy the entire Top 10 on the Hot 100 at once following the release of “Midnights.”

She repeated and expanded upon that feat last month with songs from “The Tortured Poets Department,” which filled the top 14 spots on the singles chart.

This might measure a different kind of fervor than the musical ubiquity of the Beatles or others who ruled the radio later — a depth of obsession for Swift’s fans who stream her music billions of times and purchase it in multiple formats.

The length of Swift’s career has allowed her into the Beatles’ vaunted ballpark by giving her the chance to evolve her sound, grow her loyal audience and take full advantage of technological advances.

Yet as wild as it is for the Beatles to have accomplished so much in so little time, Swift’s longevity might be considered equally impressive in pop music, which often overvalues the new and — especially among female artists — the young.

Taylor vs. Michael Jackson Album Sales

Despite Swift’s streaming success — and ability to move even vinyl records — the high bar can only be Michael Jackson when it comes to album sales.

Like the Beatles, Jackson reached heights pop had never seen, changing the very nature of stardom, for better and worse, by kicking off the MTV video age and ruling popular culture amid tabloid mayhem.

Unlike the Beatles’, Jackson’s career was relatively long, from his time as a child star in the Jackson 5 until his death in 2009 at 50.

MICHAEL JACKSON

PLATINUM CERTIFICATIONS

‘Thriller’

‘Fearless’

‘1989’

ALBUM SALES

‘1989

(Taylor’s Version)’

But the meat of Jackson’s solo career lasted from 1972 through 2001, during which he put out 10 albums and followed a fairly typical arc for a pop career …

… the release of starter albums like “Got to Be There” and “Ben” in the early 1970s, then a big breakthrough — “Off the Wall” in 1979 — and a peak, before Jackson slowed down somewhat, at least commercially.

That peak just happened to be “Thriller” — arguably the peak of all pop peaks — which came out in 1982, when Jackson was 24.

For albums, going platinum — or selling one million copies — is the go-to stat. Let’s look at Jackson’s platinum albums vs. Swift’s , starting with the beginning of their careers as solo artists.

In the four-plus decades since “Thriller” was released, it has been certified 34 times platinum by the Recording Industry Association of America, making it one of the most successful albums of all time.

Swift’s biggest albums so far are “Fearless,” which is officially 10 times platinum, and “1989,” at nine times platinum.

However, Swift’s platinum certifications are not totally up to date and do not yet count the sales of her redone “Taylor’s Version” releases, which have not been officially tallied by the R.I.A.A.

(It’s also worth noting that an album “sale” now means something different: a set amount of song streams or downloads is considered the equivalent of one album sold.)

Using the more recent sales data available for Swift’s albums, which can help us estimate where her R.I.A.A. certifications will be when they’re updated …

… she starts to approach — and even pass — Jackson’s monster platinum totals, giving us a better idea of how Swift will stack up to Jackson long term. Remember, Swift’s albums have about 30 years less of collective sales when compared to “Thriller” — and they’re still being actively promoted.

Swift’s “1989” — also released when she was 24 — may be the closest thing she has to Jackson’s biggest blockbuster …

… and she’s been strategic enough to release it twice, elongating what could be considered her career peak by stretching it across two distinct eras nearly a decade apart.

Part of Swift’s genius as she’s run up the stats these last few years — releasing nearly 200 songs since the pandemic — is that the music that first made her a star in the mid-to-late 2000s is exploding again alongside her latest hits, giving new fans a fresh entry point.

Already, Swift has released more solo albums than Jackson ever did, and with her productivity — including those two different versions of four of her albums so far — she can approach the King of Pop.

In all, Jackson’s 10 solo albums have been certified 72 times platinum. Swift’s 11 original albums have been certified 50 times platinum. But her album sales tell us that number, including Taylor’s Versions, is likely to be closer to 90. And she is very much still going, with “The Tortured Poets Department” already topping three million in about a month.

Taylor vs. Britney Spears A Pop-Star Arc

Swift’s extended peak becomes even more of a standout when compared to a more typical pop trajectory — even one with towering highs.

Like Swift, Britney Spears released her debut single at age 16 and came to absolutely dominate the cultural conversation (sometimes in ways that discounted her music in favor of her love life).

Commercially huge in its moment, Spears’s music career was also relatively short-lived, which tends to be the case more often than not, especially for singers who are known as performers and celebrities more than quote-unquote serious artists.

Swift, unlike Spears, has been firm in branding herself as a songwriter from the beginning, helping stave off some sexist criticism of her music as frivolous.

BRITNEY SPEARS

‘... Baby One More Time’

For reasons that became more complicated as time went on, Spears’s career sloped downward commercially basically from the moment it began, if you’re looking at album sales .

“ ... Baby One More Time ,” Spears’s 1999 debut, sold impressively. It’s certified platinum more times than, say, “Abbey Road” ...

… but it’s not quite “ 1989 ” even in raw numbers, leaving aside any questions of authorship, artistic merit and staying power.

The diminishing returns of Spears’s subsequent releases represent a sadly common path for the kind of pop singers that audiences can treat as disposable, with a new model always on the horizon.

Taylor vs. Madonna Era After Era

Madonna’s ability to reinvent — to persist as a woman in pop — is the reason we talk about artist “eras” to begin with. Another path-breaking solo pop singer with a huge peak, a long run of domination, a savvy command of marketing and unexpected longevity, Madonna has had a career that is 43 years long and counting.

From her breakthrough second album, “Like a Virgin,” released in 1984, when she was 26, through “Bedtime Stories” in 1994, Madonna was inescapable, pushing the boundaries of visual and sonic reinvention that are now considered prerequisites for top acts.

‘Vogue’ (1990)

‘This Used To Be

My Playground’(1992)

‘Music’

Let’s look at Madonna’s Top 10 Billboard hits compared to Swift’s, which shows how consistent both artists have been over extended periods of time — but also when in their careers each was most in the mix.

Madonna scored No. 1 hits across three decades, beginning with the title track from “Like a Virgin” in 1984.

In her first 10 years dominating the charts , Madonna had 10 No. 1s, ruling radio, MTV and nightclubs. She also appeared in blockbuster movies like “Dick Tracy” and “Evita,” expanding her cultural omnipresence.

Madonna’s peak was fueled in part by the kind of polarizing, shock-value controversy — think “Like a Virgin,” “Like a Prayer” or the “Sex” book from 1992 — that Swift has studiously avoided. (Although she, too, has had her share of extra-musical headlines, like the Kanye West V.M.A.s moment in 2009.)

But it was Madonna’s multifaceted fame as a triple threat that helped lead to many of her No. 1 hits, including “ Vogue ” (from “I’m Breathless,” the “Dick Tracy” soundtrack album) and …

… “ This Used to Be My Playground " (the theme from “A League of Their Own”).

Swift has also dipped a toe into Hollywood, although her roles in “Valentine’s Day,” “Cats” and David O. Russell’s “Amsterdam” are less fondly remembered (and have resulted in no hit songs).

The most recent of Madonna’s 12 No. 1 hits (“ Music ,” from 2000) came 19 years into her career — where Swift is now — at the age of 42.

Madonna’s eight-year comeback period , from “Ray of Light” in 1998 to “Confessions on a Dance Floor” in 2005, resulted in six Top 10 hits. She has 38 overall (with none since 2012), compared to Swift’s 59 so far.

Taylor vs. the Veterans Touring and Awards

Alongside a pop survivor like Madonna, now 65, acts like Elton John, 77, and Bruce Springsteen, 74, are an interesting comparison point for Swift because of their productivity, longevity and critical acclaim — all of which has paid off on the road.

(See also: Bob Dylan and the Rolling Stones, who are not included here, but would be interesting points of comparison using slightly different metrics.)

While Madonna has slipped on the charts — none of her most recent four albums has gone platinum — she remains a major live draw, a standard give-and-take for a top-tier legacy act.

John and Springsteen, both veterans about 50 years into their careers, also had periods of commercial dominance beginning in the 1970s with albums like “Goodbye Yellow Brick Road” (released when John was 26, that pop-star sweet spot) and “Born to Run” (from when Springsteen was 25).

But as they settled into pop-star middle age, plateauing commercially, they too have persisted with uber-successful, long-running tours fueled by fan allegiance and critical acclaim.

APPROXIMATE GROSS FOR TOP TOUR

Taylor Swift

Eras Tour (through mid-Nov. 2023)

Farewell Yellow Brick Road Tour (2018-23)

Sticky & Sweet Tour (2008-9)

Renaissance World Tour (2023)

Bruce Springsteen

Springsteen and the E Street Band Tour (2023)

Michael Jackson

History World Tour (1996-7)

It’s All a Blur Tour (through mid-Nov. 2023)

All figures in 2023-24 dollars

APPROXIMATE GROSS PER SHOW

Let’s look at the total grosses for the best-selling tours by John and Springsteen, which put them in the company of more commercially dominant artists like Swift, Madonna and Jackson.

John’s Farewell Yellow Brick Road tour, a late-career greatest hits show named for his biggest album, made nearly $1 billion in part because it lasted for six years and more than 300 dates.

Madonna’s best-selling tour was Sticky & Sweet , from 2008 and 2009. (Like Swift’s Eras Tour, Madonna’s recent Celebration Tour highlighted all the periods of her four-decade career, although it was less profitable and played arenas rather than stadiums.)

If you look at how much these major tours made per show, the list changes.

This is where Swift shines, taking in more than $17 million per concert. By the time it’s over, the Eras Tour could bring in over $2 billion in ticket sales.

One notable aspect of Swift’s career so far is that it seems to bridge the gap between two kinds of artists, both of which can become legacy acts with strong enough catalogs and fan bases: the sustained, hit-making entertainers who may be overlooked, at least at first, as musicians, and the serious singer-songwriters who tend to be more critically lauded.

The Grammy Awards, love them or hate them, are voted on by other musicians and provide a proxy stat for prestige and overall acclaim in the moment.

NOMINATIONS

TOP CATEGORY

Let’s look at Grammy nominations among the crop of top artists we’re considering.

While Swift has already outpaced Jackson and Springsteen, it’s Beyoncé — another artist who has changed the way we talk about pop stars — who has the most nominations ever.

Looking at Grammy wins …

… we see artists like John and Drake, another modern juggernaut, drop on this list, having converted fewer of their nominations to victories compared with, say, Jackson and Springsteen.

Springsteen has won 20 Grammys across the decades, from his first for “Dancing in the Dark” in 1985 to his most recent, in 2010, for “Working on a Dream.”

Beyoncé is the winningest musician ever at the Grammys, where she has been awarded 32 times, topping the conductor Georg Solti (31) and the producer Quincy Jones (28), who was behind Jackson’s “Thriller.”

Yet Beyoncé has still never taken album of the year — where Swift has four trophies — and has won only once in the top categories , which include record, song and album of the year, plus best new artist.

It's been more than a decade since Beyoncé earned a top-tier Grammy, when “Single Ladies (Put a Ring on It)” was awarded song of the year.

Madonna didn’t win her first Grammy until 1992 (for best music video!) and only has scattered victories since, indicating she may have been viewed by her industry peers as more of a commercial force than a musician’s musician.

It is worth pointing out that the Beatles won just four Grammys while active, including two in the big four categories, out of 20 nominations, demonstrating how hard it is to quantify musical quality and how esteem tends to shift over time. (Three more nominations and wins came after they broke up.)

The band took the top prize just once — for “Sgt. Pepper’s Lonely Hearts Club Band,” the first rock album to win, in 1968 — in part because the Grammys, until the late 1960s, were quite conservative, often recognizing old-school, traditional pop acts like Judy Garland and Barbra Streisand. (“Help!” and “Revolver” both lost to Sinatra.)

Looking at stats like that, you could argue that the most popular musicians are taken more seriously as artists now than ever before, in no small part because of acts like the Beatles, Jackson and Madonna.

Taylor vs. Beyoncé and Drake Modern Heavyweights

While Swift’s overall pound-for-pound standing in each of the categories we’ve looked at puts her in rare historical company, it is notable that two of her most immediate contemporaries — Beyoncé, 42, and Drake, 37 — are also legitimate challengers across the board.

All three artists have maneuvered the industry transition between CDs, downloads and streaming to become defining modern superstars while also maximizing those intangibles like cultural reach and celebrity domination.

Beyoncé, now 23 years into a solo career after her time with the group Destiny’s Child, stands with Swift when it comes to versatility and longevity, plus sustained commercial dominance.

‘I Am ...

Sasha Fierce’

‘The Tortured

Poets Department’

‘Cowboy

Carter’

Let’s look at their album sales as solo artists side by side.

Beyoncé’s commercial peak (so far) came with “ I Am… Sasha Fierce ,” released in 2008, when she was 27. That album has sold more than nine million copies.

Since then , while selling fewer records, she has focused on different pillars of legacy, pioneering the visual album format (“Beyoncé,” “Lemonade”), experimenting with genre (“Renaissance,” “Cowboy Carter”) and pushing the limits of an extravagant live spectacle (Coachella, the Renaissance World Tour).

Both Beyoncé and Swift have had big-selling No. 1 albums this year , during fresh periods of productivity.

Like Madonna and Swift, Beyoncé has continued to stretch the limits of what a woman’s pop career can hold, landing two chart-topping singles in her 40s (with “Break My Soul,” in 2022, and again earlier this year, with the country-influenced “Texas Hold ’Em”).

She has also performed twice at the Super Bowl — something Swift has yet to do — a stage where acts like Madonna, Jackson and Springsteen have solidified their unquantifiable grasp on culture.

And then there is Drake, a relentless hitmaker. Like Swift, Drake has optimized his output to take advantage of the way streaming has reshaped the industry and its accolades to set new records, including 328 total entries on the Hot 100.

Swift, with 232, is the only other artist with at least 200.

Featured Artist

Drake has 78 Top 10 hits so far in his career …

… and 13 No. 1s stemming from a variety of projects: official albums, less official mixtapes, streaming-only “playlists,” one-off singles, collaborative albums and more.

As a rapper and frequent guest artist, Drake, unlike Swift, has appeared on many hits by others …

… like his first No. 1, on Rihanna’s “What’s My Name?” in 2010, accounting for a wide reach beyond his own releases.

Yet somehow Drake and Swift have never released a song together, despite sharing a certain canniness and expressing mutual appreciation for one another.

Even in his recent battle with Kendrick Lamar, Drake made clear that he sees Swift as his only real contemporary competition. (He has also rapped about having “more slaps than the Beatles” and frequently invokes Jackson’s success as a touchstone.)

Drake, Beyoncé and Swift all have this modern characteristic in common: They’re each actively playing for legacy, one eye on history and another on the record books. Ambitious and autonomous, they’re proudly writing their résumés in real time, juicing Billboard numbers and even gunning for accolades.

As a shrewd student of music and fame, Swift may know that she will never achieve the exact kind of domination that the Beatles, Jackson and Madonna had at the height of global monoculture, when everyone might pay attention to the same thing. But she’s certainly trying, taking bits and pieces from each’s career and making sure to maximize her work and reach in all the ways that weren’t available then.

She cares how she’s perceived and how she’ll be remembered when the noise fades and all that’s left are the songs — and the stats.

So far, it’s working.

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• October 16, 1989 Setlist

Paul McCartney Setlist at Westfalenhalle 1, Dortmund, Germany

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Tour: The Paul McCartney World Tour 1989-1990 Tour statistics Add setlist

• Figure of Eight Play Video
• Jet ( Wings  song) Play Video
• Rough Ride Play Video
• Got to Get You Into My Life ( The Beatles  song) Play Video
• Band on the Run ( Wings  song) Play Video
• Ebony and Ivory Play Video
• We Got Married Play Video
• Maybe I'm Amazed Play Video
• The Long and Winding Road ( The Beatles  song) Play Video
• The Fool on the Hill ( The Beatles  song) Play Video
• Sgt. Pepper's Lonely Hearts Club Band ( The Beatles  song) Play Video
• Good Day Sunshine ( The Beatles  song) Play Video
• Can't Buy Me Love ( The Beatles  song) Play Video
• Put It There ( with “Hello, Goodbye outro ) Play Video
• Things We Said Today ( The Beatles  song) Play Video
• Eleanor Rigby ( The Beatles  song) Play Video
• This One Play Video
• My Brave Face Play Video
• Back in the U.S.S.R. ( The Beatles  song) Play Video
• I Saw Her Standing There ( The Beatles  song) Play Video
• Twenty Flight Rock ( Eddie Cochran  cover) Play Video
• Coming Up Play Video
• Let It Be ( The Beatles  song) Play Video
• Ain't That a Shame ( Fats Domino  cover) Play Video
• Live and Let Die ( Wings  song) Play Video
• Hey Jude ( The Beatles  song) Play Video
• Yesterday ( The Beatles  song) Play Video
• Get Back ( The Beatles  song) Play Video
• Golden Slumbers ( The Beatles  song) Play Video
• Carry That Weight ( The Beatles  song) Play Video
• The End ( The Beatles  song) Play Video

Edits and Comments

7 activities (last edit by [deleted user] , 26 Jul 2018, 18:17 Etc/UTC )

Songs on Albums

• Ain't That a Shame by Fats Domino
• Back in the U.S.S.R. by The Beatles
• Band on the Run by Wings
• Can't Buy Me Love by The Beatles
• Carry That Weight by The Beatles
• Eleanor Rigby by The Beatles
• Get Back by The Beatles
• Golden Slumbers by The Beatles
• Good Day Sunshine by The Beatles
• Got to Get You Into My Life by The Beatles
• Hey Jude by The Beatles
• I Saw Her Standing There by The Beatles
• Jet by Wings
• Let It Be by The Beatles
• Live and Let Die by Wings
• Sgt. Pepper's Lonely Hearts Club Band by The Beatles
• The End by The Beatles
• The Fool on the Hill by The Beatles
• The Long and Winding Road by The Beatles
• Things We Said Today by The Beatles
• Twenty Flight Rock by Eddie Cochran
• Yesterday by The Beatles
• Figure of Eight
• My Brave Face
• Put It There
• We Got Married
• Maybe I'm Amazed
• Ebony and Ivory

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