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September 12, 2024

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Taylor Swift's Eras Tour is live to stream on Disney+ with bonus 'Acoustic Collection'

In living rooms and bedrooms across the world, Taylor Swift fans danced, cheered and sang their hearts out to the Eras Tour. Screaming the bridge to "Cruel Summer," repeating back the secret fandom chants and diving into their couches after the surprise set , Swifties watched the three-and-a-half-hour movie of a tour that broke a Guinness World Record and got Swift and her team nominated for a Golden Globe .

The third version of the movie released with unlimited rewatches to Disney+ subscribers included "Cardigan" and four bonus acoustic songs eliminated from version two released on Swift's birthday last year, Dec. 13. The streaming service even customized its menu with the singer's 10 albums and movies and shows that fit each era. And parents, keep in mind curse words aren't bleeped out.

"Welcome to the acoustic set," Swift said 2 hours and 24 minutes into the movie before playing the original acoustic songs "Our Song" and "You're On Your Own Kid." "When I dreamed up the idea of the Eras Tour, I thought it would be really fun to sort of go back through all these different phases I've had musically because it's been a little bit of everything. You've been so kind in letting me explore genres and step outside boxes that are created for us in the music industry. And that's only because of you that I get to do that."

After the credits rolled, Swift appeared on the screen again with the words "The Acoustic Collection" and proceeded to thrill the Los Angeles crowd with all six songs she played during the three nights of filming. She plays "I Can See You," "Death By A Thousand Cuts" and "Our Song" (again) on the guitar. Then, she strikes the notes of "You Are In Love," "Maroon" and "You're On Your Own Kid" (again) on the piano.

The movie clocks in at 3 hours, 30 minutes and 23 seconds. Swift is on a two-month break from her world tour. It will begin again on May 9 in Paris, France.

Follow Bryan West, the USA TODAY Network's Taylor Swift reporter, on  Instagram ,  TikTok  and  X as @BryanWestTV .

This article originally appeared on Nashville Tennessean: Taylor Swift's Eras Tour is on Disney+ with bonus 'Acoustic Collection'

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How to watch the Taylor Swift concert from the comfort of your sofa

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Each night of Taylor Swift’s blockbuster Eras tour, superfan Tess Bohne gets dressed up in her best Swift-themed outfit, paying homage to a beloved song, a red-carpet look or an album’s anniversary. By then, she’s already researched the projected set time, along with the exact minute Swift is expected to play her much-anticipated surprise songs that are unique to each concert.

But as the onstage countdown clock approaches zero, signaling Swift’s entrance, Bohne, 32, isn’t cheering from a stadium. Instead, at home in Salt Lake City, she fires up her husband’s laptop, searches for feeds from fans holding up their phones in the crowd and begins to broadcast a livestream of Swift’s three-hour-plus set on TikTok to her 160,000 (and counting) followers.

Night after night, thousands of Swifties are gathering to watch the superstar perform their favorite songs through their 5-inch phone screens. For some with tickets to future shows, it’s a chance to preview the set list and better prepare for the big day. For others who enjoyed an earlier stop of the tour, it’s a way to relive cherished memories and keep in touch with the community.

And for fans who can’t afford the lofty ticket prices or live too far from a destination city, these unauthorized TikTok livestreams are the only way to get a glimpse of her billion-dollar-grossing, Ticketmaster-crashing tour.

Bohne, the unofficial “Eras tour cruise director,” has become a one-stop shop for fans looking to watch from home.

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After attending the second show of the tour in Glendale, Ariz., Bohne watched livestreams on TikTok night after night, looking to recapture the magic of seeing Swift in the flesh. Often, the experience paled in comparison to the real thing — choppy feeds would cut in and out or drop entirely, or an overly eager fan’s earnest singing would drown out the notes from the stage. But instead of giving up, Bohne resolved to curate and improve the livestream viewing experience.

She first went live on TikTok when the tour stopped in Atlanta at the end of April. At one point, her control center included multiple iPads, allowing her to track down alternate streams and switch back and forth when videos cut off midset.

“We called it the iPad Shuffle,” Bohne said. “In the beginning it was just a place where people could see where to find these streams. It wasn’t a great concert experience. But then it turned into a seamless watching experience.”

These days, Bohne goes live from her husband’s work computer while using an iPhone and iPad to scour TikTok, as well as sites like swiftstream.gay and various Twitch accounts, for backup streams. As her reach has grown, a number of brands have reached out seeking collaboration opportunities; she’s typically more excited to hear directly from Swift fans expressing their gratitude for her work.

“I had two different people message me and say they had panic attacks during the shows, and sitting down to watch the stream has been healing for them,” Bohne said. “Others had really bad anxiety trying to track down these streams, and I’ve been able to alleviate that for them. It makes me feel like I’m doing something worthwhile.”

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An essential part of the ersatz Eras-watching experience is Swiftball, a Taylor-fied fantasy football game started by Twitter user @reckedmaserati , in which fans attempt to predict outfits, surprise songs and other goings-on. Winners have received prizes ranging from Swift CDs to merchandise to handcrafted art, all of which are donated by other Swiftball players.

The most recent Swiftball on July 29 received more than 11,000 submissions on Twitter, and on a typical TikTok stream, you’ll find a jumble of fans erupting with digital cheers or boos each time an answer is revealed.

“TikTok is the pinnacle of this,” said Russ Crupnick, managing partner at marketing research and industry analysis company MusicWatch and a professor at New York University. “It helps to magnify everything that’s going on around a tour. In the old days, if you didn’t have a ticket, you didn’t get to participate. Now you can.”

At the outset of the tour, it was harder to avoid the Swift livestreams on TikTok than it was to find them. In its quest to push the most engaging live videos to its For You page, TikTok’s algorithm boosted bootleg streams of the concert nearly every night, as Swifties locked in for hours and commented away.

Eventually, TikTok removed streamers while they were live and suppressed them from the For You page.

“I feel like it’s become a lot harder to find streams,” Bohne said. “I got suspended once by TikTok, about two weeks ago, for intellectual property. That’s what’s been a little bit frustrating. I can have permission from someone who’s at the show to [use their stream], but if they’re not supposed to be streaming, I don’t know.”

The Digital Millennium Copyright Act, created in 1998, protects platforms from being held liable for content that infringes on copyrighted material, as long as the platform has a mechanism for rights holders to report and take down the offending content. During the internet’s early years, it was easier for copyright holders to locate and remove such items. Now, the proliferation of content has made that game of whack-a-mole virtually impossible.

“There are dozens if not hundreds of these videos popping up,” said Tatiana Cirisano, senior music analyst at Midia Research. “There’s a sentiment that this law was built before social media really existed, and it was meant to allow for creativity, and allow platforms to host things other people had made, without worrying about liability. But this was before there was so much content posted all the time, so now, it doesn’t really work.”

Representatives for Swift and TikTok did not return a request for comment.

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Since the pandemic shuttered live music in 2020, authorized concert livestreams have grown in popularity. Just about every major festival streams the majority of its sets on platforms such as YouTube or Twitch, and according to a report from Midia Research, the amount of people watching shows from home nearly doubled in the past two years, from 9.3% at the end of 2020 to 17.7% at the end of 2022.

Fans who consume the raw, user-generated streams on TikTok typically skew younger than YouTube audiences drawn to professional-quality recordings, but Cirisano believes that livestreams, whether authorized or bootleg, won’t cannibalize ticket sales.

“There’s obviously overlap between [ticket-buying and livestreaming audiences],” Cirisano said. “But there’s nothing that can replace the in-person concert.”

Crupnick argues that labels and music publishers shouldn’t prioritize filing copyright strikes against fans who are providing free promotion for their favorite acts. Instead, he says, the growth of user-generated livestreaming could become another negotiating chip in the copyright owners’ fight to extract more money from the social platform.

“At some point, they could take it all down, but fans will put it back up just as fast,” Crupnick said. “I think what the labels really want is fair compensation from TikTok.”

For Bohne, the TikTok livestreams are another way to feel connected to Swift.

“If I could talk to Taylor, my message to her would just be a giant thank you,” Bohne said. “She’s given us a community where we can find people who understand one another.”

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Kenan Draughorne is a former reporter at the Los Angeles Times and was a member of the 2021-22 Los Angeles Times Fellowship class.

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Taylor Swift fans livestream Eras Tour, making it possible for Swifities to watch show from home

Taylor Swift 's The Eras Tour has been taking Europe by storm and on Friday, June 21, she will be taking over Wembley Stadium in London .

The pop star will be doing three back-to-back shows at the stadium. While three dates gave fans in the UK plenty of chances to see her, some may not have had the opportunity to get tickets.

Some fans are taking the initiative to help Swifties who weren't lucky enough to get tickets watch the series through a livestream right from the comfort of home.

Join the Mirror's SMS news service to get the biggest breaking stories delivered straight to your phone. Click here to subscribe.

READ MORE: Taylor Swift lands her private jet at Stansted airport with crates of alcohol ahead of Wembley shows

READ MORE: Taylor Swift's boyfriend Travis Kelce has limited time to watch her on tour in Europe

Swifties have taken it upon themselves to share their experience with other fans by livestreaming the shows on social media, often sacrificing their data and battery life. A fan also created an account on X, formerly Twitter, to share links to streams with fans.

The account is under the name @ErasTourLive where the account manager distributes links as the show starts, and on their website they also shared a message to Taylor's fans: "I created this account to share livestreams for those who want to watch a show."

"I will be trying my best and sometimes service at venues suck so please don't get upset if links don't work!" they shared on a website. "I will try to post links to accounts a day before or hours before. If you are going to a show and plan on livestreaming or know someone who is please dm me! This makes it easier for me to find live streams."

Streams of the concerts can often be found on Instagram or TikTok, and Swifties will be surely keeping their eyes peeled.

In the meantime, fans can also stream the singer’s three-and-a-half-hour concert film, The Eras Tour (Taylor’s Version), in full HD 1080p on Disney+ for $9.99 a month. Buying a subscription also gives fans a month’s access to the streamer and can then be canceled at any time.

Taylor is taking a brief break after her stops in London and will pick back up in July, starting with three shows at Johan Cruijff Arena in Amsterdam.

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Can’t Make the Concert? Livestreamers Are Coming to the Rescue.

As fans struggle to buy increasingly hard-to-get tickets (at escalating costs), livestreamers packing cellphones and batteries are offering another way to see the show.

By Nell Gallogly

Live music tentatively returned in 2021 after Covid shutdowns. More artists got back on the road in 2022, yet still hit pandemic-related snags . But 2023 has been a blockbuster for the live-music business: Taylor Swift and Beyoncé circled the globe with headline-grabbing extravaganzas, and they weren’t the only story. Bruce Springsteen, Metallica, Drake, Travis Scott, Ed Sheeran, Morgan Wallen, Maluma and Madonna filled arenas and stadiums.

Buying concert tickets, however, has become an increasingly complex and expensive endeavor as costs continue to rise and companies like Ticketmaster and SeatGeek battle bots and scalpers. Fans hoping to attend the year’s hottest tours endured a maze of presale registrations, digital waiting rooms and hourslong queues. Those fortunate enough to reach checkout were met with lofty ticket prices — some because of confusing “dynamic pricing” — and additional fees.

But listeners left at home weren’t totally left out: iPhones, Instagram and TikTok have opened the door for intermediaries to bridge the gap between the gig and fans who didn’t have the money, connections or luck to get through the gate.

While in 2020, many artists turned to professional livestreaming through official channels to beam shows to fans stuck in their homes, the format was largely abandoned as in-person concerts returned. Three years later, a different kind of livestreamer has come to the fore: amateur camerapersons who show up with phones taped to their heads and backup batteries at the ready, eager to help hundreds — or hundreds of thousands — view the concert from home.

The increasing sophistication of phone cameras, the popularity of platforms with live capabilities and the challenging process of securing tickets to big shows have all but codified livestreams as an extension of today’s live music experience. “With the rising prices and Ticketmaster fiasco we weren’t able to get tickets,” said Kelly Epstein, a Taylor Swift fan who has (virtually) attended nearly every weekend of the Eras Tour with her two young daughters. “Livestreams allow us to feel like we are going to the show.”

In the days before sharing a concert live was technologically feasible, tape traders lugged equipment to shows where recording was permitted — frequently by jam bands, including the Grateful Dead and Phish, who viewed the recordings circulating among superfans as a harmless noncommercial means of expanding their reach. Tape traders approached their hobby with the seriousness of professional archivists: collecting hundreds of cassettes, often identifiable by carefully handwritten titles and set lists, and safeguarding memories and music for generations.

So who is a livestreamer today? Some spend a few casual minutes with their phones trained on the show, giving at-home viewers a taste that could leave them more frustrated than pleased. But others increasingly treat their role with the seriousness of a live correspondent. Meet Matthew Serafin, a global traveler catering to a rabid fan base while becoming a character himself; Morgan Lee, a spontaneous streamer who rescued an important concert from obscurity; and Tess Bohne, an at-home aggregator dedicated to Swifties.

The road warrior

Matthew Serafin was supposed to be heading home on an international flight, but he was too jazzed up to go to the airport.

The night before, Serafin, 28, from Chicago, had livestreamed the opening of Beyoncé’s Renaissance World Tour in Stockholm. Serafin had gone live once before — for a portion of a 2022 Adele concert in Vegas, when less than a dozen people had joined his stream. Expecting the same results in Stockholm in May, he watched in amazement as Lizzo, SZA and tens of thousands of other viewers tuned in.

Beyoncé would grace the stage for a second night in less than 12 hours. “I had to stay,” Serafin recalled in an interview. He was lucky enough to grab a ticket to the show on Ticketmaster and booked one of the few remaining hotel rooms in a city experiencing a Beyoncé-related travel boom .

Serafin was hooked. Hooked on Beyoncé (“My queen forever,” he said) and hooked on being the conduit between the artist he loved most and the rest of the world. “My Instagram was flooded with messages from people thanking me for sharing the show. People from Sudan, Kenya, Norway, Peru — places that Beyoncé has never and probably will never tour,” he said.

Since the Stockholm show, Serafin has attended eight Renaissance World Tour shows, and two of Swift’s Eras Tour shows across four countries — livestreaming each performance.

“To me, live music is, like, everything,” he said. Growing up, he was among the few openly gay students at his high school in the Chicago area. At Beyoncé and Lady Gaga concerts, he said, he learned to express himself among a queer-positive crowd.

Serafin estimated he’d spent $7,000 to $8,000 on his global livestreaming tour — a sum he could muster thanks to his salary as an associate in the commercial bank at JPMorgan Chase “and a bit of fiscal irresponsibility.” Sharing his experience with others was worth the cost: “Every individual on my stream is someone who’s touched by getting to experience the show and wasn’t able to be there themselves.”

And he enjoys the recognition that comes with being a vital streamer. “I just go to work and I am just like a dude in khakis,” Serafin said. But at Beyoncé concerts, he’s something of a star. “People stop me. People ask for photos. It’s crazy.”

As his audience has grown on Instagram, so has his ambition to move beyond megastars. Recently, he’s begun streaming shows of pop up-and-comers like Muna and Reneé Rapp. “I want to introduce people to folks they may not know,” he said.

The one-time savior

Morgan Lee had been standing in the hot desert sun for 12 hours to secure a near-perfect view of Frank Ocean’s 2023 headlining performance at Coachella — a performance she was starting to fear wouldn’t even happen.

The artist was an hour late, and YouTube had canceled its livestream of the set — the only viewing option for fans unable to afford the festival’s $549 tickets (fees not included). When, finally, Ocean stepped onto the stage, Lee, 18 and from North Carolina, pulled out her phone. “I knew people would want to see this,” she said.

By the night’s end, hundreds of thousands of people had hopped onto Lee’s livestream — at its peak, 125,000 people were on simultaneously. Her Instagram account grew from 6,000 to 60,000 followers, her name trended on Twitter and Lee was crowned a hero by fans across the internet.

The viral moment changed her life: In June, she leveraged her newfound social media audience to release a debut music video and, a few weeks later, she was taken off the wait-list at N.Y.U.’s Clive Davis Institute of Recorded Music (“the closest thing one could get to going to pop star school,” she said).

Lee, who is now in her first year at N.Y.U., described the event as a happy accident. Still, her prime view of the Coachella stage at the Ocean concert, which helped popularize her stream over others, was more a product of her devotion to the artist she loves than luck. Since she was a young teen, Lee has been concert camping — waiting for hours, or days, to get as close to the stage as possible.

In August, she woke up at 3 a.m. to attend the Renaissance World Tour — her first-ever Beyoncé concert. As with Ocean’s set, she was breathlessly close to the star. But, this time, Lee didn’t go live. “I don’t want to be boxed in as a streamer,” she said, “My goal is to be an artist.”

Even if she won’t livestream again, she’s happy she could provide the show to fans at home. “It’s not like an accessible show,” she said. “Streaming is the next best thing.”

The at-home director

Tess Bohne, 32, has spent the past few months helping Swifties, one of the most voracious fan bases in the world, gain nightly access to Eras Tour concerts that she locates, curates and blasts out to her followers .

Unlike Serafin and Lee, Bohne doesn’t film the concerts herself. She earned the unofficial title “livestream queen” of the Eras Tour by using multiple devices to scan social media to find the best streams occurring at any given time.

When presale tickets for the tour became available last November, Bohne knew she was among the lucky ones: she snagged two tickets to the second night of the Eras Tour stop in Glendale, Ariz. After watching the show live , Bohne resolved to provide “the Eras Tour for everyone.”

The result was a D.I.Y. streaming command center set up in Bohne’s bedroom in Salt Lake City, equipped with a computer, two monitors, two iPads and a ring light. For 39 Eras Tour shows (and counting), the 32-year-old has planted herself there, finding the highest quality livestream running and re-streaming it from her iPad to her hundreds of thousands of TikTok followers . In the background, she has anywhere from one to four backups ready if a stream cuts out.

“For me, doing these livestreams has felt like a stick it to the man,” she said. “It’s a way of saying, you screwed us over but it’s not stopping us.” As a stay-at-home-parent to three young children, she said streaming has also given her “purpose outside of motherhood.”

Watching Bohne’s stream is dizzying. Texts and emojis whiz by as fans communicate on the chat function — feeding off each other’s energy like at live shows. “It’s their way of being at the concert with their friends,” Bohne said.

Her stream is an act of love — and labor (she makes her Venmo handle available for tips). The job hasn’t been lucrative, but she’s making enough to cover her expenses and, at least for now, justify the over 200 hours spent livestreaming the Eras Tour.

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