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Taylor Swift reputation Stadium Tour Announced!

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The Taylor Swift reputation Stadium Tour  just announced with the first set of dates – and we are SO “ready for it!”

Remember, to get exclusive Presale access you must register for Taylor Swift Tix . Registration closes on Tuesday afternoon, November 28 at 12PM ET . 

Already registered? Make sure you’ve taken these steps  before November 28 so you’re ready for the presale:

• Visit your Taylor Swift Tix portal to confirm your mobile number
• Set your ticket preferences in your Taylor Swift Tix portal
• Log into your Ticketmaster account and make sure you have a valid credit card and updated billing information on file

The Taylor Swift Tix Presale will begin on  Tuesday, December 5  and will run through  Friday, December 8 .  Look out for an email on Saturday, December 2 assigning you your very own presale date and time.  After registration closes, you’ll hear more about special presale windows that were designed just for Taylor Swift Tix participants!

Exact pricing information isn’t available yet, but we can tell you Taylor Swift Tix participants will have the opportunity to unlock access to the best tickets at the best prices.

More details about VIP packages will be available soon and there will be a 6 (six) ticket limit.  We’ll share everything you need to know as we get closer to the presale. For now, check out the dates below and head over to your Taylor Swift Tix portal to get ready.

Taylor Swift reputation Stadium Tour

To learn more about Taylor Swift Tix visit the official FAQ .

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Taylor Swift Announces First Round of Reputation Stadium Tour Dates

Taylor Swift gives fans first round of cities off upcoming Reputation stadium tour.

By Allison Stubblebine

Allison Stubblebine

Taylor Swift announced the first 27 tour dates of her Reputation   stadium tour via her Taylor Nation Twitter account early Monday (Nov. 13) morning. The tweet, captioned, “WE’LL SEE YOU SOON!” does not specify whether this is the entirety of the U.S. leg of the tour. 

Fans were also reminded to grab the album boost through Ticketmaster’s Verified Fan program in order to snag the best possible access to Reputation   Tour tickets. 

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WE’LL SEE YOU SOON! The first round of dates for Taylor Swift’s reputation Stadium Tour have been announced. Ticket and onsale info: https://t.co/d17RNtqtNa — Taylor Nation (@taylornation13) November 13, 2017

Taylor Swift Tix users, if you bought an album during street week be sure to get your album boost! If you haven’t signed up, you still can here — https://t.co/by0d1CxFmP — Taylor Nation (@taylornation13) November 13, 2017

Swift’s sixth album  Reputation  was released on Friday, and amassed an unheard-of 700,000 albums sold on its first day. View the list of first-round dates below. Register at Taylor Swift Tix  to get first access to ticket purchasing. Registration closes Nov. 28. 

Reputation   Stadium Tour Dates 2018

May 8 – University of Phoenix Stadium – Glendale, AZ May 12 – Levi’s Stadium – Santa Clara, CA May 19 – Rose Bowl – Pasadena, CA May 22 – CenturyLink Field – Seattle, WA May 25 – Sports Authority Field at Mile High – Denver, CO June 2 – Soldier Field – Chicago, IL June 30 – Papa John’s Cardinal Stadium – Louisville, KY July 7 – Ohio Stadium – Columbus, OH July 10 – FedEx Field – Washington, DC July 14 – Lincoln Financial Field – Philadelphia, PA July 17 First Energy Stadium Cleveland, OH July 21 – MetLife Stadium – East Rutherford, NJ July 28 – Gillette Stadium – Foxborough, MA Aug. 4 – Rogers Centre – Toronto, ON Aug. 7 – Heinz Field – Pittsburgh, PA Aug. 11 – Mercedes-Benz Stadium – Atlanta, GA Aug. 14 – Raymond James Stadium – Tampa, FL Aug. 18 – Hard Rock Stadium – Miami, FL Aug. 25 – Nissan Stadium – Nashville, TN Aug. 28 – Ford Field – Detroit, MI Sept. 1 – U.S. Bank Stadium – Minneapolis, MN Sept. 8 – Arrowhead Stadium – Kansas City, MO Sept. 15 – Lucas Oil Stadium – Indianapolis, IN Sept. 18 – The Dome at America’s Center – St. Louis, MO Sept. 22 – Mercedes-Benz Superdome – New Orleans, LA Sept. 29 – NRG Stadium – Houston, TX Oct. 6  – AT&T Stadium – Arlington, TX

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Taylor Swift Extends ‘Reputation’ Tour With New Dates

By Ryan Reed

UPDATE: Taylor Swift has announced that Charli XCX and Camila Cabello will serve as her tour openers during her  Reputation  stadium tour. The singer unveiled the news on Thursday, via a video tweet .

I have a very exciting update to share… @Camila_Cabello and @charli_xcx will be the opening acts on the #reputationStadiumTour !!! pic.twitter.com/LAjmecVOrJ — Taylor Swift (@taylorswift13) March 1, 2018

Taylor Swift  extended her upcoming Reputation tour with seven new stadium dates, adding concerts in Santa Clara, California; Washington, D.C.; Philadelphia; East Rutherford, New Jersey, Foxborough, Massachusetts; Minneapolis and Arlington, Texas, Variety reports. 

General public tickets for the new shows go on sale Wednesday, January 31st at 10 a.m. local time. Fans can purchase advance tickets via Ticketmaster’s Taylor Swift Presale; registration opens Friday, January 5th at 10 a.m. ET and continues through Thursday, January 18th at 10 a.m. ET.

Members of Taylor Swift Tix, the singer’s exclusive Ticketmaster Verified Fan program, will receive priority access ahead of new registrants. The program, which the singer announced in August, attempts to block scalpers and bots from purchasing and reselling tickets.

The tour launches May 8th in Glendale, Arizona and concludes November 9th in Auckland, New Zealand.

Swift returned to Number One on the Billboard 200 with Reputation , her sixth LP, which she issued in November. Rolling Stone ranked the album the year’s third-best pop record and the seventh-best overall .

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Taylor Swift Tour Dates (New Dates Bolded)

May 8 – Glendale, AZ @ University of Phoenix Stadium May 11 – Santa Clara, CA @ Levi’s Stadium May 12 – Santa Clara, CA @ Levi’s Stadium May 18 – Pasadena, CA @ Rose Bowl May 19 – Pasadena, CA @ Rose Bowl May 22 – Seattle, WA @ CenturyLink Field May 25 – Denver, CO @ Sports Authority Field At Mile High June 1 – Chicago, IL @ Soldier Field June 2 – Chicago, IL @ Soldier Field June 30 – Louisville, KY @ Papa John’s Cardinal Stadium July 7 – Columbus, OH @ Ohio Stadium July 10 – Washington, DC @ FedEx Field July 11 – Washington, DC @ FedEx Field July 13 – Philadelphia, PA @ Lincoln Financial Field July 14 – Philadelphia, PA @ Lincoln Financial Field July 17 – Cleveland, OH @ First Energy Stadium July 20 – East Rutherford, NJ @ MetLife Stadium July 21 – East Rutherford, NJ @ MetLife Stadium July 22 – East Rutherford, NJ @ MetLife Stadium July 26 – Foxborough, MA @ Gillette Stadium July 27 – Foxborough, MA @ Gillette Stadium July 28 – Foxborough, MA @ Gillette Stadium August 3 – Toronto, ON @ Rogers Centre August 4 – Toronto, ON @ Rogers Centre August 7 – Pittsburgh, PA @ Heinz Field August 10 – Atlanta, GA @ Mercedes-Benz Stadium August 11 – Atlanta, GA @ Mercedes-Benz Stadium August 14 – Tampa, FL @ Raymond James Stadium August 18 – Miami, FL @ Hard Rock Stadium August 25 – Nashville, TN @ Nissan Stadium August 28 – Detroit, MI @ Ford Field August 31 – Minneapolis, MN @ U.S. Bank Stadium September 1 – Minneapolis, MN @ U.S. Bank Stadium September 8 – Kansas City, MO @ Arrowhead Stadium September 15 – Indianapolis, IN @ Lucas Oil Stadium September 18 – St. Louis, MO @ The Dome at America’s Center September 22 – New Orleans, LA @ Mercedes-Benz Superdome September 29 – Houston, TX @ NRG Stadium October 5 – Arlington, TX @ AT&T Stadium October 6 – Arlington, TX @ AT&T Stadium October 9 – Perth, AU @ Optus Stadium October 26 – Melbourne, AU @ Etihad Stadium November 2 – Sydney, AU @ ANZ Stadium November 6 – Brisbane, AU @ The Gabba November 9 – Auckland, NZ @ Mt Smart Stadium

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Taylor Swift: Reputation Stadium Tour

Taylor Swift takes the stage and proves she doesn't care about her bad reputation. Taylor Swift takes the stage and proves she doesn't care about her bad reputation. Taylor Swift takes the stage and proves she doesn't care about her bad reputation.

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• Trivia During the tour, Taylor invited more than 2,000 adopted and foster children and their families to watch the show for free.
• Connections Featured in Miss Americana (2020)
• Soundtracks ...Ready for It? Written by Taylor Swift , Max Martin , Shellback , Ali Payami Performed by Taylor Swift Big Machine Label Group, LLC

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• Jan 1, 2019
• December 31, 2018 (United States)
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• The Internet Is Losing It Because Taylor Swift Just Announced These <i>Reputation</i> Tour Dates

The Internet Is Losing It Because Taylor Swift Just Announced These Reputation Tour Dates

Taylor Swift has announced the dates and locations for her Reputation stadium tour , which will take place in the U.S. between May 8 and Oct. 6 next year.

The 27-year-old will be performing on 27 dates in more than 20 different cities across the country, kicking off at the University of Phoenix Stadium in Glendale, Arizona, and ending at the AT&T Stadium in Arlington, Texas.

The tickets can be bought using Ticketmaster , and details about price and VIP packages have not yet been released. Avid Swift fans can register for Taylor Swift Tix presale access before 12 p.m. ET on Nov. 28. The presale will run between Dec. 5 and Dec. 8.

Predictably, the internet went into meltdown mode following the announcement, with many social media users voicing their frustration at not knowing when Swift is coming to their country. Date’s for the pop star’s international tour will be announced at a later date.

Taylor Swift announced tour dates but I'm at work at cannot freak out appropriately pic.twitter.com/l8iHrrxD5v — Ashley Allen (@TheBlondeAshley) November 13, 2017

OMG @taylorswift13 has just announced the first few dates for her stadium world tour. Hurry up announcing UK dates #repuatation pic.twitter.com/YlJYptk0zR — Sol Loredo (@sol_de_mar) November 13, 2017

Taylor Swift just released tour dates and I know I won't be able to go and it makes me want to scream. pic.twitter.com/FShu5EQrbq — Sam (@Samrp01) November 13, 2017

Below is the full list of dates and locations for Swift’s highly anticipated tour.

May 8: University of Phoenix Stadium in Glendale, Arizona May 12: Levi’s Stadium in Santa Clara, California May 19: Rose Bowl in Pasadena, California May 22: CenturyLink Field in Seattle, Washington May 25: Sports Authority Field at Mile High in Denver, Colorado June 2: Soldier Field in Chicago, Illinois June 30: Papa John’s Cardinal Stadium in Louisville, Kentucky July 7: Ohio Stadium in Columbus, Ohio July 10: FedEx Field in Washington, D.C. July 14: Lincoln Financial Field in Philadelphia, Pennsylvania July 17: First Energy Stadium in Cleveland, Ohio July 21: MetLife Stadium in East Rutherford, New Jersey July 28: Gillette Stadium in Foxborough, Massachusetts August 4: Rogers Centre in Toronto, Ontario August 7: Heinz Field in Pittsburgh, Pennsylvania August 11: Mercedes-Benz Stadium in Atlanta, Georgia August 14: Raymond James Stadium in Tampa, Florida August 18: Hard Rock Stadium in Miami, Florida August 25: Nissan Stadium in Nashville, Tennessee August 28: Ford Field in Detroit, Michigan September 1: U.S. Bank Stadium in Minneapolis, Minnesota September 8: Arrowhead Stadium in Kansas City, Missouri September 15: Lucas Oil Stadium in Indianapolis, Indiana September 18: The Dome at America’s Center in St. Louis, Missouri September 22: Mercedes-Benz Superdome in New Orleans, Louisiana September 29: NRG Stadium in Houston, Texas October 6: AT&T Stadium in Arlington, Texas

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Taylor Swift Announces More Dates For 'Reputation' Stadium Tour

The GRAMMY-winner pumps up her North American tour with seven additional dates across the U.S.

With an already massive tour planned in support of her sixth album, Reputation , Taylor Swift has given her fans even more opportunities to catch her live in 2018 by adding seven U.S. dates to her Reputation stadium tour.

The announcement comes the same week Reputation reclaimed the top spot on the Billboard 200, after being temporarily dethroned by Eminem 's Revival . Swift's Reputation tour was already on track to be one of the most talked-about tours of the year.

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">New dates for Taylor Swift’s reputation Stadium Tour have just been announced! Tickets go on sale January 31st at 10a local time. Get more information at <a href="https://t.co/nl2zos8L1x">https://t.co/nl2zos8L1x</a>. <a href="https://t.co/XI9yBKTi6Q">pic.twitter.com/XI9yBKTi6Q</a></p>&mdash; Taylor Nation (@taylornation13) <a href="https://twitter.com/taylornation13/status/948556164324872192?ref_src=twsrc%5Etfw">January 3, 2018</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

The newly announced dates will expand the tour to add an additional show in each of these seven cities: Santa Clara, Calif.; Washington, D.C.; Philadelphia; Rutherford, N. J.; Foxborough, Mass.; Minneapolis, Minn.; and Arlington, Texas.

Advance ticket sales for the added dates will begin for fans registered for the Taylor Swift Presale via Ticketmaster Verified Fan starting on Jan. 5 and continuing through Jan.18. Tickets for the general public will go on-sale Jan. 31.

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"Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.

Moby ’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play , the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night .  

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night ’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon."  

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors ; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago .  

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc . The two films are produced by his production company, Little Walnut , which also makes music videos, shorts and the podcast "Moby Pod ." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com.  

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights . The narrative was broken up by acoustic performances of songs from Play , as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums.  

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen?  

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself ?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift 's favorite singers .   

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you?  

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special .  

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of   Play . We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish.   She actually liked it.   And I thought,   Huh, that's interesting. I didn't think anyone was going to like this record .  

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that   Play   was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was   Backstreet Boys   and   Limp Bizkit   and   NSYNC ; big major label records that were flawlessly produced.   Play   was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."   

Was your approach in making  'Play'  different from other albums?  

The record I had made before   Play ,   Animal Rights , was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years.   When it's good, it's paradise; it's really special.   But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the   most gentle   thing, "I know you enjoy making punk rock and metal. People really   enjoy   when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f— ing   idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results.   But his response was very emotional and gentle and sweet, and that got through to me.   I had this moment where I realized,   I can make music that potentially people will   enjoy   that will make them happy.   Why not pursue that?  

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and   Pantera   and   instead make something more melodic and electronic.  

After years of swearing off touring, what’s making you hit stages this summer?  

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.   

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins.  

Your DJ sets are great fun. Would you consider doing DJ dates locally?  

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m .  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point?  

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times , lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

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The Environmental Impact Of Touring: How Scientists, Musicians & Nonprofits Are Trying To Shrink Concerts' Carbon Footprint

"It’s not just [about] a single tour, it’s every tour," singer Brittany Howard says of efforts to make concerts more sustainable. From the nonprofit that partnered with Billie Eilish, to an MIT initiative, the music industry aims to curb climate change.

Beloved by fans around the globe, yet   increasingly unaffordable   for many artists, concert tours are central to the world of entertainment and   local economies . After the pandemic-era   global shuttering of concert venues   large and small, tours are back, and bigger than ever.   

Taylor Swift ’s Eras Tour is   smashing records , selling more than four million tickets and earning more than $1 billion. But that tour made headlines for another reason: as reported in   Business Insider   and other outlets, for a six-month period in 2023, Swift’s two jets spent a combined 166 hours in the air between concerts, shuttling at most a total of 28 passengers.  

Against that backdrop, heightened concerns about the global environmental cost of concert touring have led a number of prominent artists to launch initiatives.   Those efforts seek both to mitigate the negative effects of touring and communicate messages about sustainability to concertgoers.  

A   2023 study   sponsored by Texas-based electricity provider Payless Power found that the carbon footprint of many touring bands was massive. In 2022, concert tours in five genres — country, classic rock, hip-hop/rap, metal and pop — were responsible for CO 2   emissions totaling nearly 45,000 metric tons. A so-called greenhouse gas, carbon dioxide contributes to climate change by radiative forcing; increased levels of CO 2   also contribute to health problems.   

No serious discussion of climate issues suggests a worldwide halt to live music touring, but there exists much room for improvement. Both on their own and with the help of dedicated nonprofit organizations, many artists are taking positive steps toward mitigating the deleterious effects that touring exerts upon the environment.   

Smart tour planning is one way to lessen an artist’s carbon footprint.   Ed Sheeran ’s 2022 European run minimized flights between concert venues, making that leg of his tour the year's most environmentally efficient. Total carbon dioxide emissions (from flights and driving) on Sheeran’s tour came to less than 150 metric tons. In contrast,   Dua Lipa ’s tour during the same period generated 12 times as much — more than 1800 metric tons — of CO 2 .   

In July, singer/songwriter and four-time GRAMMY nominee Jewel will embark on her first major tour in several years, alongside GRAMMY winner Melissa Etheridge . During the planning stage for the 28-city tour, Jewel suggested an idea that could reduce the tour’s carbon footprint.

"I always thought it was so silly and so wasteful — and so carbon footprint-negative — to have separate trucks, separate lighting, separate crews, separate hotel rooms, separate costs," Jewel says. She pitched the idea of sharing a backing band with Etheridge. "I’ve been trying to do this for 25 years," Jewel says with a laugh. "Melissa is the first person who took me up on it! "  

The changes will not only reduce the tour’s carbon footprint, but they’ll also lessen the cost of taking the shows on the road. Acknowledging that there are many opportunities to meet the challenges of touring’s negative impact upon the environment, Jewel emphasizes that “you have to find [solutions] that work for you.”

Sheeran and Jewel aren’t the only popular artists trying to make a difference. A number of   high profile   artists have become actively involved in creating the momentum for positive change. Those artists believe that their work on sustainability issues goes hand in hand with their role as public figures. Their efforts take two primary forms: making changes   themselves, and advocating for action among their fans.   

The Climate Machine  

Norhan   Bayomi   is an Egypt-born environmental scientist at Massachusetts Institute of Technology and a key member of the   Environmental Solutions Initiative , a program launched to address sustainable climate action. She’s also a recording artist in the trance genre, working under the name   Nourey .   

The ESI   collaborates with industry heavyweights   Live Nation, Warner Music Group and others as well with touring/recording acts like   Coldplay   to examine the carbon footprint of the music industry. A key component of the ESI is the   Climate Machine , a collaborative research group that seeks to help the live music industry reduce carbon emissions. "As a research institution, we bring technologies and analytics to understand, in the best way possible, the actual impact of the music industry upon climate change," says John Fernández, Director of the ESI.   

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"I’m very interested in exploring ways that we can   bridge between   environmental science, climate change and music fans,"   Bayomi   says. She explains that the tools at the ESI’s disposal include "virtual reality, augmented reality and generative AI," media forms that can communicate messages to music fans and concertgoers. Fernández says that those endeavors are aimed at "enlisting, enabling and inspiring people to get engaged in climate change."  

The Environmental Solutions Initiative cites Coldplay as a high-profile success. The band and its management issued an   "Emissions Update" document   in June 2024, outlining   its   success at achieving their goal of reducing direct carbon emissions from show production, freight, band and crew travel.   The established target was a 50 percent cut in emissions compared to Coldplay’s previous tour; the final result was a 59 percent reduction between their 2022-23 tour and 2016-17 tour.   

A significant part of that reduction came as a result of a   renewable-energy   based battery system that powers audio and lights. The emissions data in the update was reviewed and independently validated by MIT’s Fernández.   

Change Is Reverberating  

Guitarist Adam Gardner is a founding member of Massachusetts-based indie rockers   Guster , but he's more than just a singer in a rock band. Gardner is also the co-founder of   REVERB , one of the organizations at the forefront of developing and implementing climate-focused sustainability initiatives.   

Founded in 2004 by Gardner and his wife, environmental activist Lauren Sullivan,   REVERB  began   with a goal of making touring more sustainable; over the years its focus has expanded to promote industry-wide changes. Today, the organization promotes sustainability throughout the   industry  in   partnership with music artists, concert venues and festivals.   

REVERB initiatives have included efforts to eliminate single-use plastics at the California Roots Music & Arts Festival, clean energy projects in cooperation with   Willie Nelson   and   Billie Eilish , and efforts with other major artists. Gardner has seen sustainability efforts grow over two decades  

"It’s really amazing to see the [change] with artists, with venues, with fans," Gardner says. "Today, people are not just giving lip service to sustainable efforts; they really want to do things that are real and measurable."   

The   Music Decarbonization Project   is one tangible example of REVERB’s successes. "Diesel power is one of the dirtiest sources of power," Gardner explains. "And it’s an industry standard to power festival stages with diesel generators." Working with   Willie Nelson , the organization helped switch the power sources at   his   annual Luck Reunion to clean energy. At last year’s festival, Nelson’s headlining stage drew 100 percent of its power from solar-powered batteries. "We set up a temporary solar farm," Gardner says, "and the main stage didn’t have to use any diesel power."   

Billie Eilish was another early supporter of the initiative. "She helped us launch the program," Gardner says. Eilish’s   set at Lollapallooza 2023   drew power from solar batteries, too.   

With such high-profile successes as a backdrop, Gardner believes that REVERB is poised to do even more to foster sustainable concerts and touring. "Our role now," he says, "isn’t just, ‘Hey, think about this stuff.’ It’s more how do we push farther, faster?"   

Adam Gardner believes that musicians are uniquely positioned to help make a difference where issues of sustainability are concerned. "When you’re a musician, you’re connecting with fans heart-to-heart. That’s what moves people. And that’s where the good stuff happens."   

Small-scale, individual changes can make a difference — especially when they’re coordinated and amplified among other concertgoers. Gardner provides real-world examples. "Instead of buying a plastic bottle, I brought my reusable and filled it up. Maybe I carpooled to the show." Conceding that such steps might seem like drops of water in a giant pool, he emphasizes the power of scale. "When you actually multiply [those things for] just one summer tour, it adds up," he says. "And it reminds people, ‘You’re not alone in this;   you’re   part of a community that’s taking action."   

Gardner understands that REVERB’s arguments have to be framed the right way to reach concertgoers.   "Look," he admits, "It’s a concert. We’re not here to be   a buzzkill . Our [aim] now is making sure people don’t lose hope." He says that REVERB and its partners seek to demonstrate that, with collective action and cultural change, there is reason for optimism.   

"There’s a wonderful feedback loop between hope and action," Gardner says with a smile. "You can’t really have one without the other."   

Sustainable Partnerships  

Tanner Watt is Director of Partnerships at REVERB; he works directly with touring artists to develop, coordinate and implement initiatives that bring together his organization’s objectives and the specific personal concerns of the artists. "I get to come up with all the fun, big ideas," he says with a wide smile.   

Watt acknowledges that like every concertgoer, each touring artist has a certain level of responsibility where sustainability is concerned.   "And everyone can be doing something," he says, noting a number of straightforward actions that artists can put in place while on tour.   "They can eliminate single-use waste. They can donate hotel toiletries that [would otherwise] hit the landfill."   

Watt stresses that artists can lead by example. "Nobody wants to listen to an artist telling them what to do if they’re not doing it themselves," he says. "But we believe that everybody cares about something." He suggests that if an artist has cultivated a following, "Why not use [that platform] to be that change you want to see in the world?"   

Each artist has his or her own specific areas of concern, but Watt says that there’s a base level of "greening" that takes place on every REVERB-affiliated tour. Where things go from there is up to the artist, in coordination with REVERB. Watt mentions Billie Eilish and her tour’s sustainability commitment. "The Venn diagram of food security, community health, access to healthy food, and the impact on the planet is a big cause for her," he says. " So   there’s plant-based catering for her entire crew, across the entire tour."  

Speaking to   Billboard , Eilish's mother Maggie Baird said championing sustainability starts with artists. "If artists are interested, it does really start with them telling their teams that they care and that it’s foremost in their thoughts." In the same conversation, Eilish called the battle for sustainability "a never-ending f–king fight."   

Watt acknowledges that with so many challenges, it’s important for a concerned artist to focus on the issues that move them the most, and where they can make the biggest difference. " Jack Johnson   is   a great example," he says. While Johnson is a vocal advocate for many environmental issues, on tour he focuses on two (in Watt’s words) "cause umbrellas": single-use plastics solutions and sustainable community food systems. Each show on the tour hosts tables representing local nonprofit organizations, presenting concertgoers with real-world, human-scale solutions to those specific challenges.   

Four-time GRAMMY winner   Brittany Howard   is another passionate REVERB partner. "Knowing that I wanted to make my tours more sustainable was a start," she tells GRAMMY.com, "but working with REVERB really helped me bring it to life on the road. REVERB has helped us with guidelines and a green rider to keep our stage, greenrooms and buses more sustainable."  

After listing several other specific ways that her tour supports sustainability, Howard notes, "By supporting these efforts, I am helping ensure future generations have access to clean water, fish, and all that I love about the outdoors." A dollar from every ticket sold to a Brittany Howard concert goes toward support of REVERB’s Music Decarbonization project. "I’m also excited to see industry-wide efforts that are reducing the carbon pollution of live music," Howard continues. "Because it’s not just [about] a single tour, it’s   every   tour."  

There’s a popular aphorism: "You can’t manage what you can’t measure."   From its start, REVERB has sought not only to promote change, but to measure its success.   "As long as I’ve been at REVERB, we’ve issued   impact reports ," says Tanner Watt. "We include data   points, and   give the report to the artists so they understand what we’ve done together." He admits that some successes are more tangible than others, but that it’s helpful to focus on the ones that can be quantified. "We’re very excited that our artists share those with their fans."   

Watt is clear-eyed at the challenges that remain. "Even the word ‘sustainable’ can be misleading," he concedes, suggesting that the only truly sustainable tour is the one that doesn’t happen. "But if folks don’t step it up and change the way we do business in every industry — not just ours — we’re going to get to a place where we’re forced to make sacrifices that   aren’t   painless." Getting that message across is REVERB’s aim. "We can’t stop the world," Watt says. " So   we find ways to approach these things positively."   

Watt says that the fans at concerts featuring Jack Johnson and the   Dave Matthews Band   — both longtime REVERB partners — are already on board with many of the sustainability-focused initiatives which those artists promote. "But there are lots of artists — and lots of fan bases — out there that aren’t messaged to, or have been mis-messaged to," he says.   "I’m really excited to find more ways to expand our reach to them, beyond mainstream pop music.   Because these are conversations that are meaningful for everyone, regardless of political affiliation or other beliefs."   

Reimagining The Planet’s Future  

Singer, songwriter and multi-instrumentalist Adam Met does more than front   AJR , the indie pop trio he founded in 2005 with brothers Jack and Ryan. Met has a PhD in sustainable development and is a climate activist; he's also the founder/Executive Director of   Planet Reimagined , a nonprofit that promotes sustainability and activism through its work with businesses, other organizations and musicians.   

"I’ve spent years traveling around the world, seeing the direct impact of climate change," Met says. He cites two recent and stark examples. "When we pulled up to a venue in San Francisco, the band had to wear gas masks going from the bus into the venue, because of forest fires," he says. AJR’s road crew had to contend with a flash flood in Athens, Greece that washed out their hotel. "And in Rome, some of our crew members fainted because of the heat."   

Encouraged by representatives from the United Nations, Met launched Planet Reimagined. Met’s approach focuses on tailored, city-specific actions to empower fans and amplify diverse voices in the climate movement. Through social media and live shows, Met strives to galvanize climate activism among AJR fans. And the methods he has developed can be implemented by other touring artists.   

Met points out that one of the most climate-unfriendly parts of the entire concert tour enterprise is fans traveling to and from the concerts. And that’s something over which the artist has little or no control. What they can do, he says, is   try   to educate and influence. Working closely with Ticketmaster and other stakeholders, Met’s nonprofit initiated a study — conducted from July to December 2023, with   results published in April 2024   — to explore the energy that happens at concerts. "In sociology," he explains, "that energy is called collective effervescence." The study’s goal is to find ways to channel that energy toward advocacy and action.   

Polling a quarter million concertgoers across musical genres, the study collected data on attitudes about climate change. "Seventy-three percent of fans who attend concerts believe that climate change is real, and that we need to be doing more about it," Met says. "Seventy-eight percent have already taken some sort of action in their lives." He believes that if his organization can activate even a fraction of the estimated 250 million people annually who attend concerts around the globe, "that’s the ballgame."   

Met’s goal is to do more than, say, get concertgoers to switch from plastic to paper drinking straws. "At   scale   those things make a difference. But people want to see actions where there’s a track record," he says; a return on investment.   

AJR will be putting a plan into action   on   the second half of their upcoming arena tour.   Part of the initiative is encouraging concertgoers to register to vote, and then actually vote.   Beyond that, Met has specific actions in mind. "At every single stop, we’re putting together materials around specific policies that are being debated at the local level," he explains. "We give people a script right there, so they can call their elected representative and say, ‘I want you to vote [a certain way on this issue].’"   

He believes the initiative will lead to thousands of people contacting – and hopefully influencing – their representatives.   With regard to sustainability issues, Met is convinced that "the most impact that you can have as an artist is when you give fans ways to pick up the mantle themselves."  

Artists Who Are Going On Tour In 2024: The Rolling Stones, Drake, Olivia Rodrigo & More  

Photo: ROBYN BECK/AFP via Getty Images

11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More

From Paul McCartney to Paramore, Emily Dickinson and even "Game of Thrones," read on for some of the major influences Taylor Swift has referenced throughout her GRAMMY-winning career.

As expected, much buzz followed the release of Taylor Swift 's 11th studio album, The Tortured Poets Department , on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record). 

Shoutouts abound in The Tortured Poets Department : Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and   Florence + the Machine ’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation -era feud with Kim Kardashian. 

Swift casts a wide net on The Tortured Poets Department , encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD , consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.

Stevie Nicks

If Taylor Swift is the chairman of The Tortured Poets Department , Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre- Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.

For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department . "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"

Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me " before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless . More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie .

Patti Smith

Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department . Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album. 

Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog .

Emily Dickinson

When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed !) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.

"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.

Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore ’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").

The Lake Poets

Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.

Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions . "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff . "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"

Paul McCartney

Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue . The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").

However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.  

The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.

From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore ’s Haim-assisted murder ballad "no body, no crime" and her own Lover -era collab with the band, "Soon You’ll Get Better.") 

In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter , Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"

"Game of Thrones"

When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."

"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."

Joni Mitchell

Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red , which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red ’s release, the country-pop titan gushed over Blue ’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."

Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights .

Fall Out Boy & Paramore

When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore . 

"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version) , which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams .

For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music. 

In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album

Photos (L-R): Buda Mendes/TAS23/Getty Images for TAS Rights Management, Jeff Kravitz/FilmMagic, Christopher Polk/Getty Images for Clear Channel

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

Editor’s note: This story was updated on April 19 to reflect the release of The Tortured Poets Department.

The world now knows Taylor Swift as a global pop superstar, but back in 2006, she was just a doe-eyed country prodigy. Since then, she's released 11 studio albums, re-recorded four as "Taylor's Version," and cultivated one of the most feverish fan bases in music. Oh, and she's also won 14 GRAMMY Awards, including four for Album Of The Year — the most ever won by an artist.

Swift has become one of music's most notable shapeshifters by refusing to limit herself to one genre, moving between country, pop, folk and beyond. A once-in-a-lifetime generational storyteller, one could argue that she is music's modern-day maverick, constantly evolving both her music and the culture around her.

Every album era has seen Swift reinvent herself over and over, which has helped pave the way for artists to explore other musical avenues. In turn, Swift hasn't just become one of the biggest artists of all time — she's changed pop music altogether.

To celebrate Taylor Swift's newest era with The Tortured Poets Department , GRAMMY.com looks back on all of her albums (Taylor's Versions not included) and how each era shaped her remarkable career.

Taylor Swift : Finding Her Place In Music

In a genre dominated by men, the odds were already stacked against Swift when she first broke into country music as a teenage female artist. The thing that differentiated her from other writers — and still does to this day — is her songwriting. She didn't want to be just "another girl singer" and knew writing her own songs would be what set her apart. 

Written throughout her adolescence, Taylor Swift was recorded at the end of 2005 and finalized by the time Swift finished her freshman year of high school. Serving as a snapshot of Swift's life and teenhood, she avoided songwriting stereotypes typically found in country music. Instead, she wanted to capture the years of her life while they still represented what she was going through, writing about what she was observing and experiencing, from love and friendship to feeling like an outsider. 

As a songwriter, Taylor Swift set the tone for what would be expected of her future recordings — all songs were written by her, some solely and others with one or two co-writers. One writer in particular, Liz Rose , applauded Swift's songwriting capabilities, stating that she was more of an "editor" for the songs because Swift already had such a distinct vision. 

The album's lead single, "Tim McGraw," an acoustic country ballad inspired by Swift knowing her relationship was going to end, represents an intricate part of Swift's songwriting process; meticulously picking apart her emotions to better understand them. With its follow-up, "Our Song" — which spent six consecutive weeks on the top of Billboard's Hot Country Songs chart — she became the youngest person to solely write and sing a No. 1 country single; she also became the first female solo artist in country music to write or co-write every song on an album. 

Although Swift's eponymous debut is underappreciated now — even lacking its own set on Swift's Eras Tour — Taylor Swift 's forthcoming rerecording is arguably the most anticipated by fans, who are eager to hear the songs with the singer's current and more refined vocals. Still, for fans who haven't properly explored Taylor Swift , it's easy to tie together Swift's earlier work to her current discography. 

On the track "A Place In This World," a song she wrote when she was just 13, Swift sings about not fitting in and trying to find her path. While her songwriting has developed and matured, feeling like an outsider and carving her own path is a theme she still writes about now, as seen on Midnights ' "You're On Your Own, Kid." 

Even as a new country artist, critics claimed that she "mastered" the genre while subsequently ushering it to a new era — one that would soon see Swift dabble in country-pop. 

Fearless : Creating A Different Kind Of Fairytale

If Taylor Swift was the soundtrack to navigating the early stages of teenhood, Fearless is Swift's coming-of-age record. More than its predecessor, Fearless blurs the line between country and pop thanks to crossover hits like "Love Story" and "You Belong With Me," yet still keeps the confessional attributes known in country songwriting. 

Most of Fearless is Swift coming to terms with what she believed love to be. On the album's liner notes, Swift says Fearless is about "living in spite" of the things that scare you, like falling in love again despite being hurt before or walking away and letting go. The 2008 version of Taylor wanted to "believe in love stories and prince charmings and happily ever after," whereas in Swift's Fearless (Taylor's Version) liner notes, she looks back on the album as a diary where she was learning "tiny lessons" every time there was a "new crack in the facade of the fairytale ending she'd been shown in the movies." 

Much of Fearless also sees Swift being reflective and nostalgic about adolescence, like in "Never Grow Up" and "Fifteen." Still wistful and romantic, the album explores Swift's hopes for love, as heard in the album's lead single "Love Story," which was one instance where she was "dramatizing" observations instead of actually experiencing them herself. 

Unlike the slow-burn of Taylor Swift , Fearless went straight to No. 1 on the Billboard 200 and stayed there for eight consecutive weeks. It won Swift's first Album Of The Year GRAMMY in 2010, at the time making her the youngest person to win the accolade at age 20. To date, it has sold 7.2 million copies in America alone. It might not be the romantic tale Swift dreamed of growing up, but her sophomore album signalled that bigger things were to come.

Speak Now : Proving Her Songwriting Prowess

Everything that happened after the success of Fearless pushed Swift from country music's best-kept secret to a mainstream star. But this meant that she faced more publicity and criticism, from naysayers who nitpicked her songwriting and vocals to the infamous Kanye West incident at the 2009 MTV Video Music Awards.

For the first time since becoming an artist, she was forced to reckon with the concept of celebrity and how turning into one — whether she wanted it or not — informed her own writing and perception of herself. No longer was she the girl writing songs like "Fifteen" in her bedroom — now she was working through becoming a highly publicized figure. Speak Now is the answer to those growing pains. 

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Read More: For The Record: How Taylor Swift's 'Speak Now' Changed Her Career — And Proved She'll Always Get The Last Word

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

Retrospective and reflective, Speak Now is an album about the speeches she could've, would've and should've said. From addressing the aforementioned VMA incident in the forgiving "Innocent" to a toxic relationship in "Dear John," Speak Now also hinted that her rose-colored glasses were cracked, but Swift (and her songwriting) was only becoming stronger because of it.

Red : Coming Into Her Own

Highly regarded as Swift's magnum opus, Red sees the singer shed the fairytale dresses and the girl-next-door persona to craft a body of work that has now been deemed as her first "adult" record. On Red, Swift focused on emotions evoked from a hot-and-cold relationship, one that forced her to experience " intense love, intense frustration, jealousy and confusion " — all feelings that she'd describe as "red." 

Unlike most of her previous writing that had been inspired by happy endings and fairytales, Red explores the lingering pain and loss that can embed itself within despite trying your hardest to let go. In her liner notes, she references Pablo Neruda's poem "Tonight I Can Write," stating that "Love is so short, forgetting is so long" is the overarching theme for the album. She plays with time — speeding it up in "Starlight," dabbling in the past in "All Too Well," and reframing it in "State of Grace" — to better understand her experiences. 

After releasing country-pop records, Red toed the line between genres more than ever before. Swift leaned further into the full pop territory by working with esteemed producers Max Martin and Shellback for the dubstep-leaning track "I Knew You Were Trouble," the punchy lead single "We Are Never Getting Back Together," and the bouncy anthem "22." But even when the pop power players weren't involved, her country stylings still leaned more pop across the album, as further evidenced with the racing deep cut "Holy Ground" and the echoing title track. 

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now , some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red 's successor, 1989 , like "Blank Space" and "Shake It Off."

Commercially, Red debuted at No. 1 on the Billboard 200 and sold 1.2 million copies in its first week, becoming the fastest-selling country album and making Swift the first female artist to have three consecutive albums spend six or more weeks at the top of the chart. The impact of Red extended beyond its own success, too. Often mentioned as a record that inspired a generation of artists from Troye Sivan to Conan Gray , Swift's confessional, soul-bearing authenticity set a new standard for straightforward pop music. 

1989 : Reinventing Into A Pop Genius

The night Red lost the GRAMMY for Album Of The Year in 2014, Swift decided that her next album would be a full-on pop record. After years of identifying as a country artist and flirting with pop, Swift departed her roots to reinvent herself, no matter what her then-label or critics had to say. And in true Swiftian fashion, turning into a pop artist didn't just prove her genre-shapeshifting capabilities — it further solidified her as an artist who is at her best when she freely creates to her desires and refuses to adhere to anyone.

1989 was lauded by critics for its infectious synth-pop that was reminiscent of the 1980s, yet still had a contemporary sound. Swift opted to lean more into radio-friendly hits, which resulted in songs like "Style," "Wildest Dreams," "Blank Space," and "Shake It Off," all of which became singles. And where some might trade a hit or two at the expense of their artistic integrity, Swift didn't falter — instead, her lyrics were just as heartfelt and intimate as they were on prior albums.

After exploring pop-leaning sonics she first found with Red , Swift worked with Martin and Shellback again on most of 1989 . This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights .

At the time, 1989 became Swift's best-selling album to date. It sold nearly 1.3 million copies within release week in the U.S., debuting atop the Billboard 200 and reigning for 11 non-consecutive weeks. The album also earned Swift several awards — including her second Album Of The Year GRAMMY, which made her the first female artist to ever win the award twice. 

Following the release of 1989 , Swift became a cultural juggernaut, and the album has had an omnipresence in music since. Swift didn't just normalize blending genres, but proved that you can create a sound that is uniquely yours by doing so. In turn, Billie Eilish , Dua Lipa and more pop stars have refused to conform or stick to what they've done prior. 

reputation : Killing The Old Taylor

For years, Swift was on a strict two-year cycle — she'd release an album one year, tour the next, and then release a new album the following year. But following the heightened scrutiny and highly publicized tabloid drama that followed the end of the 1989 era, Swift completely disappeared for a year. She stayed away from public appearances, didn't do any press, and missed the album schedule fans became accustomed to. It wasn't until summer 2017 when she returned from her media (and social media) blackout to unveil the fitting title for her new album: reputation .

Born as a response to the naysayers and name-callers, reputation follows Swift shedding her public image — which includes the pressure to be perfect, the drama, and the criticism — by declaring, "There will be no further explanation. There will just be reputation." Leaning on the same tongue-in-cheek songwriting techniques she used while penning "Blank Space," Swift wrote from the mindset of how the public perceived her.

When Swift released the lead single "Look What You Made Me Do," a song she initially wrote as a poem about not trusting specific people, many assumed the album would center on vengeance and drama. Although Swift said that the album has its vindictive moments — even declaring that the "old Taylor" is dead on the bridge of "Look What You Made Me Do" — it's a vulnerable record for her. Swift described reputation as a bait-and-switch; at their core, the songs are about finding love in the darkest moments. 

Swift still remained in the pop lane with reputation , largely leaning on Antonoff and the Martin/Shellback team. The sound almost mirrored the scrutiny Swift faced in the years prior — booming electropop beats, maximalist production and pulsing synthesizers dominate, particularly on "End Game," "I Did Something Bad," and "Ready For It…?" But the "old Taylor" isn't entirely gone on songs like "Call It What You Want," "So It Goes…" and "New Year's Day," where she lets her guard down to write earnest love odes.

Even after Swift spent some time away from the spotlight, the public didn't immediately gravitate toward her return. And even despite matching the 1.2 million first-week sales of her previous releases, some concluded that the album was her first commercial failure when compared to 1989 . With time, though, it became clear that the response to reputation became muddled with the public's overall perception of her at the time — some even claimed that Swift was ahead of her time with the album's overall sound.

For her 2023 TIME Person of the Year profile , Swift described reputation as a "goth-punk moment of female rage at being gaslit by an entire social structure." For years, she felt the pressure to be "America's Sweetheart" and to never step out of line. Writing reputation became a lifeline following the events that catalyzed it  — a way to shed the so-called snakeskin and make peace with however the public wanted to view her. 

Lover : Stepping Into The Daylight

After finding love amongst chaos with reput ation, Swift was learning to deal with the anxiety and fear of losing her partner — became a major theme of another aptly titled album, Lover . Both sonically and visually, Lover was a complete change from reputation . After touring reputation , Swift found that her fans saw her as "a flesh-and-blood human being," inspiring her to be "brave enough to be vulnerable" because her fans were along with her. Stepping away from the dark and antagonistic themes around reputation encouraged Swift to step into the light and be playful with her work on Lover .

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone. 

Looking at Lover retrospectively, it's an album that almost symbolizes a bookend in her discography. She was playful yet poignant, picking apart her past lyrics and feelings and looking at them with the perspective of someone who was once on top of the world, hit rock bottom, and survived in spite of it. This evolution is mentioned throughout Lover, particularly in a direct callback to 2012's Red , "Daylight," which sees her describe her love as "golden" rather than "burning red." 

Lover also marked the first time Swift divulged into politics and societal issues, like campaigning against Donald Trump, releasing the Pride-infused "You Need To Calm Down," and feeling disillusioned by the political climate with "Miss Americana & the Heartbreak Prince." Swift's documentary Miss Americana explores this change further, discussing how she regrets not being vocal about politics and issues prior, in addition to opening up about her body image issues and mental health struggles.

Lover became Swift's sixth No. 1 album in America, making her the first female artist to achieve the feat. But Lover was more than any accolades could reflect — it was Swift's transitional album in many ways, notably marking the first album that she owned entirely herself following leaving Big Machine Records for Republic Records in 2018.

folklore : Looking Beyond Her Personal Stories

After the pandemic started and Swift cancelled her Lover Fest, she spent the early stages of quarantine reading and watching a myriad of films. Without exactly setting out to create an album, she began dreaming of fictional stories and characters with various narrative arcs, allowing her imagination to run free. The result became folklore , 2020's surprise archetypal quarantine album.

Crafting a world with characters like the folklore love triangle between those in "betty" and "august," as well as Rebekah Harkness from "the last great american dynasty" (who once lived in Swift's Rhode Island mansion), was Swift's way of venturing outside her typical autobiographical style of writing. She'd see visceral images in her mind — from battleships to tree swings to mirrored disco balls — and turned them into stories, sometimes weaving in her own personal narrative throughout, or taking on a narrator role and speaking from the perspective of someone she had never met. 

She worked remotely with two producers — again working with her right-hand man Jack Antonoff, and first-time collaborator Aaron Dessner from The National . Some songs, like "peace," were recorded in just one take, capturing the essence and fragility in the song's story, whereas the lyrics for the sun-drenched "august" were penned on the spot as Swift was in her makeshift home studio in Los Angeles.

Another aspect that separated folklore from her previous work was the obvious decision not to create hits made for radio play, so much so that Dessner claimed that she made an anti-pop record at a time when radio wanted clear "bops." Sonically, it ventured into genres Swift hadn't explored much outside of a few folkier tracks on Lover . Rather than relying on mostly electronic elements, Swift, Antonoff and Dessner weaved in soft pianos, ethereal strings, and plucky guitars.

folklore 's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke , Gracie Abrams , and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year , making her the fourth artist in history to win three times in the Category. 

evermore : Embracing Experimentation

It was exciting enough for Swifties to experience one surprise album drop from Swift, an artist who typically has an entire album campaign calculated. So when evermore was released just six months after folklore , fans were in shock. 

Like its (literally) folklorian sister, evermore was a surprise release at the end of 2020, marking the first time Swift didn't have distinct "eras" between albums. She felt like there was something "different" with folklore , stating in a social media post that making it was less like she was "departing" and more like she was "returning" to the next stage of her discography. In turn, the album served as a similar escape for Swift as folklore did.

Bridging together the same wistful and nostalgic themes as heard on its predecessor, evermore sees Swift venture even further into escapism. She explores more stories and characters, some based in fiction like "dorothea," and some real, like "marjorie," written in dedication to Swift's grandmother. 

Evermore follows folklore 's inclusion of natural imagery and motifs, like landscapes, skies, ivy, and celestial elements. In contrast to the fairytale motifs and happy endings of Fearless , evermore saw Swift become fixated on "unhappy" endings — stories of failed marriages ("happiness"), lifeless relationships ("tolerate it"), and one-time flings ("'tis the damn season"). 

Sonically, evermore is a slight departure from its sister record; where folklore relies on more alt-leaning and indie-tinged sounds, evermore takes the sonics from all of Swift's past records — from pop to country to indie rock — and features all of them on one album. Country songs like "cowboy like me" and "no body, no crime" reaches back to Swift's earlier work in narrative building, seamlessly crafting a three-party story with ease. "Closure" is a "skittering" track that has the same energy as tracks like Lover 's "I Forgot That You Existed," whereas the ballad "champagne problems" is thematically reminiscent of Swift's Speak Now track "Back To December" where she takes responsibility for her lover's heartache. 

Working mostly with Dessner on evermore , Swift was emboldened to continue creating and opted to embrace whatever came naturally to them rather than limiting themselves to a sound. Swift felt a "quiet conclusion" after finishing up evermore , describing that it was more about grappling with endings of all "sizes and shapes," and the record represented a chapter closing. Even so, its poetic lyricism and mystical storytelling cleverly foreshadowed what was to come with subsequent albums, particularly The Tortured Poets Department .

Midnights : Encapsulating Her Artistic Magic

After coming out of the folklorian woods following folklore and evermore , fans and critics alike were intrigued to see what direction Swift would take on her next studio album. On Midnights , Swift leaves behind indie folk sounds and returns to the pop production of 1989 and Lover .

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover. 

Although the album is a departure from the two pandemic sister albums, the overall creation process didn't differ too much. In addition to working alongside Antonoff (and bringing Dessner in for the bonus-track-filled 3am Edition), Swift's worldbuilding is still the throughline that connects Midnights and Swift's recent albums, whether she's dreaming of a Parisian escape in "Paris" or using war imagery as a metaphor for the struggle of love in "The Great War."

Read More: 5 Takeaways From Taylor Swift's New Album 'Midnights'

Following the success with folklore and evermore , Swift's intrigue was at a then-all-time high upon the release of Midnights . Along with breaking several streaming records — including becoming the first album to exceed 700 million global streams in a week — it was Swift's 11th No. 1 debut on the Billboard 200, and was the highest-selling album of 2022 (and, remarkably, the second best-selling of 2023).

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work. 

As a result, there has arguably never been more excitement for a Taylor Swift album than for The Tortured Poets Department — especially because the announcement came on the heels of her lucky 13th GRAMMY win in February. Midnights helped further solidify Swift's larger-than-life status at the finale of the 2024 GRAMMYs, too, as she became the only artist in history to win Album Of The Year four times. 

The Tortured Poets Department : A Grief-Stricken Poetic Odyssey

It’s been a while since Swift has penned a full-fledged breakup album. On The Tortured Poets Department , she navigates the five stages of grief — denial, anger, bargaining, depression and acceptance — after her long-term relationship ended. Taking a page from the release of folklore and evermore , she dropped a double album and announced The Tortured Poets Department: The Anthology at 2 a.m. on release day. Throughout a total of 31 tracks, the prolific songwriter shelved the glittery pop radio-friendly tunes in favor of more subdued, synthy and heart-wrenching songs. 

On Instagram, Swift described the album as a collection of poetic songs that reflect the "events, opinions and sentiments from a fleeting and fatalistic moment in time," Swift pulled out the fountain and quill pens to craft songs about the "tortured poets" in her life — sometimes musing about lovers, sometimes taking aim at villains, and sometimes pointing the finger at herself. 

TTPD is also her most confessional album thus far. It pokes fun at so-called fans who overstep with her personal life ("But Daddy I Love Him"), says goodbye to a city that gave her a home ("So Long London"), and muses on how her own celebrity has stunted her growth ("Who's Afraid Of Little Old Me?"). To help explain this chapter of her life, Swift brings together a myriad of collaborators — from Stevie Nicks as fellow poetess, to duets with Florence Welch and Post Malone — and leans on real and fictional characters, like Clara Bow, Peter Pan ("Peter"), and Patti Smith .

In the same post, Swift declared that once she’s confessed all of her saddest stories, she’s able to find freedom. Yet The Tortured Poets Department (and its accompanying 15-track anthology) spends much time reflecting: she toys with her own lore, self-referencing past songs from albums like 1989 and poems from her reputation era. 

Fourteen years ago, Swift declared that she would never change, but she’ll never stay the same either. The Tortured Poets Department proves that in the throughline of Taylor Swift's many artistic eras is a commitment to exploration and a love of autobiographical lyricism.

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• 1 Taylor Swift Announces More Dates For 'Reputation' Stadium Tour
• 2 "Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'
• 3 The Environmental Impact Of Touring: How Scientists, Musicians & Nonprofits Are Trying To Shrink Concerts' Carbon Footprint
• 4 11 Artists Who Influenced Taylor Swift: Joni Mitchell, Stevie Nicks, Tim McGraw & More
• 5 Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Reputation Stadium Tour

• 1 Netflix original
• 3 Critical review
• 4 Awards and nominations
• 6 Setlist changes
• 7 Surprise songs
• 8 Special guests
• 10 Tour dates

Netflix original [ ]

On December 13, 2018, Taylor thanked everyone for her birthday wishes on Instagram and also announced that there was going to be a tour movie for the Reputation Stadium Tour that would be released on New Year's Eve, titled Taylor Swift: reputation Stadium Tour . It was filmed at the last Dallas/Arlington show, which was the final US leg date. It featured the surprise song " All Too Well ".

Taylor Swift designed her own stage, complete with an elevator, and a rapid changing room for her eight costumes.

The main screen was 110 feet tall and and made of 12 columns and 1,5OO LED tiles that split into 49 individual screens that moved depending on the song. The stage design is an X shape and it also features a B & C Stage that Taylor accessed with the floating constellation and snake gondolas during " Delicate " and the " Bad Blood "/" Should've Said No " mashup. The band played right behind the main screen and during certain parts of the show, the screen opened and the audience could see them.

During " Look What You Made Me Do ", there was a giant inflatable snake named Karyn on the stage as well as smaller inflatable snakes on the B & C Stage and for the show encore, a water fountain was installed on stage. There were also fire, smoke and fireworks effects throughout the show from the stage. The LED bracelets distributed to the attendees were interactive with the songs and stage visuals.

Critical review [ ]

"This might be her most astounding tour yet – even when she’s aiming for maximum stadium-rock razzle-dazzle bombast, she gives it all the vibe of a mass communion." - Rolling Stone

Awards and nominations [ ]

The Reputation Stadium Tour won five awards from eight nominations.

Set list [ ]

Official set list for the tour.

• " ...Ready For It? "
• " I Did Something Bad "
• " Gorgeous "
• " Style " / " Love Story " / " You Belong with Me "
• " Look What You Made Me Do "
• " End Game "
• " King of My Heart "
• " Delicate "
• " Shake It Off " (with Charli XCX and Camila Cabello )
• " Dancing With Our Hands Tied " (" So It Goes... " played at some shows)
• Surprise Song
• " Blank Space "
• " Bad Blood " / " Should've Said No "
• " Don't Blame Me "
• " Long Live " / " New Year's Day "
• Why She Disappeared (spoken poem interlude)
• " Getaway Car "
• " Call It What You Want "
• " We Are Never Ever Getting Back Together " / " This Is Why We Can't Have Nice Things "

Setlist changes [ ]

• On July 10, July 14, July 22, and many other dates, Swift performed " So It Goes... " instead of " Dancing With Our Hands Tied ".
• On July 14, Swift performed " Our Song " and " Wildest Dreams " a cappella after the levitating gondola used during " Delicate " malfunctioned. She did not go by the first B stage or do the crowd walk, and instead did every song she would've performed on the first B stage, on the C stage.
• On July 21, Swift performed " Clean " before the " Long Live "/" New Year's Day " mashup, because it was raining.

Surprise songs [ ]

The following songs were performed by Swift after " Dancing With Our Hands Tied ". The songs changed each night. A playlist of every surprise song is featured on streaming platforms called "Reputation Stadium Tour Surprise Songs Playlist".

• Glendale: " All Too Well "
• Santa Clara night one: " Wildest Dreams "
• Santa Clara night two: " The Best Day "
• Pasadena night one: " Red "
• Seattle: " Holy Ground "
• Denver: " Teardrops on My Guitar "
• Chicago night one: " Our Song "
• Chicago night two: " 22 "
• Manchester night one: " I Knew You Were Trouble "
• Manchester night two: " I Don't Wanna Live Forever "
• Dublin night one: " Mean "
• Dublin night two: " How You Get the Girl "
• London night one: " So It Goes... "
• London night two: " Fifteen "
• Louisville: " Mine "
• Columbus: " Sparks Fly "
• Landover night one: " State of Grace "
• Landover night two: " Haunted "
• Philadelphia night one: " Never Grow Up "
• Philadelphia night two: " Treacherous "
• Cleveland: " Babe "
• East Rutherford night one: " Welcome to New York "
• East Rutherford night two: " Fearless "
• East Rutherford night three: " Enchanted "
• Foxborough night one: " 22 "
• Foxborough night two: " Change "
• Foxborough night three: " Ours "
• Toronto night one: " Out of the Woods "
• Toronto night two: " Come Back... Be Here "
• Pittsburgh: " A Place in This World "
• Atlanta night one: " This Love "
• Atlanta night two: " The Lucky One "
• Tampa: " Invisible "
• Miami Gardens: " Breathe "
• Nashville: " Better Man "
• Detroit: " Jump Then Fall "
• Minneapolis night one: " Begin Again "
• Minneapolis night two: " Tied Together with a Smile "
• Kansas City: " The Story of Us "
• Indianapolis: " Forever & Always "
• St. Louis: " Hey Stephen "
• New Orleans: " Speak Now "
• Houston: " Wonderland "
• Arlington night one: " White Horse "
• Arlington night two: " All Too Well "
• Perth: " I Knew You Were Trouble "
• Melbourne: " I'm Only Me When I'm with You "
• Sydney: " 22 "
• Brisbane: " Starlight "
• Auckland: " Out of the Woods "
• Tokyo night one: " I Know Places "
• Tokyo night two: " Wildest Dreams "

Special guests [ ]

These artists joined Taylor on stage to sing a song together as a surprise to the fans.

• May 18, 2018 - Pasadena, California - Shawn Mendes - " There's Nothing Holdin' Me Back "
• May 19, 2018 - Pasadena, California - Troye Sivan - " My My My! "
• May 19, 2018 - Pasadena, California - Selena Gomez - " Hands To Myself "
• June 22, 2018 - London, England - Niall Horan - " Slow Hands "
• June 23, 2018 - London, England - Robbie Williams - " Angels "
• July 26, 2018 - Foxborough, Massachusetts - Hayley Kiyoko - " Curious "
• August 4, 2018 - Toronto, Ontario, Canada - Bryan Adams - " Summer of '69 "
• August 25, 2018 - Nashville, Tennessee - Tim McGraw and Faith Hill - " Tim McGraw "
• October 5, 2018 - Arlington, Texas - Maren Morris - " The Middle "
• October 6, 2018 - Arlington, Texas - Sugarland - " Babe "

Gallery [ ]

Tour dates [ ].

• 1 List of Taylor Swift's ex-boyfriends
• 2 List of songs
• 3 The Eras Tour

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Taylor Swift’s ‘Reputation’ Stadium Tour Setlist: Which Songs Made the Cut?

Yep, we’re ready for it! Taylor Swift kicked off her Reputation stadium tour on Tuesday, May 8 — and the setlist includes 24 of her biggest hits.

Related: Taylor Swift’s Celebrity BFFs!

The 28-year-old pop star performed 14 songs from her acclaimed 2017 album, Reputation , in addition to her previous singles and fan favorites. The only song she didn’t do from Reputation was “So It Goes.”

Swift and her opening acts, Camila Cabello and Charli XCX , played for a sold-out crowd of 59,157 fans at the University of Phoenix Stadium in Glendale, Arizona. The Grammy winner’s main set ran for more than two hours and found her performing on three separate stages. The main platform featured a 172-foot tall video screen that curved and continued into the floor.

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Related: Taylor Swift’s Song Lyrics Decoded

The Reputation tour is scheduled through November, with shows in North America, Europe, Australia, New Zealand and Japan. The U.S. dates include stops in Chicago, Atlanta, New Orleans and East Rutherford, New Jersey.

See the full setlist below, and tell Us which song you’re most excited to hear live!

1. …Ready for It? 2. I Did Something Bad 3. Gorgeous 4. Style 5. Love Story 6. You Belong With Me 7. Look What You Made Me Do 8. End Game 9. King of My Heart 10. Delicate 11. Shake It Off 12. Dancing With Our Hands Tied 13. All Too Well 14. Blank Space 15. Dress 16. Bad Blood 17. Should’ve Said No 18. Don’t Blame Me 19. Long Live 20. New Year’s Day 21. Getaway Car 22. Call It What You Want 23. We Are Never Ever Getting Back Together 24. This Is Why We Can’t Have Nice Things

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The Reputation Stadium Tour: Surprise Songs and Guests

The surprise songs, sometimes called secret songs or b-stage songs, they’ve become a hallmark of every Taylor Swift tour concert. It’s the time in which the Sparkly Dressed picks up the Sparkly Guitar (Sparkly Green in this era) and brings out a song from the vault. It’s a big vault, but somehow T-Swizzle has rummaged deep and brought some old cuts we thought we’d never hear again.

The surprise guests were rare but still amazing. Let’s not forget the amazing opening acts of Camila Cabello and Charli XCX.

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• May 8: University of Phoenix Stadium. Glendale, AZ. Taylor plays “All Too Well”.
• May 11: Levi’s Stadium. Santa Clara, CA. The Sparkly Dressed performs “Wildest Dreams”.
• May 12: Levi’s Stadium. Santa Clara, CA. Tay presents “The Best Day” on Mother’s Day Weekend.
• May 18: Rose Bowl. Pasadena, CA. The Princess in Red brings out Shawn Mendez to play “There’s Nothing Holdin’ Me Back” and plays “Red” on the b-stage.

• May 22: CenturyLink Field. Seattle, WA. Tay Sway gives us a rendition of “Holy Ground”.
• May 25: Sports Authority Field at Mile High. Denver, CO. The Songstress goes for “Teardrops on My Guitar”.
• June 1: Soldier Field. Chicago, IL. T-Swizzle plays “Our Song”.
• June 2: Soldier Field. Chicago, IL. The Blonde With The Sparkly Guitar was feeling “22”.
• June 8: Etihad Stadium. Manchester, United Kingdom. The Snake Queen plays “I Knew You Were Trouble”.
• June 9: Etihad Stadium. Manchester, United Kingdom. The Enchantress plays “I Don’t Wanna Live Forever”.
• June 15: Croke Park. Dublin, Ireland. The Blonde With The Green Guitar plays “Mean”.
• June 16: Croke Park. Dublin, Ireland. The Mother of Fighting Dragons performs “How You Get The Girl”.
• June 22: Wembley Stadium. London, United Kingdom. The Queen of Sparks brings out Niall Horan to play “Slow Hands”. She takes the b-stage to play “So It Goes”.

• June 30: Papa John’s Cardinal Stadium. Louisville, KY. T-Swizzle plays “Mine”.
• July 7: Ohio Stadium. Columbus, OH. The Sparkly Dressed performs “Sparks Fly”.
• July 10: FedExField. Washington, DC. The Princess in Red plays “State of Grace”.
• July 11: FedExField. Washington, DC.  The Snake Queen plays “Haunted”.
• July 13: Lincoln Financial Field. Philadelphia, PA. The Enchantress performs “Never Grow Up”.
• July 14: Lincoln Financial Field. Philadelphia, PA. The Blonde With The Guitar That Will Be Sparkly Again sang “Treacherous”.
• July 17: FirstEnergy Stadium. Cleveland, OH. Taylor sings “Babe” for the first time.
• July 20: MetLife Stadium. East Rutherford, NJ. T-Swizzle performs “Welcome To New York”.
• July 21: MetLife Stadium. East Rutherford, NJ. The Forever and Always Fearless One plays “Fearless”.
• July 22: MetLife Stadium. East Rutherford, NJ. The Enchantress plays “Enchanted”.

• July 27: Gillette Stadium. Foxborough, MA. The Fearless One sings “Change”.
• July 28: Gillette Stadium. Foxborough, MA. T-Swizzle performs “Mine”.
• August 3: Rogers Centre. Toronto, ON. The Songstress plays “Out of the Woods”.
• August 4: Rogers Centre. Toronto, ON. Taylor brings out Bryan Adams to sing “Summer of 69”. She also plays “Come Back, Be Here” live for the first time ever.
• August 7: Heinz Field. Pittsburgh, PA. The Mother of Fighting Dragons With You performs “A Place In This World”.
• August 10: Mercedes-Benz Stadium. Atlanta, GA. The Blonde With The Green Guitar Which Used To Be Sparkly plays “This Love”.
• August 11: Mercedes-Benz Stadium. Atlanta, GA. The Snake Queen plays “The Lucky One”.
• August 14: Raymond James Stadium. Tampa, FL. Taylor plays “Invisible”.
• August 18: Hard Rock Stadium. Miami, FL. The Enchantress plays “Breathe”.

• August 28: Ford Field. Detroit, MI. The Sparkly Dressed plays “Jump Then Fall”.
• August 31: U.S. Bank Stadium. Minneapolis, MN. The Blonde With The Guitar Of Indeterminate Color plays “Begin Again”.
• September 1: U.S. Bank Stadium. Minneapolis, MN. The Fearless One plays “Tied Together With A Smile”.
• September 8: Arrowhead Stadium. Kansas City, MO. The Mother of Fighting Dragons With You plays “Story of Us”.
• September 15: Lucas Oil Stadium. Indianapolis, IN. The Forever and Always Fearless One plays “Forever and Always”.
• September 18: The Dome at America’s Center. St. Louis, MO. Taylor plays “Hey Stephen”.
• September 22: Mercedes-Benz Superdome. New Orleans, LA. T-Swizzle performs “Speak Now”.
• September 29: NRG Stadium. Houston, TX. The Enchantress plays “Wonderland”.
• October 5: AT&T Stadium. Arlington, TX. T-Swizzle brings out Maren Morris to play “The Middle” and plays “White Horse” on the b-stage.

• October 19: Optus Stadium. Perth, Australia. The Blonde With the Snake Microphone sings “I Knew You Were Trouble”.
• October 26: Etihad Stadium. Melbourne, Australia. Taylor sings “I’m Only Me When I’m With You”.
• November 2: ANZ Stadium. Sydney Olympic Park, Australia. The Blonde With The Sparkly Guitar was feeling “22”.
• November 6: The Gabba. Brisbane, Australia. T-Swizzle plays “Starlight”.
• November 9: Mt Smart Stadium. Auckland, New Zealand. The Songstress plays “Out of the Woods”.
• November 20: Tokyo Dome. Tokyo, Japan. The Snake Queen sings “I Know Places”.
• November 21: Tokyo Dome, Tokyo. Japan. The Sparkly Dressed performs “Wildest Dreams”.

(Source: The Swift Agency)

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Average setlist for tour: reputation Stadium Tour

• Song played from tape Bad Reputation ( Joan Jett and the Blackhearts  song) Play Video
• Song played from tape reputation Play Video
• ...Ready for It? Play Video
• I Did Something Bad Play Video
• Gorgeous Play Video
• Style / Love Story / You Belong With Me Play Video
• Song played from tape Look What You Made Me Do Play Video
• Look What You Made Me Do Play Video
• End Game Play Video
• King of My Heart Play Video
• Delicate Play Video
• Shake It Off Play Video
• Dancing With Our Hands Tied Play Video
• So It Goes... Play Video
• Blank Space Play Video
• Dress Play Video
• Bad Blood / Should've Said No Play Video
• Don't Blame Me Play Video
• Long Live / New Year's Day Play Video
• Song played from tape Why She Disappeared Play Video
• Getaway Car Play Video
• Call It What You Want Play Video
• We Are Never Ever Getting Back Together / This Is Why We Can't Have Nice Things Play Video

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Countdown to Taylor Swift's Reputation Tour! Meet All of Her Backup Dancers

Taylor Swift's Reputation tour kicks off May 8 in Glendale, Arizona

Taylor Swift is ready to shake it off on stage with her latest group of backup dancers.

The "Delicate" singer took to Instagram earlier this week to introduce her tour dancers and gave fans a taste of the talent who will be breaking it down on stage with her beginning next month .

"Say hi to the reputation Stadium Tour dancers!! Been spending my days rehearsing with these overwhelmingly talented people. 28 DAYS TIL GLENDALE AZ," Swift, 28, captioned the photo .

Swift's Reputation tour kicks off May 8 in Glendale, Arizona with opening acts Camila Cabello and Charli XCX , and will take her across the U.S., England, Ireland, Australia and New Zealand through November.

Meet the pop star's 16 backup dancers who have an enormous reputation for being the best in the biz.

RELATED VIDEO: Taylor Swift Releases New Album 'Reputation'

Maho Udo was born in Kyoto, Japan and made the move to New York to pursue his dancing career in 2005 at age 18. With a wide-ranging dance background in hip-hop, house, jazz, contemporary tap and ballet, he's had the opportunity to dance alongside Madonna in her Sticky & Sweet Tour in 2009, four of Jason Derulo's tours, Swift's 1989 World Tour and, most recently, in Justin Timberlake 's Super Bowl LII halftime show.

Grant Gilmore

Gilmore displays a unique sense of style both on and off stage. Aside from breaking it down in the classroom, the fashion-forward dancer grooved alongside Rita Ora at the 2017 Teen Choice Awards .

Stephanie Mincone

The 21-year-old dancer was first thrust into the spotlight when she was mistaken for Sia 's muse Maddie Ziegler at Coachella in 2016. Aside from starring in Sia's "The Greatest" music video, Mincone danced with Nick Jonas during the 2017 American Music Awards .

Nadine Olmo

Olmo began dancing at just 4 years old. After attending high school in California, she made the move to New York City to pursue her passion when she received a scholarship to the Broadway Dance Center program before heading back to Los Angeles to put her skills to work. Infiltrating the underground dance scene, she learned moves in all areas of hip-hop house, contemporary and more.

Kim "Toshi" Davidson

Born and raised in Queens, New York, Toshi moved away from the city to study at Las Vegas Academy. As a stand-out with his incredible moves and blonde-tipped hair, the dancer found a friend in Swift's backup dancer Udo. Toshi has also danced on the stage alongside Jabbawockeez, Camila Cabello and many more.

Jake Roark Kodish

Kodish is more than a dancer. Rather, he labels himself a "professional life liver, international dance instructor, world traveler and choreographer." First making his mark in Hollywood during the 2012 film Step Up Revolution , Kodish has had great success since then dancing around the globe and at some of the most iconic landmarks.

Robert Green

Green's list of accomplishments is endless. When he was selected to be one of 12 male dancers to dance with Swift for her 1989 World Tour, he broke the internet by sharing a tear-jerking viral video of a phone call to his mother revealing the news. Since then, he's gotten the opportunity to dance for some of the most influential artists in the industry, including Justin Timberlake, Selena Gomez , The Weeknd , Mary J. Blige , Ricky Martin , Pitbull , Ellie Goulding , as well as the chance to choreograph for Tove Lo and Charli XCX.

Jake Landgrebe

Tumbling, tap and a hip hop class for boys at a local studio — and the rest is history. Landgrebe has been dancing since he was 5. Not only is he a dancer for artists such as Justin Bieber and Janet Jackson , but he also danced behind the screen in the final season of Glee on FOX — acting and dancing as a Dalton Academy Warbler — and as a character dancer in the Just Dance video game franchise.

Giuseppe Giofrè

Giofré made his professional debut in 2012 when he competed on the Italian reality talent competition Amici . As a true jack of all trades, the Italy native released his debut single "Break" to YouTube, as well as his album Call on Me in 2013. Making his mark as a professional hip-hop dancer, Giofré performed alongside Swift on her 1989 World Tour and can be seen dancing at many other entertainment events like the 2014 Emmys and the 2015 People's Choice Awards.

Mark Villaver

Swift stays true to the talent she trusts, and Villaver is another returning act from both her Red Tour and 1989 World Tour. In 2012, the Hawaiian native made his move to Los Angeles to pursue a professional career in dance. His performance during the season 11 finale of American Idol gained him the recognition he deserved and landed him a permanent job on The X Factor . Later, he was chosen to be one of the top 10 dancers on season 14 of FOX's hit reality show So You Think You Can Dance . Villaver danced alongside Ariana Grande and Ricky Martin, as well as at several live awards shows such as the Video Music Awards , Billboard Latin Music Awards, American Billboard Awards , Grammy Awards and Brit Awards.

Christian Owens

"Round two with the beautiful boss @taylorswift ," as Owens put it on Instagram. Dancing since the young age of 13, the Atlanta native specializes in jazz and hip hop. From sweeping Rihanna off her feet on stage to choreographing routines for Demi Lovato and starring in Swift's "Bad Blood" music video, Owens' resume is truly impressive.

Smith is ready for her closeup! The 18-year-old Houston native got some screen time earlier this year when she danced behind Zedd and Maren Morris in their "The Middle" music video that made its debut during the 2018 Grammy Awards.

Gracie Stewart

Born and raised in Australia, Stewart discovered her passion for the arts before making the move to Los Angeles to make her dreams come true in acting, singing and dance. Stewart has danced for Justin Bieber, Selena Gomez, Kylie Minogue , Katy Perry , Rihanna, Ellen DeGeneres , Macy Gray, Ariana Grande, Iggy Azalea and Pharrell Williams . She can also be seen on the big screen in films including Happy Feet 2 as a digital motion actor and dancer.

Wada has been around the globe for many reasons other than dance. Born and raised in Tokyo, Japan, the professional dancer-choreographer took to the streets in Tokyo to show off her skills at the age of 15 with her friends. Wada ended up in New York City and, eventually, to Los Angeles to follow her dreams of becoming a dancer. She has worked with artists like Madonna, Britney Spears , Katy Perry and Jason Derulo, and has been on three world tours as a principal dancer, specializing in a mix of house, hip-hop, vogue, whaack and contemporary.

Yorelis Apolinario

Beauty and the beats! The Tampa-based dancer discovered her talent for hip hop at 8 years old before exploring other styles such as ballet, jazz and contemporary. In 2015, Apolinariomade it to the top 14 dancers on season 12 of Fox's So You Think You Can Dance.

Christian Henderson

Lucky number three! After dancing on Swift's Red Tour, Henderson was asked to join her 1989 World Tour.

At one of the pop star's 1989 shows in Pittsburgh, Pennsylvania in 2015, the dancer made an unforgettable face during a performance of her hit "Bad Blood," which Swift took to social media to call his expression "worse and worse/better and better."

Related Articles

As Expected, Louisiana Gets Sued For Ten Commandments Stunt

Rights groups expressed outrage and promised legal action on Wednesday as Louisiana became the only state to require that the Ten Commandments be displayed in public classrooms.

The law requires all public classrooms, from kindergarten to university-level, to display the commandments in "large, easily readable font" by the start of 2025. Republican Gov. Jeff Landry signed House Bill 71 into law Wednesday after declaring recently that he "could not wait to be sued."

Rights groups immediately condemned the law and vowed to challenge it. In a joint statement , the national and state ACLU as well as the Freedom from Religion Foundation and Americans United for Separation of Church and State called the law "blatantly unconstitutional"—a violation of the separation of church and state.

The religious diversity of Louisiana schools must be respected, the groups said.

"Our public schools are not Sunday schools," the statement said, "and students of all faiths, or no faith, should feel welcome in them."

Yes, Louisiana's new law requiring public schools to post the Ten Commandments in every classroom is unconstitutional, and yes, the @ACLU and @ACLUofLouisiana will be suing to stop it. See you in court, Louisiana. https://t.co/GsOLktVOv7 — Heather Lynn Weaver (@HeatherWeaverDC) June 19, 2024

To strengthen the law against legal challenges, Republicans framed the requirement as a way of teaching American history. The law's language declares the Ten Commandments to be one of the "foundational documents of our state and national government"—a claim many critics dispute.

The commandments must be displayed with a "context statement" declaring that they "were a prominent part of American public education for almost three centuries." The law offers schools the option to also display the Mayflower Compact, the Declaration of Independence, or the Northwest Ordinance.

Lawmakers in Texas, Oklahoma, and Utah have recently proposed similar bills regarding the display of the commandments, The Associated Press reported .

In 1980, the U.S. Supreme Court struck down a similar law in Kentucky, citing the establishment clause of the U.S. Constitution, which allows for no laws "respecting an establishment of religion."

Landry took office in January, replacing Democratic Gov. John Bel Edwards, who had for eight years stymied the agenda of Republican lawmakers. This year, they've brought forth a "flurry of conservative legislation," according to The New York Times .

It is not clear how the U.S. Supreme Court will treat the 1980 precedent. In recent years the court has consistently supported religious rights. In 2022, the six conservative justices ruled that a football coach in Washington who prayed with his players after games was protected by the First Amendment.

The new law—enacted Wednesday amid rising fears of Christian nationalism and its proponents crafting laws across the United States—sparked anger and mockery on social media.

"Apparently Louisiana has enough surplus budget money to defend ridiculous laws?," X user Patti Ringo wrote on the platform.

"The regression of America continues," another X user, David Poland, wrote . "How long will women and people of color be trusted with the vote?"

Even Christian groups have come out against the law. In late May, a group of more than 100 pastors and churchgoers sent Landry an open letter calling for him to veto the bill, arguing that it was not the place of the government to control religious education and that the law "disrespects religious diversity."

The group also criticized the authors of the law, which mandates exact wording of the commandments, for choosing an official version of the Ten Commandments, when different faith traditions have different versions and interpretations.

"To me that is a clear case of the government saying this religion is more important than the others," Rev. Jon Parks, senior co-pastor at University Baptist Church in Baton Rouge and a signer of the open letter, told The Advocate , a Louisiana newspaper. "There are places where the Ten Commandments belong—and the classroom is not it."

Republished from Common Dreams under Creative Commons (CC BY-NC-ND 3.0).

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Dina y las respiradas de nuca

Declaración de antología de la presidenta boluarte..

“Les estamos respirando en la nuca a los delincuentes”, dijo ayer la presidenta Boluarte . La imagen no deja de resultar extraña en boca de una mandataria que ha soslayado varias oportunidades para evitar que las organizaciones criminales campeen en el norte del país, donde cada día cobran una víctima más. O en el sur del Perú, en el que las operaciones de sicariato, trata de personas y cobro de cupos se multiplican. También en Lima estos golpes inciertos contra la delincuencia solo hacen sentir más desasosiego y temor a los vecinos, ante la falta evidente de un plan y la poca consistencia de los anuncios.

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Y es más grave aún porque en el Congreso se aprueban medidas que agravan la situación, básicamente porque se está alterando el marco legal de la lucha contra la corrupción , el crimen organizado, la colaboración eficaz y solo alientan y promueven mayor impunidad. La comunidad internacional y las organizaciones mundiales y regionales han advertido el retroceso. Desde el Ejecutivo no se ha intervenido, ni siquiera con un pronunciamiento, para frenar este accionar pro delito.

PUEDES VER: La prensa bajo constante amenaza del régimen

Un operativo mediático de madrugada no va a cambiar el curso de la situación, porque no ataca el fondo del problema. Solo se pretenden cámaras y exposición, sin el liderazgo necesario para desalentar el crimen y apuntalar la investigación y las labores de inteligencia.

Con un aparato policial desmantelado por razones políticas y las intentonas de infiltrar desde el poder las investigaciones contra la corrupción en marcha, no hay forma de detener el espiral de violencia y la ola criminal . Estamos advertidos.

Los artículos firmados por La República son redactados por nuestro equipo de periodistas. Estas publicaciones son revisadas por nuestros editores para asegurar que cada contenido cumpla con nuestra línea editorial y sea relevante para nuestras audiencias.

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¿qué hacer si estoy dentro de un siniestro, la república, copa américa 2024: ¿dónde ver los partidos de la selección peruana, embajadores de la unión europea visitan ayacucho para promover cooperación, comercio e impulso económico., carlincatura de hoy viernes 21 de junio de 2024.

Following delay during Brunett search, lawmaker calls for revision of AMBER Alert system

NEW ORLEANS (WVUE) - A Louisiana state representative is calling on Governor Jeff Landry and the head of state police to revise the process of issuing an AMBER Alert following the disappearance of two young girls from Loranger after their mother was found brutally stabbed to death .

Rep. Dixon McMakin (R-Baton Rouge) sent a letter to Gov. Landry and Louisiana State Police Colonel Robert Hodges on June 20. In it, he says the “AMBER Alert activation process in Louisiana is not as efficient or effective as it should be.”

He cited an apparent breakdown in communication between law enforcement officials on Thursday, June 13. The Tangipahoa Parish Sheriff’s Office issued a request for an AMBER Alert shortly after discovering the body of Callie Brunett in her home in Loranger. The alert was not sent out until nearly four hours later. State police say the initial application submitted was incomplete, which Sheriff Daniel Edwards disputed when asked about it.

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“Louisiana can set a new standard of excellence by modernizing the process,” McMakin continued. He suggests incorporating the use of “a digital data collection form with required fields rather than a PDF form that must be emailed or faxed with fields that can be left blank.”

“In AMBER situations, every second counts,” he wrote. “Preventing and dismissing false reports will be crucial.”

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Estos son los horarios y artistas del “Vive la salsa 2024″

Viernes y sábado, más de 30 artistas se presentarán en el parque simon bolivar, de la capital de la república..

Concierto Vive la Salsa, Bogotá junio 2024

Vicente Moros Ortega

Bogotá está lista para vivir la mejo r experiencia salsera con VIVE LA SALSA el Festival de festivales este 21 y 22 de Junio, el evento más esperado del año por primera vez en la capital colombiana, el cuál reunirá en el Parque Simón Bolívar, a 30 artistas de gran reconocimiento mundial, en 2 días de solo salsa, dos escenarios diferentes y más de 70.000 m² de experiencias.

Viernes 21 de junio Apertura de puertas: 3:00 pm @mickeytaveras @grupogale @tonyvegaoficial @bobby_cruz_oficial @charlieapontepr @gruponicheoficial @andymontanezpr @christianalicea @danieladarcourtoficial @titonievesoficial @davidpabonmusic @guayacanoficial

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Long a Republican state, Louisiana is redder than ever under new governor

Baton Rouge, La. — Louisiana has long been reliably red. The Bayou State has voted for the Republican candidate in every presidential election since 2000, with residents overwhelmingly supporting Donald Trump during the past two, and the GOP has held a majority in the statehouse for years.

But policies in the state have veered even further right under the leadership of Republican Gov. Jeff Landry, who has carried out a sweeping conservative agenda in just six months on the job. This week he signed the nation’s first law requiring that the Ten Commandments be posted in every public classroom. He enacted a new law classifying abortion pills as dangerous controlled substances. He has voiced support for a bill on his desk calling for a Texas-style immigration crackdown that could allow law enforcement to arrest and jail migrants who enter the U.S. illegally.

And lawmakers who have appreciated Landry’s tough law-and-order stance on issues such as new death penalty methods await his action on a first-of-its-kind bill allowing judges to order the surgical castration of rapists who prey on children.

The moves have made global headlines and firmly embedded Louisiana in the conservative movement on practically every issue animating the Republican base in 2024. Democrats are appalled at the message Landry is sending but some conservatives in Louisiana see the moves as a bold and powerful step as he raises his national profile.

“From about 500 miles away, it certainly appears that he has been effective very quickly,” said Matt Mackowiak, a Texas-based GOP strategist who has worked for two Congress members and a governor. “He has hit the ground running and the potential is really high.”

'Pent-up Republican policy preferences'

When Landry entered office in January, he did so with Republicans having secured every statewide elected position for the first time in nearly a decade.

With the help of the Legislature, he also upheld one of the country’s strictest abortion bans and pushed anti-LGBTQ+ policies, including Louisiana's version of a “Don’t Say Gay” bill.

While Landry hasn't indicated whether he will sign the Democrat-authored castration bill into law, many Republicans and several Democrats supported it.

GOP lawmakers, in turn, have often praised the former state attorney general and one-time congressman.

“It certainly gives you hope that your efforts are going to be productive when you’ve got a governor who you know where he stands on things and also know that there’s a good chance he will sign them,” said speaker pro tempore state Rep. Michael T. Johnson.

Johnson, who was elected to the House in 2019, described Landry as easy to work with, transparent and a leader who he believes will “move the state forward.” He added that the session was “more productive” because there were “clear and organized goals we were trying to accomplish.”

“I think what you saw in this latest legislative session is pent-up Republican policy preferences,” said Robert Hogan, a professor and chair of Louisiana State University’s political science department. “They opened up the floodgates and it started pouring out, with a lot of them very successful.”

Across the aisle, Democrats frequently decried Landry's efforts and the pace at which bills were passing, sometimes with little feedback from the public.

The LGBTQ+ community, which for eight years prior had an ally in the governor's mansion, has become one of Landry's harshest critics.

“It is definitely a different climate here in the Legislature, especially with Gov. Landry prioritizing these very harmful bills, pushing them through very fast and making it very difficult and uncomfortable to be here,” said SarahJane Guidry, executive director of the LGBTQ+ rights group Forum for Equality, said in an interview during the session.

Louisiana’s recent political shift was at times fended off by former Gov. John Bel Edwards, who couldn't immediately run again because of term limits.

Edwards, the only Democratic governor in the Deep South during his two terms, sought over eight years to steer the state toward more Democratic avenues by expanding Medicaid coverage, joining climate change initiatives and vetoing some of the measures that Landry has since signed into law.

Many voters seemed ready for the change Landry has brought, though. He won the election outright with 52% of the vote, obliterating the Democratic runner-up's 26%.

While not everyone wanted Landry for the job, many agree he has followed through on campaign promises — whether they support the policies or not.

“I'm not surprised one iota, this is completely what I expected when he became governor,” said Chris Dier, a high school teacher in New Orleans who has opposed a lot of Landry's initiatives. “I think a lot of the conversations before he even became governor were how do we respond to certain pieces of legislation when they pass.”

Eyeing a bigger stage?

In a time of Trump-era conservatives, some believe Landry could follow in the footsteps of other high-profile governors — becoming a national figure or running for higher office. His eagerness to put into place first-of-its-kind legislation, willingness to pick and enter national fights and tendency to court media coverage echo tactics employed by other politicians who rise to the national stage.

Pearson Cross, a political science professor at the University of Louisiana, points to Texas Gov. Greg Abbott and Florida Gov. Ron DeSantis as examples of where Landry could go.

“I think Jeff Landry is very comfortable with that kind of profile. I think he feels like he is standing up for the state and representing his constituents who are generally conservative — and perhaps pushing back against federal government overreach,” Cross said.

Like Abbott, Landry was a state attorney general for years before he became governor. He also, like DeSantis, spent time in the U.S. House of Representatives, though with a much shorter tenure.

But Landry, whose office declined an interview request from The Associated Press, has given little indication of where his future aspirations lie.

He recently joined Abbott and other Republican governors at Eagle Pass, a Texas town that has become the center of a turf war over immigration enforcement, to discuss the border crisis. He also headlined the Tennessee Republican Party’s annual fundraising dinner in Nashville last weekend.

He also signed a bill that hides from public records details about his schedule and/or those of his spouse or children on grounds of safety concerns. While not unusual, opponents argue the law will be used to hide who Landry meets with and where he travels to.

Chatter at the state Capitol is meanwhile swirling about whether Landry might be offered a cabinet position if Trump wins the presidential election in the fall. Steven Cheung, a spokesperson for Trump's campaign team, said there haven't been any discussions about who would serve in the administration. But, that hasn't stopped people from speculating.

“I think he has that (national recognition) and as it helps our state I certainly am glad, but I don’t want it to result in him leaving for a cabinet position,” Johnson said. “However, I think Louisiana has so much to offer, and if he can be an ambassador on a national level then I think absolutely that is positive.”