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At long last, Taylor Swift has arrived in Los Angeles for the final stop of her U.S. tour — or so fans thought.
Earlier on Thursday, August 3 — hours before the superstar would take the stage at SoFi Stadium — she announced a second leg of North American dates for 2024. The new dates include stops in Miami, New Orleans, Indianapolis and Toronto. “Turns out it’s NOT the end of an era,” Swift wrote on X (formerly known as Twitter).
And as she made perfectly clear on the first of her six-night run in L.A., slowing down is simply not in the cards. Neither is performing the same show night after night, as evidenced by the addition of two surprise songs to each set list, which Swift says is a fun way to challenge herself to dig deep into her extensive catalog — while also keeping fans on their toes, creating a sort of “gotta catch ’em all” energy.
But on Thursday, there was an even greater buzz radiating throughout the packed stadium as 70,000 fans poured in, many of whom were eagerly discussing rumors that Selena Gomez may make an appearance or that the next Taylor’s Version could be announced on this very night.
That’s the thing about the Eras Tour: it’s safe to expect the unexpected.
As it turns out, neither rumor was true. And yet, Swift’s opening night was nothing short of magical and filled with firsts, like having never performed at SoFi before or selecting a surprise song that she has never played live. And thankfully, it was all captured by a cameraman following her every move on stage, filming for something, as Swift managed to kick her power and poise into an even higher gear.
The night also included stellar opening sets from Gracie Abrams, who will join Swift on her 2024 dates, and HAIM. Of the sister trio, Swift said: “Not only are these three individuals my besties, but they’re my favorite band,” also noting it was a hometown show for the rockers.
“We have a lot to catch up on, musically speaking,” Swift said later on. “I haven’t toured in five years before the Eras Tour; This is the last city on the U.S. leg and we knew we wanted to end someplace special.”
And that is was. Below are the best moments from Swift’s opening night in L.A.
HAIM’s Not-So-Surprise Guest Appearance
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Taylor Swift teamed up with her frequent collaborator Aaron Dessner for the first live performance of “Right Where You Left Me” in Santa Clara, Calif., on Friday (July 28).
The live debut of the 2020 Evermore bonus track, which was co-written by The National frontman, arrived during the surprise songs portion of the pop superstar’s set at Levi’s Stadium. Prior to the performance, Swift warned Eras Tour concert-goers that it was one of her more challenging songs to play live.
“Because it’s one of our favorites, there’s more pressure on it,” Swift told the crowd. “Also, this is one of the wordiest songs. I have been rehearsing this for weeks, OK? And I’ve never, ever gotten it 100% right. Not even one time. If this is the time that I get it right, you have no idea what kind of celebration I’m going to be exhibiting after that. And also, this goes for you. If you can get all the words right to this song, you get to pat yourself on the back. You win an imaginary prize. It’s yours. We love this song and I hope that I somewhat do it justice.”
As expected, the songstress goofed up the lyrics before laughing it off and starting again where they left off. “It was too good to be true!” she said. “I knew that I would f— that up! We really can’t let that be it, so now we’ve got to go back.”
This isn’t the first time Dessner has appeared with Swift during the Eras Tour. The singer-songwriter has also popped up in several cities for onstage collaborations of “The Great War,” “Would’ve, Could’ve, Should’ve,” “Seven” and “Ivy.”
Swift’s second surprise song of Friday evening was the first live performance of “Castles Crumbling,” from her recently released album, Speak Now (Taylor’s Version), which debuted at No. 1 on the Billboard 200. The studio version of the track features Paramore‘s Hayley Williams, but Swift delivered the track solo on piano.
The North American leg of the Eras Tour will continue in Santa Clara on Saturday (July 29) and close with six shows at Los Angeles’ SoFi Stadium (Aug. 3-5 and 7-9).
Watch Swift and Dessner perform “Right Where You Left Me” here.
If Ginger Rogers did everything Fred Astaire did, but backwards and in high heels, then on Wednesday night (July 27) at her U.S. Summer Carnival tour kick-off in Cincinnati, P!nk did everything Rogers did, but in higher (sparklier) heels, while adding sideways, upside down and round-and-round into the mix.
The high-flying singer brought her signature aerial rig to a sold-out, sweltering Great American Ballpark for the second show of her summer extravaganza — it kicked off in Toronto on Monday night — singing flawlessly while boomeranging 100 feet in the air during a two-hour show that mixed joy, pain, pleasure and poignancy with pure spectacle.
Fans have come to expect the former gymnast to take to the air during her concerts, and while P!nk didn’t disappoint on that level during the show that featured spirited opening sets from Grouplove and Brandi Carlile, the singer also found moments to pay loving tribute to her late dad and her musical idol Sinead O’Connor, whose death was reported just hours before showtime.
Inviting Carlile up to join her, P!nk dueted on a reverent cover of O’Connor’s signature Billboard Hot 100 No. 1 hit, “Nothing Compares 2 U,” with both women summoning their full emotional range to pay homage to the supremely talented, complicated singer who died at age 56 of as-yet-undisclosed causes.
The solemn moment came amid a flashy spectacular that featured neon flamingo scooters and glowing grocery carts skittering around the stage and a mega-trampoline set-up on which dancers performed daring flips and spins to accompany the title track from P!nk’s most recent album, Trustfall. There were also several sweet moments when the singer kneeled down and stopped the show to acknowledge superfans who brought her homemade gifts, which she promised to find a place for at home.
Amid the expected hits (“Get the Party Started,” “Raise Your Glass,” “What About Us,” “F–kin’ Perfect,” “Never Gonna Not Dance Again”) there were some surprise covers and just plain silly moments during a show that featured enough different pink costumes to rival the Barbie movie.
Check out our favorite seven moments from the Summer Carnival show.
Radiohead, Joni Mitchell, Sade and Pat Benatar Cameos
Very few bands can play exciting international shows without a new album, but the beloved Café Tacvba can. Fresh off two back-to-back shows at the Hollywood Bowl, the mercurial Mexican group landed in New York on Monday (July 24) at Central Park’s Capital One City Parks Foundation SummerStage and captivated crowds with a dazzling two-hour show.
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Donning black jeans and matching long-sleeved shirt, frontman Rubén Albarrán commanded the stage from the start when he began to belt out “Seguir Siendo,” a rock masterpiece from their 2007 album SINO. The song, which runs through disparate vibes and emotions, with pensive chants and chilling howls, has the ability to hypnotize listeners instantly, in an almost shamanic way.
The summer night show began as clear as day at 8:00 p.m., a civil twilight, with blue skies and lush foliage. “Friends, look at this great afternoon, with the moon, the sky, and the trees in this wonderful place — thank you so much for bringing us here to Mexa York,” the frontman said with a chuckle.
Spanning through their three-decade discography, the band’s musical prowess was on full display throughout the evening. Their ability to seamlessly transition between different genres, from the raw power of rock to the soulful melodies of folk, was nothing short of impressive. Each band member brought their unique talents to the forefront, creating a harmonious blend of instruments that elevated the songs to new heights.
Here are five reasons why Café Tacvba is an enduring force in Latin music.
Their uncanny ability to evoke a range of emotions
Right from the jump, Café Tacvba has shown its ability to take us on a ride of emotions, from euphoric highs to devastating lows, with songs that span a wide range of stylistic configurations, such as rock balladry, folk, and electronica. In a way, the members — also comprised of Emmanuel del Real (keyboards), Joselo Rangel (guitar), and Enrique Rangel (bass) — convey a supreme musicality in the vein of musical greats (a Beatle-like quality, we dare to say), balancing moods with harmonic delivery that sounds equally as impressive in an outdoor setting as it does indoors with perfect acoustics.
Will Oliver/City Parks Foundation
Albarrán’s multifaceted voice
The band has written some timeless ballads like “María,” “Esa Noche,” “Quiero Ver” and “Diente de León”, which we had the pleasure of hearing on Monday. And Albarrán’s unparalleled, crystalline voice is capable of piercing your heart and soul. Equally, that same voice can turn harsh and raw, unleashing ominous growls — as evinced in songs like “Bar Tacuba,” “Futuro,” and “Déjate Caer” — that make you wonder if it’s all coming from the same person. Listening to the band’s two-hour set with such an eclectic set, and that voice, is truly an unforgettable experience.
Their charming, occasional silly choreography
The band has pulled out some of the funnest choreography of the Spanish-language rock game. Who else doesn’t shy away from busting some charmingly silly moves like we see on “Déjate Caer”? Then they do the duck walk somewhere in between their set, with the Rangel brothers pulling their heavy instruments near the ground with them, while still playing them. Albarrán does some kind of air split, dances and flirts with the crowd. Every band member is always active and vibrant, giving us visual entertainment with just their moves — which never feel forced, but just a sign of having fun on stage while engaging with the audience.
Their audience engagement
Mexican flags lofted high throughout the scene. Yet there were Colombians, Puerto Ricans, Brazilians, Ecuadorians, Argentinians and more in the house, people of all ages. Most in my immediate surroundings seemed to know most of Café Tacvba’s lyrics, singing along with them. They watched in awe during moments of serene vibes with their captivating ballads and rocked the heck out with them in the raucous numbers. The thousands in attendance were there to be engrossed by the show and it showed.
Their uniqueness and continued relevance
Although Cafeta has been around since the late 80’s, their songs still sound as vibrant as ever: That is their gift. Few bands have been able to evolve and transform, while staying true to themselves, with each album they release. From embracing their folk roots (Café Tacvba, Re) to becoming strange and experimental (SINO, El Objeto Antes Llamado Disco), their sound is unique and singular in concept and execution.
Nortec Collective Presents: Bostich + Fussible brought Baja California vibes to Lincoln Center’s David Rubenstein Atrium in New York City on Sunday night (July 23).
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Organized by the Baja California Institute of Culture and the state’s governor, Marina del Pilar Avila Olmeda, the two-hour show reminded audiences why the Tijuana duo is such an important electronic outfit, taking border culture to unimaginable heights.
“We are proud to have Baja Californians like Nortec who have been on the best stages in the world representing Baja California with their music, music that has undoubtedly made us dance in many corners of the planet,” Del Pilar told Billboard Español during the event. “Today we bring them to New York on this tour to promote our state, because Baja California is a magical place. We want to convey that music changes lives and has no borders.”
As part of an initiative to promote the beauty of Baja in a series of events highlighting Mexico’s gastronomy, wine, beer and handicrafts, Nortec’s music served as a point of reference for the originality that the region has to offer.
“We who are from Baja California are happy that [the government] is prompting these type of events,” said Fussible. “May they continue to bring more artists.”
The Nortec duo, which has a reputation performing at disparate events ranging from lavish international festivals to small dingy clubs, brought its unique fusion of Euro-style electronica with traditional norteña samples. They further enlivened the crowd with a full live band, consisting of an accordionist, a tuba and trumpet player, who got audiences to their feet.
Here are four reasons why Nortec will remain the enduring sound of border life and beyond.
Nortec made música norteña cool before it was trendy
Before the invention of trap corridos, sierreña music with an emo vibe, or the fusion of banda with rap (like Banda MS and Snoop), there was techno and norteño music, also known as Nortec. With a fascinating repertoire that highlighted more than two decades of intoxicating music, the duo proved their worth as pioneers of a genre that today deserves much more recognition.
Gemma Luz Sanchez
Nortec is symbolic of border culture
With stunning visuals depicting symbols of everyday border life — the vibrant folklore, the fence between the U.S. and Mexico adorned with art and crosses, playful images of stereotypes (like gun-toting ranchers) — the duo’s imagery is an integral aspect of the set. It also represents that hybrid culture in its sound, and what is associated with the region, such as banda music, norteño music, tambora, mixed with cultural exports like techno.
They continue to inspire new generations
Espectro Caudillo, an electronic music producer from Tijuana based in New York, doesn’t hold back when it comes to sharing how Nortec has influenced his work. “Nortec was always the benchmark for a successful electronic music project, because at one point Tijuana was the avant-garde city for electronic music in Mexico,” the producer tells Billboard Español. “The sound of Espectro Caudillo’s music is directly influenced by Nortec. Beyond setting the tone for a career, they are emblematic of a Tijuana generation of the 2000s.” The artist, formerly of Los Macuanos, will release his debut album La Liturgia del Tigre Blanco in October via Nacional Records.
The future of Nortec: Bostic + Fussible
This year the group celebrates 15 years of “Tijuana Sound Machine,” a song that put them on the international map and which continues to sound as vibrant as ever. Nortec is also keeping busy with plans to present new music in the upcoming months. “We’re going to do versions of Nortec but with a jazz context in the spirit of Herb Alpert & The Tijuana Brass,” says Bostich. “We’re going to present it in September in Ensenada, and bring something we haven’t done before.”
Like a number of cities across the U.S. this summer, Santa Clara, CA is getting ready for Taylor Swift‘s massive Eras Tour by giving itself a Swiftover. In this case, the Mission City’s Mayor announced this week that her town is gearing up for Swift’s July 28 and 29 dates at Levi’s Stadium by officially changing its name to “Swiftie Clara.”
According to the Mercury-News, on Tuesday night (July 18), Mayor Lisa Gillmor said in addition to the name change, the 33-year-old singer has also been named the honorary mayor in a proclamation that said the honor was being bestowed to “celebrate the positive local impact to the Santa Clara community, as well as the impact regionally, of Taylor Swift’s music, tours and extraordinary fanbase.”
Like so many Swifties who are paying tribute to the various Taylor eras with home-brewed costumes and arms full of friendship bracelets, Mayor Gillmor got into it at her press conference by wearing a light purple blazer in honor of last week’s release of Speak Now (Taylor’s Version). She also sported a friendship bracelet she got from a member of the city’s parks and rec staff that read “Swiftie Clara.”
“We’re thrilled to host an artist whose devotion to music and empowerment sets such a positive example for so many people of all ages in the world and that’s why we’re doing this,” Gillmor said, cueing up a video in which the mayor referenced a number of the singer’s most beloved hits. “So get ready to see ‘sparks fly’ as ‘the crowds in the stands went wild’ and to ‘shake it off’ while being a part of an unforgettable experience at Levi’s Stadium,” Gillmor said, in reference to the Swift songs “Sparks Fly,” “Long Live” and “Shake It Off.”
The two gigs at Levi’s Stadium are the penultimate stops on the U.S. run of the Eras Tour, which will wind down on August 3, 4, 5, 7, 8 and 9 at SoFi Stadium in Inglewood, CA.
Gillmor is just the latest mayor to hand over the keys to Swift, following in the footsteps of Minneapolis Mayor Jacob Frey, who last week said the city would temporarily switch up its name to Swiftieapolis, with Minnesota Gov. Tim Waltz proclaiming June 23-24 “Taylor Swift Days.” Pittsburgh was renamed “Swiftsburgh” for a week in early June and a road near Arrowhead Stadium in Kansas City, Missouri already named Swift Street was flipped to “Swift Street (Taylor’s Version).”