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Taylor Swift‘s “Anti-Hero” spends a second week at No. 1 on the Billboard Hot 100 songs chart. A week earlier, it debuted at the summit, as Swift made history as the first artist to claim the survey’s entire top 10 in a single frame.
Meanwhile, Rihanna roars onto the Hot 100 at No. 2 with “Lift Me Up.” The song is her 32nd top 10 and first since 2017.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Nov. 12, 2022) will update on Billboard.com tomorrow (Nov. 8). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
In the Oct. 28-Nov. 3 tracking week, “Anti-Hero,” released on Republic Records, tallied 35.6 million streams (down 40%), 37.6 million radio airplay audience impressions (up 17%) and 17,000 sold (up 28%, good for top Sales Gainer honors, aided by the availability of its instrumental version in Swift’s webstore Nov. 3), according to Luminate.
The single posts a second week atop the Streaming Songs chart; jumps 9-4 on Digital Song Sales; and dips 13-14 on Radio Songs. (As previously reported, this week’s Billboard airplay charts are the first using Mediabase-monitored data; this week’s Radio Songs chart incorporates data from former monitoring service BDS for Oct. 28-30 and from Mediabase for Oct. 31-Nov. 3, with Mediabase data to power the survey going forward).
Swift scores four songs in the latest Hot 100’s top 10, with “Anti-Hero” followed by “Lavender Haze” (2-6), “Midnight Rain” (5-7) and “Bejeweled” (6-9). Each song (and all 10 of her top 10s a week earlier) is from her new LP Midnights, which logs a second week at No. 1 on the Billboard 200 albums chart.
Rihanna blasts back to the Hot 100 as “Lift Me Up” debuts at No. 2 with 48.1 million in radio audience, 26.2 million streams and 23,000 sold in its first week, following its Oct. 28 release.
The ballad begins as Rihanna’s 32nd Hot 100 top 10, the fifth-most in the chart’s history.
Most Billboard Hot 100 Top 10s:59, Drake40, Taylor Swift38, Madonna34, The Beatles32, Rihanna30, Michael Jackson29, Elton John28, Mariah Carey28, Stevie Wonder27, Janet Jackson26, Justin Bieber25, Lil Wayne25, Elvis Presley (with the start of Presley’s career having predated the Hot 100’s inception)
Rihanna earns her first Hot 100 top 10 since 2017, when DJ Khaled’s “Wild Thoughts,” on which she and Bryson Tiller are featured, peaked at No. 2 for seven weeks that July-September. She first reached the top 10 with her debut hit “Pon De Replay,” which rose to No. 2 in July 2005. She boasts 14 No. 1s, the third-most after The Beatles’ 20 and Mariah Carey’s 19.
With “Lift Me Up,” Rihanna ties her best career Hot 100 entrance, and makes her best arrival as a lead artist, after Eminem’s “Love the Way You Lie,” on which she’s featured, debuted at No. 2 in July 2010 (and went on to reign for seven weeks).
“Lift Me Up” soars in at No. 2 on Streaming Songs, No. 3 on Digital Song Sales and No. 6 on Radio Songs. Notably, the song makes just the fourth top 10 Radio Songs start since the chart became an all-genre ranking in December 1998, after Adele’s “Easy on Me” (No. 4, 2021); Lady Gaga’s “Born This Way” (No. 6, 2011); and Janet Jackson’s “All for You” (No. 9, 2001).
Rihanna adds her 36th top 10 on Digital Song Sales, her record-extending 30th on Radio Songs (ahead of runner up Drake with 24) and her 15th on Streaming Songs. (Helping the song’s sales start, its original and instrumental versions were made available in Rihanna’s webstore Nov. 2, while original and instrumental options with two alternate covers arrived Nov. 3.)
The single also opens at No. 1 on the Hot R&B/Hip-Hop Songs and Hot R&B Songs charts, which use the same methodology as the Hot 100. Rihanna adds her eighth leader on the former list (dating to her first, “Take a Bow,” in 2008) and her sixth on the latter (which began in 2012). She had last topped both tallies with “Wild Thoughts” in 2017.
“Lift Me Up” is from the soundtrack, released Nov. 4, to Black Panther: Wakanda Forever, due in theaters this Friday (Nov. 11).
Sam Smith and Kim Petras’ “Unholy” rebounds 11-3 on the Hot 100, two weeks after it ascended to No. 1, with 40.8 million in airplay audience (up 53%, as it wins the Hot 100’s top Airplay Gainer award), 25.1 million streams (up 3%) and 12,000 sold (up 3%).
Steve Lacy’s fellow former Hot 100 leader “Bad Habits” jumps 12-4. The track concurrently tops the multi-metric Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts for an 11th week each.
Harry Styles’ “As It Was” pushes 16-5 on the Hot 100, after 15 weeks at No. 1 – the fourth-longest reign in the chart’s history. It claims its 30th week in the top 10, becoming just the third song to reach the milestone, and rules Radio Songs for a 12th frame (60.2 million, up 2%).
Elsewhere in the Hot 100’s top 10, Post Malone’s “I Like You (A Happier Song),” featuring Doja Cat, climbs 17-8, after reaching No. 3, and Nicki Minaj’s “Super Freaky Girl” charges 22-10, after it opened atop the Aug. 27 chart, as it tops the multi-metric Hot Rap Songs tally for an 11th week.
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Nov. 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Nov. 8).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Taylor Swift and Jack Antonoff took their history of musical collaboration to a new level on Monday (Nov. 7) when they unveiled a new version of the Midnights track “Anti-Hero,” featuring Antonoff’s solo project Bleachers.
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In the new version, Antonoff takes over the second verse, changing the viral “sexy baby” lyric to “art bro.” He sings, “Sometimes I feel like everybody is an art bro lately / And I just judge them on the hill / To hard to hang out talking s— about your famous baby / Pierce through the heart of 90s guilt.”
A sweet moment in the pre-chorus finds Swift singing, “Did you hear my covert narcissism I disguise as altruism / Like some kind of congressman,” before Antonoff assures her, “Taylor, you’ll be fine.”
In a post shared to Instagram announcing the new collaboration, Swift captioned a photo of the Grammy winning duo, “Jack’s version of ‘sexy baby’ is ‘art bro’ and we sincerely hope it confuses just as many people.”
Antonoff is credited with co-writing 11 of the 13 songs on the traditional version of Swift’s freshly released 10th studio album, Midnights, including the original version of “Anti-Hero.” In an Instagram post, Swift elaborated on the duo working on the project. “We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama,” she wrote. “Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past.”
See Swift’s “Anti-Hero (featuring Bleachers)” announcement below.
Taylor Swift is showering her BFF Selena Gomez with love following the release of her vulnerable My Mind & Me documentary on Friday (Nov. 4).
“So proud of you @selenagomez Love you forever [teary eyed emoji],” Swift wrote alongside a re-share of the film’s trailer on her Instagram Stories. See it here before it disappears.
Earlier this week, Gomez opened up on her newly curated SiriusXM Radio channel about her longtime friendship with the “Anti-Hero” singer. “The most influential artist, for me, it is kind of Taylor,” the singer said of her bestie. “Not because she’s my friend, but she has been an artist that can transition into so many different genres and she is able to do it seamlessly and I admire that so much. And that’s so rare. I love her process and I just admire all the work that she’s done. She’s definitely inspired me.”
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In her new Apple TV+ documentary Selena Gomez: My Mind and Me, the star goes deeper than ever before on her journey through mental health struggles. “I guess when we started to record footage of the Revival Tour, we initially thought that we were gonna do a concert tour video, and during the tour I had to cancel it because I was going through a lot of stuff personally. So we decided to stop,” she explained of the project’s origins.
“Then the Kenya trip kind of came up and we decided we wanted to record that trip. So it really wasn’t gonna be a documentary until the end when we filmed all the stuff and where I am now,” the singer continued. “I can tell that it was gonna be something bigger than just a puff piece…I want it to be about the conversation around mental health and ways that we can change the conversation. I feel like a human sacrifice. I’m like throwing my personal life in to hopefully have this conversation be bigger and transcend.”
Fans waiting to buy tickets to Taylor Swift’s Eras tour next week should expect two things: high demand and high prices. After all, it’s been five years and four albums since Swift toured, with her newest album, Midnights, on track to be the best-selling record of the year — earning Swift the title of first artist to ever have 10 songs dominate the top 10 of the Hot 100 chart.
That popularity means that Swift can set high prices for her tickets — most seats will be priced between $200 to $400, with floor tickets going for as much as $800 a piece. Platinum tickets will cost even more with some selling for thousands of dollars per ticket.
If there’s any consolation for the impending sticker shock, though — which has caused outcry over recent Bruce Springsteen and Blink-182 tours as well — it’s that unlike with some of Swift’s past tours, most of that money will be going into her pocket, and not scalpers.
Much like with album marketing and record-breaking sales, as well as revolutionary stances around artists owning their masters and streaming royalties, Swift has had a profound effect on the concert ticket market over the years. Throughout much of her early career, Swift was a master of pricing and marketing and distributing concert tickets to her growing fan base, who eagerly bought up tickets to tours arounds hit albums like Fearless and Red. Unfortunately, scalpers were buying up tickets too. By 2015, with her tour supporting Swift’s crossover pop album 1989, average prices on the secondary market were going for two to three times face value.
In 2016, promoter Louis Messina — who has been working Swift since she was 17 — had been celebrating the mega-successful 1989 tour, which grossed a staggering $250 million worldwide, when a well-known entertainment executive and friend bragged that he had made more on the tour than Swift or Messina. The executive enjoyed a far more profitable haul from the tour thanks to his ownership in a ticket scalping business that was selling 1989 tickets at a four-to-five-times markup. Messina and Swift had priced the tickets so low, and fan demand was so high that anyone flipping tickets for the concert was bound to make a big return.
The nexus between ticket prices at the box office and what ticket flippers can sell them for on sites like StubHub was also a problem that Live Nation chief executive Michael Rapino wanted to solve. Working with then Ticketmaster president Jared Smith, newly hired head of music David Marcus and company product engineers, the team developed an aggressive pricing strategy to make more money for artists by pricing tickets closer to what they would sell for on the secondary markets.
After piloting the program with Jay-Z in early 2018, Ticketmaster began implementing its new pricing strategy for Swift’s Reputation Tour later that year. Compared to the 1989 tour, the Reputation Tour average ticket price was only about 10% more, but the best seats in the venue were priced significantly higher than in past years, thanks to new Ticketmaster tools that allowed it to optimize a venue’s seat map on a seat-by-seat basis. Ticketmaster also created a fan identification tool for Swift called SwiftTix, which had fans register in advance for an opportunity to buy tickets during the show’s presale, with their place in line partially boosted by purchasing fan merch and posting about the Reputation tour online. Today, the pricing strategy Swift used has become a staple of how most major tours are priced to capture more profit for artists, while advance registration has become a staple of most high-demand shows. For the Eras tour, for example, fans who register in advance get first crack at tickets while those held onto tickets for Swift’s canceled 2020 Lover Fest shows received even higher priority access for the Nov. 16 onsale.
Swift initially faced massive backlash over higher-than-expected ticket prices for the Reputation Tour, as well as criticism that SwiftTix was a money grab at the expense of fans. She was excoriated in the press, bashed on Twitter and targeted by ticket brokers for allegedly ruining her career. Not long after tickets went on sale, Gary Adler, executive director of the North American Ticket Brokers association penned a piece called “Why Taylor Swift’s Reputation Tour Is a Total Disaster” saying Swift’s sales scheme was the “best example of how not to sell tickets to a large tour.”
Adler could not have been more wrong. By avoiding the urge to price tickets so that they would immediately sell out, Swift’s long game, higher priced approach brought in $345.7 million, making it one of the highest grossing tours of all time.
When Swift’s tickets go on sale next week, millions of fans will be waiting for a confirmation email to notify them when it is their turn to buy tickets and fans will collectively spend hundreds of millions of dollars buying up seats. Based on the size of the tour, the popularity of Swift and the five years since Reputation, some fans will not be able to get the seats they want or will not pay the asking price, either because they can’t afford it or because they do not think it’s worth the money.
Again, angry fans will go on Twitter to complain about soaring prices, rage at Ticketmaster and lament about how things used to be, when tickets cost less — and, as they’re likely to forget, when scalpers bought them up in a frenzy. And they can thank their favorite “Anti-Hero,” Swift, for helping to develop a ticketing model that shifted more money into the pockets of artists, instead of scalpers — raising upfront prices for fans in the process. Whether that’s a solution or a new problem altogether, those who do buy tickets are likely to be applauding next year anyway when she sings, “It’s me, hi, I’m the problem, it’s me.”
Taylor Swift is heading out on her The Eras tour next spring, and the celebration of her legendary career has got Swifties wondering how the 32-year-old pop star will fit all her albums into one setlist.
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Swift has also dropped six No. 1 albums totaling 86 new or previously unreleased songs since her last roadshow, the Reputation Tour, in 2018.
Over here at Billboard, we’ve already compiled our dream setlist for the upcoming The Eras tour, and now, we want to know what you think. Check out our setlist here, and let us know which of Swift’s hits you want to see her perform during the 2023 tour. Vote below.
Welcome to The Contenders, a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. This week (for the upcoming Billboard 200 albums chart dated Nov. 12): Taylor Swift’s record-setting Midnights enters its second frame, facing competition from rap star Kodak Black, rising country singer-songwriter Lainey Wilson, and a quartet of up-and-comers from Liverpool.
The Beatles, Revolver: Special Edition (Apple)
It was No. 1 for six weeks in September and October 1966, and 56 years later it could top the Billboard 200 again. The Beatles’ Revolver, widely regarded as one of the greatest rock albums of all time, was reissued on Oct. 28 in a new Special Edition, centered around a stereo remix of the album from Giles Martin (son of original Revolver producer George Martin) and Sam Okell.
The set comes in a variety of different packages: a five-CD (or four-LP plus one 7-inch vinyl) super deluxe version featuring dozens of bonus demos and sessions, a two-CD/LP deluxe version with 15 bonus “Revolver Sessions Highlights,” and a one-CD/LP version with just the original remixed album. (All versions of the album, old and new, are combined for tracking and charting purposes.) The Beatles have already released ambitious box sets dedicated to Sgt. Pepper’s Lonely Hearts Club Band, The Beatles (The White Album), Abbey Road and Let It Be — all of which returned to the Billboard 200’s top 10.
Kodak Black, Kutthroat Bill, Vol. 1 (Atlantic)
Billboard reported last week that hip-hop star Kodak Black will head to Capitol Records when his current deal with Atlantic is through — but he still owes the latter label two albums. The first of them dropped Friday: Kutthroat Bill, Vol. 1, the Florida rapper’s second 2022 release, following February’s Back for Everything.
Kodak is familiar with the Billboard 200’s top spot, as his 2018 album Dying to Live reigned for one week, while Back for Everything debuted at No. 2 behind the Encanto soundtrack. Kutthroat doesn’t have a crossover single as massive as those sets’ “ZEZE” and “Super Gremlin,” respectively — both of which reached the Billboard Hot 100‘s top five — but it does have a streaming-friendly 19 tracks, and a recent Hot 100 debut with the woozy advance single “Walk.”
Lainey Wilson, Bell Bottom Country (BBR)
“Lainey Wilson is the next superstar for the format,” proclaimed Charlie Cook, vp Country Format at Cumulus, to Billboard in September. Wilson will show how close she’s gotten to fulfilling that prediction with the release of Bell Bottom Country, her second album since signing to BBR. The set — which like her previous release is produced by Jay Joyce — is preceded by two hit Wilson duets from earlier this year: “Never Say Never” with Cole Swindell (a Country Airplay No. 1) and “Wait in the Truck” with HARDY. Neither cut appears on Bell Bottom Country, but her own “Heart Like a Truck” does — hitting a new peak of No. 23 on Country Airplay this week — as does a cover of ’90s rockers 4 Non Blondes’ karaoke classic “What’s Up?”
IN THE MIX
Baby Keem, The Melodic Blue (pgLang/Columbia): Reigning best new artist Grammy winner Baby Keem’s debut album has been on the Billboard 200 since it debuted at No. 5 in Sept. 2021, sitting at No. 105 on the current week’s chart. Expect it to climb higher next week, thanks to a deluxe reissue with seven new bonus tracks, including guest spots from streaming fixtures Don Toliver, PinkPantheress and Lil Uzi Vert.
The Grateful Dead, Dave’s Picks Vol. 44 (Rhino): The legendary jam band is a regular on the Billboard 200 with the Dave’s Picks series, which features live shows selected by Grateful Dead archivist David Lemieux. The most recent set, July’s Vol. 43, was the highest-charting on the Billboard 200 to date, reaching No. 11; if Vol. 44 makes the chart’s top 10, it would be the first Dead album to score that high since In the Dark hit No. 6 in 1987.
Smino, Luv 4 Rent (Zero Fatigue/Motown): The acclaimed R&B singer-songwriter’s third album is also his first since announcing the new partnership between his indie/collective Zero Fatigue and the iconic Motown label. The 15-track set includes collaborations with R&B sensations Lucky Daye and Ravyn Lanae, as well as rap superstars J. Cole and (again) Lil Uzi Vert.
Michael Jackson, Thriller (Epic): The best-selling original album in pop music history remains a Billboard 200 fixture; it’s No. 61 this week, in its 545th week on the chart. But it’s also a Spooky Season perennial, thanks largely to its eerie, Vincent Price-narrated title track. Last year the set jumped to No. 25 on the chart following Halloween, and it should be due for another big leap this November.
Rihanna made her long-awaited return to solo music last week when “Lift Me Up” from Black Panther: Wakanda Forever arrived, ending a drought that goes back to the 2016 release of her last album ANTI.
On the new Billboard Pop Shop Podcast, Katie & Keith are talking all about the emotional ballad, which serves as a tribute to late Black Panther star Chadwick Boseman. What has the response been to the song? Do we think she’ll have any more contributions to the Wakanda Forever soundtrack? And will these songs — or any other new songs — make an appear during her Super Bowl halftime headlining gig in February?
To hear about all this and more, listen to the podcast below.
Also on the show, we’ve got chart news on how Taylor Swift absolutely dominates both the Billboard 200 albums chart and the Billboard Hot 100 songs chart this week. Her Midnights album scores the biggest week for any album in nearly seven years, while she holds down the entire top 10 songs on the Hot 100 chart — the first time any act has done that — led by “Anti-Hero” at No. 1.
The Billboard Pop Shop Podcast is your one-stop shop for all things pop on Billboard‘s weekly charts. You can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop. Casual pop fans and chart junkies can hear Billboard‘s executive digital director, West Coast, Katie Atkinson and Billboard‘s senior director of charts Keith Caulfield every week on the podcast, which can be streamed on Billboard.com or downloaded in Apple Podcasts or your favorite podcast provider. (Click here to listen to the previous edition of the show on Billboard.com.)
Taylor Swift is heading out on her first tour in five years, as the superstar announced her The Eras Tour on Tuesday (Nov. 1).
The tour will be a celebration of all 10 of the studio albums Swift has released since 2006.The singer also shared a poster advertising the tour’s 27-date U.S. leg on Instagram featuring a collage of photos of herself through the years, from the time of her self-titled debut to Midnights, which dropped less than two weeks prior to the tour news.
“I wanted to tell you something that I’ve been so excited about for a really long time. I’ve been planning for ages and I finally get to tell you: I’m going back on tour,” Swift said on GMA, announcing the news. “The tour is called the Eras tour and it’s a journey through all of the musical eras of my career.”
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As can be expected, The Eras tour tickets will be one of the hottest on the market, so we’re breaking down everything you need to know so you can secure a seat at your local stadium. See below for presale information, Verified Fan signup, key ticket sale dates and more. Check out the full list of The Eras tour dates here.
When Do The Eras Tour Tickets Go On Sale?
Tickets for Taylor Swift’s The Eras tour will be available to purchase for the general public starting on Nov. 18 at 10 a.m. local venue time here.
When Does Taylor Swift’s Ticket Presale Start?
There are a number of ways to buy The Eras tour tickets before they go on sale to the general public. One of the easiest ways is by registering with Ticketmaster’s Verified Fan program here staring now through Wednesday (Nov. 9) at 11:59 p.m. ET. Registered fans who receive a code will have exclusive access to purchase tickets on November 15 starting at 10 a.m. local venue time.
Only fans that have received their unique code will have the chance to purchase tickets starting at $49 up to $449. VIP packages will start at $199 up to $899 on a first come, first served basis.
Additionally, those who purchased tickets to the cancelled Lover Fest through Verified Fan will also receive preferred access to participate in the presale, if you register with the same Ticketmaster account as your Lover Fest purchase.
Lastly, Swift is partnering again with Capital One a number of exclusive tickets are available for Capital One cardholders, who will have priority access to purchase tickets on November 15 at 2 p.m. local venue time through November 17 at 10 p.m. local venue time.
Keith Urban‘s a major Swiftie.
The country superstar and Taylor Swift go way back — they’ve been friends since she opened for him back in 2009 — but even he is blown away by her new album, Midnights, which he has listened to multiple times since it dropped Oct. 28 and deems it “extraordinary…This is among Taylor’s finest. This and 1989. Absolutely stunning, stunning pieces of work,” he says.
“The lyricism, the fresh meters as far as some of the cadences she sang,” he raves to Billboard about the set, which debuted at No. 1 on the Billboard 200 with the biggest week for an album in seven years. “Jack Antonoff’s production is just exquisite for a guy like me, who is obsessive over fine, fine details. If you put headphones on, as an audiophile like I am, I can swim in that album with no vocals on it. It’s just so beautifully put together like some kind of acid trip, Jackson Pollock painting. It’s just beautiful. Absolutely love it, top to bottom. I think it’s one of her best albums ever.”
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In an age when individual songs trump full albums, Midnights — which Swift described as “the stories of 13 sleepless nights scattered throughout my life” — is “the perfect example of why you make an album,” Urban says.
Swift and Urban have collaborated a number of times over the years. In 2012, Urban played guitar on Tim McGraw and Swift’s duet “Highway Don’t Care.” Then Urban appeared with Swift last year on gorgeous versions of “That’s When” and “We Were Happy” from the Taylor’s Version re-recording of her 2008 Fearless album. (They are two of the six additional songs on 2021’s Fearless [Taylor’s Version] that were written for the original but didn’t make it and were recorded fresh for the remake.)
“His music has inspired me endlessly,” Swift tweeted when she announced that he was on both songs. In 2015, she brought Urban onstage to perform his hits “John Cougar, John Deere, John 3:16” and “Somebody Like You” during her 1989 World Tour.
Urban reached out to Swift and Antonoff to tell them how much he loved their new work. He’s heard back from Antonoff but not Swift yet. “I think she’s a little busy,” he says with a laugh.
How is Taylor Swift going to pull this off?
Her new “Eras” tour, promising a journey “through all the musical eras of my career,” was announced Tuesday (Nov. 1) and will visit U.S. stadiums beginning in March 2023. But to consider what this tour’s setlist might resemble is like trying to understand the true size of our galaxy — there’s just so much … of everything.
There are synth-pop bangers, the acoustic slow burns, the twangy throwbacks, the fan-worshiped deep cuts — not to mention the fact that Swift has dropped six No. 1 albums totaling 86 new or previously unreleased songs since her last roadshow, the Reputation Tour, in 2018.
Where does one even begin to cobble together an ideal setlist that can represent her prolific catalog and celebrate her latest world-beater in Midnights? Right here, that’s where!
Below is our dream setlist, which visits all 10 of her studio albums, keeps past tour tendencies in mind, and still makes the spectacle somewhat manageable. By our count, she could blast through all these hits and medleys in about two-and-a-half hours — a reasonable show length, considering it’s her first trek in nearly five years.
This set would surely bring incredible highs and torrents of tears — what more could a Swiftie want? Until then, we’ll keep dreaming!