meta-scriptTaylor Swift's Road To 'Folklore': How The Superstar Evolved From 'Diaristic' Country Tunes To Her Most Progressive Music Yet | GRAMMY.com
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Taylor Swift's Road To 'Folklore': How The Superstar Evolved From 'Diaristic' Country Tunes To Her Most Progressive Music Yet

With her enchanting eighth album, 'folklore,' Taylor Swift celebrates five GRAMMY nominations and a praiseworthy return to what she does best: storytelling

GRAMMYs/Mar 10, 2021 - 10:56 pm

For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Taylor Swift, who's currently nominated for six GRAMMYs.

When we met Taylor Swift in 2006, it was immediately apparent that her songwriting approach was like ripping a page out of her diary.

"Just a boy in a Chevy truck/ That had a tendency of gettin' stuck/ On backroads at night/ And I was right there beside him all summer long/ And then the time we woke up to find that summer gone," she lamented in the first verse of her debut single, "Tim McGraw." The way the then-16-year-old Swift could turn personal anecdotes into instantly memorable hooks mirrored the prowess of an industry veteran, appealing to more than just the teenage girls that could relate to a short-lived high school romance.

Now, nearly 15 years later, Swift has introduced another layer of intrigue with a foray into indie folk, unveiling a pair of albums, folklore and evermore, last year. Recorded entirely in isolation after the COVID-19 pandemic hit in March 2020, folklore has been widely acclaimed as Swift's best album, touted for its intimate songwriting and cinematic dynamics; evermore has received similarly glowing reviews.

folklore was 2020's best-selling album and earned Swift five GRAMMY nominations at the 2021 GRAMMY Awards show, including her fourth Album Of The Year nod. (evermore will be eligible for the 64th GRAMMY Awards in 2022.) As her 10 previous GRAMMY wins suggest, though, this new chapter isn't an abrupt departure for the star—it's a masterful continuation of her evolution as a singer/songwriter.

If there's one thing that Swift has proven throughout her career, it's that she refuses to be put in a box. Her ever-evolving sound took her from country darling to pop phenom to folk's newest raconteur—a transition that, on paper, seems arduous. But for Swift, it was seamless and resulted in perhaps her most defining work yet. And folklore’s radiance relies on three of Swift’s songwriting tools: heartfelt balladeering, autobiographical writing, and character-driven storytelling.

While there was always a crossover element to Swift's pop-leaning country tunes, her transition from country starlet to pop queen began with Red. The album’s lead single, the feisty breakup anthem "We Are Never Ever Getting Back Together," was Swift's first release to reach No. 1 on the Billboard Hot 100 (and, ironically, scoffed "indie records much cooler than mine"). She declared a full pop makeover with 2014's 1989, but the response proved that her bold move was the right one: Along with spawning three more No. 1 hits, the project won Swift her second GRAMMY for Album of the Year.

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From there, 2017’s Reputation, a response to media scrutiny, and 2019’s Lover, an often bubbly exploration of all facets of affection, followed. Although they shared similarly grandiose production, Lover featured a handful of poetic ballads, including "The Archer," a self-reflective love song that teased Swift's folk sensibilities through storybook lyrics and ambient textures. 

Swift’s ballads are key in understanding the full essence of folklore. They’ve regularly marked standout moments on each of her albums, both thanks to her poignant vulnerability and rich tone. Fearless standout "White Horse" earned Swift two GRAMMYs in 2009; Red's painstaking "All Too Well" was an instant fan favorite; 1989's "This Love" and Reputation's "New Years Day" provided tenderness amid otherwise synth-heavy sounds.

The raw emotion she puts into her downtempo songs comes alive on folklore, introducing a new wave of neo-classical sonics that elevate her fanciful penmanship to an ethereal level. Whether or not Swifties saw a full indie-pop record coming—at least not yet—the shift isn't all that surprising. Folklore’s romanticized lyrics and relatively lo-fi production are arguably what many fans have been patiently waiting on.

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Lyrically, the super-personal nature of Swift’s music has always captivated fans and naysayers alike; diehards and critics dissected each of her albums for its real-life subjects and hidden meanings. While she played into those conspiracies at the time—whether she was revealing names in titles like "Hey Stephen" and "Dear John" or scathing the other girl on "Better Than Revenge"—even Swift herself admits that her teenage method had an expiration date. 

"There was a point that I got to as a writer who only wrote very diaristic songs that [it] felt unsustainable for my future moving forward," she told Apple Music's Zane Lowe in December of 2020. "It felt like too hot of a microscope ... On my bad days, I would feel like I was loading a cannon of clickbait when that's not what I want for my life."

That realization is what helped make folklore so memorable: Swift stripped away the drama to let her artful storytelling shine. Sure, there are occasional callbacks to personal happenings ("invisible string" references sending her exes baby gifts and "mad woman" alludes to her legal battle with Scott Borchetta and Scooter Braun). Still, she largely shies away from her autobiographical narratives to make way for her imagination.

"I found myself not only writing my own stories, but also writing about or from the perspective of people I've never met, people I've known, or those I wish I hadn't," Swift wrote in a letter to fans on social media the day folklore arrived. "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible."

folklore might be her first full project dedicated to creating characters and projecting storylines, but Swift has shown a knack for fantasy from the start. Tracks like "Mary's Song (Oh My My)" on her self-titled debut and "Starlight" on Red saw Swift craft stories for real-life muses ("Mary's Song" was inspired by an old couple who lived next door to Swift in her childhood; "Starlight" was sparked from seeing a picture of Ethel and Bobby Kennedy as teens). Even when songs did pertain to her real life, Swift often had a way of flipping memories into whimsical metaphors, like the clever clap-back to a critic on Speak Now's "Mean" or the rebound relationship in Reputation's "Getaway Car."

To think that we wouldn't have folklore without a pandemic is almost surreal; it's already become such a fundamental piece of Swift’s artistic puzzle. There was no telling what may have come after the glittering "love letter to love itself” that was Lover, but it seems isolation made the singer rethink any plans she may have had. 

"I just thought there are no rules anymore because I used to put all these parameters on myself, like, 'How will this song sound in a stadium? How will this song sound on radio?' If you take away all the parameters, what do you make?" she told Paul McCartney in a November Rolling Stone interview. "And I guess the answer is folklore."

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Even if she hasn’t been making indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists. Those included four songs by The National including "Dark Side of the Gym," which she references on folklore single "betty," and "8 (Circle)" by Bon Iver, Swift's collaborator on folklore's gut-wrenching "exile" as well as evermore’s title track. (“Exile” is one of folklore’s GRAMMY-nominated cuts, up for Best Pop Duo/Group Performance.)

The National’s guitarist Aaron Dessner co-wrote nine and produced 11 of folklore's 16 tracks, soundtracking Swift's imaginative tales with sweeping orchestration and delicate piano. Their partnership started with "cardigan," a melancholy take on teenage love that's up for Best Pop Solo Performance and the coveted Song of the Year. The team-up was a dream come true for Swift, a self-proclaimed National superfan and a career highlight for Dessner, who shared in an Instagram post about folklore that he's "rarely been so inspired by someone." He sees the album as a pivotal moment for both Swift's career and pop music.

"Taylor has opened the door for artists to not feel pressure to have 'the bop,'" Dessner shared with Billboard in September. "To make the record that she made, while running against what is programmed in radio at the highest levels of pop music—she has kind of made an anti-pop record. And to have it be one of the most, if not the most, successful commercial releases of the year that throws the playbook out.

"I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream," he continued. "Maybe radio will realize that music doesn't have to sound as pushed as it has. Nobody was trying to design anything to be a hit. Obviously, Taylor has the privilege of already having a very large and dedicated audience, but I do feel like it's having a resonance beyond that."

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Swift's other primary folklore collaborator was Jack Antonoff. He has been her right-hand man since they first paired up on 2013's promotional single "Sweeter Than Fiction" (Swift referred to him as "musical family" in her folklore announcement). Even after years of creating stadium-ready pop smashes, Antonoff said in his own folklore Instagram post, "I've never heard Taylor sing better in my life / write better."

As Swift recognizes herself, folklore ushered in a new way of thinking for the superstar that not only brings out her best, but sets a promising precedent for what's to come. "What I felt after we put out folklore was, 'Oh wow, people are into this too, this thing that feels really good for my life and my creativity,'" Swift added in her interview with Lowe. "I saw a lane for my future that was a real breakthrough moment of excitement and happiness."

Her enthusiasm is tangible on both folklore and evermore. Dubbed folklore’s sister record, evermore further expands Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also calls back to her country beginnings on tracks like the HAIM-assisted “no body, no crime,” as well as her pop expertise on more uptempo cuts like “long story short.”

Together, the albums are a momentous reminder that Swift is a singer/songwriter first. Her wordcraft is some of the most alluring of her generation, and that’s never been lost on her music, regardless of the genre she’s exploring. But now that Swift also feels she's at her best, it’s evident folklore was just the beginning of Taylor Swift in her finest form.

Explore This Year's Album Of The Year Nominees | 2021 GRAMMYs

Taylor Swift
Taylor Swift performs during "The Eras Tour"

Photo: Ashok Kumar/TAS24/Getty Images for TAS Rights Management

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Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

As we count down to Taylor Swift's 11th studio album release on April 19, feast on all the morsels GRAMMY.com has gathered about the Queen of Pop's upcoming "tortured poet" era.

GRAMMYs/Apr 12, 2024 - 03:19 pm

The dawn of Taylor Swift's "tortured poet" era is upon us. The reigning Queen of Pop is set to release her highly anticipated 11th studio album, The Tortured Poets Department, on Friday, April 19. 

Ever since she announced the new album during the 2024 GRAMMYs — while accepting her lucky 13th GRAMMY Award for Best Pop Vocal Album for Midnights —- Swifties have been meticulously analyzing every detail of her existence for clues about the release of The Tortured Poets Department.

Fortunately, Swift has been serving a lot of information to snack on. After revealing the cover art in an Instagram post before accepting her record breaking fourth win for Album Of The Year, she didn't stop the feast. From the full track list to a five-stage breakup playlist — and, of course, all the bonus tracks and special editions — here's all the breadcrumbs GRAMMY.com collected in preparation for The Tortured Poets Department

All The Art Is Black And White

The cover art for The Tortured Poets Department displays a black-and-white inset photo of Swift in repose on a stack of white pillows, with the album's title in uppercase white letters above her. The photography accompanying the album, including back covers and special editions, captures Swift in reflective solitude: standing before a body of water wearing an oversized white button-up, and in a pensive self-embrace against a stark black backdrop.

The photography for the album was shot by Swift's photographer since 2020, Beth Garrabrant, who also shot the covers of Swift's folklore, evermore, Fearless (Taylor's Version), Red (Taylor's Version), Midnights, Speak Now (Taylor's Version), 1989 (Taylor's Version). She's known for using a medium-format film photography that evokes an emotional closeness to her subjects — especially fitting for an album titled The Tortured Poets Department.

The Album Features Two Notable Collaborations

On GRAMMY night, alongside the album announcement, Swift posted the complete track list on her Instagram. The post included a photo of the album's back cover, showing a close-up of Swift with her hand on her forehead, overlaid with the text "I love you, it's ruining my life" in all-caps. 

The 16-track release has been split into four sides and also features collaborations with Post Malone on Side A opener "Fortnight" as well as Florence + The Machine on Side B's "Florida!!!" 

Check out the full track list:

**Side A**
“Fortnight” (feat. Post Malone)
“The Tortured Poets Department”
“My Boy Only Breaks His Favorite Toys”
“Down Bad”

**Side B**
“So Long, London”
“But Daddy I Love Him”
“Fresh Out the Slammer”
“Florida!!!” (feat. Florence + the Machine)

**Side C**
“Guilty As Sin?”
“Who’s Afraid of Little Old Me?”
“I Can Fix Him (No Really I Can)”
“loml”

**Side D**
“I Can Do It With a Broken Heart”
“The Smallest Man Who Ever Lived”
“The Alchemy”
“Clara Bow”


Bonus Tracks:

“The Manuscript”

“The Black Dog”

"The Albatross"

The Album Title Hints At Another Ex 

Mere moments after Swift dropped The Tortured Poets Department album name, the internet was ablaze with viral speculation that the title is derived from a play on ex Joe Alwyn's group chat, "The Tortured Man Club" with Paul Mescal and Andrew Scott. 

Alwyn and Mescal revealed their "club name" during an interview with Variety in December 2022 and it didn't take long for fans to connect the dots. Upon unearthing the tie-in, Swifties rushed to share memes and comment on the original interview across various social channels.

There Are Three Bonus Tracks (So Far)

Swift has revealed at least three bonus tracks for different editions of the album, each marked with its own "file name." The initial track list release, referred to as "The Manuscript," includes a bonus track sharing this name.  

On Feb. 23, Swift posted a slideshow on Instagram to promote a special edition named "The Albatross." It featured the bonus tracks and revealed the back cover, which presented a track list alongside a contemplative close-up of Swift overlaid with the question, "Am I allowed to cry?" 

Then, on March 3, she introduced the bonus track “The Black Dog” through a similar post that showcased new cover art, with the album's reverse side portraying Swift and the haunting text, "Old habits die screaming." 

Lyrics Have Already Been Shared

Unlike her previous album campaigns, Swift hasn't unveiled any music ahead of The Tortured Poets Department’s release — but she has dropped plenty of hints at the subject matter to come. Handwritten lyrics first appeared in the album announcement post, in a stack of papers inside a folder tabbed with a monogram of the album's name.

"And so I enter into evidence/ My tarnished coat of arms/ My muses, acquired like bruises/ My talismans and charms/ The tick, tick, tick of love bombs/ My veins of pitch black ink," is written above the sign-off, "All's fair in love and poetry… Sincerely, The Chairman of The Tortured Poets Department."

Then, in an Instagram story posted on April 8 — the date of the total solar eclipse — Swift shared an image of a typewriter loaded with a sheet of paper stamped with the words, "Crowd goes wild at her fingertips/ Half moonshine, Full eclipse." 

Swift Created Five Playlists To Mirror The Stages Of A Breakup

Gearing up for the release, Swift dropped a 5-part playlist series on Apple Music on April 5 featuring previously released work arranged in playlists that reflect the five stages of grief. The playlist for "Denial: I Love You, It’s Ruining My Life Songs," features hits including Midnight's "Lavender Haze," and Lover's "Cruel Summer" and "False God." 

The other playlists run through the emotional gamut with titles like "Anger: You Don’t Get to Tell Me About Sad Songs," the midpoint "Bargaining: Am I Allowed to Cry? Songs," "Depression: Old Habits Die Screaming Songs," and finally "Acceptance: I Can Do It With a Broken Heart Songs." Each one takes listeners on a Taylor Swift escapade through love won and lost, representing what many believe to be a musical voyage through Swift's stages of grief following the end of her relationship with ex Joe Alwyn. 

Each playlist also includes a description from Swift. For "Denial," it says, "This is a list of songs about getting so caught up in the idea of something that you have a hard time seeing the red flags, possibly resulting in moments of denial and maybe a little bit of delusion. Results may vary.”

As April 19 nears closer, take a deep dive into everything Swift has unleashed so far — and get ready for a lot more divulging once The Tortured Poets Department arrives.

All Things Taylor Swift

(Clockwise from top left): Metro Boomin, Taylor Swift, Bryson Tiller, Sinkane, St. Vincent, Tori Kelly, Future, TXT
(Clockwise from top left): Metro Boomin, Taylor Swift, Bryson Tiller, Sinkane, St. Vincent, Tori Kelly, Future, TXT

Photos: Taylor Hill/Getty Images; Kevin Mazur/Getty Images for The Recording Academy; Joseph Okpako/WireImage; Chloe Morales-Pazant; Mike Coppola/WireImage; Sasha-Samsonova; Prince Williams/WireImage; Peter White/Getty Images

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15 Must-Hear Albums In April 2024: Taylor Swift, Vampire Weekend, St. Vincent & More

April promises to shower listeners with heavy-hitting hip-hop, pop, country and rock releases. From Metro Boomin and Future's upcoming collab, to TOMORROW x TOGETHER's new minisode, get your April 2024 playlist ready with 15 exciting new releases.

GRAMMYs/Apr 1, 2024 - 01:24 pm

This year, April brings more than just showers to beget May flowers. Instead, there must be something in the stars: In the fourth month of 2024, four artists are releasing their fourth studio albums. These are pop-rock band X Ambassadors’ Townie, R&B singer Bryson Tiller’s Bryson Tiller, rapper PartyNextDoor’s P4, and Irish rockers Picture This’ Parked Car Conversations.

Numerology aside, April will also contemplate exciting new works from pop masters Taylor Swift, whose The Tortured Poets Department drops mid-month, and St. Vincent’s All Born Screaming, country star ERNEST’s Nashville, Tennessee, jazz master Kenny Garrett and electronic producer Svoy’s What Killed AI?, and — allegedly — the second part of Future and Metro Boomin’s first joint-effort, We Don’t Trust You.

There’s music for all tastes ready to fill your playlists for the rest of the year. Read on for 15 of the most exciting albums dropping in April 2024.

TOMORROW X TOGETHER - minisode 3: TOMORROW 

Release date: April 1

Luckily, fans of the K-pop quintet TOMORROW X TOGETHER (TXT) rarely have to wait for new music. Six months after releasing their third studio album, The Name Chapter: Freefall, the group is gearing up to release minisode 3: TOMORROW.

The seven-song EP is fronted by upcoming lead single "Deja Vu," which is said to mix trap, rage, and emo rock into their signature emotional intensity, as per a press release. The other tracks continue to expand the group’s versatility, experimenting with pop rock, house, and acoustic guitars. 

As usual, the concept of the album is connected to TXT’s overarching lore, and features several references to their past works — track "- --- -- --- ·-· ·-· --- ·–," for example, evokes their debut era where Morse Code was used in teasers and in the single "Crown."

TXT will embark on their Act: Promise World Tour starting May 3-5 in Seoul, South Korea, and then head to the U.S. for 11 shows across the country, including two dates at New York’s Madison Square Garden.

Conan Gray - Found Heaven

Release date: April 5

Gen Z popstar Conan Gray has Found Heaven. After 2022’s Superache, his upcoming third album was co-produced by legendaries Max Martin, Greg Kurstin, and Shawn Everett, among others.

Gray had been teasing the 13-track record since last year with a slew of buoyant, '80s-tinged singles ("Never Ending Song," "Killing Me" and "Lonely Dancers") and poignant, Elton John-esque ballads ("Winner," "Alley Rose"). "When I was making the album, I was really obsessively listening to music of that era," he explained to NME. "I think also, because it was a deeply emotional time, I was almost hiding from reality. I didn’t listen to a song from the 2020s during the making of this album."

To celebrate this new, holy era, Gray will be touring Australia in July, North America in September and October, and Europe and the UK in November. "I want people to know that I was having fun and goofing around, and I want you to smile and I want you to feel like you can just be yourself," he added. "I just want the album to be a reminder to people that you can be so many things all at once."

Sinkane - We Belong 

Release date: April 5

Ahmed Gallab, the Sudanese American multi-instrumentalist behind Sinkane, has built his discography resisting musical genres. We Belong, his upcoming eighth studio album, is no different: it combines pop, funk, electronic, afrobeats, disco, and more into "a love letter to Black music," per a press release.

Sinkane’s first album since 2019’s Dépaysé, We Belong features 10 tracks and participations by Bilal, Money Mark, STOUT, and others. Each song tells the story of a different era in Black music and history, laced with love and hope for the future: the disco groove of "Come Together," the gospel choirs of "Everything Is Everything," the funky bassline of "How Sweet is Your Love."

Along with live band the Message, Sinkane has announced a select 10-city tour in the U.S., starting May 3 in New York City and wrapping up on June 9 in Pioneertown, California.

X Ambassadors - Townie

Release date: April 5

**Pop rock trio X Ambassadors dive deep into nostalgia for Townie, their fourth studio album. The record was inspired by their experience of growing up in the small city of Ithaca, New York, and how it shaped who they are.**

"As a grown man, I’ve fallen back in love with upstate NY, and I oddly feel blessed to have had something to rally so hard against/fight to escape from as a kid," vocalist Sam Harris said in a statement. "No Strings," the first single off the project, is an anthem for that restless feeling, and anchors their concept in a haunting, propulsive melody. "Your Town" and "Half-Life" continue the journey, although taking more melancholy tones.

X Ambassadors first set off their Townie tour in Europe and the UK during February and March. On the day of the release, they will begin the North American leg of the tour in Vancouver, Canada.

Vampire Weekend - Only God Was Above Us 

Release date: April 5

Five years after releasing their latest record, 2019’s Father of the Bride, indie band Vampire Weekend will drop their fifth studio album, Only God Was Above Us.

According to a press release, frontman Ezra Koenig wrote most of the songs in 2019-2020, and spent the last five years refining them with bandmates Chris Baio and Chris Tomson. The result is a collection of 10 "direct yet complex" tracks, "showing the band at once at its grittiest, and also at its most beautiful and melodic," as seen in singles "CAprilicorn," "Gen-X Cops," and "Classical."

In addition to a sold out performance in Austin, Texas that will coincide with the total eclipse on April 8 and a headline show at Primavera Sound festival in Barcelona, Vampire Weekend has announced an extensive North American tour throughout summer and fall.

Bryson Tiller - Bryson Tiller

Release date: April 5

Grab your tickets to Bryson Tiller’s upcoming tour while you can: he might go on a hiatus right after. That’s what the R&B singer and rapper told Complex, alleging that his number one passion is actually video games. "I've been designing a game for the past three years; been looking into internships for different companies. That's what I want to prioritize after this album comes out."

The album Tiller refers to is his eponymous fourth LP, a 19-track collection that includes a feature by Victoria Monét, and is described as "seamlessly blending R&B, dancehall, pop, drill, trapsoul, neo-soul, and hip hop" in a press release. "Bryson Tiller is not just an album; it's a declaration of artistic independence and a tribute to the relentless pursuit of greatness."

The project’s three alluring singles ("Outside," "Whatever She Wants," and "CALYPSO") exemplify how Tiller pushed the boundaries of R&B even more, and solidified his identity as one of music’s most singular artists. "My No. 1 goal with this album is just for everybody on Earth to hear it one time," Tiller also told Complex. "My guarantee is that they'll love [at least] one song."

Tori Kelly - TORI.

Release date: April 5

"You think you know who Tori Kelly is, but this album will prove that maybe you didn’t," said the YouTube-star-turned-singer in a NME interview about her fifth studio album, TORI. "I feel like I’m stepping into my power and owning my craft."

Her first LP since 2020’s A Tori Kelly Christmas, TORI. took inspiration from '90s and early aughts R&B and pop, as heard on singles "Missin U" and "Cut." "I was trying to create this world of nostalgia, but also there’s that balance with [TORI.] feeling fresh and new," she said. Comprising 15 tracks, it also includes participations by Ayra Starr in "Unbelievable," LE SSERAFIM’s Kim Chae-won on "Spruce," and Jon Bellion — who co-wrote and produced the album — on "Young Gun."

During the creation process, Kelly told Bellion that her guidelines were to be able to "belt out [songs] in the car" and "dance" to them, like one can do in the powerful "High Water." As far as it goes, it looks like they accomplished their mission.

Kelly will kick off her Purple Skies North American tour on April 12 in Ventura, California, and conclude it on May 3 in Kansas City, Missouri.

Future & Metro Boomin - TBA / We Still Don’t Trust You 

Release date: April 12

Rap titans Future and Metro Boomin have been personal friends and work peers for over a decade, but their first collaborative album is only coming out now. We Don’t Trust You, the first installment of a double album, dropped on March 22, while the second part — titled yet to be announced — is slated to release on April 12.

In We Don’t Trust You, the duo showcased their flawless chemistry with grandiose tracks, haunting trap beats, and star-studded features, such as "Like That" with Kendrick Lamar, "Young Metro" with The Weeknd, and "Type S—" with Travis Scott and Playboi Carti. As Metro defined in an interview with Complex, "it’s the classic Future and Metro, but just updated."

So far, no further details have been shared about the second album, but expectations remain high for the duo to outdo the first effort.

girl in red - I'M DOING IT AGAIN BABY!

Release date: April 12

"I wanted to sincerely apologize for the events that happened directly after the release of my second album, I'M DOING IT AGAIN BABY!" prefaced Norwegian singer girl in red — real name Marie Ulven — on a solemn social media video last month. But while viewers caught their breaths, she revealed it was all a witty joke: the album will only come out on Aprilil 12.

"This is a big year for me. 2024 is, like, my year," she added in the video. I'M DOING IT AGAIN BABY! follows Ulven’s 2021 debut If I Could Make It Go Quiet, but feels "more fun and more playful, and a little bit more confident," as she told Billboard. Lead track "Too Much" brings that novelty heads on, while singles "Doing It Again Baby" and "You Need Me Now?" with Sabrina Carpenter prove that Ulven’s powerful pop is only getting better.

Ulven will kick off her Doing It Again tour from April 16-June 2 in North America, and from Aug.27-Oct. 5 in Europe.

Kenny Garrett & Svoy - Who Killed AI?  

Release date: April 12

For his first electronic foray, NEA Jazz Master and GRAMMY-winning saxophonist Kenny Garrett enlisted the acclaimed producer-musician Svoy. The result is Who Killed AI?, a seven-track daring exploration of jazz and pop culture.

"The first two songs are really reminiscent of Miles [Davis]," Garrett shared in a statement. "The way I’m stretching the melody — that’s how I played with Miles." The opener and lead single "Ascendence" is a strong preview of what’s to come: distorted synths and drum and bass beats fused with Garrett’s fun and brilliant lines, a compelling portrait of what the future of music can be.

Later in the year, Garrett plans to take the album on a live tour. "I think my fans will find this interesting," Garrett shared in a statement. "Some people forget that my teacher was Miles Davis. So for me, it’s not that I have to do something different. It is just something that I do. All you have to do is present the music and let them take the journey." 

ERNEST - Nashville, Tennessee 

Release date: April 12

Early in March, singer/songwriter ERNEST announced on social media that he would be running for mayor in order to "legalize country music." Of course, fans started to get their hopes up for new music — and they were right. The plot was just part of his promotion for the newly announced Nashville, Tennessee, out April 12.

A tour de force with 26 tracks, the record features a bevy of guest stars: from Jelly Roll ("I Went To College, I Went To Jail"), to Lainey Wilson ("Would If I Could"), and ERNEST's two-year-old son, Ryman Saint. It also includes a bluegrass cover of Radiohead’s "Creep" with HARDY, and a cover of John Mayer’s "Slow Dancing in a Burning Room."

In addition to "I Went To College, I Went To Jail," four other advance tracks have been shared: "Why Dallas" with Lukas Nelson, "Ain’t As Easy," "Ain’t Too Late," and "How’d We Get Here."

Taylor Swift - The Tortured Poets Department 

Release date: April 19

On the same night that she won her  lucky 13th GRAMMY for Best Pop Vocal Album with 2022’s Midnights, Taylor Swift also announced her 11th studio album, The Tortured Poets Department. Coming out April 19, the record will feature 16 tracks and collaborations by Florence + the Machine on "Florida!!!" and Post Malone on "Fortnight."

"I needed to make it, it was really a lifeline for me, it sort of reminded me why songwriting gets me through life," Swift said during her The Eras Tour show in Melbourne. "I've never had an album where I needed songwriting more than I needed it on Tortured Poets."

Along with the statement, Swift also shared an alternate cover for the physical album, titled after and including bonus track "The Bolter." Later on, three other versions named "The Manuscript," "The Albatross," and "The Black Dog" — all including an eponymous bonus track —  were also made available for purchase.

For the rest of the year, Swift will be touring through Europe and North America. As usual with the singer, more surprises are likely to come soon.

PartyNextDoor - PartyNextDoor 4 (P4)

Release date: April 26

**Canadian hitmaker and singer PartyNextDoor will make his long-awaited return this month. PartyNextDoor 4, also dubbed P4, is his first full-length work since 2020’s Partymobile, and continues his eponymous albums series after 2016’s P3.**

"This is the hardest I’ve ever worked on an album. This is the proudest I’ve felt," Party told Billboard for his March cover story. "I’m excited to grind even more for the next [one]. I’m in love with how hard you should work for it." 

He also explained that love is the reason why he takes so long to release new stuff. "I get into relationships and then music becomes second," he said. "I think I’m going to take a break from relationships, a long break, and just get back to making music."

In support of the release, Party shared moody, intimate singles "Resentment" and "Real Woman" — inspired by the same relationships that kept him off stage.

St. Vincent - All Born Screaming

Release date: April 26

In an interview with Mojo, St. Vincent — also known as Annie Clark — defined her upcoming seventh album, All Born Screaming, as "post-plague pop." Since its creation started right after the release of 2021’s Daddy’s Home, the years of seclusion and adjustment due to the COVID pandemic were a prominent influence in her new work.

"That kind of isolation breeds paranoia and loneliness, and loneliness can breed violence," she said. "It’s been a time of loss collectively and personally. [But] loss and death are very clarifying things, they make everything that doesn’t f—ng matter go away."

Comprising 10 tracks and features from Dave Grohl, Cate Le Bon, and Warpaint’s Stella Mozgawa, All Born Screaming is St. Vincent’s first entirely self-produced set, and an attempt at showcasing what does matter. "This record is darker and harder and more close to the bone. I’d say it’s my least funny record yet. There’s nothing cute about it," she added.

Clark released two singles off the album, "Broken Man" and "Flea," and is gearing up for a North American tour starting May 22.

Picture This - Parked Car Conversations

Release date: April 26

"Parked Car Conversations is by far the most personal album we have ever created," said vocalist and lyricist Ryan Hennessy in a press release about Picture This’s upcoming album. "It is an album about everything involved with being human. Love and loss and hurt and euphoria and all of those other complex emotions that flutter in between."

The album consists of 15 songs, but a third of it can be previewed through bittersweet, soaring singles "Get On My Love," "Song To Myself," "Leftover Love," "Call It Love," and "Act Of Innocence." Overall, Parked Car Conversations is a soundtrack "not to a movie, but to life," and aims to convey "the ups and downs of living" through ballads and anthems alike, according to Hennessy. 

Coming almost three years since the Irish band’s last release, 2021’s Life in Colour, the new record will be celebrated in high spirits with an Europe and U.K. tour, starting April 21 in München, Germany.

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Katie Crutchfield of Waxahatchee
Katie Crutchfield

Photo: Molly Malaton

interview

On 'Tigers Blood,' Waxahatchee Walks The Slow And Steady Path To Indie Rock Stardom

Bandleader Katie Crutchfield discusses new LP 'Tigers Blood,' collaborating with Wednesday guitarist MJ Lenderman, and why you’ll be hearing more twang in indie rock.

GRAMMYs/Mar 25, 2024 - 01:29 pm

It’s a special feeling, knowing you’re still getting better, 20 years into doing whatever it is you’re good at. “I identify my career as a bit of a slow burn,” says Katie Crutchfield, chatting from her home in Kansas City, Missouri. 

Tigers Blood, Waxahatchee’s sixth LP, arrives March 22 on Anti- Records. It sounds earthy and time-tested, hugging the border of alt-country and indie-folk. Pedal steel and banjos are just as welcome as electric guitar. Lucinda Williams, Townes van Zandt, and Gillian Welch are its musical north stars. Lyrics evoke late-night banter with old, trusted friends, the small handful of people in this world you could say anything to. 

Crutchfield has been writing songs for 20 years and, even as a teen, was perhaps the most respected voice in her Alabama punk scene. By the early 2010s, the same could be said of her place in DIY-minded rock, nationwide. Released March 27, 2020, Waxahatchee’s Saint Cloud, will be remembered as her breakthrough, though it certainly did not feel that way initially. For Crutchfield, the album still brings to mind bushels of COVID masks and days upon days spent indoors.

"There were phases of grief," Crutchfield says. "I was grieving the [canceled] tour, the normal experience of putting out a record. My therapist suggested I have a funeral for it." She says all this with a chuckle — one that comes easier after the success Saint Cloud eventually earned: a No. 1 on Billboard’s Heatseekers albums chart, significant radio play for the first time in her career, a spot at Newport Folk Festival once pandemic restrictions eased. “In hindsight, I know that record provided solace for a lot of people.”

Like Saint Cloud, Tigers Blood was produced by Brad Cook, an alt-rock standby whose production and co-writing work with Bon Iver earned him nominations for Album Of The Year and Record Of The Year at the 2020 GRAMMYs. "[Brad and I] developed this language and life philosophy as collaborators that I am not finished with," Crutchfield says.

Tigers Blood separates itself with one new, notable collaborator: singer/songwriter MJ Lenderman. Through his storytelling solo albums and cathartic guitarwork in the North Carolina band Wednesday, Lenderman, 25, is already a Gen Z indie rock icon. His contributions to Tigers Blood are subtle, but affecting: hazy backing vocals on the title track and "Right Back to It," artistry on his six-string that left Crutchfield in awe: "There are so many moments on [Tigers Blood] where I’m like, That’s the hookiest guitar part or solo. I never would have put it there without him."

Speaking with GRAMMY.com, Crutchfield looked back on how she arrived at Tigers Blood and the many stops along the way: showcasing her high school band for the guy who signed Nirvana, learning to re-embrace her Southern-ness, staying the course when you know, deep down, it’s the right thing to do. 

For artists today, I feel there’s this pressure to be constantly reinventing yourself. Is this something you’ve noticed?

Contemporarily – maybe this is a thing in pop – there’s a real pressure to reinvent yourself on every record as you move through your career. I’ve certainly done that. And I’ve certainly felt that. Brad [Cook] and I had a conversation about this very thing: What is the next thing going to be? Should we pivot to a new style?

It really brought us to my heroes. None of them ever reinvented themselves. A lot of them worked with the same people. Tom Petty, for example, played with a lot of the same musicians for his entire career. 

The confident choice is to retain some self-awareness about why people liked the last record, and to hang onto that. Then, to depend solely on the songs. Do whatever we can to elevate the songs. 

How did Tigers Blood come together, compared to the last LP?

It came together quickly and a lot of it was on tour. I had a lot of writer’s block working on Saint Cloud. The narrative of that record was that I had just gotten sober. I was experiencing a lot of anxiety. A friend told me, “When you get sober, you’re not gonna recognize yourself.” That was really true. I was like a raw nerve. I kind of had to take a long time off from touring, to catch my breath and figure out what my life was going to look like. Throughout that 18-month period of time off, I slowly wrote [Saint Cloud]. 

I started writing the melodies for Tigers Blood right after we made Saint Cloud, and continued to for several years, as I worked on other projects like the [2022] Plains record [in collaboration with singer-songwriter Jess Williamson]. In the peak pandemic months I was stowing away melodies, like, I’ll come back to this. I finished all the Tigers Blood songs in about a six-month period, a lot of which was on the road. When I say I finished a song, it means I wrote all the lyrics.  

*Releasing an album like Saint Cloud, I imagine you might be worried it would just be labeled as “the sober record.” Looking back at how well it was received, it feels like much more than that.*

I hope this doesn’t land wrong on music writers, but in a way it’s sort of easier for me when there’s a narrative. I think it’s sort of easier for everyone. Tigers Blood doesn’t have a clean-cut, neat little narrative. There’s a lot of things going on. 

I was writing about a lot of different things on Saint Cloud, too, but [sobriety] was the headline, and it made life easier to have a headline. I always knew there was more going on than just sobriety. I don’t write lyrics in a way that’s very on-the-nose. Someone could maybe listen to that album and have no idea it’s about sobriety. There’s a couple love songs on that record: “The Eye” and “Can’t Do Much.” And “Lilacs” is about being in a bad mood. It’s not really about being sober. 

If you don’t mind me asking, what made you want to get sober?

Everybody’s story is different. Mine isn’t particularly salacious. Over a decade, I had noticed that, for me, drinking had a weight to it that it didn’t have for everyone I knew…

I got sober when I was 29. I was getting a little bit older and my physical health was starting to catch up to me, and certainly my mental health [as well]. Some alarm bells were going off: I actually think the biggest issue in my life is drinking and if I cut that out, I’m curious if everything will balance out. And it really did. 

In June, it’ll be six years since I quit. I definitely feel like a way different person now, but I don’t even remember how I felt six years ago. I can’t really remember myself as a drinker. A lot has changed in my life. I live in a different city. I have a lot of different people around me. 

You’ve lived all over and it’s so intertwined with your music. Could you give me the whole story? 

I grew up in Birmingham. When I was 19 or 20, I moved to Tuscaloosa, Alabama – my sister Allison was going to college there and our band P.S. Eliot existed there for a short time. Then she moved to Chattanooga, Tennessee and I moved back to Birmingham for a few years. Then we both moved to New York when we were 22. I’d made the first Waxahatchee record right before that and she had just started her band, Swearin’. 

I tell you her story, too, because they’re so intertwined. We lived in New York for about 18 months. At the time, [Allison], her boyfriend, and my boyfriend were all in Swearin’. They [decided to] move to Philadelphia and I was kind of sad — I really wanted to stay in New York — but that was my family, so I was like, “I guess I’ll go with you guys, because I’d be alone here.” So I was in Philly for a few years, then I made my [2015] record Ivy Tripp while I was on Long Island for about a year. Then I moved back to Philly for three years, moved back to Birmingham briefly, and then to Kansas City, where I’ve been ever since. 

You started playing in bands with your sister Allison when you were teenagers, 20 years ago. How has that shaped your relationship with her? 

When she was in my band, it was tricky. Because we’re siblings, it’s crazy how boundaryless that relationship can be in a working setting. It was a little chaotic at times. But ultimately, really great. I’ve always kind of made my songs for myself, and Allison. That’s always been my prime audience: if we really like it, I usually trust the rest of the world might like it, too. 

Now she’s such an important part of the people around me, guiding me. We’re in the best place we’ve ever been, even though she’s not in the room when I’m making the records.

From the outside, the trajectory of your career – to bigger stages, bigger record labels, etc. — seems like it’s gone at a nice, measured pace. Does it feel that way to you? 

Yeah. I’m really grateful for the pace my career has gone at. I’ve seen things blow up overnight for some of my peers. As exciting as I’m sure that can be, I think it would be pretty disorienting. There have been moments in my life where if that had happened, I think I would have been completely swallowed up by it. I’m happy at this point in my life. For the most part, every door that opens up in my career, I’m ready to walk though it.

Are there any doors you’ve chosen not to go through over the years? 

When I was in high school, my band performed at this showcase for Gary Gersh, who [famously signed Nirvana], this big time music biz guy. It was us and this other band in Birmingham, who were the two most popular younger indie rock bands in town. I don’t know if they got his attention, but we didn’t. 

I look back on that, and that’s probably for the best. If I had gotten this hotshot L.A. manager when I was 16, my life could look really different. I could have maybe signed on for things that wouldn’t be reflective of the values I’ve developed. My songwriting voice had not really developed yet. It’s probably good I took the slow route. 

If you’d been offered that management deal, what do you think you would have said? 

We were pretty punk rock already. I can see us saying, “We don’t really want to do this.” Allison and I had pretty developed tastes for 16-year olds. 

Collaborating with MJ Lenderman on this album – how did that come up?

I heard his music at South By Southwest. [My partner] Kevin [Morby] was playing South By, he was busy, and I was killing time. My sister Allison does A&R at Anti- [Records] now and my producer Brad Cook, they both texted me at the same time: “We’re gonna go see this guy, MJ Lenderman from North Carolina. Come meet us, you’re gonna love this.” I heard his voice outside the venue [and thought] “This is exactly what I like.” There were 12 people onstage, they had a pedal steel player. Everything I love. 

Then, Brad and I were trying to figure out what we could do [for my next album] that would be different from Saint Cloud. So I threw it out to Brad: “Maybe we could get [MJ] in the mix.”… Brad invited him to the first session. The three of us had a blast. [MJ] played drums for a lot of it, and obviously guitar. When we tracked “Right Back to It,” that was a big turning point. Brad and I were like, “This is a great anchor for what this record should be.” And when [MJ] sang backup on it, it was all over. We had to have him be a big part of the record. 

What grabs you about MJ Lenderman’s playing? 

[MJ] is really into a lot of music I love, but wasn’t engaging with much at the time. Specifically Southern alternative rock from the ‘80s and ‘90s: Drive-By Truckers, Sparklehorse. Jason Molina is a big influence on him. And it really invigorated my love of R.E.M. It knocked out the cobwebs for me. 

I knew he was a great guitar player, but I didn’t totally understand just how special and creative a guitar player he was until we were in a room together.

And MJ’s band, Wednesday – their 2023 album Rat Saw God already feels like a classic. What do you think of that album? 

I spent a lot of time with it. It was one of my favorite records of last year. 

I try not to go too hard with this to [Wednesday], but my sister Allison and I connect with what they’re doing because it reminds us so much of ourselves 10 years ago. Wednesday and MJ, they’re these intertwining creative forces. They’re young, they’re Southern. I think both Wednesday and MJ are making some pretty classic records that teenagers are gonna find for years to come. 

Do you think there’s something unique about indie rock musicians who grew up in the South, around country music? 

I grew up in the South and I’ve been on a journey with it. When I was younger, I lived in the Northeast and that was a big part of my identity — I really rejected country music. I did not think it was cool. Once I was able to come back around on that, not even wholeheartedly embracing being Southern, but accepting it as a part of my story, [the South] lent itself as a great backdrop for my songs. 

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Taylor Swift performs in Brazil 2023
Taylor Swift performs during the Eras Tour in Sao Paulo, Brazil, on Nov. 24, 2023.

Photo: Buda Mendes/TAS23/Getty Images for TAS Rights Management

list

The Taylor Swift Effect: 8 Ways The Eras Tour Broke Records & Shattered Sales

As the Eras Tour hits Disney+ with 'Taylor Swift: The Eras Tour (Taylor's Version)', take a look at some of the mind-boggling feats the pop superstar has accomplished with her culture-shifting trek.

GRAMMYs/Mar 14, 2024 - 05:13 pm

Taylor Swift has continuously redefined what it means to be a pop superstar for almost two decades. But 2023 might have been her most defining year to date, thanks to the Eras Tour.

With 152 dates in stadiums across five continents, the Eras Tour isn't just Swift's personal biggest tour to date — it's a feat few other artists have accomplished. The sprawling 3 1/2-hour show is an impressive feat in itself, but the tour has gone on to break records and boost economies, firmly cementing Swift's stratospheric position as one of pop's all-time greats. 

There's a reason why the term "The Taylor Swift Effect" has been coined — it captures the impact Swift has had not just on music, but society as a whole. Swift's latest concert tour weaves through her 10- (and soon to be 11-) album discography, totaling a whopping 44 songs across 10 different acts for each "era." Between the allure of each set's surprise song and the next-level fan engagement, the tour has become far more than your average concert — it's a full-on cultural moment. 

Though the trek still has a bewildering nine months to go (it will hit Europe and another North America stretch from May to December), Swift is celebrating the Eras Tour's one-year anniversary by bringing its record-breaking concert film to Disney+ on March 14th. 

As fans get ready to stream Taylor Swift: The Eras Tour (Taylor's Version), GRAMMY.com looks at the impact of the Eras Tour so far, exploring the records Swift has shattered since it first began.

Becoming The Highest Grossing Tour Ever

In eight months, Swift's Eras Tour did something no other artist has ever done: gross over $1 billion on a single tour. Pollstar reported the news in December 2023, stating that the 60+ shows she played in 2023 accumulated to 4.3 million tickets sold. 

This number is even more staggering when compared to Elton John's farewell tour, which lasted five years and had 328 shows and accumulated $939 million. Not only has Swift been able to do the same with 152 shows, but she still has nine months to go — and at the pace she's going, Pollstar projects that she could pass the $2 billion mark.  

Shattering Attendance Records

From breaking the all-time record for attendance during her three shows at Nashville's Nissan Stadium in May 2023 to playing the largest shows of her career at Melbourne's Cricket Ground in February 2024 (performing to 288,000 fans over three days), Swift couldn't stop breaking attendance records at various stops. Including those venues, she's broken eight attendance records at seven so far: Seattle's Lumen Field, New Jersey's MetLife Stadium, Pittsburgh's Acrisure Stadium, AT&T Stadium in Arlington, Texas, and Sao Paolo's Allianz Parque (where she broke one-day and three-day attendance records).

Although her friend and collaborator Ed Sheeran already broke some of her attendance records during his own 2023 world tour, Swift has done the impossible again by creating an entirely new record to break: how many people are both inside and outside the venue. Cities like Tampa and Detroit all had "Taygating" — mass parties with thousands of fellow Swifties that include singalongs, cookouts, and trading handmade friendship bracelets like the fans inside. In Philadelphia alone, cell phone usage data in the area determined that around 57,000 fans "taygated" outside throughout the tour's three nights.

Spiking Craft Sales

Creating costumes for Taylor Swift concerts is something that fans have been doing since Swift's Fearless Tour in 2009 and 2010, but a lyric from MIdnights' "You're On Your Own Kid" created a new way for fans to engage with each other. The lyric "So make the friendship bracelets/ Take the moment and taste it" sparked a friendship bracelet frenzy, and caused a 40 percent chainwide increase in jewelry sales overall at Michaels craft stores, with locations within Eras Tour stops seeing a 300 percent sales increase in beads and jewelry categories leading up to the concert.

Since the start of the tour, Michaels has also helped Swifties create over 22,0000 bracelets in their bracelet-making classes in-store. And that simple lyric has inspired other fandoms to take part — Formula One fans are handing bracelets off to drivers before races, and British soccer players are making them to help boost team morale.

Spawning The Highest Grossing Concert Film Of All Time

When she announced that the Eras Tour concert film would be headed to the big screen, Swift opted to "bet on herself" by personally investing $10-20 million to bypass Hollywood entirely to facilitate a partnership directly with AMC. To say that bet worked would be an understatement: the Eras Tour concert movie became the highest-grossing concert film of all time, amassing $250 million in worldwide movie ticket sales. On the day it was announced, movie ticket buyers broke AMC's single-day advance ticket sales record, amassing $26 million within 24 hours.

The Eras Tour film would not only become a huge box office achievement, but would become the first concert film to ever be nominated for a Golden Globe, competing against other major box office blockbusters like Barbie and Oppenheimer.

Igniting Social Media

If fans can't physically be at the concert or "Taygate" outside the venue, they can tune in thanks to TikTok's live-streaming capabilities. Fellow fans provide streams of the entire concert for those who want to watch the gig. Although the viewer count varies, anywhere from 30k+ people can be tuning in on one stream (statistics have shown that most fans tune in for Swift's surprise songs).

Since the start of the Eras Tour, TikTok has been flooded with over 1.9 million videos, with Variety reporting that Taylor-related content can average around 380 million views per day and no day falling below 200 million views. Swift took note of some of the fan-fronted trends, too, including the viral "Bejeweled" dance, created by fan Mikael Arellano, as part of her choreography on tour.

Read More: Behind The Scenes Of The Eras Tour: Taylor Swift's Opening Acts Unveil The Magic Of The Sensational Concert

Boosting The Economy

Every weekend, cities that hosted the Eras Tour awarded Swift with something special — Nashville placed a bench in Centennial Park as a nod to a lyric in "Invisible String," Santa Clara made her an honorary mayor, Minneapolis renamed the city 'Swiftie-apolis,' and Rio de Janeiro projected Swift's junior jewels shirt from the "You Belong With Me" onto Christ the Redeemer. No matter how the cities honored Swift, her visit was certainly beneficial for their local economies — one stop of the Eras Tour averaged around $1,300 spending per person on travel, hotels, food, and merchandise. 

The U.S. Travel Association likened it to the Super Bowl, but happening 53 times across 20 cities, estimating the economic impact to be around $10 billion by the time the tour wraps. It's a tour that has single-handedly changing travel, according to CNN, with fans choosing their travel based on where they can get tickets. And since money talks, politicians and world leaders — from Canada's Prime Minister to the Chilean President — have come out in spades to beg for Swift to add their countries to the worldwide tour. 

Breaking Niche Records

Two nights in Seattle resulted in a "Swift Quake" after so many fans danced to "Shake It Off," which caused seismic activity equivalent to a 2.3 magnitude earthquake. Seismologist Jackie Caplan-Auerbach collected 10 hours of data — from the music to the speakers to the dancing — to see how that energy can impact the ground enough to shake it.

Although not an official record, within the Swiftie community, fans have had battles to see which city can have the longest-standing ovation after "champagne problems," as detailed on Reddit and Billboard. Right now, Swift's penultimate Los Angeles show at SoFi Stadium is the winner, clocking in at 8 minutes.

Elevating Swift's Discography

After the start of a tour, it's natural for artists to see their discography have a short influx of listeners and then taper off again. But after the first 10 weeks of the Eras Tour, Swift's catalogue was growing more and more with every stop — up to 79 percent more than where she was before the tour began. And instead of listeners streaming specific singles or albums, the streamers were all over Swift's set list; Billboard reported that 23 of the 42 songs performed have doubled in weekly streams. 

The tour even helped the resounding fan favorite from 2019's Lover, "Cruel Summer," transform from beloved deep cut to chart topper. Streams of "Cruel Summer" went up 304 percent, resulting in the track becoming both her 10th No. 1 on the Billboard Hot 100 and her sole longest-leading No. 1 on Billboard's all-format Radio Songs chart.

Using the Eras Tour to work in tandem with her rerecording release schedule has also become an integral marketing tactic. So much so that coinciding the tour and the releases (as well as the announcements) has helped contribute to her having six albums in the top 20 of the year-end Billboard 200, more No. 1 albums than any woman in history with 13 (as of press time), and 1989 (Taylor's Version) outselling the original — a staggering 1.3 million albums in its first week. 

Swift wrapped her first 2024 Eras Tour leg in Singapore on March 9, as she's now preparing to release her highly anticipated 11th album, The Tortured Poet's Department, on April 19. Three weeks later, the Eras Tour will pick back up in Nanterre, France, on May 9, with dates nearly every week until it wraps in Vancouver, British Columbia, on Dec. 8. 

With an already record-breaking tour and a new album on the way, there's no doubt that the world will continue to feel the impact of Taylor Swift and her pop star prowess — throughout 2024 and beyond.

5 Reasons Why Taylor Swift's Eras Tour Will Be The Most Legendary Of Her Generation