taylor swift fearless tour love story

The Real Meaning Behind 'Love Story' By Taylor Swift

How many people can write a song in 20 minutes, let alone one that would go on to become a top five entry on the  Billboard Hot 100 charts? Singer-songwriter (and possible superhuman) Taylor Swift did just that with her iconic 2008 single " Love Story ." Not only did the country-pop crossover tune become Swift's best-charting single to date at the time of its release, but it remains the superstar's fourth best-selling single of all time as of July 2020, Billboard reported.

As the lead single off Swift's second studio album Fearless with her former label, Big Machine Records , "Love Story" presents lyrics that paint the age-old tale of a young, star-crossed couple's trying romance in the face of both their families' disapproval. If that sounds Shakespearean, well, a crucial line in Swift's chorus does allude to the bard's most famous work: "That you were Romeo, you were throwin' pebbles / And my daddy said, 'Stay away from Juliet.'" Swift performed the chart-topper among a medley of her greatest hits at the 2019 American Music Awards .

So what was the inspiration behind "Love Story" and how did Swift manage to write the song, which tops out at 3:57 minutes, in just 20? Read on to find out.

'Love Story' is about a real guy Taylor Swift's parents forbade her to date

"Love Story" is clearly Taylor Swift's ode to a forbidden romance. Just prior to her headlining 2009 Fearless tour, Swift took some time to answer a few fan questions via TIME , many of which understandably circled around her massive hit of that time. One fan from Illinois wanted to know the story behind "Love Story." Apparently, per Swift's answer, it was based on a guy she desired but never actually dated because of the familial disapproval factor. "When I introduced him to my family and my friends, they all said they didn't like him. All of them," Swift revealed. "For the first time, I could relate to that Romeo-and-Juliet situation where the only people who wanted them to be together were them," noting that "Love Story" was "the most romantic song I've written, and it's not even about a person I really dated."

Another fan asked Swift about the usual length of time it takes her to write one song, and the answer was not unexpected for the prolific writer. She replied that for most songs, they "end up being finished in 30 minutes or less," adding that "'Love Story" took even less. Swift shared that the mid-tempo bop was knocked out in "about 20 minutes" and that "when I get on a roll with something, it's really hard for me to put it down unfinished." We are sure all writers can understand, if not relate to, this sentiment!

Here's what Taylor Swift's mom truly thinks about 'Love Story'

What is hilariously ironic about the meaning behind Taylor Swift's "Love Story" is that Swift's own parents, two of the individuals who disapproved of her paramour wannabe, can corroborate her claim about the inspiration behind and writing duration for the song. Swift's mom Andrea Swift , presented her daughter with the Milestone Award at the 2015 ACM Awards ,  Entertainment Tonight   reported, and offered the audience her fond version of Swift penning the angst-ridden anthem. "She was 17 years old and her dad and I strongly disapproved of a young man," Mama Swift said, sardonically adding, "and rightfully so."

"But she was mad," Andrea continued, explaining further that Taylor "went to her room and she closed the door. She came out about an hour later with a song called 'Love Story.'" The rest was history, as they say, and let's face it — what's the difference between 20 minutes and an hour when it comes to a hit for the ages like "Love Story?"

Lead Single | Fearless (2008) | Fearless (Taylor's Version) [2021]

Table of contents, background and lyrical theme.

«I used to be in high school where you see [a boyfriend] every day. Then I was in a situation where it wasn’t easy for me, and I wrote this song because I could relate to the whole Romeo and Juliet thing. I was really inspired by that story. Except for the ending. I feel like they had such promise and they were so crazy for each other. And if that had just gone a little bit differently, it could have been the best love story ever told. And it is one of the best love stories ever told, but it’s a tragedy. I thought, why can’t you…make it a happy ending, and put a key change in the song, and turn it into a marriage proposal?» Taylor Swift

Music Video

Live performances.

«I like when I go to a concert and the artist respects what the people’s favorite songs are. I’m going to be playing 'Love Story' for the rest of my career because the fans really like it. If I ever get sick of it, I would continue to play it at my shows. You have to, as an artist, remember your experiences as a fan. And as a fan you heard the song in your bedroom, you played it over and over again, you know where the fiddle part is, you know where the banjo part is and you like the way it is sung on the record.» Taylor Swift

Critical Reception

Commercial performance, taylor's version.

«This process has been more fulfilling and emotional that I could have imagined and has made me even more determined to re-record all my music. I hope you’ll like this first outing as much as I liked travelling back in time to recreate it. ‘Love Story (Taylor’s Version)’ will be out tonight.» Taylor Swift

[Verse 1] We were both young when I first saw you I close my eyes and the flashback starts I’m standing there, on a balcony in summer air See the lights; see the party, the ball gowns See you make your way through the crowd and say hello Little did I know

[Pre-Chorus 1] That you were Romeo, you were throwing pebbles And my daddy said, “Stay away from Juliet” And I was crying on the staircase Begging you, “Please don’t go” And I said

[Chorus 1] Romeo take me somewhere we can be alone I’ll be waiting, all that’s left to do is run You’ll be the prince and I’ll be the princess It’s a love story, baby just say, “Yes”

[Verse 2] So I sneak out to the garden to see you We keep quiet, ’cause we’re dead if they knew, so close your eyes Escape this town for a little while

[Pre-Chorus 2] Cause you were Romeo, I was a scarlet letter And my daddy said “Stay away from Juliet” But you were everything to me I was begging you, “Please don’t go” And I said

[Chorus 2] Romeo take me somewhere we can be alone I’ll be waiting, all there’s left to do is run You’ll be the prince and I’ll be the princess It’s a love story, baby just say “Yes” Romeo save me, they’re trying to tell me how to feel This love is difficult, but it’s real Don’t be afraid, we’ll make it out of this mess It’s a love story, baby just say “Yes” Oh, oh

[Bridge] But, I got tired of waiting Wondering if you were ever coming around My faith in you was fading When I met you on the outskirts of town And I said

[Chorus 3] Romeo save me, I’ve been feeling so alone I keep waiting for you but you never come Is this in my head, I don’t know what to think He knelt to the ground and pulled out a ring and said

[Chorus 4] Marry me, Juliet, you’ll never have to be alone I love you, and that’s all I really know I talked to your dad, go pick out a white dress It’s a love story, baby just say, “Yes”

[Outro] Oh oh oh Oh oh oh ‘Cause we were both young when I first saw you

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‘This is the whole story, the entire vivid picture… the entire dreamscape that is my Fearless album.’

Published on

As promised, Taylor Swift has delivered a new recording of “Love Story,” the first release of her initiative to re-record her first six albums following the controversial 2019 sale of her early master recordings.

The track first appeared on her 2008 album Fearless when Swift was just 18. While she sounds more mature on this new version, the youthful exuberance and hopeful longing are still there.

In a statement, the prolific singer-songwriter called these new recordings, “the whole story, the entire vivid picture… the entire dreamscape that is my Fearless album.”

‘Despacito’: The World-Dominating Latin Music Classic

Swift first announced that new recordings were coming on Good Morning America yesterday and teased the re-recorded version of “Love Story” in early December. Fearless (Taylor’s Version) is set for release on April 9 and is up for pre-order in several editions, includes new recordings of six tracks she wrote for the album that were never released.

The singer first announced in 2019 that she had plans to re-record her first six albums – following the fallout around the acquisition of her master recordings.

“I’m thrilled to tell you that my new version of Fearless (Taylor’s Version) is done and will be with you soon. It has 26 songs including 6 never before released songs from the vault. ‘Love Story (Taylor’s Version)’ will be out tonight,” the singer tweeted.

“When I think back on the Fearless album and all that you turned it into, a completely involuntary smile creeps across my face,” Swift wrote in a note to fans.

“This was the musical era in which so many inside jokes were created between us, so many hugs exchanged, and hands touched, so many unbreakable bonds formed. So before I say anything else, let me just say that it was a real honor to get to be a teenager alongside you.”

Fearless (Taylor’s Version) is out on April 9 and can be pre-ordered here .

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• Articles with invalid date parameter in template
• Articles with unsourced statements from April 2009
• Fearless singles
• Fearless songs
• Songs written by Taylor Swift
• Songs produced by Nathan Chapman
• Songs produced by Taylor Swift
• Songs produced by Christopher Rowe
• Songs with videos
• Lead singles
• 2008 singles
• 1 Background
• 2 Composition
• 3 Critical reception
• 4 Chart performance
• 5.1 Year-end charts
• 6 Music video
• 7 Hidden message
• 9 Lyric video
• 11 Taymoji pack
• 12 Awards and nominations
• 13 Release history
• 14 Track listing
• 16 References

Background [ ]

Swift said of the song:

Swift has said things that imply that this was written about the same person " White Horse " was written about. [ citation needed ]

Composition [ ]

"Love Story" was first released as the debut single off Swift's second album, Fearless , in 2008. In an article from Billboard Magazine , Swift described "Love Story" as "a love that you've got to hide because for whatever reason it wouldn't go over well. I spun it in the direction of Romeo and Juliet ; our parents are fighting. I relate to it more as a love that you cannot really elaborate on — a love that maybe society wouldn't accept or maybe your friends wouldn't accept." [1]

The song is a mid-tempo, backed by banjo and guitar. In the lyrics, the narrator alludes to Romeo and Juliet and The Scarlet Letter to describe a lover whom her father will not let her see. In the end, however, the father reconciles and the lover proposes to the female narrator. The proposal is accompanied by a modulation in key up a tone, from D to E. Swift has repeatedly mentioned in interviews that the song was written around the lyrics, "This love is difficult, but it's real."

The Pop Mix replaces the Country-style instruments (i.e. the banjo) and adds a heavier bassline, a drum loop, and heavier electric guitars.

The International Radio Mix is a hybrid mix of the album version and pop edit, keeping the storybook theme of the original song with a pop overtone arrangement.

In June 2009, Swift performed " Thug Story " with T-Pain at the CMT Music Awards. In October 2009, Swift performed "Love Story" on The Oprah Winfrey Show .

Critical reception [ ]

The song received mostly positive response from critics. Jim Malec of The 9513 gave "Love Story" a positive rating. Although he said that the song had a "wonderful, idealized ending" and that it seemed to comprise too much of a plot line for a four-minute song, he nonetheless made note of the lyrics, saying, "the complications and difficulties surrounding her affair are just as grave as Juliet's... the fact that Swift, arguably the genre's biggest star at the moment, has done so here is a breath of fresh air, even if the song does otherwise follow a disappointingly unoriginal pattern." He added, "None of these criticisms, however, will have a major impact on the song’s effectiveness, or on its ability to strike a resonant chord with its intended audience... what's more, 'Love Story' shows an artist willing to take chances by venturing from the format’s standard song structure, and to let her personality shine through–even if the lyric generally follows a well-worn path." [2]

Nick Levine from the UK website Digital Spy gave the song 3 stars and praised Swift for knowing her "way to a radio-friendly chorus" and stated she "has enough charm to pull off lyrics that essentially rewrite Romeo & Juliet with a happy ending". He concluded his review of the song by saying "Like a Meg Ryan rom-com, this is completely corny but hard not to like". [3]

However, the story of Romeo and Juliet is intended to be considered a tragedy as opposed to a love story. There are some who feel the song misrepresents the original ideals of the story and creates a widespread miseducation of classic literature.

On November 10, 2009, Swift was awarded with the BMI Award for "Country Song of the Year". [4]

Both the pop and original country versions of the song were used in the trailer for the 2010 film Letters to Juliet .

Chart performance [ ]

"Love Story" was released as a single on September 12, 2008. For the chart week of September 27, 2008, it debuted at number 25 on the Billboard Hot Country Songs, becoming Swift's highest debuting song on that chart in her career. For the chart week of November 22, 2008, it became her third number one on the Hot Country Songs chart, although it only spent thirteen weeks on that chart. On the Billboard Hot 100, the song debuted at number 16 making it Swift's fifth-highest debut on that chart in her career behind " Today Was a Fairytale ", which debuted at number 2, " Fearless ", which debuted at number 9, " Change ", which debuted at number 10 and " You're Not Sorry ", which debuted at number 11 and peaked at number 4. It has also become her second biggest airplay hit peaking at number 2 on the Billboard Hot 100 Airplay chart and number 1 on the Billboard Pop 100 Airplay chart. As of February 20, 2009, "Love Story" was the first country crossover to reach number one on the Top 40 pop chart. [ citation needed ] .As of October 21, it has sold 3,977,000 legal digital downloads in the United States. [5]

The single had massive success internationally. On February 22, 2009, "Love Story" entered the UK Singles Chart at number 22 on downloads alone. On 1 March 2009, "Love Story" climbed to number two, behind Kelly Clarkson's "My Life Would Suck Without You". Swift is the first country singer to have a top 10 hit in the UK since Shania Twain's "Party for Two", which charted at number ten in 2004, and Faith Hill was number ten in 2008 with "There You'll Be" on a re-entry. "Love Story" spent 32 weeks inside the UK top 100 singles chart, with six of those in the top ten. [6] It is to date Swift's most successful single in the UK. [7]

The song proved to be hugely successful in Oceania as well. In Australia, it spent two non-consecutive weeks at number-one on the ARIA Singles Chart (the weeks ending March 23 and April 6, respectively) and a record of eleven weeks at number two on the same tally. In New Zealand, it peaked on the RIANZ Singles Chart at number three; however, it did reach number one of the Top 10 Radio Airplay Chart, and held that place for eight weeks, which has been the longest any single has been at the top in 2009. It was also certified Platinum on August 30, 2009, selling over 15,000 copies. [8] The song hit top 3 in Japan the week of release.

The song also spent 29 consecutive weeks on the Venezuelan charts and peaked at #3 on the year-end charts for the most played singles of 2009. During the week of June 6, 2009, the song reached number one on the US Hot Adult Contemporary Tracks charts, becoming Swift's first number one single on this chart.

Swift also sang "Love Story" on the show for the UK charity campaign Children in Need 2009. After the performance, Swift donated £13,000 to Children in Need.

Year-end charts [ ]

Music video [ ].

The music video premiered on Country Music Television on September 12, 2008. [15]

The video begins with Swift seeing a guy sitting under a tree in the present day, played by Justin Gaston. [16] Then, there are some video scenes alternating flashbacks and present scenes, which appear to be an allusion to Pride and Prejudice. Swift, dressed in a ball gown, is seen singing outside a castle while she is waiting for her version of Mr. Darcy. She is singing and some scenes alternate with the past, where she is dancing during a gala with a gentleman. The "love story" ends with the gentleman's arrival and the video comes back to the present. The boy is seen getting up and they approach each other. The video won CMA Award for Music Video of the Year on November 11, 2009.

The present-day scenes were filmed at Cumberland University in Lebanon, Tennessee, while the performance shots were shot at Castle Gwynn, just outside of Murfeesboro, Tennessee.

Hidden message [ ]

Hidden message : Someday, I'll find this.

Taylor wrote this song in a very short amount of time after her parents had told her that she couldn't be with the person she wanted to be with, around 27 minutes. She presumably wrote this in a notebook, and it ended up on the album.

[Verse 1] We were both young when I first saw you I close my eyes and the flashback starts I'm standing there, on a balcony in summer air See the lights, see the party, the ball gowns See you make your way through the crowd And say, "Hello", but little did I know [Pre-Chorus 1] That you were Romeo, you were throwing pebbles And my daddy said, "Stay away from Juliet" And I was crying on the staircase Begging you, "Please, don't go" And I said [Chorus] "Romeo, take me somewhere we can be alone I'll be waiting, all that's left to do is run You'll be the prince and I'll be the princess It's a love story, baby, just say, 'Yes'" [Verse 2] So, I sneak out to the garden to see you We keep quiet, 'cause we're dead if they knew So, close your eyes Escape this town for a little while Oh, oh [Pre-Chorus 2] 'Cause you were Romeo, I was a scarlet letter And my daddy said, "Stay away from Juliet" But you were everything to me I was begging you, "Please, don't go" And I said [Chorus] "Romeo, take me somewhere we can be alone I'll be waiting, all that's left to do is run You'll be the prince and I'll be the princess It's a love story, baby, just say, 'Yes'" "Romeo, save me, they're trying to tell me how to feel This love is difficult, but it's real Don't be afraid, we'll make it out of this mess It's a love story, baby, just say 'Yes'" Oh, oh [Bridge] I got tired of waiting Wondering if you were ever coming around My faith in you was fading When I met you on the outskirts of town And I said [Breakdown] "Romeo, save me, I've been feeling so alone I keep waiting for you, but you never come Is this in my head? I don't know what to think" He knelt to the ground and pulled out a ring and said [Chorus] "Marry me, Juliet, you'll never have to be alone. I love you, and that's all I really know. I talked to your dad - go pick out a white dress It's a love story, baby, just say... 'Yes'" [Outro] Oh, oh, oh Oh, oh, oh 'Cause we were both young when I first saw you

Lyric video [ ]

Taymoji pack [ ]

Awards and nominations [ ]

"Love Story" received 8 awards from 13 nominations.

Release history [ ]

Track listing [ ].

Promo CD Single

• "Love Story" (International Radio Mix)
• "Love Story" (U.S. Pop Mix)
• "Love Story" (U.S. Album Version)

Promo Remix CD Single

• "Love Story" (Radio Edit)
• "Love Story" (J Stax Full Mix)
• "Love Story" (J Stax Edit)
• "Love Story" (Digital Dog Remix)
• "Love Story" (Digital Dog Edit)
• "Love Story" (Digital Dog Dub)

United Kingdom CD Single

• "Beautiful Eyes"
• "Love Story" (Digital Dog Radio Mix)
• This being considered, there is a group of songs that have been on the set lists of every one of Taylor's tours since its release. Those include: " We Are Never Ever Getting Back Together ", " Blank Space ", " Style ", " Shake It Off ", " Bad Blood ", " ...Ready For It? ", " Don't Blame Me ", " Delicate ", " Look What You Made Me Do ", and every song on The Eras Tour set list from the Lover - The Tortured Poets Department eras.

References [ ]

• ↑ Cohen, Jonathan (2008-09-12). "New Taylor Swift album set for November" . Billboard . http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003849577 . Retrieved 2008-09-16 .
• ↑ Malec, Jim (2008-09-16). "Taylor Swift - "Love Story"" . The 9513 . http://www.the9513.com/taylor-swift-love-story/ . Retrieved 2008-09-22 .
• ↑ http://www.digitalspy.co.uk/music/a145668/taylor-swift-love-story.html
• ↑ BMI.Com | News | BMI Country Award 2009 Big Winners
• ↑ Week Ending Oct. 18, 2009: Taylor Swift's Minor Miracle. Oct 18, 2009. Retrieved Oct 21, 2009.
• ↑ "Chart Stats - Taylor Swift - Love Story" . Chart Stats. Retrieved June 12, 2010.
• ↑ "Chart Stats - Taylor Swift" . Chart Stats. Retrieved June 12, 2010.
• ↑ http://www.radioscope.net.nz/index.php?option=com_content&task=view&id=77&Itemid=61
• ↑ "RIANZ - Top 40 Singles Chart" . Monday 6 April 2009 . http://www.rianz.org.nz/rianz/chart.asp .
• ↑ "ARIA Charts - End Of Year Charts - Top 100 Singles 2008" . Australian Recording Industry Association . http://www.aria.com.au/pages/aria-charts-end-of-year-charts-top-100-singles-2008.htm . Retrieved 2009-12-23 .
• ↑ "RIANZ Annual Top 50 Singles Chart 2008 (see "2008 – Singles")" . Recording Industry Association of New Zealand . http://www.rianz.org.nz/rianz/chart_annual.asp . Retrieved 2009-12-26 .
• ↑ John, Alan (2010-01-30). "Bad Romance is back on top" . Music Week . http://www.musicweek.com/story.asp?storyCode=1039511&sectioncode=22 . Retrieved 2010-02-06 . "Total sales for 2009 was 882,059"
• ↑ "Charts Year End: The Billboard Hot 100" . Billboard . Nielsen Business Media, Inc. 2009-12-19 . http://www.billboard.com/#/charts-year-end/hot-100-songs?year=2009 . Retrieved 2009-12-23 .
• ↑ "Taylor Swift Premiering New Video on CMT" . CMT.com . September 12, 2008 . http://www.cmt.com/news/news-in-brief/1594680/taylor-swift-premiering-new-video-on-cmt.jhtml . Retrieved 2008-09-15 .
• ↑ Westmark, Jan (September 16, 2008). "Taylor Swift Releases New Music Video For Song "Love Story"" . Celebrity News Service . http://www.allheadlinenews.com/articles/7012317170 . Retrieved 2008-09-22 .
• ↑ https://web.archive.org/web/20150629222532/http://www.cmt.com/acm-awards/2009/nominees.jhtml
• ↑ https://www.bmi.com/news/entry/kris_kristofferson_taylor_swift_bobby_pinson_and_more_honored_at_2009_bmi_c
• ↑ https://web.archive.org/web/20150201051132/http://www.cmaworld.com/initiatives/international/international-awards/
• ↑ https://web.archive.org/web/20150329220129/http://www.cmt.com/microsites/cmt-music-awards/archives/2009.jhtml
• ↑ https://web.archive.org/web/20150630043636/http://www.tvtonight.com.au/2009/09/2009-kids-choice-awards-nominees.html
• ↑ http://www.thefutoncritic.com/news/2008/11/10/nominations-announced-for-the-35th-annual-peoples-choice-awards-to-be-hosted-by-queen-latifah-jan-7-2009-on-the-cbs-television-network-29456/20081110cbs02/
• ↑ https://web.archive.org/web/20150630060545/http://www.popsugar.com/entertainment/Winners-2009-Teen-Choice-Awards-3904879
• ↑ https://www.smh.com.au/entertainment/music/apra-2010-nominations-list-20100525-w9az.html
• ↑ https://www.bmi.com/news/entry/pop_placeholder
• ↑ https://web.archive.org/web/20150119153121/http://myxph.com/features/1551/the-myx-music-awards-2010-winners/
• ↑ https://www.discogs.com/release/6084395-Taylor-Swift-Love-Story-Pop-Mix
• ↑ https://www.allmusic.com/album/release/love-story-mr0003722233
• ↑ https://web.archive.org/web/20130401102854/http://www.7digital.com/artist/taylor-swift/release/love-story-2
• 1 List of Taylor Swift's ex-boyfriends
• 2 List of songs
• 3 Scott Swift

Taylor Swift Eras Tour: The Full Setlist From Opening Night

By Ellise Shafer

Ellise Shafer

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Are you ready for it? Taylor Swift ‘s Eras Tour is finally here.

The 52-date trek kicks off Friday night in Glendale, Ariz., at State Farm Stadium with openers Gayle and Paramore. This marks Swift’s first tour since the Reputation Stadium Tour in 2018, as her 2020 Lover Fest was canceled before it even began due to the COVID-19 pandemic. Since then, Swift has released three studio albums — “Folklore” and “Evermore” in 2020 and “Midnights” in October 2022 — in addition to re-recording “Fearless” and “Red” (which both came with bonus tracks) in 2021.

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See the full setlist for opening night of the Eras Tour below (updating live).

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The Eras Tour: Taylor Swift’s Greatest Love Song

The cynical view of Taylor Swift ’s The Eras Tour goes something like this: let’s take a cash grab tour of her past lovers and public debacles through songs that may have changed genres two or three times, but all sound the same. (They don’t.)

The critical view goes something like this: after mastering country, pop, and indie, are we looking at the next all-time great? (Ignoring the fact that, if she were a man, she’d already be lauded as being there.)

The delusion fan view goes something like this: Is this algebraic formula an Easter egg? (No.) Taylor Swift is for the girls, gays, and theys and straight men shouldn’t be allowed at the tour. (This is exhausting.) I bought all four versions so I could have a clock. (Okay, this one is more on Taylor’s incredible mind for capitalism; but, c’mon folks, it’s the same record. You only need one copy.) Etc.

Somewhere in the middle of this wild and inaccurate Venn diagram of discourse is the truth: we are witnessing something not quite before seen in history. Taylor has achieved something not seen in decades: monoculture. She’s the zeitgeist. Everyone seemingly has something to say about it. Including me.

I don’t quite have the labels that encompass what is currently going on around The Eras Tour, but I’ve seen whispers of Beatlemania, rumblings of Elvis, even talks of Michael Jackson’s Thriller era. Usually, as a Millennial, when you’re living through this year’s once in a lifetime event , it doesn’t come quite this bejeweled and full of joy.

If Ticketmaster is to be believed, she would’ve needed an additional 850 tour dates to meet demand in the United States alone. The thousands of folks “Tay-gaiting” outside stadiums every night seems to indicate the truthfulness of this statement. Somehow, the most popular music artist on the planet became even more popular during a global crisis.

I had the distinct honor and privilege of attending The Eras Tour twice–Nashville Night 3 and Detroit Night 1–and I’m inviting you to come along with me for the ride of trying to put my finger on what exactly Taylor Swift is accomplishing with this tour. It begins with this thought: this is what happens when you turn your performance into the greatest love song you’ve ever written. And this time, the object of the love song is her longest, most personal, and most life-giving relationship: the one she has with her fans.

The Lover Era

“It’s been a long time coming, but it’s you and me, that’s my whole world.”

You’ll never convince me that these words weren’t intentionally chosen to kick off this three and a half hour tour de force of a performance. “ Miss Americana and the Heartbreak Prince ” has always been one of my favorites on Lover , and this brief intro felt like a tease. But it was the coda, the truth, of what would happen between the crowd and Taylor for the rest of the evening. It created this kinetic energy and connection that began barreling forward from the stage across the crowd that didn’t relent until well after the fireworks. 

When it comes to Taylor Swift, most of the time you have to look past the noise. It’s not about her love life, her friend group, her feuds, her genre, her record label…it’s about the music. (Even when it’s admittedly difficult to escape everything else.) It’s the way the music connects with the fans. And the second song of the night was the first moment that drove home exactly how strong this connection is.

“ Cruel Summer ” was the obvious choice for Lover ’s lead single to anyone but Taylor and her team apparently. After seeing it live, this opinion is forever solidified for me. Four official singles later in the album rollout, it was rumored to be about to get its time to shine when COVID-19 dramatically altered, well, everything. From the way the crowd roared every single word, you’d never know that this song didn’t chart at number one all summer long in 2020 as originally planned. 

“It’s about time, Nashville,” Taylor said after that four hour lightning delay , “Cruel Summer” dropping to an instrumental as she allowed the tension and hype to build around the launching of the bridge. “We are finally off to the races and I would appreciate it if you would absolutely go off on this bridge. Are you with me? Go!”

In a stadium under rolling thunderheads, nothing else mattered in that moment. Not the hours spent cramped sheltering in place, all but assuming that this concert was going to be canceled. By any other artist, it would have been canceled. The euphoric release of tension into the night sky by the largest crowd ever assembled in Nashville (yes, even larger than the two nights prior without the rain). “I love you. Ain’t that the worst thing you ever heard?”

It was at my second show in Detroit that “ The Archer ” really stood out to me (click that link to watch a video I took of it). The dancers and back-up singers cleared the stage leaving just Taylor. The crowd’s bracelets twinkled like that mythical mirrorball as she walked the perimeter of the walkway, gesturing towards each section. Somehow, in a cavernous venue, it was intimate. One of Taylor’s most vulnerable songs, being shouted back to her. This was no longer about a man from her past. It was about the fans in her present.

“Who could stay? You could stay.”

The Fearless Era

“‘cause I don’t know how it gets better than this, you take my hand and drag me head first, fearless.”

And just like that, those of us staying with Taylor were drug into a time machine by that opening guitar line of “ Fearless. ” I could hear my friend Sarah playing the album on her laptop our freshman year of college while doing homework somewhere in the depths of my mind. Taylor had said earlier on in the show that we would be exploring seventeen years of her career (“one…era…at…a…time”), but I didn’t expect each era to take me back to that time and place where I first heard them or fell in love with them (sadly, not always the same moment). Taylor and I are eight days apart in age, and every so often it feels like her albums are able to reflect on something I’ve just lived through or to reveal something about being that specific age in that time and place that creates a deep appreciation and bond within me for her music.

Suanne Garfinkle-Crowell’s guest opinion for The New York Times , “ Taylor Swift Has Rocked My Psychiatric Practice ” captured it perfectly for me by saying: “Whatever you are upset about, the poet laureate of this generation has got a song somewhere in her mega-oeuvre describing that precise feeling. She is not going to solve whatever problem you are having, but she is going to sit with you in it until the passage of time does its work: Look at her now.”

Seeing Taylor replicate those twirls, gold dress spinning, unlocked a feeling deeper than a memory. Music that travels with you through time is always at risk of becoming nostalgia fodder. “ You Belong With Me ” and “ Love Story ” (another Detroit snippet) launched Taylor into a new level of popularity back in 2008. In 2023, they’re less a vehicle for nostalgia than you’d expect and more of a joyous celebration of youth. Many songs don’t stand the test of time, but fifteen years later, we can confirm that these have (and that many more of hers will).

“It’s a love story, baby, just say, ‘Yes.’”

The Evermore Era

“What died didn’t stay dead. You’re alive in my head.”

I’ll be honest, I was skeptical of how an album like Evermore would translate to a live setting, especially one designed for football. Taylor very quickly let me know that I was an idiot, oh, and by the way, here’s your three favorite songs on the album as well. Two of which I had jokingly said to my boss, “It’s not like she’s going to play ‘ Tis the Damn Season ’ and ‘ Tolerate It ’ on a stadium tour” on the day we bought tickets.

It’s impossible to disconnect Evermore (and Folklore ) from the pandemic. They exist because of a true tragedy. They’re healing in that they expose so many hurts. They peel back the corner of the curtain and say, “Remember how this feels?” In exploring “folk” storytelling, Taylor stumbled upon universality in the extremely specific. In trying to make sense of the changing, tumultuous world around her, Taylor gave us the vehicle to experience emotions in the safety of art in a world that wasn’t feeling very safe.

Having recently lost my grandfather, “ Marjorie ” was a beautiful moment. Especially when I feel like he never got to see my life truly take off and become what I imagine he saw in the future for his grandchildren. “All your closets of backlogged dreams and how you left them all to me.” If Marjorie could see you now, Taylor, she’d be your biggest fan. And not because you’re selling out stadiums worldwide on multiple nights, but because you’re genuinely you through it all.

But, my goodness, the “Tolerate It” performance. Jaw-dropping. Incisive. Emotional. Moving. In a show of bombastic highs, this is a moment where the vocal work and lyrics got to absolutely shine. Every ounce of heartache on display, and then the turning to the crowd as she sings “take this dagger in me and remove it, gain the weight of you and lose it. Believe me, I could do it.”

Taylor knows who is on her side no matter what, which immediately leads into…

“I come back stronger than a 90s trend.”

The Reputation Era

“My reputation’s never been worse so you must like me for me.”

The emotional, hilarious whiplash of “Tolerate It” to “ …Ready For It? ” may be one of the more genius moves of the entire tour. No matter how much I adore Evermore , the energy did flag a little in the crowd. It’s a long show. But the instant that snake flashed on the screen, the place just about exploded.

The Reputation Tour (watch it on Netflix if you haven’t, what are you even doing?) is often considered Taylor’s best tour (until now) for a reason. These songs are made for stadiums. They’re made for crowds of thousands shaking the foundation of these huge stands. Taylor had grown as a performer by this tour, and continues to grow in front of our eyes now. There is nothing more laudable than an artist continuing to strive for growth at every turn.

Throughout the tour, more and more fan callouts have become tour standards. The “You Belong With Me” claps. Cell phone lights during “Marjorie.” “Taylor, you’ll be fine.” “You forgive, you forget, but you never let it go.” The pen click. The “Champagne Problems” applause. But leading up to the tour, I only ever saw chatter about “1, 2, 3, let’s go bitch.”

Let me be perfectly clear: I hated this. For all the negative connotations that come with the word bitch, considering all of the “discourse” around Reputation , attaching such a chant to “ Delicate ” seemed far too crass and disrespectful. But you know who doesn’t hate it (or so it seems)? Taylor. Counting on her fingers, smirk on her face, backup dancers gesturing wildly behind her on the stage hyping up the crowd, living in the chant. “That’s what they said I am…so what if I am?” she seems to indicate, encouraging her fans to scream it louder every night of the tour.

And that’s where Taylor has always been the mastermind: claiming the narrative. We know who she is–”Blank Space” and “Anti-Hero” are too on the nose to be anything but glib mockeries of who they say she is. After all, “don’t blame me for what you made me do.” Because, as we’ve learned, at her lowest point in the public eye, her fans embraced her even harder. Whether it’s calculation or just the realizations of growing into adulthood, during this era Taylor did begin to write more for the fans than for the fame. She already had plenty of both, but she solidified her relationship with the former and it’s made all the difference.

“The old Taylor can’t come to the phone right now…”

The Speak Now Era

“This night is sparkling, don’t you let it go…”

If Taylor made any critical mistake in designing The Eras Tour, this is it. Speak Now has far too many career highs and fan favorites to be reduced to a shortened version of “ Enchanted .” In fact, I’d go as far to say that–especially given the (Taylor’s Version) announcement–this Era should’ve been the closing era every night of the tour.

“Enchanted” into “ Mine ” and “ Sparks Fly ,” then coming to a close with “ Long Live ” is the closest thing to a perfect ending I could’ve scripted for this show. Especially when viewing the tour in light of it being a love song to her fans. Of course, saying which three songs I think she could cut to squeeze these three others in could lead to an all out brawl depending on the fan. (One from Folklore , two from Midnights .)

Having gotten both “Mine” (Nashville N3) and “Haunted” (Detroit N1) as secret songs, I can guarantee you that more Speak Now would’ve been absolutely special for everyone involved. And it’s because of the magical, almost fairytale-like nature of the songs themselves. Folklore and Evermore may have explored the storytelling prowess of her career, but the songs on “Speak Now” carry that same magic and ingenuity just as strongly. You believe you’re in the songs living those feelings and stories as you sing them.

And they’re the songs we’ve sat with for well over a decade now. They have the power of memory and the distance of time to no longer be about the specifics and instead about the moments and the emotions, for us and for Taylor. In the intimacy and naivety of youth across this album explore the feelings we all know so well. And it culminates with one true fear:

“Please don’t be in love with someone else…”

The Red Era

“It feels like the perfect night…”

The era on which the entire show hinges. The era on which her entire career hinges. Her magnum opus. Her scattered snapshot of every emotion you can possibly feel at 22. Her heartache and her elation. Her genre exploration. All coalescing into “ten minutes of your time.”

In Nashville, during “ 22 ,” the rain poured down so hard that the spotlights appeared almost physically among us. A joyous, raucous celebration of youth once again transporting me back into a different time and place. When I listen to Red , I experience a deeper sense memory than with any other album. I know what these songs make me remember, make me feel, and make me taste. I know where I was when I fell in love with them.

“ We Are… ” and “ I Knew You Were Trouble ” played like the massive pop hits they are, feeling less out of place in this setlist than they do on Red itself. While I would’ve adored seeing “ State of Grace ,” “ Red ,” “ Treacherous, ” (what a run to start that album, am I right?) or “ Begin Again ,” I get why she chose the pop singles over the country singles. It may be an Eras tour, but the country side of her career is definitely the most downplayed (justice for Taylor Swift ; “ Tim McGraw ” and “ Our Song ” should’ve also been nightly staples on this tour). Thankfully, I did get to see “ Nothing New ” out of the vault in Nashville, dipping more sonically into the less-pop side of the album.

But, of course, it’s entirely about the climax of the era and the centerpiece of her tour (and her career): “ All Too Well .” My favorite Taylor song of all time, the original version not the ten minute. The critical consensus for her best work of art. A fan favorite. A shock #1 single. There are thousands of words written about this song all across the internet, including by me .

Much like “ Dear John ,” you could forgive Taylor for not wanting to play this one live very often. But as she explains in the Reputation Tour documentary, there are some things that the fans have changed for her. How the song evolves from the initial moment of hurt into something grand and connective and beautiful. And hearing the thousands of us singing along with her, I’m glad that something so devastating has become something so flawless. It’s like every shattering moment of Taylor’s life allows for the fans to kintsugi it into something else. And in that moment, you can see the love song Taylor is writing throughout her career for her fans. We’re creating something so beautiful for her despite all of her pain…and she’s doing the same for us.

“It was rare, I was there, I remember it…”

The Folklore Era

“To live for the hope of it all…”

Okay, I’ll just say it: it really bothers me that the Betty-James-Augusta love triangle is performed in reverse order of how it happens chronologically in the story. But I digress.

Like Evermore , I wasn’t sure how Folklore would translate to the setting. Songs aren’t written for the venue they’ll be performed in, but rather for the people who will listen and sing them. I think these songs translated just fine, for the most part, but the first three songs are definitely the lowest energy portion of the night. (Not a critique, just an observation.) It was well past midnight in Nashville when we arrived here, so I was thankful to see it again in Detroit much less tired. (Though, I did get the debut of “the note change” in “ The 1 ” in Nashville.)

The absolute highlight was “ August ” with the “ Illicit Affairs ” bridge turned into an outro that directly enters “ My Tears Ricochet. ” Folklore is an immense collection of songs, and this stretch of the show really cements Taylor’s legacy as a songwriter and performer. In fact, it was around this moment where I realized I had moved from “she’s among the greatest of all time because I’m a huge fan” to “she’s the greatest of all time, no qualifiers.”

In many ways, Folklore was the moment I think Taylor realized any direction she wants to go, we as her fans will follow. For a career that’s always been calculated and planned, the pandemic forced her into taking a risk–with an absolutely monster of a payoff. One of my wishes going forward in her career is that she takes these risks knowing it won’t affect how her fans appreciate her and her work. A stadium rock record seems like a good risk to take, if you’re reading this Taylor.

“‘cause you weren’t mine to lose…”

The 1989 Era

“We never go out of style…”

The five singles off of 1989 , one of the most popular albums of this century, probably represent the casual listener’s image of Taylor more so than any of her other singles and eras. This was her moment of radio domination and ubiquity after leaving country. And the crowd reacted appropriately. This is least intimate portion of the show, and I think it reflects the glam and mega-stardom of the era as it happened. The songs, despite being her pop singles to date, are almost too big for the story she’s been telling thus far. “ Style ” and “ Wildest Dreams ” are two of my favorite songs in her entire discography, yet they don’t feel like the core of this set of songs.

As a longtime fan, I know why she went singles again here…but I was left wanting some deep cuts from the album. I missed the 1989 World Tour due to finances at the time and I can’t help but wonder if I’ll ever get to hear a “ All You Had To Do Was Stay ” or “ I Wish You Would ” or “ Wonderland ” live. These are songs that tap into the emotional core of the writing of Taylor’s that I find most compelling. In many ways, this era felt like the safest, least surprising presentation of songs. Which, considering what comes next, could’ve been on purpose.

“ Say you’ll remember me…”

Surprise Songs

“You are the best thing that’s ever been mine.”

The surprise song section of the tour has been one of the more beautiful things I’ve seen an artist do. After only doing one surprise song per night on her older tours, she expanded to one guitar and one piano song. It allows for moments of true awe, surprise, and glee for both Taylor and the fans.

I’ll never forget the live debut of  “ Would’ve, Could’ve, Should’ve ” in the pouring rain. The absolute stunning piano version of “Mine” after admitting that for her, this song was about her fans. Or the complete shock of her playing “ Haunted ” in Detroit and the crowd struggling to catch up to the realization. Or the moment I grabbed my friend next to me as she played “ I Almost Do ” without any introduction, playing a song from Red I never expected to see live.

I’ve watched grainy, time-delayed livestreams of the secret songs most weekends. It’s playful. It’s unique. It’s caring. It’s paying tribute to a legacy of her body of work. But it’s also a constant surprise to her how loud people sing these songs back to her. “Oh, you really know this one!” she said, mid-song, playing a b-side from the Fearless era in Atlanta.

Songs from every era, no matter how well known or obscure, are met with deafening roars and rowdy singalongs. Songs we’ve had for almost two decades or songs recently released from the vault, it doesn’t matter. The concert may be a love song to her fans, but the fans are the ones singing it the loudest. And, if what I’ve been witnessing holds true, it’s going to stay that way for a very long time.

The Midnights Era

“Ask me what I learned from all those years. Ask me what I learned from all those tears. Ask me why so many fade, but I’m still here.”

The concert ends with the most current era of her career. I wouldn’t say it’s her best era artistically or lyrically, but it’s the most free she’s ever been. She can do whatever she wants, and the scattershot nature of the album and chosen songs reflect that. The insightful, introspective look back at the dark nights of her life really do encompass this feeling of all of her eras culminating here. Whereas Red and Lover approach the scattershot approach quite differently, there’s something cohesive about Midnights that reflects the moment Taylor is at in her life.

And what a moment it is.

“It’s me, hi.”

Amanda Petrusich’s superb write-up for The New Yorker , “ The Startling Intimacy of Taylor Swift’s Eras Tour ” captured it perfectly for me by saying: “The scope of the show reinforces the hysterical demands on twenty-first-century pop stars: be something new every time you show up, or don’t show up at all.”

But Taylor shows up because this is who Taylor Swift is. The seventeen year old girl with the thick country accent is the same as the thirty three year old woman conquering the world one pop single at a time. She’s been inescapable. She’s been the outcast. She’s been the icon. She’s been dramatic. She’s been reserved. She’s been deeply flawed, deeply human, and deeply connected. She cares deeply.

And for that? We, her fans, love her. Because we have been all those things. So, if I have to hear these songs for my life to make sense? I’ll be “asking God if He could play it again.”

Taylor Swift has restructured her Eras Tour. Is this the show we'll see in Indianapolis?

At her first show in Paris, France, Taylor Swift had many surprises in store for fans: New outfits, set transitions and most noticeably, a new setlist.

It is assumed this will be the setlist used throughout the rest of the tour, which means Indianapolis may be seeing this version of the Eras Tour in November as opposed to the version she did on the first leg of her North American tour (but don't worry, it will forever be immortalized in the movie experience on Disney+ ).

Here's everything you need to know.

Did Taylor Swift change her setlist?

Yes. At her show in Paris, France, the first show after the release of her latest album, The Tortured Poets Department (or TTPD, for short), a live stream revealed that she changed up the setlist .

Fans were surprised she changed up the order of the different eras of her music as well as the addition of the newest era, TTPD.

Of course, to make room for the new section of the show, some cuts were made.

She removed "The Archer" from the "Lover" section, she removed "Long Live," from the "Speak Now" section, she combined the "Evermore" and "Folklore" sets to save time and removed "the 1," "tolerate it," "'tis the damn season" and "the last great american dynasty."

TTPD: Taylor Swift lyric draws backlash for reference to the 1830s. Here's what people are saying

New Taylor Swift Eras order

• Folklore & Evermore

New Taylor Swift setlist

• Miss Americana & The Heartbreak Prince
• Cruel Summer
• You Need to Calm Down
• You Belong With Me
• We Are Never Ever Getting Back Together
• I Knew You Were Trouble
• All Too Well (10 Minute Version)
• ...Ready For It?
• Don't Blame Me
• Look What You Made Me Do
• Champagne Problems
• Illicit Affairs
• My Tears Ricochet
• Blank Space
• Shake It Off
• Wildest Dreams
• But Daddy I Love Him
• So High School
• Who's Afraid Of Little Old Me?
• Smallest Man Who Ever Lived
• I Can Do It With A Broken Heart
• Surprise song on Guitar
• Surprise song on Piano
• Lavender Haze
• Midnight Rain
• Vigilante Shit

When is Taylor Swift coming to Indy?

Taylor Swift  announced in August  she is bringing her "Eras Tour" to Indianapolis at Lucas Oil Stadium for three nights, Nov. 1, 2 and 3.

How to get Taylor Swift tickets for Indianapolis?

You may still have a chance to see the Eras Tour in November.

Ticket sales through Ticketmaster are officially over, however, several marked-up tickets are still available for the Indianapolis shows on re-selling sites like  StubHub  and  SeatGeek .

If you're still hoping to get tickets, they may be costly. Most tickets are priced are anywhere from $1,500 to almost $3,000 each, and the cheapest tickets are for seats near the top of the bowl.

Katie Wiseman is a trending news intern at IndyStar. Contact her at [email protected]. Follow her on Twitter @itskatiewiseman .

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Harris-walz campaign responds to trump’s “i hate taylor swift” comments with singer’s song lyrics.

The statement issued Sunday morning referenced 28 of Swift's songs. "Call it What You Want, but it’s Nothing New for the Smallest Man Who Ever Lived," one sentence read.

By Zoe G. Phillips

Zoe G. Phillips

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The Harris-Walz campaign referenced 28 different Taylor Swift songs in a statement Sunday morning responding to Donald Trump ‘s “I Hate Taylor Swift” comments issued that same day.

The statement, titled “Trump’s Bad Week (Taylor’s Version),” came in response to the former president’s Sunday morning Truth Social post , in which he wrote without context, “I HATE TAYLOR SWIFT!”

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In total, the lengthy statement references 28 different Swift songs, with lines like “Call it What You Want, but it’s Nothing New for the Smallest Man Who Ever Lived” and “We can make sure The Story of Us is one of progress — and show Donald Trump we are not going Back to December of 2020. Like ever.” A portion of the references are attributed to campaign spokesperson Sarafina Chitika as well.

The quippy release comes on the heels of the Democratic campaign’s launch of Taylor Swift-centric ads following the singer’s endorsement of Harris and Walz after Tuesday’s debate. Billboards in New York City’s Times Square and the Las Vegas strip advertised being “In Our Kamala Era” in reference to the superstar beloved and ongoing tour, and sent viewers to IWillVote.com.

Swift’s endorsement on Tuesday, in which she proudly labeled herself a “Childless Cat Lady” in reference to Trump’s running mate J.D. Vance, led to  337,826 people  visiting Vote.gov registration sites overnight.

Scooter Braun, whose relationship with Swift publicly soured after he acquired the rights to Swift’s first six albums in 2019 , also came to Swift’s defense. He reposted Trump’s post to his Instagram Stories , writing, “Shake it off Donald. Kamala 2024.”

See the full statement below.

We’re pretty sure it’s Safe (& Sound) to say Donald Trump’s week has him Down Bad.

Mr. Not-at-all Fine has spent this week working through his feelings, whining about his Champagne Problems, and spending exactly none of his time addressing the issues facing the American people.

His rambling, yelling, and constant conspiracy theories have many asking if The Man is “too emotional” to be president.

Call it What You Want, but it’s Nothing New for the Smallest Man Who Ever Lived.

After a “seething, unhinged, incoherent” debate performance that Republicans deemed “a disaster,” Trump and his inner circle of extremists can’t seem to Shake it Off as the Bad Blood between Trump, his running mate, and his own party boils.

Don’t take our word for it, though – listen to Trump himself, who spent his time on and off the debate stage with no plans and no solutions for the American people, acting like nothing is Better Than Revenge:

Trump’s Sad, B̶e̶a̶u̶t̶i̶f̶u̶l̶, Tragic Week:

• Trump brought an extremist who promoted 9/11 conspiracy theories to a 9/11 memorial
• Trump was praised and celebrated by neo-Nazi hate groups for amplifying their message on the debate stage
• Trump’s running mate floated privatizing the VA, putting benefits for veterans and military families on the chopping block
• Trump repeatedly refused to say on the debate stage whether he would veto a national abortion ban. Vice President Harris held him accountable for overturning Roe v. Wade and ripping away women’s freedoms
• His running mate confirmed this morning that he was wrong to say Trump would not veto a national abortion ban, saying “he’s learned his lesson” about ascribing positions to Trump that he does not have
• New reporting revealed that Trump twice hosted a “white supremacist and Nazi sympathizer” at his country club
• Trump’s advisor was deemed too extreme even for Marjorie Taylor Greene
• Conservative economists confirmed that Trump’s economic plan would “increase the risk of a recession” and increase inflation

And Oh My God You Should Have Seen the American People’s Face s

• Trump paid the price for his plan to take women’s freedoms back way past 1989 – during the debate, “abortion” was the top searched issue in 49 states
• Prominent Republicans noted that Trump appeared “angry and fixated on the past” while Vice President Harris was “calm, confident and strong” on the debate stage
• Battleground voters were Enchanted by the Vice President’s Fearless debate performance

“Donald Trump’s week of whining and spouting conspiracy theories has voters on both sides of the aisle ready to Forget That He Existed. The American people want to be Out of the Woods of the chaos and division of the Trump era, leave behind the Blank Space of Trump’s broken promises, and Begin Again by electing Vice President Harris to ensure America’s future of opportunity is Long Lived.”

“Voters know All Too Well how dangerous Trump and his Project 2025 agenda will be if he wins. This November, we can make sure this is The Last Time we have to deal with his End Game of jacking up taxes on the middle class and ripping away Americans’ freedoms. Together, we can turn the page on the Trump Era and write a new chapter where all Americans Breathe easy knowing we have strong, steady leadership at the helm. We can make sure The Story of Us is one of progress—and show Donald Trump we are not going Back to December of 2020. Like ever.”

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