reputation tour openers

Reputation Stadium Tour

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

Netflix original [ ]

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

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

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

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

Critical review [ ]

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

Awards and nominations [ ]

The Reputation Stadium Tour won five awards from eight nominations.

Set list [ ]

Official set list for the tour.

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

Setlist changes [ ]

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

Surprise songs [ ]

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

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

Special guests [ ]

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

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

Gallery [ ]

Tour dates [ ].

• 1 List of Taylor Swift's ex-boyfriends
• 2 Benjamin Button
• 3 List of songs

Taylor Swift Extends ‘Reputation’ Tour With New Dates

By Ryan Reed

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

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

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

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

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

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

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

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Taylor Swift Tour Dates (New Dates Bolded)

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

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• All setlist songs  ( 1070 )

Years on tour

• 2024  ( 65 )
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• 2021  ( 5 )
• 2020  ( 3 )
• 2019  ( 27 )
• 2018  ( 59 )
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• 2014  ( 48 )
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• 2012  ( 49 )
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• Fearless  ( 116 )
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• The 1989 World Tour  ( 85 )
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• reputation Stadium Tour  ( 54 )
• Avg Setlist
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Average setlist for tour: reputation Stadium Tour

Note: only considered 53 of 54 setlists (ignored empty and strikingly short setlists)

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

Show Openers

Main set closers, show closers, encores played.

This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you.

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Taylor Swift Reveals Opening Acts for Her 'Reputation' Tour -- Watch!

Watch taylor swift excitedly announce camila cabello and charli xcx as 'reputation' tour openers, serena williams shares motherhood update at ‘exhibiting forgiveness’ premiere (exclusive), brad pitt ‘very happy’ and ‘proud’ to have girlfriend ines de ramon by his side (source), naked tate mcrae gets arrested in britney spears-themed ‘it’s ok i’m ok’ music video, lil wayne breaks silence on after being snubbed for super bowl halftime performance, tom cruise made no money from death-defying olympics closing ceremony stunt, how prince harry plans to celebrate his 40th birthday (royal expert), nikki garcia’s sister brie encouraged her to leave husband artem chigvintsev after arrest (source), bunnie xo explains why she wears diapers, justin timberlake ‘disappointed’ in himself following plea deal for dwi arrest, ‘tulsa king’: sylvester stallone on working with his daughter and jelly roll's cameo (exclusive), the perfect cocktail for an ‘emily in paris’ viewing party, linkin park's chester bennington's son claims mike shinoda 'used my words against me' during concert, what 'big brother's quinn thinks of possible romance with leah outside bb house, watch jenna bush hager play cupid between lenny kravitz and hoda kotb, vin diesel and paul walker's daughter meadow remember late actor in touching birthday tributes, 'emily in paris' cast reacts to emily moving, gabriel chasing her and mindy's split (exclusive), justin timberlake shares message about drinking and driving after entering dwi plea, jason kelce praises taylor swift after vmas wins, says level of talent is 'ridiculous', how prince harry & prince william's strained relationship could impact the holidays (royal expert), why natasha rothwell was 'nervous' to return to 'the white lotus' after 'how to die alone', two badass ladies are joining taylor for her stadium tour.

Taylor Swift just got two incredible artists to join her on the road!

The Reputation singer revealed via Instagram Story and Twitter on Thursday that Camila Cabello and Charli XCX will be the opening acts for the Reputation Stadium Tour.

"I have a very exciting update to share... @Camila_Cabello and @charli_xcx will be the opening acts on the #reputationStadiumTour!!!" the 28-year-old singer tweeted.

"I've been wanting to tell you this for a really long time," Swift shared in the video. "I'm really excited, I hope you are too. And I can't wait to see you, can't wait to see them. And I'm really just excited about the whole thing in general."

"I AM SO EXCITED THANK U TAYLOR FOR HAVING ME," Charli tweeted in response to Swift's announcement. Cabello also retweeted the news.

Of course, the news comes as no surprise to subscribers to Swift's "Songs Taylor Loves" Spotify playlist , which features both of the talented artists.

And those who caught any glimpse of Swift's last tour for 1989 knew the show was already gonna be a freaking spectacle. But the knowledge that we'll be "Unlocking It" to Charli's Pop 2 bangers (not to mention " Boys ") and singing "Havana-na-na-na" to kick things off takes things to another level!

Taylor Swift's Reputation Stadium Tour kicks off in Glendale, California, on May 8.

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Taylor Swift Announces More Dates For 'Reputation' Stadium Tour

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

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

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

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

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

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

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Jack Antonoff's "Grand Desire": Why Working With Taylor Swift, Sabrina Carpenter & Bleachers Is His Dream Creative Playground

Jack Antonoff has a simple wish: to "write and produce things and play live." The GRAMMY-winning producer is living his dream, and discusses his roster of all-star collabs, creating studio vibes, and the importance of looking back.

"I think collaboration boils down to the core belief that something can work," Jack Antonoff recently told GRAMMY.com. "When I make an album with someone, I'm filled with faith that much more in my life or the universe can work, which is definitely a reason why I do this."

The 11-time GRAMMY-winning singer, songwriter and producer has worked with many of the biggest modern pop stars — from Taylor Swift , Lana Del Rey and Lorde , to St. Vincent and Sabrina Carpenter — but his core focus has never changed. Antonoff simply wants to make music he loves with people he loves, and perform it live.

Antonoff not only holds many peoples' dream job of being Swift's go-to collaborator, but he's been having a banner year filled with notable creative projects and big wins. At the 2024 GRAMMYs, he won Producer of the Year, Non-Classical for the third year in a row. He also earned two more GRAMMYs that night, sharing Best Pop Vocal Album and Album Of The Year with Swift for his extensive production work, co-writing and instrumentation on Midnights . In March, he released his fourth album as Bleachers and launched a lengthy world tour with the band, which will wrap with their biggest-ever (sold-out) gig at Madison Square Garden on Oct. 4.

His 2024 production credits include Swift's The Tortured Poets Department , four of breakout star Carpenter's Short n' Sweet tracks including No. 1 hit "Please Please Please," and even one of Kendrick Lamar 's Drake diss tracks, "6:16 in LA." He also curated and produced the soundtrack for Apple TV's WWII couture period drama "The New Look," featuring modern renditions of classics by Lana Del Rey, Florence Welch , Nick Cave and others. He was also tapped by Tony-winning director Sam Gold to create the soundtrack for a modern reimagining of "Romeo and Juliet," debuting on Broadway later this month.

Before Antonoff became one of the most in-demand producers in pop, he spent his time in bands. As a high school senior in 2002, he formed indie rock outfit Steel Train with several classmates, who'd have a decade-long run playing big festivals including Bonnaroo, SXSW, Warped Tour and Lollapalooza. Afterwards, he played guitar in the power pop trio fun. with whom he earned his first six GRAMMY nods and won his first two in 2013, for Best New Artist and Song of the Year for their anthemic hit "We Are Young" featuring Janelle Monáe .

2013 was a pivotal year for the "Tiny Moves" artist, as it also marked his first time he worked with Swift, who then enlisted him to support her transition away from country music on Album Of The Year winner 1989 . Antonoff has said that she was the first artist to trust him as a producer, and that their work together, understandably, opened many other doors for him.

GRAMMY.com recently caught up with the prolific producer and artist for a dive deep into his collaborative magic, the latest Bleachers album, and why he thinks pop is whatever you want it to be. 

This interview has been edited and condensed .

There's a lot to talk about just from this year, it's pretty crazy.  

When the Bleachers album came out and I was starting to do interviews, I had this really weird experience. Interviews recap things that have happened, so [they make me] realize how little I think about the past. I don't know if that's a good or bad thing. 

I think it's a symptom of how much my life is future-focused — which is something I really like and fear about my life at the same time. The studio is such a forward place. You're thinking about the next thing, how to find this next feeling in literal and esoteric ways. [Being on] the road is one of the most literally forward places — every day you're somewhere new and you're thinking about the next day and the tour. 

I feel like I'm trapped in the future. It's nice and I've designed it that way. But sometimes I get a little scattered or emotional when I talk about things that have happened because I'm thinking about them for the first time. I don't have canned answers. 

You're often called a super-producer, which is valid; you've worked with so many big artists and on so much music that everyone hears. But what are you desiring as an artist and a producer lately?

The grand desire that I have has never changed, because it's so much bigger than any amount of success. That desire is to write and produce things and play live. That's a big part of why I love this work so much is because nothing can really help you with that besides your soul. You could be in the most expensive studio in the world with all the best engineers, but there's no proof that [that setting] equals a better song than just sitting in your room.

That fleeting feeling of knowing that it comes and it goes, and you just have to be there to grab it, is such a deep connected-to-the-cosmos feeling.

When you're working on music, at what point do you get excited about a song or know that it's going in the right direction?

When it does happen is when I start to push it forward in a real way. There's an amazing amount of f—king around in search of that feeling, and you never know where you're going to get it. It's sometimes just moving around instruments or lyrics or thoughts with no direction until one thing feels exciting, and then you follow that thing. 

It's a really fun process, and it can be anxiety-producing. It's a different kind of fun when you do it with someone else, because you're on this weird adventure together. When you're in a room with other people and everyone has that feeling off of one idea or one sound, it's a very connecting feeling. 

When you're working on your own music, particularly with Bleachers, it's mostly just you in the studio, right?  

Yes. But the Bleachers process is oddly similar [to my producing], just sort of flipped. I work with producers on Bleachers because I need it sometimes. I've always had these two sides of writing my music and having my own band and needing help with that in various ways. I've learned so much on either side. 

Being on the road with Bleachers, remarkably, keeps me connected to everything that matters the most when I'm making records with other artists because I can very easily visualize real fans, the people who live and die by this music. To be acquainted with them every night is a very powerful experience. It always just reminds me who I'm in conversation with, because I think it's easier than ever to get lost.

You've had a busy summer on the road with the Bleachers. How has it felt performing this album live?

It's really my favorite ever. It's the first album I've made with Bleachers that feels like a response to this thing that happens at the shows. Somewhere during the Take the Sadness Out of Saturday Night [tour in 2021], the shows got really crazy and loose and kind of off the wall. There was something about it where I was kinda like, Okay, you want to play chicken ? [ Laughs .] I went into the studio and I tried to one up them. I never felt that before. This time I was talking right at [my fans], which is a luxury of being known by them. **

The first song we ever released was "I Wanna Get Better," which is almost a Wikipedia page of my life, it rattles through everything I'm going to be talking about [forever]. It feels like now I can wax on about something, and they know what I'm talking about.

Is that why you decided to self-title this album?

The actual decision to self-title is a gut feeling. But the real reason is it felt like an earned moment, like we had arrived somewhere where everything had completely formed.

Every reference point [while] making this album became about our own history and our own mythology. In the past, I would have said, Make it like a Mick Fleetwood or Ringo kind of feel . Now the reference point would be Play it like you do at this point in the set when the wheels have blown out for you . You tour and spend enough time with people where it becomes almost like conversations with your best friends, the reference points become your own shared history. 

What called you back into the studio to make your own music?  

I never know. My life is a lot less structured than people would think. The way I make Bleachers records — and even in everything I make with other people — there's a real looseness to it because I like to be [in the studio] when I feel incredibly excited to be there. I schedule things, just not terribly far out.

For example, Lana and I or Taylor and I have never once been like, "Let's book out a month here." It's sort of like, "What are you doing today? I got this idea, come over." And then if that's feeling good, it's like, "What are you doing tomorrow? Let's keep this going." It's very [much] catching it when it's happening. Some days I'm in the studio for an hour, some days for 16 hours; it's all based on how I feel. 

Are you always working on music or ideas — is there always something that's coming out of you?  

Lately — the past couple years — I've been feeling the need to create a lot. I feel connected to something, and I feel a lot of joy and that good buzzy anxiety of having these ideas and wanting to hear them, which reminds me of my earliest memories of writing and producing music. When you hear the thing in reality — you can press play on a thing that was a thought — it's the most incredible experience.

"Alma Mater" is such a poetic way to refer to an ex. How did that track come together? Did you have Lana del Rey in mind for it?  

No, we were just f—ing around. I think a lot about where you put people [when listening to a song]. On that song, I wanted to put you in a room with me and her, so I left a lot of the elements of us being in the room writing it, messing around. We kept singing back and forth like, "She's my alma mater, f— Balenciaga." [ Chuckles .] The lyrics were just making us smile. 

As it started to come together, this idea of referring to an old relationship as an alma mater, that excited me and made me want to write that story. That's kind of what an old relationship is: a school that you go to where there's a whole set of friends, and a whole culture, and when it's over, poof, it's gone. 

Obviously, you worked with Sabrina Carpenter on some of her new music…  

How brilliant is she?

Read more: How Sabrina Carpenter Became A Pop Queen: Tracing Her Journey To 'Short N' Sweet'

She's around the same age Taylor Swift was when you started working with her. Do you see any parallels with Sabrina where Taylor was at then? Sabrina has said it was a really big deal to get to work with you. What was it like working with her?  

It was a big deal for me to get to work with her. The great parallel is brilliant writing and being able to write about one's life in the most vulnerable and powerful way. It sounds so simple, but it's the rarest thing to be able to write about your life and to be able to make it so specific and also so poetic. You know it as soon as you hear it.

Can you talk a little bit about the sonic landscape on "Please Please Please"?

We were thinking a lot about joy and the kind of fantastical nature of ABBA , Dolly [Parton] and ELO that I felt would fit her voice and lyrics so well. She [does] this quick vacillation between really cheeky then really emotional, back to really sarcastic, and then she smacks you over the head with something so serious and real that you're stunned. It's my favorite kind of music.

One of the reasons it's so thrilling to me that so many people have responded to it is because it doesn't sound like anything that's going on at all, it almost sounds like the opposite of everything going on. Those are my favorite moments; when something out of left field grabs everyone's attention.

Those bubbly sounds right when "Please Please Please" comes in are not in time. You have a LinnDrum ['80s drum machine] and a live drum playing this tight beat and these country-picking acoustic guitars. Then you have these wobbling synths that, in my head, I'm playing the same way someone would play it when it was first invented because you're just playing along to the track, you're not locking it to any MIDI or anything. I was thinking a lot about that time period — I think about [it] all the time — when I was with Sabrina.

How has your creative partnership with Taylor Swift and your trust in each other evolved in the decade-plus you've been working together? And what has been the coolest thing for you to see in your ongoing work?

As far as evolution, we just have our own language. I saw her play last night [at Wembley Stadium in London], and actually played some songs there too. Most of the time when we work it's just her and I in a room, usually my apartment or Electric Lady [Studios]. To see [the songs] in literally the biggest spaces and retain all of [their] importance and soul and feeling like it's that for every single person in that crowd, it's like the absolute coolest.

She's the absolute greatest of all time, with a never-ending hunger to push forward. 

You and Taylor both have such an affinity for witty, nerdy, literary references, and poetic phrasing. How do you pull that out in a way that makes sense in a pop song structure?  

I think that tendency is just inherent in both of us. But I think the concept of pop structure is whatever the hell we want it to be. The worst of pop music is ambulance-chasing. The real inspiration is to be your own loud light-up machine shooting down the street. The things I've loved about pop music have just invigorated me to believe that pop music is whatever the hell the person making it says it is, and then everyone else gets to argue if it is or isn't. 

I don't sit around and think about genre, placement, or who they're going to satisfy. All those thoughts are not just the death of making things. It's pretty easy for me to only consider that gut feeling. I'm just fascinated by how people hear things. There's no genre of music that I think is better or worse than any other one. 

What can you tell us about the upcoming Romeo + Juliet Broadway show you soundtracked? Was it a different creative exercise for you to score such a well-known text; how so?

It was a very different process which is exactly why I wanted to do it. Credit to [director] Sam Gold who really let me fly out to left field and back. I'm about 50 percent through it and I'm going to finish it when I'm home from this tour. It's been something that has opened my world in many ways, to a whole new side of scoring and writing for a musical. 

You have a lot of GRAMMYs, 11 of them —  

People always ask me if it gets normal. No , it doesn't get normal! It's crazy. 

One, where do you keep them?  

That's one thing I've never really figured out, they kind of move around. Everything in my life moves around a lot, so I don't have a satisfying answer for that one.

And going back to 2013 when you won your first GRAMMYs with fun. , how did you feel that day?  

F—ing shocked. As I was saying, I don't really sit around thinking about the past because it's the opposite of the job. What's so shocking about those moments is you're surrounded by family and the people you love and work with, and it's this huge moment to think about how you got to that point. 

My biggest takeaway of these experiences that force you to stop and think about the road behind is just how heavy they are. All of us are held up by really special people, whether it's partners or parents or siblings, fans, engineers, managers, loved ones. If you have amazing people around you, it's the best feeling in the world. That's my favorite part about any award, it feels like it's for everyone that got you there.

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How Sabrina Carpenter Became A Pop Queen: Tracing Her Journey To 'Short N' Sweet'

More than a decade in the making, Sabrina Carpenter is living out her superstar dreams. As she releases her new album, 'Short n' Sweet,' look back on the chart-topping star's journey and how every venture helped her evolve into a pop phenom.

Sabrina Carpenter is the first to admit that it's taken her a bit of time to find her way to the top of the music industry. She even likens herself to the tortoise in the fable "The Tortoise and the Hare" — even if she didn't want to believe the metaphor growing up.

"Something that my mom always said to me as a little girl that really annoyed me was that I am the tortoise… throughout my life, [I was] being told, 'Sabrina, you're the tortoise, just chill,'" Carpenter recalled while accepting the Variety Hitmakers Rising Artist Award in December 2023. "In moments of frustration and confusion it can feel like a letdown, but it turns out it's actually a very good thing."

It's been a very good thing for Carpenter, indeed. A decade since the release of her debut single, the singer/songwriter isn't just breaking through — she's one of pop's new reigning queens. Over the last year, Carpenter has nabbed her first No. 1 song on the Billboard Hot 100, made a stellar debut at Coachella, and performed on "Saturday Night Live," all the while racking up billions of streams on her music new and old. It's all built excitement for one of the most anticipated pop albums of the summer: Short n' Sweet .

As Carpenter unveils her new album, take a deep dive into her decade-long journey to pop stardom.

Getting Started: Disney Breakthrough

Growing up, Carpenter filled the sounds of her family home in Pennsylvania with covers of songs like Adele 's "Set Fire To The Rain" and "Picture to Burn" by future Eras Tour companion Taylor Swift (more on that later). After submitting videos for a singing contest spearheaded by Miley Cyrus , Carpenter would get her first taste of success. Placing third, she caught the eye of Hollywood Records, who signed her following the competition.

Simultaneously, Carpenter also began pursuing acting, landing guest spots on series like "Law & Order: Special Victims Unit" in 2011 and joining "The Goodwin Games" in 2012. In 2014, she landed a lead role in the Disney Channel series "Girl Meets World," a spin-off of the beloved '90s series "Boy Meets World," which served as a breakthrough moment for the burgeoning star — and a catalyst for her music career.

Just before the show debuted, Carpenter released her debut single, "Can't Blame A Girl for Trying," the title track to her debut EP that arrived a month later. While the four-track EP was the typical output of a teenage Disney star — bubblegum pop sounds with digestible, family-friendly lyricism — it showed off her youthful timbre and offered themes that would become prevalent later in Carpenter's songwriting: love, heartache, and navigating life.

A year later, she released her debut album, Eyes Wide Open . A mix of pop with folk and country influences — a soundscape that remains on Short n' Sweet — Carpenter's debut showed maturity and growth following Can't Blame A Girl For Trying ; songs like "Eyes Wide Open" and "We'll Be the Stars" showed a more introspective side, reflecting on the pressures of being in the spotlight and the journey of finding her identity. Eyes Wide Open also hinted that Carpenter was beginning to hone her songwriting skills, penning four of the 12 tracks.

It would be on her 2016 sophomore album, EVOLution, where Carpenter would find confidence as a songwriter, co-writing all but one song on the 10-track project. In turn, the lyrics reflected her growing sense of self and a new perspective on past themes, like embracing non-romantic forms of love in "All We Have is Love," being there for a struggling friend in "Shadows," and learning to assert boundaries in "Space."

EVOLution transitioned Carpenter out of the teen pop aesthetic into a more sophisticated sound, experimenting with dance-pop and techno sonics. Genre versatility would become a throughline of sorts for Carpenter, and EVOLution foreshadowed the multifaceted musicality that was to come.

Shedding Disney: From Child Actor To Pop Star

After "Girl Meets World" came to an end at the beginning of 2017, Carpenter was ready for reinvention. Much like Britney Spears ' Britney and Cyrus' Can't Be Tamed before her, as Carpenter grew into an adult, she felt like she needed to shed the Disney-fied image that has become a rite of passage for teen stars. Thus began the Singular era.

Released in 2018 and 2019, respectively, Singular: Act I and Singular: Act II featured songs that were more risqué and mature in nature. A far cry from her tamer work of the past, the R&B track "Hold Tight" is equal parts sultry and evocative with Carpenter singing, "Wanna keep you in, wanna keep you in right/ Wanna feel your skin, wanna feel it on mine."

As she noted in an interview with Billboard , Singular: Act I   was a natural progression for a girl now in her late teens — even if it was against the squeaky-clean image of her beginnings.

"I was known as a fictional character on television with lines that were written for her with an attitude that was portrayed in a way by other people. So for a lot of people, their first impression of me was as a 13-year-old girl [singing] the kinds of songs that she should be singing," she said. "Then, flash forward to 19, and people are asking why I am not singing about the same things that I did when I was 13, as if that's normal."

One of the more notable Singular tracks is from Act I , "Sue Me." Sneakily disguised as a story about a romantic relationship, the song is Carpenter's response to being sued by her ex music managers: "That's my shape, I made the shadow/ That's my name, don't wear it out though/ Feelin' myself can't be illegal." Its tongue-in-cheek and snarky nature would inevitably embolden Carpenter to continue writing more confessional songs with attitude, whether she's responding to media scrutiny in "because i liked a boy" from 2022's emails i can't send , or warning a suitor to be careful in Short n' Sweet 's "Please, Please, Please."

Singular: Act I and Act II further helped demonstrate different facets of Carpenter's musicality, with the former leaning into pop tendencies and the latter embracing an R&B flair. And as her final albums with Hollywood Records, she used Singular: Act I and Act II to indicate that she wasn't going to let any sort of previous perceptions hold her back. Their coming-of-age themes showcased Carpenter as an artist coming into her own — regardless of whether listeners wanted to keep her in the Disney box or not.

Reintroducing Herself: Artistic Authenticity & The "Nonsense" Effect

While the world was going through a period of change amid the COVID-19 pandemic, so was Carpenter. She signed with Universal Music Group's Island Records in 2021, and soon she would be able to fully introduce the world to who Sabrina Carpenter is as an artist.

As she noted herself to Variety earlier this year, her 2022 LP, emails i can't send , "marked the beginning of a really freeing and artistic time for me." Once again, she co-wrote every song on the album; this time, though, she only had one co-writer for each track, and even wrote two songs solo ("emails i can't send" and "how many things") — proving that she was more assured as a songwriter than ever.

As a result, Carpenter's knack for confessional songwriting is on full display. emails i can't send represents a reflective time capsule of sorts; one that brings the curiosity of her earlier work with the perspective and wisdom of a young adult. Her growing fame meant there was more attention on her personal life, and emails i can't send allowed her to reclaim her narrative and express her side of the story.

Carpenter's candidness struck a chord with listeners, and upon the release of emails i can't send in July 2022, it was clear Carpenter was on a new trajectory. The album debuted at No. 23 on the Billboard 200, which marked her highest entry on the chart to date (as of press time); the 2022 stretch of her Emails I Can't Send Tour sold out in less than a day. And once  "Nonsense" was released as a single that November, her place as a rapidly rising star was solidified.

"Nonsense" was initially written as a means to an end after Carpenter was writing a sad song and had writer's block. Now, the track is the epitome of Carpenter's lyricism, weaving together her wit and humor with an infectious hook. First gaining traction on TikTok because of its catchiness, it's become a beloved part of Carpenter's canon thanks to her inventive and bespoke outros during her live shows. It's since become a tradition for fans to check to see what outro she created for each performance, adding to the fan fervor.

Carpenter further satiated fans' taste for her cheeky lyricism in March 2023, when she released emails i can't send fwd: , the deluxe version of her album, which featured a new track called "Feather." She took the playful, flirting energy of "Nonsense" and infused "Feather" with buoyant, airy production that mimics the feeling of self-liberation after moving on from a relationship. Earning Carpenter her first pop radio No. 1, "Feather" proved that the singer's audacious style was taking hold — and it set the stage for an even bigger 2024.

Becoming A Superstar: Eras Tour, "Espresso" & Beyond

After her own extensive — and very sold out — tour in support of Emails I Can't Send , Carpenter's rising star status was further confirmed by pop's current queen, Taylor Swift. The singer earned a coveted opening slot on Swift's monumental Eras Tour in Mexico, South America, Australia, and Asia.

Just after her last Eras Tour show in March 2024, Carpenter hinted that her own new era was beginning. "I'm starting to feel like I've outgrown the songs I'm singing," she admitted to Cosmopolitan , "which is always an exciting feeling because I think that means the next chapter is right around the corner."

That chapter began with "Espresso," which dropped a day before her debut Coachella performance. Doubling down on the playful, self-assured vibe of "Nonsense," the song immediately hinted that big things were coming for Carpenter, debuting at No. 7 on the Billboard Hot 100, where it peaked at No. 3.

Upon announcing her sixth album, Short n' Sweet , Carpenter released "Please Please Please." Combining her now-signature playful, carefree lyricism with an airy, disco-tinged sound, "Please Please Please" didn't just present Carpenter as a confident superstar —  it became her first Hot 100-topping smash.

Carpenter has referred to Short n' Sweet as the "hot older sister" of emails i can't send. "It's my second 'big girl' album; it's a companion but it's not the same," she explained to Variety , to whom she also admitted she feels a "sense of separation" from her work prior to emails . "When it comes to having full creative control and being a full-fledged adult, I would consider this a sophomore album."

It's apt, then, that her Short n' Sweet collaborators — including songwriters Julia Michaels , Amy Allen and Steph Jones — are largely the same as the team from emails i can't send . "I've really honed in on the people that I love making music with," she told Rolling Stone in June.

Even more telling of the direction she's heading is her work with one of pop's hottest producers — and Swift's right-hand man — Jack Antonoff , for the first time. At a GRAMMY Museum event with Antonoff himself, Carpenter debuted the country-infused " Slim Pickins ," presenting yet another pop style from Short n' Sweet . And as "Slim Pickins," "Espresso" and "Please Please Please" indicate, Carpenter's knack for infectious and edgy lyrics isn't just the throughline across Short n' Sweet — it's become the epitome of both her artistry and her stardom.

Just like her metaphorical friend the tortoise, Carpenter's long but steady journey has clearly paid off. As she's figured out who she is on her own terms, she's manifested the bonafide superstardom she's always imagined.

"I never had the plan B, and it wasn't even a thought in my mind that it wouldn't work out," she told Rolling Stone . "I just always knew it was about not if it would happen but when it would happen."

For Carpenter, every chapter of her artistry has built on the last; she's refused to rest on her laurels and continuously pursued new directions. She's creating work that wholeheartedly reflects her, and growing a loyal fan base because of it. Her next album might be named Short n' Sweet , but her time as a pop superstar will be anything but.

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Behind Ryan Tedder's Hits: Stories From The Studio With OneRepublic, Beyoncé, Taylor Swift & More

As OneRepublic releases their latest album, the group's frontman and pop maverick gives an inside look into some of the biggest songs he's written — from how Beyoncé operates to Tom Cruise's prediction for their 'Top Gun' smash.

Three months after OneRepublic began promoting their sixth album, Artificial Paradise , in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick 's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise , which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder , that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis ' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae .

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé , Adele , Taylor Swift and more.

OneRepublic — "Apologize," 'Dreaming Out Loud' (2007)

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley , actually. We had a session last month, me, him and Amy Allen , and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad . And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song." 

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

Beyoncé — "Halo," 'I Am…Sacha Fierce' (2008)

We were halfway through promoting Dreaming Out Loud , our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall. 

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER ] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé ], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

OneRepublic — "Good Life," 'Waking Up' (2009)

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up ]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [ sings ] "Oh, this has gotta be the good life." 

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [ Laughs .] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?" 

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it." 

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

OneRepublic — "Counting Stars," 'Native' (2013)

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin , Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine.  

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé , and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

Taylor Swift — "Welcome to New York," '1989' (2014)

It was my second session with Taylor. The first one was [ 1989 's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles.  

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989 . He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us." 

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

Jonas Brothers — "Sucker," 'Happiness Begins' (2019)

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer , and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers . They want you to be involved in a major way. Do you have anything?" 

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

OneRepublic — "I Ain't Worried," 'Top Gun: Maverick' Soundtrack (2022)

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end , working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun . I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited. 

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more." 

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto ] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it. 

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

OneRepublic — "Last Holiday," 'Artificial Paradise' (2024)

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday." 

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding. 

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave . So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?" 

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  Machinedrum's New Album '3FOR82' Taps Into The Spirit Of His Younger Years  

• 1 Taylor Swift Announces More Dates For 'Reputation' Stadium Tour
• 2 Jack Antonoff's "Grand Desire": Why Working With Taylor Swift, Sabrina Carpenter & Bleachers Is His Dream Creative Playground
• 3 How Sabrina Carpenter Became A Pop Queen: Tracing Her Journey To 'Short N' Sweet'
• 4 Behind Ryan Tedder's Hits: Stories From The Studio With OneRepublic, Beyoncé, Taylor Swift & More
• 5 "Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

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Taylor Swift's Pal Camila Cabello — and Charli XCX — Will Open for Her Reputation Tour

The "Look What You Made Me Do" singer is "really excited just about the whole thing"

Are you ready for it?

On Thursday, Taylor Swift announced her friend Camila Cabello and British pop star Charli XCX will join her on the road this summer.

“Hey guys, this is a Reputation Stadium Tour update, and I’ve been wanting to tell you this for a really long time. But, the opening acts on the Reputation Stadium Tour will be Charli XCX and Camila Cabello ,” Swift, 28, said in a video posted on Twitter. “So, I’m really excited, I hope you are too, and I can’t wait to see you, can’t wait to see them — really excited just about the whole thing, in general.”

Swift’s tour will kick off in May. The “End Game” singer has been teasing the upcoming concerts online, giving fans a sneak peek on Instagram.

“Repu-hearsals,” Swift captioned a Feb. 12 post of herself standing in front of a room full of sound equipment and a keyboard. And the week before, she shared a shot of her cat Olivia Benson, writing: “We are all stretching to prep for that tour choreo.”

Swift released her smash sixth album, reputation , in November, and her tour mates are promoting recent projects of their own: Cabello, 20, dropped her first solo album , Camila , in January, and critical darling Charli, 25, released her star-studded mixtape Pop 2 in December.

Squad member Cabello previously opened up to The Sun about her famous friendship with Swift.

“We talk about love a lot,” Cabello said last year. “And if I ever have any questions about love or if there’s anything that I’m going through at the time, whether it’s with a boy or with a friend, she’s a very good person to ask those kind of questions.”

Cabello has also revealed how Swift has mentored her.

“If I’m going through a rough time with a boy or if there’s boy drama, she’ll be like, ‘Here’s a playlist I made when I was going through that,’ or she’ll call me to talk about it,” Cabello told V in 2016. “She’s always teaching me. She’s given me such great advice. And honestly, just seeing her live her life? You learn from it. She’s so graceful.”

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Taylor Swift’s ‘Reputation Stadium Tour’ Officially Opens: Photos + Set List

Taylor Swift's highly anticipated  Reputation Stadium Tour   has finally made landfall...are you ready for it?

Swift, who's got a massive show series lined up with guest acts Charli XCX and Camila Cabello , officially kicked off her latest project Tuesday night (March 8) at the University of Phoenix Stadium in Glendale, Arizona, and wasted no time getting the crowd hyped. Donning shimmery black suits, a flirty rainbow dress and a hooded coat befitting of a  Star Wars  villain, Swift cycled through fan-favorite tracks like "You Belong With Me" and "Shake It Off" before diving into new  Reputation  tracks like "Delicate" and a piano version of "New Year's Day."

The show even included a hilarious video-cameo by Tiffany Haddish:

The  Reputation Stadium Tour  will land on Santa Clara, California's Levi's Stadium next before heading off to Seattle, Denver and Chicago.

Check out the official set list for Taylor Swift's  Reputation Stadium Tour  below and peep a collection of photos from the show!

1. …Ready For It? 2. I Did Something Bad 3. Gorgeous 4. Style 5. Love Story 6. You Belong With Me 7. Look What You Made Me Do (Tiffany Haddish makes a guest appearance via video...) 8. End Game 9. King Of My Heart 10. Delicate 11. Shake It Off (with special gusts Camila Cabello and Charli XCX) 12. Dancing With Our Hands Tied (Acoustic on guitar) 13. All Too Well (Acoustic on guitar) 14. Blank Space 15. Dress 16. Bad Blood 17. Should’ve Said No 18. Don’t Blame Me 19. Long Live (On piano) 20. New Year’s Day (On piano) 21. Getaway Car 22. Call It What You Want 23. We Are Never Ever Getting Back Together 24. This Is Why We Can’t Have Nice Things

Taylor Swift's 'Reputation Stadium Tour'

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Taylor Swift’s Reputation Has Never Been Worse — But She’s Never Been Better

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

Loving Taylor Swift is easy. The girl next to me loves her, tells me about it without words in a language only we understand — a slanted, sweet glance of pain, that one lyric she sings forcefully, a little louder than she should — and that she’s there alone, too. But tonight, even solitary we’re not alone, none of us are, as there are another 60,000 people surrounding us and they all love her. When I look up, the entire stadium is glowing, twinkling with white light, then blue, then yellow via the soft, translucent gel LED wristbands we’re all wearing.

If this symbolic, clean band of light didn’t unite us, then a knowledge of the Swiftian canon would; only the rare men in our section maintained their composure as tracks off Reputation , Red , 1989 and beyond filled the University Of Phoenix Stadium on the opening night of Taylor Swift’s magnificent, no-holds-barred 2018 tour. The drought was the very worst, but Taylor is back in a big way — and nothing is off limits. It was time to address all the things she’d been running from, and who better to walk her through the first night publicly confronting her demons than a congregation of adoring fans?

Let the games begin.

I’ve loved Taylor Swift for exactly twelve years. I’m thirty now, so that’s the majority of my adult life. When she makes mistakes, I cringe along with her, remembering my similar missteps and recalling similar wounds. A year apart, both of us navigating very public fields for work, I sometimes analyze our strengths and weaknesses by drawing lines between our respective backgrounds: both raised in conservative, middle-class America, formative years spent idolizing the mythology of a Love Story arc, both writers, music-lovers, country music aficionados — both competitive as hell. I’m not the only fan to draw a parallel storyline with their favorite musician, but the public backlash Taylor faced from 2016 and beyond felt too resonant with my own experience to ignore, too.

Taylor Swift is my culture. Surely, I already knew that to some degree, but I never realized it more than when Reputation dropped late last fall. Unexpectedly in Norway that weekend, I was covering a small European music festival — or, I was supposed to be covering it. Friday morning, attendees kept attempting to communicate with me while I sat ensconced in puffy, pink Beats headphones I couldn’t bring myself to remove, wrapped up in the world of Reptuation .

Puzzled, strangers would eventually give up on the hope of a conversation and fade back into the crowd. Eventually, I too gave up on even pretending to be present and headed down toward the water to listen uninterrupted. After Taylor’s extended break from the spotlight, listening felt like spending time with a friend who’d gone missing and returned with stories to tell.

https://instagram.com/p/BbT8e3rFK5s/

Nursing myself through a particularly dark patch in my own life, I walked along the shore of this small coastal town, losing myself inside a new slice of Taylor’s universe. I listened to “End Game” while a minor gray tempest swirled around me, sheets of rain barely deflected by my cheap umbrella, watched clouds dance across the lake as “Delicate” coaxed tremulous, golden desire, and ducked into a side alley paved with cobblestones for my mini freakout over the key change in “Getaway Car.” I was an ocean away, drinking in the record like a potion, basking in the glow of her songwriting, a warmth I’ve returned to for solace, strength, and joy for over a decade.

Before that weekend, the kind of intense pain I’d use a record like Swift’s to numb was usually evoked by romantic fallout. This time, it was something else entirely, a public dissection of my reputation, a misreading of my intention, and yes, a failure on my part, plus a whole host of onlookers eager to throw stones. The situation and similar ones prior to it had hurt me deeply, worse than when my last love left, worse than any of the friends I’d lost before. In an industry where your name is everything, mine had been dragged through the mud a couple times in the intervening years since the relative innocence of the 1989 era. And frankly, I was at a loss over how to move on.

As time passed and I sought to heal from these respective traumas, would I still be able to do what I loved, or would what a couple people said about me online make everyone else — make myself — believe I was no longer worthy of that? This new album was a welcome distraction because it echoed such a familiar refrain. But, on the other side of her own experience, Taylor’s answer was a resounding no in the face of those specters of doubt. She found a way to give herself the grace she’s always been so eager to extend outward; she’d found a way to divorce her reputation from her worth. It was just the message I needed, and as a sea of girls screaming out lyrics showed me last night, I was not alone in this at all. Never had been.

There’s a feeling that wells up when someone is my friend, my real , in-the-trenches, saw-the-blood-and-guts-and-stayed friend, and they get attacked. It’s a strange, searing loyalty with no mind for facts or logic, unconcerned with the whole picture, or even part of the picture, or even anyone else in the frame. You could call it tribalism, you could call it love, you could call it blindness or empathy or devotion. (Call it what you want) I call it, the way I feel about Taylor Swift. Even if I line up the reasons, the sum of them isn’t a formula that proves why I feel this way, love is just love, a chosen practice as much as a feeling. Focused attention, given freely over time.

Truthfully, most of the songs she’s written have served as better friends to me than the ones I found during college in California, or the ones I had in New York while trying to navigate a career in media. Her music has always been part of my self-mythology , even as a whole host of different characters came in and out of my own life, betraying trust or slipping away, judging me or quietly backing out of my circle, falling for me hard and turning away from me just as quickly. If you’re hurting, there’s a Taylor Swift song for that, and if you’re celebrating, she’s got one for those occasions, too.

When Swift’s self-titled 2006 record came out, I was lifting off out of a small, nowhere town, and helicoptering toward the choppy waves of college. Fearless was released two years later, to guide me through mid-college woes, and Speak Now entered the world the same year I graduated, ready to scream into the world. Red came out the year I moved to New York to chase my dream of being a writer, and 1989 arrived the fall I faced family tragedy, and the loss of my own love story. All the phases of a young woman’s life are reflected in Swift’s expansive discography, and Reputation is another necessary entry, a meditation on making your own name, in your own way.

If you didn’t pick up on that while listening to the record, then it has been made overtly clear in the tour narrative, which deftly weaves songs from Taylor’s past into a glittering narrative arc that spells redemption, acceptance, and, most importantly, resilience. She makes no attempt to pretend like the glaring spotlight of celebrity hasn’t changed her, hasn’t shaped who she is, and that sometimes that has been extremely painful. The crowd sighs catharsis whenever she hits a line we all know has particular significance in the Taylor Swift story, which, at this point, also feels like the story of us.

Everyone at the first show of her tour last night probably has their own favorite moment, but mine was her decision not only to play “All Too Well,” but the way her face froze, dropped a bit, and displayed somberness. It was a reminder that these aren’t just songs for her, either — she lived each story, and the weight of that remains. Down the home stretch of the show, when Taylor sits at her elegant, custom-designed piano emblazoned with reputation on the side, she recalls the darkest period of 2016, when she was bullied mercilessly by a host of Kim and Kanye fans, yet another example of the internet blithely pretending the weaponized power of a public shaming is a deserved comeuppance, not an enactment of trauma on almost entirely undeserving parties .

Reclaiming those insults and accusations, and refracting them back to her fans, the set for her show last night was littered with snakes, the ubiquitous symbol that online factions launched at Taylor during her, uh, public misunderstanding with Yeezy and his Kardashian wife regarding the lyrics to “Famous” and whether or not she felt cool with him labeling her a “bitch.” During her show, Taylor talks about how the experience almost made her give up, how it made her think maybe touring and writing music, being a public pop star, that maybe those weren’t things she would still be able to do. I don’t know how long that phase lasted for her, but I remember exactly how it felt when I came to that similar crossroads. Sometimes quitting looks like the only way to survive, a way to avoid processing the criticism, and to ignore the heavy fact that there will always be people who judge you solely by their limited knowledge of your public past.

For Taylor, I do know that at some point, she remembered who she was, one of the greatest advocates for love in the modern era, a songwriter who has made countless girls feel less alone, feel like they have a friend, and believe they can get through their own loneliness, angst, and despair. Eventually, Taylor Swift remembered her place as a once-in-a-generation songwriter still coming into her own, and she picked back up her pen and got back to work writing the kind of songs that will be remembered long after tweets, emojis, and Snapchat cease to exist. After addressing her personal place of doubt head-on with the audience, Taylor launched into the Fearless deep cut, “Long Live,” a song about defeating dragons, about legacies, about the strength it takes to keep fighting.

It wasn’t quite the end of the show, in fact, she quickly transitioned it back into the Reputation era ballad “New Year’s Day,” a beloved new song that fans were desperately eager to hear live. But just before the end of this medley, our wristbands collectively flashed together in a big, quiet burst of light, marking the moment. That song from her past felt like a recommitment to her legacy, an act that drew a straight line from the old Taylor to this new one, and a reminder that we simply keep going, through all the dark spots. Except, what remains binding us together — a clean band of light, the flickering of a thousand love stories sung out into the night. That is a reputation worth having.

Reputation is out now, get it here .

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The Best Moments From the Opening Night of Taylor Swift’s ‘Reputation’ Tour

Here are the best moments from Taylor Swift's Reputation tour.

By Denise Warner

Denise Warner

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Taylor Swift kicked off her Reputation tour in Glendale, AZ on Tuesday night (May 8), to a roaring crowd of 60,000 screaming fans.

From her elegant — and sparkly! — costumes, to the elaborate stagings, and the fan-favorite songs she chose, Swift outdid herself with her latest offering.

It’s true that the old Taylor may be dead, but her Reputation tour is very much alive and thriving. Here are the best moments from opening night.

Taylor Swift

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Watch Taylor Swift, Camila Cabello and Charli XCX Perform 'Shake It Off' on the Opening Night of…

Keeping Focus

During the  1989 tour, Swift famously brought out members of her “squad” every night for “Bad Blood”, as well as a special guest to perform. But this time, Swift kept the spotlight to herself. She invited openers Charli XCX and Camila Cabello on stage to sing “Shake It Off” briefly and offered a surprise celebrity cameo in Tiffany Haddish — who appeared as part of a pre-taped segment for “Look What You Made Me Do” — but otherwise, the night belonged to Swift and Swift alone. 

Tiffany Haddish

But it is always great to see her.

Taylor’s Puns

“What’s better then beautiful?” Swift asked the crowd before queuing up “Gorgeous.” “It’s delicate,” she said of putting yourself out there in order to find happiness in any kind of relationship — and of course, she began that song off of her latest album. And then, after a costume change, she asked everyone if we liked her “Dress.” Cheesy? Maybe. But it worked with Swift’s often coy presence.

The Mashups

She needs to record a full version of the entwined “Bad Blood” and “Should’ve Said No” that she performed.

“All Too Well”

Swift said that this song was requested more than any other in her repertoire, despite it not being a single. Naturally, she gave the fans what they wanted — a beautiful rendition that brought to mind autumn leaves, scarves and crumpled pieces of paper.

Addressing the Snake in the Room

In one of her monologues, she explained the usage of snakes — from her jewelry, to the stage, to the imagery on screen, and even inflatable versions of the animal. “You might be wondering why there are so many snakes everywhere,” she said. “The reason is a couple of years ago, someone called me a snake on social media and it caught on,” she continued, alluding to her feud with Kim Kardashian and Kanye West . “I went through some really low times because of it,” she added. But then her wisdom kicked in. “If someone is using name calling to bully you on social media — and even if a lot of people jump on board with it — it doesn’t have to defeat you. It can strengthen you instead.” Well played.

An Acoustic Change

Reputation is a far cry from Taylor’s musical roots. But she turned the assumption that her new sound doesn’t mesh with her old country persona on its head, by performing “Dancing With Our Hands Tied” with just her guitar. “I still write songs the same way,” she said.

Katy Perry Sends 'Old Friend' Taylor Swift an Olive Branch Ahead of Tour | Billboard News

Maybe the Old Taylor Really Isn’t Dead

While songs from Reputation made up the majority of her set, Swift threw in tunes from each of her albums — including “Should’ve Said No” from her debut, “Love Story and “You Belong With Me” from Fearless , “Long Live” from Speak Now , “All Too Well” and “We Are Never Ever Getting Back Together” from Red , and several from 1989 .

Her Parting Message

The words “and in the death of her Reputation, she felt truly alive” flashed on screen as the night ended.  A very perfect and poetic finish.

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All the Moments You Need to See From Taylor Swift's Reputation Tour Opening Night

Taylor Swift kicked off her Reputation Stadium Tour last night (May 8) in Glendale, Arizona, and it was a spectacle. Choreography, pyrotechnics, killer live vocals—Swift delivered roughly two hours of pure pop bliss, and her legion of fans lived for it.

They're also living for a few moments that happened in between the songs too—like Swift calling out Kim Kardashian or her pointing to boyfriend Joe Alwyn in the crowd. It wouldn't be a Taylor Swift concert without some juicy tidbits, right? And the Reputation Stadium Tour opening night had plenty. Here are all the ones you need to see.

A quick refresher on that drama: Swift claimed two years ago that she hadn't approved certain lyrics Kanye West wrote about her in his song "Famous," though a Snapchat video Kardashian leaked suggested otherwise. Swift doubled down on her stance, though, which prompted Kardashian—and basically all of social media—to brand her with the snake emoji.

Swift gave a short but poignant speech about all this last night. “A couple of years ago, someone called me a snake on social media and it caught on," Swift said. "And then a lot of people called me a lot of names on social media. And I went through some really low times for a while because of it. I went through some times when I didn’t know if I was gonna get to do this anymore and I guess the snakes…I wanted to send a message to you guys that if someone uses name calling to bully you on social media and even if a lot of people jump on board with it, that doesn’t have to beat you. It can strengthen you instead.”

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Not in real life, but Swift recruited her to say the classic, "The old Taylor can't come to the phone right now" line in a video projection during "Look What You Made Me Do." Haddish revealed last year she had dinner at Swift's house after they did Saturday Night Live together and became friends.

Well, I guess that confirms who the song's about. Eagle-eyed fans caught Alwyn in a baseball cap bopping along in the audience to "Gorgeous." At the end of the song, Swift pointed at him, causing the already lit crowd to lose their minds even more.

Which is a pretty huge deal for Swifties. The Red deep cut is considered by many to be Swift's best song, and some fans thought an extended version of it would appear on Reputation. (The original song is apparently eight minutes long.) Unfortunately, that didn't happen, but Swift made up for that by adding an acoustic version of the song to her set. Naturally, it's stunning.

Taking cues from Madonna—who's famous for reinventing her hit songs in concert—Swift included many of her staples in the Reputation Stadium Tour set list but gave them a twist. She performed "Bad Blood" with elements of "Should've Said No"; a medley of "Style," "Love Story," and "You Belong with Me"; and a piano moment that blended "Long Live" and "New Year's Day."

This might've been the most fun performance of the night. Both Cabello and Charli XCX sang verses of Swift's hit 2014 song, and they all joined in bombastically for the chorus. Pop star friendships!

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If the Reputation Stadium Tour 's opening night is any indication, we're in for a very fun next couple of months. Are you ready for it?

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Everything We Know About Taylor Swift's Upcoming Reputation Tour

We hope you're . . . ready for it, because Taylor Swift will be coming to a city near you very soon. The "Delicate" singer is getting ready to embark on her Reputation stadium tour , and she's already given us a handful of details. Aside from announcing Camila Cabello and Charli XCX as her opening acts and sharing a ton of behind-the-scenes photos of her costumes and backup dancers, Swift has been teasing fans by giving one fact about the tour every day, leading up to opening night on May 8 in Glendale, AZ. See what we already know about the tour below, and be sure to check back for more details.

1. The "Old Taylor" Will Definitely Make an Appearance

The singer revealed that she would be playing new and old music during her upcoming tour. In total, she will be playing 10 songs from previous records. Hopefully, we can expect a few classics like "Our Song" and "You Belong With Me" in the mix.

2. There Will Be 3 Stages For a Special Reason

Swift confirmed that there would be a total of three stages during the tour. Her adorable reason? She wants to get as close to her fans as possible.

3. There Will Be a Special Backstage Room

If you were hoping to possibly meet the singer after the concert, you're in luck. Just like on past tours, Swift will have a special room setup after the concert where hand-picked fans will get to hang out and mingle with her after the concert. While the room was called the "Red Room" during the Red tour and "Loft 89" during the 1989 tour, this time around it will be called the "Rep Room." She even gave a glimpse of the room, which features a snake slithering up a pole and the throne from her "Look What You Made Me Do" music video.

4. The Stage Is Her Biggest Stage Yet

The main stage will be 110 feet tall, making it her biggest stage yet. The B stages, which are out in the audience, are actually almost as big as the main stage during her 1989 tour. In addition to being larger than life this time around, the main stage will also have a video screen wall that continues onto the floor. So essentially, everything Swift and her backup dancers are walking on will be a screen.

5. The Opening Will Blow Your Mind

When talking with her backup dancers about their favorite number, one of them said that they were obsessed with the opening, adding that fans will not be emotionally prepared. We can't help but wonder which song she will start off with!

6. She Will Be Playing the Piano

During her Instagram story, Swift gave us a glimpse of the beautiful piano she will be playing on tour and added that she will be using it for two songs on the tour: one old and one new. We can only assume that the latter will be "New Year's Day," but we really hope the old song is "All Too Well."

7. She Has a Ton of New Merch

In preparation for the tour, the singer has released a ton of new merchandise including official concert tees, glow sticks, and totes.

8. Seriously, the Stage Is Huge

In her Instagram story, Swift gave fans a sneak peek at the "rocket sled" she would be using to get from place to place under the stage. "It takes me from one place really quickly to another place, and the stage is so big that I guess we need that," she said. "Quick change in here . . . run, hustle down here. Lay down here, and then . . . I'll just disappear to somewhere else."

9. There Will Be 8 Costume Changes

Yes, you read that right. The singer will be making a whopping total of eight costume changes. While she didn't give us the full run-down on her looks, she did give us a up-close sneak peek which featured a beaded item, a reptile-looking ensemble, and yes, lots of glitter.

10. A Fun Video Will Play After the Concert

When Swift plays her last song, don't leave right away! The singer revealed that a blooper reel from her tour rehearsals would play promptly after the concert.

11. Pay Special Attention to the Confetti

Per tradition, there will be confetti, but this time it will be Reputation -themed. The singer gave a glimpse of the paper, which looks like tiny little newspapers that say "Taylor Swift Stadium Tour." How cute is that?

• Taylor Swift

Review: Taylor Swift kicks off 'Reputation' tour with epic, revelatory concert

“And in the death of her reputation, she felt truly alive.”

Those are the words that appeared on the 172-foot-by-40-foot video wall as Taylor Swift brought the opening night of the “Reputation” tour to a rousing conclusion in front of a record-breaking capacity crowd of 59,157 fans at University of Phoenix Stadium. 

Two hours earlier, the star had set the tone for Tuesday's show by blasting a recording of Joan Jett's Bad Reputation  through the PA, Jett defiantly snarling, "I don't give a damn 'bout my reputation." 

You could say it was a running theme, informing both the lyrics of her latest album and the narrative arc of the concert itself as she shared the experiences that led her to the "Reputation" tour and the lessons she learned from those experiences. 

A Swift performance is often as much about the connection she's established with her fans as it is about the sing-alongs her biggest hits inspire.  And Tuesday's show was no exception. 

On the one hand, she treated fans to a state-of-the-art production, played out on three stages, the largest of which was 110 feet tall.

There was plenty of pyro, confetti and slick choreography with a team of 16 dancers, who bungee-jumped on industrial scaffolding on Bad Blood .

There was a tilted stage to underscore the line "Don't like your tilted stage" in her latest album's first and most successful hit, Look What You Made Me Do . 

There were giant snakes and floating platforms to carry the star from the main stage to one of the satellite stages and back again.  

More: Katy Perry, Taylor Swift feud ends with a literal olive branch, fans call for world peace

More: Taylor Swift visits badly burned Phoenix girl in hospital, fulfilling a poignant wish

There were countless costume changes and truly breathtaking visuals projected on that huge curved wall of screens.

And after seguing from We Are Never Ever Getting Back Together  into This is Why We Can't Have Nice Things , she ended the concert on top of a fountain. 

But for all the pageantry and spectacle she brought to the proceedings, there were many moments in the course of Swift's performance that  felt like she was playing to the back rows of the stadium by simply sharing with her fans.

And there was much to share.

She talked about taking a break from the "pretty predictable" schedule she'd been on since she was 16 after touring in support of 1989  to figure out "who I would be and what my life would be life if I didn't have a spotlight on me all the time."

She talked about how many times she's had to deal with people in the industry telling her what her fans expected 

"It would be things like you can't work with  that  person," she said. "Or you can't make a pop album because your fans are country fans and they would never understand. And I would say to them, 'I'm pretty sure I know them better than you do. I'm pretty sure they want to connect to the feeling in a song.'"

Late in the set, she sat at the piano and said she figured people might be wondering why there were so many snakes involved in the production.

"Well, the reason is," she said, "a couple of years ago, someone called me a snake on social media and it caught on. And then a lot of people were calling me a lot of things on social media. And I went through some really low times for a while because of it."

It got so bad, she wasn't even sure she wanted to continue doing music for a living. So the snakes, she explained, were meant to send a message. 

"If someone uses name-calling to bully you on social media," she said. "And even if a lot of people jump on board with it? That doesn't have to defeat you. It can strengthen you instead."

In her case, it taught her a valuable lesson about reputations.

"And I think the lesson," she said, "is that you shouldn't care so much if you feel misunderstood by a lot of people who don't know you, as long as you feel understood by the people who do know you, the people who see you as a human being."

Then she thanked the fans for "taking the time to get to know me and appreciate me, to see me as a human being."

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And with that, she launched into a vulnerable solo piano rendition of Long Live , one of the few songs in her set that predated her two most recent albums.

The star made her way through no fewer than 14 of the 15 songs on Reputation , opening with …Ready For It?,   I Did Something Bad  and Gorgeous  before reaching back to 1989  for Style  and then dusting off two of her earliest pop hits, Love Story  and You Belong With Me .

After featuring four more songs from Reputation , she flew to the back of the venue, where she was joined on a spirited romp through Shake It Off  by tourmates Camila Cabello and Charli XCX.

She stripped it down for unplugged takes on Dancing With Our Hands Tied  and All Too Well  before making her way to the other satellite stage for the night’s third 1989  selection, Blank Space .

That was followed two songs later by one last hit from that album, a crowd-pleasing Bad Blood . 

The rest of the set was a well-paced mix of old and new, including her first song to top the Billboard Hot 100, We Are Never Ever Getting Back Together .

That six-times-platinum triumph hit the top in 2012 and paved the way for Swift's transition from the country star most likely to crossover to perhaps the biggest pop star of her generation.

Six years later, she's selling out stadiums in support of an album that managed to hold its own at Tuesday's show surrounded by a number of her most enduring calling cards.

And she really did seem to feel truly alive. 

…Ready For It?

I Did Something Bad

You Belong With Me

Look What You Made Me Do

King Of My Heart

Shake It Off

Dancing With Our Hands Tied

All Too Well

Blank Space

Should’ve Said No

Don’t Blame Me

New Year’s Day

Getaway Car

Call It What You Want

We Are Never Ever Getting Back Together

This Is Why We Can’t Have Nice Things

Taylor Swift Setlist: Reputation Tour Play by Play Guide

The Taylor Swift setlist for her Reputation tour is now out, so come and join us as we give it a full review, breakdown, and play by play! See song by song how Taylor lays out her 2018 concert and look at pictures and videos from her shows.

Taylor Swift is currently on her Reputation tour, which huge stadium stops planned all over North America. Do you want a full preview of the Taylor Swift setlist, maybe before you check her out live or in order to live vicariously through her music?

Read our full breakdown below as we go through all of the songs Taylor plays on tour including special guests, show changes, and special notes on the Taylor Swift playlist! Check out Taylor Swift tour pictures, videos, and media from her show.

After you check out the Taylor Swift setlist breakdown below, check out our full Taylor Swift tour guide for information on concert dates, VIP packages, and how you can get tickets to see Taylor live.

Taylor Swift Stage Setup

Before we get into the Taylor Swift setlist, check out this awesome shot of Taylor’s tour stage setup. A huge main stage with two big catwalks sits on one end of the tour. Complimenting them are two B-stages at either far end of each stage. We’ll tell you which songs Taylor Swift performs on each B-stage as well!

Giant screen panels on the main stage move up, down, left, and right. Sometimes, they move to reveal Taylor’s band perched atop a large platform.

Much of the artwork on the video panels have a snake theme, an alias that Taylor has taken full-on after being called a snake by Kim Kardashian on social media a few years ago. Mixed in with the snake theme are images of newspaper headlines, scrolls, and other breaking headlines that have followed Taylor Swift around with her over the past few years.

Taylor Swift Setlist Breakdown

Taylor Swift’s tour is opened by performances by Camila Cabello and Charli XCX.  UPDATE: Camila Cabello has now pulled out of tour dates after being diagnosed with exhaustion on May 22nd.  After the openers are complete, the crew puts on the final touches and at approximately 8:45pm local time, the lights go dark.

The concert begins with a movie trailer style video about the media and their portrayal of Taylor. It features the background music of “Bad Reputation” by Joan Jett. It shows the media turning on Taylor Swift and after a split second of silence, a ghost-like “reputation” sounds out followed by the trademark opening notes of her intro:

… Ready For It

The Taylor Swift setlist intro is the opening track from her latest album, Reputation. It is perfectly adapted for the big stadium sound. Taylor owns the stage with her backup dancers, lights, fireworks and futuristic snake-themed display on all of the video boards. She wears a black bodysuit complete with hood. It’s her most mature sound and look yet and a good tease of how the entire show will be laid out.

I Did Something Bad

Sticking with her latest album, Taylor rattles through two more hits. Something Bad is a boom bap brag track about her flings, while Gorgeous brings her back down to earth. It is the fourth single released from her album and is an electro-pop radio hit.

You Belong to Me

The next three songs are performed in a medley style. Love Story and Belong dip back into older Taylor Swift setlist packages and are just a short tease of the old Taylor.

Look What You Made Me Do

Taylor’s lead single off her Reputation album is placed in the front end of her tour setlist. Right before the song, a brief video interlude plays on the screen to introduce the song. Giant three story cobra snakes fill up the video boards behind a real cobra snake in the middle of the stage.

Those people who didn’t enjoy it on the radio will be glad to hear that it sounds perfect in a live stadium venue. The snake effect and pictures are full-on here, reminiscent of her accompanied music video for the song. The infamous “Taylor can’t come to the phone right now” line is played out on the video boards courtesy of a Tiffany Haddish cameo that fans will enjoy.

After the song, Taylor Swift talks to the crowd. She talks about the break between her last and current album and how she spent some time figuring herself out.

End Game is performed without Future or Ed Sheeran as expected and feels short in the overall show. Delicate is Taylor’s sixth and current single from her album and features a vocal introduction from Taylor:

“One thing every single person in this stadium has in common is that every single one of us is sort of pining away for a sense of connection to someone else. There is something that happens in your brain and your heart when someone just says, ‘Yes, I understand how you feel.’ … Relationships – it’s just delicate , you know?”

During Delicate, Taylor Swift gets into a golden basket that lifts onto a wire and carries Taylor Swift through the crowd as she sings the song. Taylor lands onto a side stage where she performs the next song.

Shake It Off (with Charli XCX and Camila Cabello)

Taylor Swift’s tour openers join her in dancing to Shake It Off, from her last album. At the end of the song, confetti cannons explode into the crowd, hovering confetti into the air for a long time.

Dancing With Our Hands Tied (Acoustic)

Random song (acoustic).

After Charli and Camila leave the stage, Taylor is handed a guitar for a quick acoustic set on the side stage while her band gets a break.

Dancing With Our Hands Tied is performed every night, followed by a random song of Taylor’s choosing. Some of the songs that have been selected so far in the tour include All Too Well, Wildest Dreams, and The Best Day.

After her random song, Taylor dashes over to the second B-stage (pictured above) for some interaction with fans on that side of the stadium.

Blank Space

Bad blood / should’ve said no.

Picking up energy again in the Taylor Swift setlist, she sings three favorites from her 1989 album. The small gap between Blank Space and Dress allows for a quick wardrobe change that doesn’t interfere with the show’s production at all.

After that, she works in a small snippet of “Should’ve Said No” while a giant snake skeleton carries her back over to the main stage.

Special Guests

For select shows on the tour, this is the spot where Taylor Swift brings out special guests to perform with her. Some of the guests on the first shows of the Taylor Swift Reputation tour were Shawn Mendes and Selena Gomez. Usually, they sing one or two of their songs with Taylor Swift playing hype women alongside them.

Don’t Blame Me

New years day (piano), long live (piano).

Next, Taylor Swift jumps onto her piano for a two song performance. Between songs, she takes a breather to talk to the crowd and offer some of her perspective.

This part of the Taylor Swift setlist really shows off how diverse her talent is. It is the last slow break of the show before the grand finale.

Getaway Car

Call it what you want, we are never.. (getting back together) (partial).

By now, the Taylor Swift concert is in full party mode. During “Call It”, a ton of real news headlines involving Taylor Swift engulf the video screens. “We Are Never”, the lead single off her 2012 Red album is cut short and feels rushed in her playlist.

During these three songs and the finale to come, there are more fireworks mixed into the show than before.

This Is Why We Can’t Have Nice Things

The last song of the Taylor Swift setlist is not her most known, but is a perfect fit for her stadium show. Lyrics are simple enough that even the most casual of fan can scream along.

Following the conclusion of the song, Taylor quickly thanks the fans and then leaves the stage. There is no encore performance. At the end of the show, the video screen reads:

“And in the death of her reputation, she felt truly alive.”

The Taylor Swift Reputation tour truly feels like a live spectacle. Featuring dancing, acrobatics, lights, props, and costume changes, it feels like a mini Cirque show. Taylor has done a great job adopting the show for the big stadiums, so much that a smaller venue would not feel right.

You can still find tickets to Taylor’s concert inside of our Taylor Swift tour guide today. This is going to be one of the top shows of 2018 and is well worth it no matter what your age is.

Get in touch with us on Twitter and Facebook if you need any concert tour guide info or tickets, hotels, or stadium tips!

If you are planning on attending the Taylor Swift show in 2018 or any other concert, book your hotel with our Booking.com widget listed below. You are guaranteed to get the lowest rates on a room around the world!

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Tour photos are credit to photographer Steve Carlson at  Instagram.com/SteveCarlsonSF  and Twitter.com/SteveCarlsonSF.

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Coravin's Inventor On The Future Of Wine Tasting

Coravin’s upcoming tour will offer oenophiles the opportunity to sample rare wines by the glass at top restaurants, providing a unique chance to experience wines often only available by the bottle.

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Coravin's lineup of wine preservation systems.

Coravin changed the wine opener game when it launched its first device in 2013. Now more than a decade later, with several wine preservation systems in its portfolio, Coravin continues to shape the wine industry by changing both how (and how long) we can enjoy wine.

Founded by Greg Lambrecht, ​​Coravin manufactures devices that allow wine enthusiasts to pour wine without removing the cork, preserving the remaining wine for days or weeks—and sometimes even up to years. The system works by inserting a thin needle through the cork and replacing the poured wine with inert gas, preventing oxidation.

As the wine industry evolves, Lambrecht believes that technology will play an essential role in enhancing consumer experiences, especially in fine dining and hospitality.

"Since founding Coravin, my goal has always been to change the way the world experiences wine. I see a growing demand for more personalized, curated experiences," Lambrecht tells Forbes . "Our ultimate goal is to help venues optimize their inventory, reduce waste and deliver an unparalleled wine experience to every guest."

Lambrecht sees Coravin’s technology as a game-changer for both consumers and restaurants.

For customers, this means enabling them to explore an array of wines-by-the-glass without committing to a full bottle. And for the restaurant, it greatly reduces risk of spoilage.

At the moment, Lambrecht is on a world tour that will offer consumers exclusive opportunities to taste through a collection of fine and rare wines-by-the-glass at some of the world’s most celebrated restaurants.

"The Coravin World Wine Tour was inspired by our mission to transform the way people experience wine," Lambrecht tells Forbes . “It also demonstrates to consumers that they can have an excellent wine-by-the-glass program in their own homes using the same systems used at the restaurant.”

For Coravin founder Greg Lambrecht, the future of wine preservation is about more than just technology—it’s about transforming the way people experience and enjoy wine.

Coravin’s World Wine Tour, which launched in Europe and Australia earlier this year, has now reached the United States, with events scheduled for New York, Los Angeles and Boston this month. The tour features a selection of wines-by-the-glass, from well-known producers like Krug and Dom Perignon to rare Burgundy and California wines.

"When selecting participating restaurants, we focused on venues with a strong commitment to their wine-by-the-glass programs and a reputation for delivering exceptional guest experiences," Lambrecht explains. Among some of the participating U.S. restaurants include Atomix and Atoboy in New York City, Mastro’s Beverly Hills in Los Angeles and Geppetto in Boston.

Participating venues will be using Coravin’s wine openers, allowing them to expand their by-the-glass menus without compromising the freshness or quality of the wine. Some restaurants will offer up to 150 wines by the glass. Lambrecht stresses technology’s role in making this possible, explaining that Coravin’s systems "allow venues to expand their by-the-glass offerings dramatically, keeping wines fresh for weeks, months and years after the first pour."

Coravin’s founder says the wine preservation system benefits restaurants by enabling them to offer a wider variety of wines while reducing waste.

With Coravin systems now available in over 60 countries, the Massachusetts-based company is focused on expanding its global presence as well as promoting wine-by-the-glass programs worldwide.

"As technology continues to advance, I envision a more seamless integration between wine service and customer engagement," he says. “By collaborating with these networks, we aim to elevate wine education and appreciation on a global scale.”

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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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