When Taylor Swift took to the stage at Edinburgh’s Murrayfield Stadium for her first of seventeen UK performances of The Eras Tour, any one of the over 70,000 “Swifties” in attendance probably felt her three-hour performance rocked their world. It also rocked everyone else’s, as nearby monitors belonging to the British Geological Survey recorded a peak in seismic activity, comparable to a minor earthquake, as tens of thousands of fans sang, stomped, and danced in unison. This convergence of pop culture and scientific intrigue (now known as the “Swift Quake”) is just one example of the seismic cultural impact The Eras Tour had—and is still having.
The tour started as a way for fans to celebrate Swift’s epic career, with performances from her debut album up to her latest album, The Tortured Poets Department, released April 2024 while she was on tour. The tour has since taken on a life of its own, becoming a global cultural phenomenon which has transcended music. Perhaps the clearest indication of this is in its remarkable audience reach, extending beyond teenage girls penning lyrics in their bedroom to bridge generations, genders, and cultures, bringing people together who would otherwise have nothing in common. But what is the appeal?
Many have praised the tour for being a safe space for all. It wasn’t an uncommon sight to see an ageing dad exchanging friendship bracelets with an eager 9-year-old (a practice inspired by a lyric from her song “You’re on Your Own, Kid”). Nimco Ali, a journalist for Glamour magazine, recalled apprehension before attending the tour due to a lack of diversity represented at such events; however, upon going described the tour as a moment of “real power”. Swift has discussed LGBTQ+ and women’s rights in her music, and in her documentary Miss Americana, she discussed the importance of speaking out on social issues she is passionate about as an artist, despite the negative feedback she receives. Perhaps that is why a study by Dajches and Aubrey in 2023 revealed many fans’ connections to her music are tied to the development of their sexual identity. Whether through colourful pride flags or heartwarming fan interactions, The Eras Tour has proven to be a melting pot of community and acceptance.
But here’s the contradiction. Critics have argued that Swift’s activism can at times feel performative. She is often dubbed a “white feminist” by those who argue that her agenda only benefits her and those like her, and that she must make more of an effort to speak up for women of colour who can be swept aside in the conversation around women’s rights. Or maybe it was her relationship with The 1975’s Matty Healey—who once described artist Ice Spice as a “chubby Chinese lady”—that led people to believe her activism is purely self-serving. While the diversity and inclusion reflected in the audience and atmosphere seem to speak to her success in fostering a safe and welcoming space for all, it is easy to see why not all would feel accepted there. So is the tour inclusive or divisive?
The Eras Tour is more than just a heartfelt love fest, it is a financial monster. The first North American leg of the tour generated $22.2 billion in profit from ticket sales alone, with Ticketmaster reporting that fans paid an average of $254 per ticket. On top of the enormous ticket sales, fans spent on average $40 per show on merchandise which racks up to an estimated $500 million—and the tour still runs until December 2024. There has also been a cinematic release which assisted in making Eras the highest grossing tour of all time as of November 2024.
The economic windfall wasn’t confined to Swift alone with data from MasterCard’s economic reports revealing a 68% spike in spending at restaurants, hotels, and local businesses within a 2.5-mile radius of the concert venues. Concerts taking place in smaller cities felt a greater boost, with fans flocking to previously quiet areas, injecting life into the local economies. This demonstrates the unparalleled ability of The Eras Tour to act as a catalyst for economic activity.
Yet once more the contradictions come. An event at this scale comes with costs. Approximately 72,000 people descending on already overcrowded cities often for multiple nights puts a strain on the infrastructure and local environment. In Edinburgh, there were reports of homeless people being displaced from hotels to make room for incoming fans.
The carbon footprint of the tour is astounding. Taylor Swift’s private jet emissions for the 2024 leg of the tour alone are estimated at 511,154 kilogrammes of CO2. This is equivalent to the energy use of 67 homes for an entire year. This figure doesn’t even account for the emissions generated by the transportation of her staff or the fans themselves.
The aforementioned $500 million in merchandise takes a toll too. The production of textile and dye for tour keepsakes contributes to the large amount of waste and pollution already generated by the fast fashion industry. Other notable artists, such as Coldplay and Billie Eilish, have adopted sustainable practices—using recycled materials for merchandise production or committing to reducing carbon emissions.
While Swift contributed generously to the cities she visited, including to over 1400 food banks in the UK, critics argue that an artist with her influence should be leading the charge in sustainable touring practices. Could she have done more? The Eras Tour broke many records in economic and social spheres but could a little more positive influence from the star have set a new standard for her peers and inspired fans to adopt eco-friendly habits? Once again, the tour can be convincingly argued from both sides of the same story.
In another paradox, part of Taylor Swift’s appeal to a number of fans was her decision to re-record her early albums so that she held the rights, in a move that many saw as taking a stand against the worst exploitations of capitalism. Can the artist still play the victim so convincingly as she sits at the centre of one of the greatest money-making arts projects in history?
As the dust settles (both literally and figuratively) from what is set to be 152 shows by the end of 2024, The Eras Tour has set benchmarks for future global tours. From seismic shifts in social dynamics, to the pressing questions of sustainability, Swift’s tour encapsulated the modern challenges and opportunities faced by touring artists today. It has without question been the dominant cultural event of 2024, defining the year not only for those fortunate enough to be part of it, but for many who never imagined that they would be drawn to the blonde country singer from Pennsylvania. It has shown that music has the power to unite, inspire and move us.
As for those contradictions, perhaps that’s part of the secret. In a world where categorisation is everywhere and labels are proudly and often divisively worn, The Eras Tour has perhaps shown us the power of being human, with all the inconsistency, contradiction and frustration that comes with it. Taylor Swift didn’t just take to the stage, she shook the world.