Taylor Swift consistently ranks among the highest-earning figures in the music industry. In recent years, her wealth has seen an extraordinary surge, primarily attributed to the unprecedented demand for tickets to her Eras Tour.

As of June 2023, Forbes estimated Swift’s net worth to be an astounding $740 million. This substantial sum encompasses earnings from her recorded works, including the re-releases of her six albums under Big Machine Records, from which she regained ownership of the masters rights. Additionally, the revenue from the highly sought-after Eras Tour tickets, which went on sale in late 2022, contributed significantly to her wealth. The tour’s popularity was so immense that it even caused Ticketmaster’s servers to crash.

Swift has consistently featured on various “Highest Paid,” “Top Earning,” and “Most Powerful” lists, and with each passing year, her net worth continues to escalate. In 2022, she secured the ninth spot on Forbes’ list of the 10 Highest-Paid Entertainers, amassing an income of $92 million for that year. This calculation factored in her musical releases and the remarkable first two months of Eras Tour ticket sales. With all 52 tour nights scheduled for the following year, 2023 is poised to be an even more prosperous year for Swift.

As Swift’s achievements soar to unprecedented heights, she remains committed to giving back. Following the conclusion of the U.S. leg of the Eras Tour, Swift expressed her gratitude to the dedicated staff by presenting them with generous bonus checks. Notably, the production truck drivers were each awarded a bonus of $100,000, totaling approximately $5 million in bonuses for her truck drivers.

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Label: Republic Records

Release Date: July 14, 2023

Producer: Taylor Swift, Christopher Rowe, Aaron Dessner and Jack Antonoff.

Tracklisting:

1. Mine

2. Sparks Fly

3. Back to December

4. Speak Now

5. Dear John

6. Mean

7. The Story of Us

8. Never Grow Up

9. Enchanted

10. Better Than Revenge

11. Innocent

12. Haunted

13. Last Kiss

14. Long Live

15. Ours

16. Superman

17. Electric Touch (featuring Fall Out Boy)

18. When Emma Falls In Love

19. I Can See You

20. Castles Crumbling (featuring Hayley Williams)

21. Foolish One

22. Timeless

Check it out here.

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Magical. The only word I could think of leaving night one of Taylor Swift’s Eras Tour in Minneapolis last night. Miss Americana herself put on the show of a lifetime, performing for over 3 hours and consisting of over 40 songs throughout 17 years since her debut album. Fans coming in from miles and even countries away to see Taylor have been waiting anxiously since late 2022 when the show tickets sold out nearly immediately.

Supported by Gracie Abrams and girl in red, The Eras Tour was nothing short of incredible. Close to being 5 years since Taylor’s last performance in Minneapolis, Swifties showed up in droves donning their sequin dresses, friendship bracelets, and campy outfits. Playing through the 10 eras of her career with elaborate outfit changes and stage designs, Taylor performed through her catalog, highlighting hits from her albums. Fans were shocked by the 2 surprise songs she plays each night, two different songs with nearly no repeats on the tour so far. The first surprise song, “Paper Rings,” had yet to be performed till tonight off the album Lover, which was released right before COVID and never received a tour until now. The second song, “If This Was a Movie,” off the deluxe edition of the 2010 album “Speak Now” which is set for release on 7/7/2023 from Taylor’s re-recording of her previous records.

The Eras Tour is a must-see, as we will likely never see a touring act of this level, at least for a long time. Click here to stream Taylor Swift’s latest album, Midnights, and click here to see the rest of the tour dates for The Eras Tour. To get your. tickets to join us with her in Mexico or anywhere else abroad click here.

Kyle Nadler

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Today is the day that Swifties have been waiting for. After a much-publicized battle with Big Machine Label Group over her master recordings, Taylor Swift has released ‘Fearless (Taylor’s Version)’ on Friday. The whopping 27-track album features updated versions of the 20 songs on the deluxe version of ‘Fearless’ originally released in 2008, plus six brand-new songs “from the vault.”

Fans of Swift will already know every word to the 20 songs that they’ve been listening to for the last 13 years. In listening to those “new” versions, there are subtle differences that dedicated listeners and trained ears will notice, but nothing that’s drastic enough to where it can be said that these songs are significantly better or worse than the original versions. Personally, the song that has improved the most is ‘You Belong With Me’. The original had a little too much auto-tune and over-production to the point where it came off whiny. Now, with much more maturity under her belt, Swift was able to channel her emotions differently so that you could feel the song in a different way.

As far as the new songs are concerned, one clearly stood out among the rest. The final track ‘Bye Bye Baby’ truly feels like it belongs with this album. It has sophisticated lyrics and it feels like classic Taylor. Both ‘We Were Happy’ and ‘That’s When’, the latter of which is a duet with Keith Urban, do what many Swift songs in the past have not done, which is place the blame on her for the end of a relationship. Unlike ‘You All Over Me’, ‘That’s When’ actually gave Urban a chance to shine and the production was even tailored to him.

Unfortunately, not every song was a slam dunk for this particular record. ‘Mr. Perfectly Fine’ and ‘Don’t You’ are not bad songs. The problem is they don’t fit on this album. If we’re pretending it’s 2008 and Swift was releasing ‘Fearless’ for the first time, these two tracks would feel out of place. If you were to tell me that Swift included these songs on this re-release because that’s when they were written, that’s a valid explanation. For the sake of cohesion though, both songs belong on either ‘Red’ or ‘1989’ sonically.

Nobody needs to tell you to go listen to this album. If you’ve been a die-hard fan of Taylor Swift this long, you’re already listening to it on repeat. Just in case you need it, you can listen to ‘Fearless (Taylor’s Version)’ here.

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Though Taylor Swift has been firmly planted in the pop genre for quite some time, she is remembering her country roots for a brand-new collaboration. Along with the re-recording of her sophomore album ‘Fearless (Taylor’s Version)’, which drops April 9^th, Swift is also including six previously unreleased songs. The first track, titled ‘You All Over Me’, was released Friday and includes fellow genre-bending country superstar and friend Maren Morris on harmonies.

The mid-tempo song talks about a past love that Swift can’t seem to shake the memory of no matter how hard she tries. Like a stain that won’t come out, the impact of the doomed relationship has left a mark on her heart forever. Lyrics like “no amount of freedom gets you clean, I’ve still got you all over me,” complemented by a mandolin and a harmonica drive the point of the story home. Morris joins in on the second verse, and although she doesn’t do much, the song would be lacking something without her.

Are you excited to get new versions of your favorite songs from ‘Fearless’? Let us know what you think of ‘You All Over Me’ in the comments.

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Country music was well-represented in the nominations for the 63^rd Grammy Awards, which were announced Tuesday. Ingrid Andress came out the big winner, as she scored nods in the Best Country Song category for her hit ‘More Hearts Than Mine’, Best Country Album for her Stars and Guitars-approved release ‘Lady Like’, and a coveted spot in the all-genre Best New Artist category. There she will compete with Megan Thee Stallion, Noah Cyrus, Doja Cat, Phoebe Bridgers, Chika, D Smoke and Kaytranada. For Best Country Song, Andress will face off against fellow nominations leader Miranda Lambert for ‘Bluebird’, Maren Morris for ‘The Bones’, ‘Crowded Table’ by The Highwomen and ‘Some People Do’ by Old Dominion. In the Best Country Album category Andress will be up against Miranda Lambert again for ‘Wildcard’, ‘Your Life Is A Record’ by Brandy Clark, ‘Nightfall’ by Little Big Town and ‘Never Will’ by Ashley McBryde.

Country-turned-Pop superstar Taylor Swift scored five nominations, Album of the Year and Best Pop Vocal Album for ‘Folklore’, Song of the Year and Best Pop Solo Performance for ‘Cardigan’ and Best Pop Duo/Group Performance for ‘Exile’, her duet with Bon Iver. And we would be remiss to not point out the lack of nominations for Gabby Barrett and Maren Morris this year, who both had massive crossover hits with ‘I Hope’ and ‘The Bones’ respectively. Morris did earn her sole nomination in the Best Country Song category, while Barrett was completely shut out. Going into the announcement, it was projected that one or both could have scored nominations in the Song or Record of the Year categories, while Barrett and Morgan Wallen could have had their names called in the Best New Artist category.

To view the full list of nominees, click here. Were there any snubs or surprises for you that weren’t mentioned? Let us know your reaction to these nominations in the comments.

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For the first time in 7 years, Taylor Swift returned to the 55th annual Academy of Country Music Awards Wednesday night to perform quintessential stripped-down version of her song, “betty.” The country singer turned global popstar went back to her Nashville roots, playing in the center of the Grand Ole Opry stage with nothing but a single spotlight and guitar. “Betty” is one of the many tunes from Swift’s surprise eighth studio album, folklore. And for those who say Taylor Swift isn’t ‘country’ anymore, last night certainly proved the haters wrong.

Taylor Swift is no stranger to the ACM Awards. She’s won a variety of ACMs over the years including Top New Female Vocalist in 2007, Album of the Year (Artist and Producer) in 2008, and the highly-coveted Entertainer of the Year award in 2010 and 2011. This stripped-down, flawless performance of ‘betty’ however was the first time since 2013 that she’s performed on the ACM stage. Her last performance, 7 years ago in Las Vegas, Nevada, was a group performance of ‘Highway Don’t Care’ alongside Tim McGraw and Keith Urban.

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Tim McGraw is back with his first solo album in five years. ‘Here On Earth’, released Friday, has a nice blend of vintage and fresh, with plenty of unexpected pivots in story. If you’ve been a fan of him since 1994 or if you’ve recently discovered him, you can find something to cling onto with this album.

It’s very clear that his longstanding marriage to fellow country artist Faith Hill had a significant impact on many songs on this album. ‘Damn Sure Do’ is a standout track that details how she saved him from a bad path and made him want to be a better man. There’s also a three-song block of ‘Good Taste in Women’, ‘Hard to Stay Mad At’ and ‘Sheryl Crow’ that detail the impact that she has had on his life. ‘Sheryl Crow’ in particular is the gem in this group, with a similar vibe to the song named after him by Taylor Swift.

That twist in storyline I spoke about is prevalent on songs like ‘7500 OBO’, ‘Gravy’, ‘Doggone’ and title track ‘Here On Earth’. ‘Doggone’ in particular was a perplexing one at the start and I wondered what the point of the title was. What it turned into was a heartbreaking tale of the loss of man’s best friend. My personal favorite among this group is ‘Here On Earth’, which was an ode to the meaning of life. As I listened to this song, I imagined a baseball player who is a fan of country music using it as his walk up music to give him an adrenaline rush.

Overall this album was a solid effort from an artist that knows who he is and what his fans want. I doubt it would be in any discussions for Album of the Year, but as he details in ‘War of Art’, that’s not really the point of his music. If you’d like to give ‘Here On Earth’ a listen for yourself, click here.

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Taylor in her new surprise video sings about that sometime when she feels unappreciated and unwanted she has to remind them she knew them when and she feels used like an old cardigan that under the bed lol

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From America’s country sweetheart to Miss Americana, Taylor Swift gives us an intimate look into her journey through worldwide stardom and the personal experiences that she has endured on- and off-stage.

This docu-film has a sincere and gracefully raw feeling that stands out amongst an expected level of strategic transparency (we’re talking about Taylor Swift, after all). It is the story of a girl defined by the world’s oppressive perception of impossible perfection and acceptable goodness who finds a way back to herself. As it turns out, Taylor Swift is just a girl trying to find her place in this world.

Swift has dominated the music charts for over a decade, but Lana Wilson’s documentary “Taylor Swift: Miss Americana” boldly dives head-first into gritty topics like imperfection, politics, body image, public humiliation, and personal growth. Taylor talks about the effects of becoming versions of herself that made others happy while, ironically, losing her own voice and sense of self.

There’s an immense amount of pressure on girls to achieve the approval of others, look a certain way, do what it takes to be liked by others and viewed as a good person, mask our emotions to appear strong or capable, prove our worthiness at home and in our careers – the list could go on and on. Ask any female of any age and they’ll probably tell you they feel the need to fit these societal constraints – the only difference is they don’t have an entire world watching them with bated breath to provide unprompted commentary, for worse or for better.

“I became the person everyone wanted me to be,” Swift bravely reveals, but when too many people wanted her to be too many things, she realized she needed to become herself first.

Swift’s narrative will resonate with viewers because the topics are universal and relatable, and so is the person telling the story. It will also undoubtedly receive its share of criticism, but Taylor Swift no longer cares because she is using her voice to do the next right thing for her.

“Taylor Swift: Miss Americana” debuts worldwide on Netflix on January 31.

Jessica Bernstein

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