I’m just off the train at Nanterre, a suburb west of Paris, and walking down a pedestrianised avenue to Paris La Defense Arena, a hulking, 40,000-capacity quadrilateral that’s the largest indoor arena in Europe. “Welcome to New York”, sings one of the most recognisable voices of the 21st century from the speakers lining the road. The dissonance is fitting. If Taylor Swift can rearrange politics, geopolitics and economics, why not geography?
The Paris La Defense Arena is where, last night, Swift began the European leg of her Eras Tour, which sprouts records and superlatives like Midas makes gold. The 2023 dates made it the first concert tour to ever gross a billion dollars. It’s forecast to double that this year. After sweeping through Asia — where a minor diplomatic incident went down when Singapore offered government subsidies to get regional exclusivity — Swift has now reached the old world. Four shows in Paris and 51 across the continent in total, ending with a five-night run at Wembley Stadium in August. She’s not the only American in town. Both the Eurostar from London and Paris itself ring out with well-projected US accents. Forget the doomy warblings about Washington’s geopolitical ebb: the spring sun is out, the dollar is strong and Europe is America’s playground.
Concertgoers — mostly young, mostly female — are in sparkly dresses, cowboy boots and glitter. The few guys here are dressed down to the point of invisibility; tonight, humanity joins those few species of birds and insects where bright colours are for babes only.
Swift is scheduled to start at eight. Two minutes beforehand, a clock on the giant screen which stretches across the back of the stage counts down — and right on time, we begin. As the arena lights dim, the tens of thousands of swaying smartphone cameras illuminate, like a phosphorescent ocean. Dancers shimmy out trailed by billowing fabric, which they manipulate to form a kind of liquid clam shell. And out of that, like Botticelli’s all-American Venus, emerges Taylor Alison Swift, 34, of West Reading, Pennsylvania, USA.
Taylor Swift inspires love, dedication and obsessive fandom. In me, she has kindled about a decade and a half of mild but increasing curiosity. There are seven Swift songs I recognise from their titles, and none come after 2014. My musical knowledge of her petered out when she was merely a very big star, and in an era where culture was coherent enough for everyone to absorb a certain level of commercial pop. Then I started seeing her in Bloomberg and the Financial Times, attached to stories about inflation and foreign policy.
Taylor Swift’s current era — dating, it seems, from the pandemic onwards — is out-and-out imperial. She was last year’s best-selling artist worldwide, and the year before that too. Her current relationship, with the puppyish American footballer Travis Kelce, is theorised by the more batshit US conservatives to be an elaborate psyop to boost Joe Biden in this year’s presidential election. The European dates of the Eras Tour are the first after the release of her latest album, The Tortured Poets Department, in April. It was not a critical success. “Sylvia Plath did not stick her head in an oven for this!” read a review in Paste magazine — anonymous, because writers who criticise Swift can reliably expect online death threats from fans. Nevertheless, upon release it smashed multiple streaming records.
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SubscribeSounds horrendous, but then again, I’m not the target market.
What surprises me is I’m from the same planet as the target market.
Now I’ve engaged with “Tay-Tay” and her music a bit more, I do realise why she’s popular. She’s written some genuinely nice lyrics (try out “August”).
But with the best will in the world, I don’t get the extent of the hype around her.
Seems like a form of market / media monopolization.
New acts don’t get space to breathe & can’t even begin to find the same media leverage or support when starting out.
Jumpin’ Jehosaphat – concerts three to four hours long you say? How can schlockpop possibly sustain that? Last time i looked, the average rock performance was lucky to top an hour and a bit! Very entertaining read, mind you, mucho kudos to its author!
There are a few precedents, Springsteen 3-4hrs; Hawkwind similar and I seem remember reading the Dead managing 7-8 hours. That must have been riveting, without “assistance”.
I saw The Rolling Stones in 1981, and the concert was three hours long.
Swift is big in the way that no other modern superstar is. Orders of magnitude bigger. The logarithmic scale could have been invented for her.
Clearly I am not her target audience, but her success baffles me. Regardless of lyrics, of image, or even of marketing – successful musicians should make good music. Given that she is by far the most successful of her generation she should be producing great music – at the very least, catchy music – but no.
Her songs have no chorus, no hook, no interesting melody to speak of. They have no range either. It’s all so bland. Each song seems wholly indistinguishable from the last.
What am I missing?
“What am I missing?”
Youth? And probably being female.
These days you can call yourself a woman and government bureaucrats will eagerly nod. Libraries will hire you to read at children’s hours.
Youth.
I’ll stick with the old music, much of it from Manchester, Old Man that I am – Smiths, Moz, New Order, Joy Division, Oasis, Stone Roses, the Cure, and Radiohead, a number of others.
Occasionally a more recent band comes out that I truly like – the Killers, a generation later, or Lord Huron, who’s new. And of course there’s decades of jazz, and two centuries of classical to enjoy. My fellow Americans have the rock and roll of the 1950s to the 1990s as well.
But attending a Swift concert strikes me as about as much as fun listening to three hours of commercial jingles.
I’m obviously not in their target market, either.
You’ve similar taste to me (aside from Oasis unless it’s their earliest stuff), and I’m never going to be a Swifty either. But there’s a lot worse out there, and there was a lot worse back in the 80s and 90s too.
Saw Zeppelin on their last Amercan tour, 4/17/77. They did three hours (including an acoustic set) with no opening act. Oh yeah, and the music wasn’t a bunch of soulless, calculated piffle.
The level of subservient sycophancy in this groveling puff piece is truly nauseating. Why unHerd continues to post content about this overhyped, calculating hack is beyond me.
A very nice piece. The comments remind me of how old and bitter the boomers have become, hauling out all the old male rockers resentfully. Have at it: truly Taylor is not made for you. She defines genius but will not cast pearls before swine.
That’s some low bar you have for ‘genius’.
Let’s not get carried away. It’s great bubblegum but Joni Mitchell she definitely ain’t.
This trick of selling mediocre, overfabricated bubblegum pop by selling bad breakup stories to young women on social media while blaming men for disrupting her career.
What a fabulous commercial trick but aesthetically the Empress has no clothes. She is sub-Madonna and doesn’t even have Tiffany’s catchy tunes.
Now that old-timey superstar Madonna has descended to vile, aged strumpet status, it’s good to see someone fill her shoes but with sparkles added.