The third act, Evermore, adopts a forest aesthetic. Swift begins singing "'Tis the Damn Season" in a long gown, followed by a dark theme that leads to "Willow" in a "witchy" séance; she wears a dark green cape and performs with dancers holding luminescent orange orbs. She continues with "Marjorie", then "Champagne Problems" on a moss-covered piano beneath an oak tree, concluding the act with Swift introducing her pianist Karina DePiano followed by "Tolerate It" with a male dancer at a dinner table reminiscent of Citizen Kane (1941). Snakes visuals and dimming lights start the Reputation act. Swift reemerges in a black-red asymmetrical catsuit with snake motifs. She delivers a high-energy performance of "...Ready for It?" with female dancers wearing black-dark red gothic leotards, "Delicate", and "Don't Blame Me" features light beams and Swift on an elevated platform. She transitions to "Look What You Made Me Do", which features on-screen visuals of Swift from all of her eras trapped in glass boxes and dancers dressed in some of Swift's older looks. The act concludes with a snake slithering away on-screen.

The fifth act, Speak Now, begins with an abstract mosaic of purple lights on the stage. Swift, in a ball gown, walks in from the screen and performs "Enchanted" with female dancers; since July 7, 2023, she also performed "Long Live" with her band. The color scheme changes to match the next act, Red; a female dancer opens a box that plays snippets of "Red", "Everything Has Changed" or "Holy Ground", and "State of Grace". Red balloons emerge, and Swift performs "22" wearing a version of the white T-shirt and black hat from the song's music video. Near the end of the song, she greets a fan pre-selected from the audience, giving them the hat. Swift sings "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" with male dancers next, dressed in a red-black romper. She dons a red-black ombre coat next, and performs "All Too Well (10 Minute Version)" on a guitar, backed by the band. The act concludes with artificial snow falling.

Cottagecore dominates the seventh act, Folklore, introduced with a spoken-word interlude of "Seven". Onstage is a bucolic, A-frame cabin setup, similar to the one from Swift's performance at the 63rd Annual Grammy Awards (2021), on an elevated platform with a staircase. Swift performs "Invisible String" or "The 1" on the cabin's roof, "Betty" with her band, and "The Last Great American Dynasty" with dancers dressed in period clothing. She then sings "August", which transitions to the bridge of a rock-tinged "Illicit Affairs", followed by "My Tears Ricochet" with female dancers wearing sparkly black long sleeved dresses and choreography resembling a funeral procession. Swift returns to the cabin to perform "Cardigan", ending the act with fireflies as the cabin retreats.

1989, the eighth act, commences with the screen showing a neon-lit city skyline. Swift, wearing a crop top and skirt, sings "Style" with dancers dressed in black-and-white outfits. Moving to mid-stage, female dancers ride neon bicycles for "Blank Space" and use blue golf clubs to smash an animated Shelby Cobra car. She follows with "Shake It Off", performed as a robust dance party; "Wildest Dreams", backed with clips of a couple in bed; and "Bad Blood", with female dancers and accentuated by intense pyrotechnics. It is followed by the acoustic set, where Swift performs two surprise songs on guitar and piano. In an optical illusion, a body of water develops around the piano and envelops the stage; Swift then dives into the stage and appears to swim underwater, along the ramp and toward the main stage.

The final act, Midnights, begins with a wave from the illusion crashing against the screen; Swift wakes up from a bed and climbs a ladder into a cloud. The lower screen splits, and dancers carry out clouds as Swift reemerges in a purple faux fur coat, a glittery oversized shirt and dark blue boots to sing "Lavender Haze". She removes the coat and performs "Anti-Hero" alongside a video of herself as a creature terrorizing a city. Dancers perform with umbrellas as Swift sings "Midnight Rain" and undergoes an onstage costume change, reappearing in a rhinestone-adorned midnight blue bodysuit. She then performs a "chair dance" choreographed for "Vigilante Shit", influenced by "sultry" burlesque and the 1975 musical Chicago. Swift follows with "Bejeweled", featuring moves inspired by the song's viral TikTok dance, and "Mastermind" with the entire dance crew wearing black robes. "Karma" is performed last, with Swift, backup singers, and dancers in tinsel-fringed jackets, closing the show with fireworks, colorful visuals, and confetti.

Starting from May 2024, Swift revamped the set list to include a new act with songs from her eleventh studio album, The Tortured Poets Department, released on April 19, 2024. "The Archer", "Long Live", "The 1", "The Last Great American Dynasty", "'Tis the Damn Season", and "Tolerate It" were removed from their respective acts to accommodate the album. The Speak Now and Red acts were brought forward as the fourth and third acts, while the acts for Folklore and Evermore, which are considered "sister albums", merged into one. The Tortured Poets Department act was placed between the 1989 act and acoustic set.

The Tortured Poets Department act features predominantly black-and-white graphics, drawing from dark academia. It begins with the screen showing pieces of furniture descending from the sky alongside paper pieces, which then transform into a deserted road and the furniture crash down. Swift appears onstage in a white corset dress and sings "But Daddy I Love Him" and parts of "So High School", alongside dancers dressed in white. She performs "Who's Afraid of Little Old Me?" on a moving glass-plated block and appears to levitate in an illusion, which ends with the screen depicting an evil-possessed Swift. An unidentified flying object (UFO) then appears on screen and attempts to abduct Swift, who starts singing "Down Bad" on the moving block that hovers over a digital galaxy. Transitioning to "Fortnight", the stage features a "TTPD"-emblazoned bed and two female dancers dressed as nurses. Swift sings the song as she sits on a typewriter, across from a male dancer. She proceeds with "The Smallest Man Who Ever Lived", for which she puts on a white marching band jacket as dancers march beside her with drums. The act ends with a silent skit with two male dancers accompanied by enthusiastic jazz music, where Swift removes her dress to reveal a two-piece bodysuit, leading up to "I Can Do It with a Broken Heart".

It's easy to compare one of Swift's stadium shows to something you'd see on Broadway—never has that been more true than for The Eras Tour. The setlist is cut up into acts, grouped by eras for each of Swift's ten studio albums. For each era/act, Swift went full-send into that album's look, feel, costume, color blocking, and more.

— David Waiss Aramesh, "Taylor Swift's The Eras Tour Is a 3-Hour Career-Spanning Victory Lap", Rolling Stone

The tour received "overwhelmingly positive" reviews from music and entertainment critics, who praised both the high-end spectacle and "polished artistry" of the tour. Billboard described the Eras Tour as "the must-see blockbuster of the year". Neil McCormick of The Daily Telegraph, Keiran Southern of The Times, Adrian Horton of The Guardian, Kelsey Barnes of The Independent, Ilana Kaplan of i, and Erica Campbell of NME gave the Eras Tour total five-star ratings. McCormick called the show "one of the most ambitious, spectacular, and charming stadium pop shows ever seen", lauding Swift's musicianship, vocals, and energy. Southern declared the Eras Tour "a pop genius at the top of her game". Horton praised the "rapturous" music selection, concept, "extravagant" staging, and Swift's stamina and vocals. Barnes noted the tour as "a career-defining spectacle" with acts marking the shifts in Swift's artistry, while Kaplan commended the "unparalleled" showmanship, "spicier" choreography, camp styles, and "seamless" transitions between acts. Campbell praised the storytelling aspect of the show that ties all the 10 acts together, enhanced by staging, cinematic ambience and fashion. Australian Financial Review's James Thomson opined, "Swift works the massive stage like a master, cycling through countless costume changes and several elaborate sets, all while belting out 44 songs over three-and-a-half hours."

The versatility of the show's music, visuals, and performance art was often a point of praise in its reviews. Journalists Rebecca Lewis and Carson Mlnarik of Hello! and MTV, respectively, commended Swift's stage presence and commitment to her artistry; Lewis described Swift's alter egos during the tour as shifting from "country ingénue to pop princess and folklore witch", whereas Mlnarik affirmed that the on-screen visuals stayed true to every album's aesthetic. The Week and Dallas Observer critics agreed, highlighting the "jaw-dropping" visuals and "bedazzled" fashion. Billboard editor Jason Lipshutz underscored Swift's "powerhouse" vocals, engaging artistic personas, and skill set. Jon Caramanica of The New York Times highlighted the tour's scale, ambition, and portrayal of all the musical pivots of Swift's career, whereas The Atlantic's Spencer Kornhaber complimented the show's art direction, suspense, and the sequencing of the acts. Mikael Wood of Los Angeles Times described the show as a "masterclass in pop ambition", showcasing Swift's range. According to The New Yorker senior editor Tyler Foggatt, the Eras Tour is a product of Swift's understanding of herself, building a tour "solely devoted to the idea of a trajectory—that of a career, of a musical identity, of a life—that can be traced cleanly from one era to the next."

Critics also appreciated the tour's production value and artistic direction. Philip Cosores of Uproxx dubbed it the "most impressive stadium show ever conceived". Spin critic Jonathan Cohen admired the rich stage design, usage of "state-of-the-art" technology, and immersive experience into Swift's "increasingly accomplished musical world-building". Variety journalist Chris Willman felt that the "epic" show demonstrated that "the person who has come up with the single greatest body of pop songwriting in the 21st century is also its most popular performer". Pollstar's Christina Fuoco and Andy Gensler praised the production as "stunning and tastefully rendered" and "live music at its highest spectacle". Rolling Stone's Waiss David Aramesh opined that it is "a production spectacle of the highest echelon". Melinda Sheckels of Consequence praised the tour's "nuanced and interpretive" approach in depicting Swift's albums and the "sheer magnitude, artistry, and technical prowess" of the production.

The revamped tour, following the release of The Tortured Poets Department, continued to receive rave reviews. Annabel Nugent of The Independent and Fiona Sheperd of The Scotsman praised the tour's choreography, state-of-the-art production, song selection, and Swift's consistent energy. McCormick declared, "there's no doubt that Taylor Swift is the best in the world right now." Critics Mark Sutherland and Anna Leszkiewicz opined that the tour's scale and performances continued to impress despite crossing 100 shows and being available as a film on streaming; Leszkiewicz, in New Statesman, described Swift as "a talented actress" with a "high camp" stage presence—"whether flashing faux-coy smiles, luxuriating in overdramatic eyerolls, or throwing herself into theatrical Wicked Witch of the West arm movements." Petridis described the tour in The Guardian as "an astonishing, risk-taking, strangely intimate extravaganza", adding it is pointless to review the tour anymore as "every conceivable detail has already been dissected and discussed in depth." Reviews published in the Berliner Zeitung and Süddeutsche Zeitung praised Swift for what they considered as a commanding stage presence and charisma that is rare in her peers.

Although Swift's team has withheld the gross data from publications, the Eras Tour has been reported to have broken a string of ticket sales records worldwide. In the first day of the US presale alone, the tour sold over 2.4 million tickets, the most sold by an artist in a single day, surpassing Robbie Williams, who had sold 1.6 million tickets for his Close Encounters Tour in 2005. Billboard reported on December 15 that the Eras Tour had already grossed an estimated US$554 million, and projected the US leg to finish with $591 million, surpassing the former all-time female record set by Madonna's Sticky & Sweet Tour ($407 million) in 2008–2009. Following the tour's launch, Swift rose to number one on Pollstar's Artist Power Index chart. MetLife Stadium named her their "#1 best-selling artist" of all time after the tour's third East Rutherford show, which was the 100th concert in the stadium's history.

In June 2023, The Wall Street Journal reported that the Eras Tour "on track to become the biggest in concert history, with the potential to gross over $1 billion"; conservative Pollstar estimates projected a $1.4 billion gross. Bloomberg News reported that the average gross per show on the US leg is $13 million. According to Forbes, the Eras Tour has grossed $780 million from 56 shows as of August 2023, making it the highest-grossing tour by a woman in history based on its first North American leg alone, surpassing Beyoncé's Renaissance World Tour. In November 2023, Billboard estimated a gross of over $900 million from the tour thus far and that the total could nearly double after the 2024 shows. Swift's team stated they do not intend to announce the boxscore, but Pollstar reported in December 2023 an estimated gross of $1,039,263,762 from 60 shows that year, making the Eras Tour the highest-grossing concert tour ever and the first to reach the $1 billion mark. In June 2024, the BBC estimated 11 million tickets sold across the entire tour. In October 2024, Forbes reported that the tour had grossed an additional $1.15 billion from 65 shows in 2024, bringing the tour's estimated gross up to US$1.93 billion.

Swift unveiled various musical works during the tour. On the day of the opening show, she released four songs to celebrate the tour's launch: the re-recordings of "Eyes Open" and "Safe & Sound", both originally from the 2012 soundtrack The Hunger Games: Songs from District 12 and Beyond; a re-recording of "If This Was a Movie", one of the deluxe tracks from Speak Now (2010); and "All of the Girls You Loved Before", a previously unreleased outtake of Lover.

A special CD edition of Midnights, subtitled The Late Night Edition, was released during the Eras Tour. It was only purchasable in-person at merchandise stands at certain shows, beginning in East Rutherford, New Jersey, on May 26, 2023. It exclusively contained the new bonus track "You're Losing Me", which became a "ravenously anticipated" song; Variety reported that "fans were so eager to get their hands" on the CD, causing queues at the stadium the day before the merchandise store opened.

On May 5, 2023, at the first Nashville show of the tour, Swift announced her third re-recorded album, Speak Now (Taylor's Version), and its release date as July 7. She also premiered two music videos, both of which she wrote and directed, during the tour. She premiered the videos for "Karma" featuring American rapper Ice Spice and "I Can See You" before the acoustic set at the first East Rutherford show and first Kansas City show, respectively. On August 9, at the final Los Angeles show, Swift announced 1989 (Taylor's Version) as her fourth re-recorded album, which was released on October 27, exactly nine years after the release of the original 1989 album. On November 3, Hits reported that a live album of the tour has been in talks.

On February 16, 2024, at the first Melbourne show, Swift announced a second variant of The Tortured Poets Department, with a bonus track titled "The Bolter". She announced another variant of the album, with the bonus track "The Albatross" on February 23, at the first Sydney show. The fourth variant of the album, containing the bonus track "The Black Dog", was announced on March 3, at the second Singapore show of the tour. On August 20, Swift premiered the music video for "I Can Do It with a Broken Heart" a song inspired by the tour, after leaving the stage at the end of the eighth show in London. The video features footage of tour performances, rehearsals, audiences, and backstage moments.

On October 13, 2023, Swift released the self-produced concert film, Taylor Swift: The Eras Tour, directed by Sam Wrench, to theaters worldwide. It was produced from the footage recorded at the tour's Los Angeles shows. The film, in an unprecedented move, had Swift partnering directly with the theaters to both distribute and exhibit the film instead of a major film studio. It received critical acclaim for capturing the spectacle and energy of the show and became the highest-grossing concert film of all time.

On October 15, 2024, Swift announced on Good Morning America her first-ever book, Taylor Swift: The Eras Tour Book. It is scheduled for release exclusively in Target stores on the Black Friday November 29, 2024. Dubbed "the official retrospective" of the tour, the 256-page coffee table book contains over 500 on-stage and behind-the-scenes images, as well as Swift's personal reflections and notes. With the book, Swift debuted her own publishing house, Taylor Swift Publications.

The Eras Tour had an impact on the music industry, entertainment and beyond. It was described as one of the most prominent cultural phenomena of the 21st century, generating a level of attention similar to the 1960s' Beatlemania. The tour elevated the economy of its stops by revitalizing local businesses and tourism, attracted large crowds of spectators outside stadiums, dominated news cycles and social media, inspired tributes from governments and organizations. Critics often described the Eras Tour as a monocultural event demonstrating Swift's impact on popular culture. The tour fueled an increase in public consumption of her discography as well. Swift's net worth, which was $740 million before the tour began, was updated to $1.1 billion after the first 57 shows of the tour; Swift became the first billionaire in history with music as the main source of income.

On November 15, the day of the first US presale, Ticketmaster's website crashed following what Variety called "historically unprecedented demand". Live Nation, the parent company of Ticketmaster, said they prepared for 1.5 million verified fans, but 14 million turned up; published a statement saying they had been "unprepared" to accommodate them; and cancelled any further sales, citing inability to meet demand. The fiasco was the subject of public criticism and political scrutiny. Customers and fans criticized Ticketmaster for its allegedly flawed systems and inefficient technical resolutions. US lawmakers, including attorneys general and members of Congress, took notice of the issue, which became the focus of multiple state, federal and congressional inquiries, and an antitrust lawsuit.

Unrest was reported on June 11, 2023, outside the Brazilian venues' box offices, as scalpers attempted to cut in line, including some armed scalpers who threatened violence, until the police intervened. The agency responsible for the tour in Brazil, T4F – Time For Fun (T4F), was reported over 100 times to authorities for their inaction. On June 20, federal lawmakers in Brazil filed the "Taylor Swift Law", which would penalize scalpers with up to four years in prison and a fine of up to 100 times the value of the ticket.

On November 17, 2023, before the start of the first Rio de Janeiro show, T4F reportedly prohibited concertgoers from bringing their own water bottles inside the venue. It was one of the hottest days in the city, with a heat index of 59.3 °C (138.74 °F), as part of a heat wave in the country. Videos posted to social media by fans showed thousands of queued concertgoers waiting for hours in the sun before entry into the stadium; Swift and her team arranged and distributed water bottles to the crowd. A concert attendee, Ana Clara Benevides, died while being taken to a hospital after she fainted during the first few minutes of the show. T4F attracted widespread criticism from fans and politicians. Several claimed that stadium organizers "refused" to provide concertgoers water; a criminal investigation was opened. Benevides' cause of death was forensically determined to be cardiac arrest caused by heat exhaustion. Swift grieved Benevides' death on social media. She postponed the show that had been scheduled for November 18 to November 20, citing "extreme temperatures".

Srettha Thavisin, Prime Minister of Thailand, claimed that the government of Singapore offered subsidies of $2 million–$3 million per show of the Eras Tour in exchange for making Singapore the exclusive venue in Southeast Asia. He criticized Singapore for excluding other member countries of the ASEAN from witnessing Swift. The Singapore Tourism Board responded that they did provide a "grant" to bring the Eras Tour to Singapore, and that the Ministry of Culture, Community and Youth worked with the tour's promoter, Anschutz Entertainment Group (AEG), but did not reveal the size of the grant or attached conditions due to "business confidentiality". Minister Edwin Tong commented, the alleged sum of the grant was "nowhere as high as what is being speculated". Joey Salceda, member of the House of Representatives of the Philippines, criticized Singapore and demanded that the Philippine Department of Foreign Affairs seek an explanation from the Embassy of Singapore, Manila. Sandiaga Uno, Indonesian minister of Tourism and Creative Economy, also expressed his disappointment, stating "Indonesia was eager to replicate the success of Swiftonomics". Subsequently, Lee Hsien Loong, Prime Minister of Singapore since 2004, assured that the exclusivity grant did not have an hostile intention.

Swift included neither the People's Republic of China nor the Republic of China (Taiwan) in the Eras Tour. The tour skipping Taiwan was a topic of political debate during the campaigns preceding the 2024 Taiwanese presidential and legislative body elections. Jaw Shaw-kong, vice-presidential candidate of the opposition (Kuomintang party), claimed he invited Swift to perform at the Taipei Dome and that she initially agreed to perform but later declined due to "geopolitical risks" of the sensitive Cross-Strait relations. The Taiwanese Ministry of Culture commented on the issue but neither denied nor confirmed Jaw's claims. Kaohsiung mayor Chen Chi-mai described Jaw's claims about Swift as an attempt at manipulating the voters.

On July 18, 2024, a suspected stalker of Swift, who was accused of threatening her and her boyfriend, American football player Travis Kelce, on social media was detained and arrested as he attempted to enter the second of Swift's shows in Gelsenkirchen. The same month, three children were killed at a mass stabbing attack at a Swiftie workshop in Southport, Merseyside, UK. The incident caused public unrest in Southport, and over the next few days, escalated into nationwide protests and riots. A week later, authorities thwarted an Islamic State (ISIS) plot to attack Swift's three shows in Vienna. Police arrested three teenagers who were "radicalized on the Internet" and plotted to kill "tens of thousands" at the concerts. Initially, Austrian public security director Franz Ruf stated that the shows would take place as scheduled, with additional security measures in place. However, event organizer Barracuda Music announced that all three shows would be canceled with tickets refunded, after confirmation from the Government of Austria of an elaborate terrorist plan. With Swift's permit, Austrian public broadcaster ORF aired the tour's accompanying concert film on August 10 for free. The tour's next stop, London, increased its security for the shows.

In October 2024, controversy ensued in the UK when it was reported that politicians of the ruling Labour Party were gifted with over £20,000 in free tickets to the Eras Tour after Swift's demands for the highest level of security were denied, with the politicians allegedly pressuring the Metropolitan Police to give in to the demands. In advance of the London dates, Swift's team had reportedly demanded additional "VVIP" security from the Metropolitan Police's Special Escort Group and threatened to cancel the London shows if not provided. The police initially turned down the request, claiming their intelligence did not detect any threat to Swift's London shows and hence she did not require the top-level "taxpayer-funded" security reserved for heads of state. However, the police subsequently reversed its decision and provided Swift with the requested protection. Various politicians of the opposition Conservative Party, such as Susan Hall, Robert Jenrick, Gavin Williamson and Andrew Murrison, criticized the Labour government, accusing it of abuse of power. Both the police and the government denied the allegations of bribery; Starmer's spokesperson described it as a conflict of interest.

Swift donated to food bank units at every stop of the Eras Tour, as reported by the respective organizations, and exclusively employed various local businesses to fulfill her crew's daily requirements. At the conclusion of the first US leg, Swift gave "unprecedented" bonus payments totaling over $55 million to her entire touring crew, including $100,000 to each of the 50 truck drivers involved in transporting the stage setup and production equipment. She also reportedly purchased more than double the carbon credits needed to offset emissions generated by her travel throughout the tour. In October 2023, Swift donated Eras Tour tickets to the Rare Impact Fund, a charity and mental health awareness initiative by American singer Selena Gomez's cosmetic company, Rare Beauty. The auctioned tickets sold for $15,000 and were the "biggest ticket item of the event". On April 27, 2024, four Eras Tour tickets raised $80,000 at auction in a gala benefiting the 15 and The Mahomies Foundation, a charity by the American football player Patrick Mahomes.

This set list was taken from the show in Glendale on March 17, 2023. It does not represent all shows throughout the tour.

• "The 1" replaced "Invisible String" starting from the Arlington shows, except at the second Nashville show, where Swift performed "Invisible String" in honor of the bench at Centennial Park dedicated to her.
• "Nothing New" was added before "All Too Well (10 Minute Version)" at shows opened by Phoebe Bridgers, who performed the song with Swift.
• "Long Live" was added after "Enchanted" as part of the Speak Now act after the release of Speak Now (Taylor's Version), starting with the Kansas City shows.
• "No Body, No Crime" replaced "'Tis the Damn Season" at shows opened by Haim, who performed the song with Swift.

This set list was taken from the show in Nanterre on May 9, 2024.

Swift performed two tracks from her discography at each show as "surprise songs" in the ninth act—the first on acoustic guitar and the second on piano.

• At the third Tampa show and the second Pittsburgh show, Swift reversed the order of the instruments she used to perform the surprise songs, playing the first on piano with Aaron Dessner and the second on acoustic guitar.
• At the third Foxborough show, Swift performed both surprise songs on acoustic guitar due to technical difficulties with the piano caused by the previous night's rain.
• At the three East Rutherford shows, Swift performed the remix of "Karma" with Ice Spice.
• At the second Cincinnati show, Swift performed "I Miss You, I'm Sorry" on acoustic guitar with Gracie Abrams on piano between the first and second surprise songs.
• At the eighth London show and the three Miami shows, Swift performed "Florida!!!" with Florence Welch of Florence and the Machine before "Who's Afraid of Little Old Me?".

Adapted from the credits of Taylor Swift: The Eras Tour concert film.

• Taylor Swift – lead vocals, guitar, piano

Band

• Max Bernstein – co-band leader, guitar, keyboard, pedal steel
• Matt Billingslea – drums
• Karina DePiano – piano
• Amos Heller – bass, keyboard bass
• Mike Meadows – co-band leader, guitar, keyboard, harmonica, cello, mandolin, backing vocals
• Paul Sidoti – guitar
• Jeslyn Gorman – backing vocals (except the Seattle, Latin American, Tokyo, and Melbourne shows)
• Kamilah Marshall – background vocalist dance captain, backing vocals
• Melanie Nyema – background vocalist section leader, backing vocals, tambourine
• Eliotte Woodford – backing vocals (except the Hamburg, Munich, Warsaw, and London shows)

Dancers

• Amanda Balen – dance captain and associate choreographer
• Taylor Banks
• Karen Chuang
• Audrey Douglass
• Tori Evans
• Natalie Lecznar
• Tamiya Lewis
• Sam McWilliams
• Sydney Moss
• Natalie Peterson
• Jan Ravnik
• Kameron Saunders
• Kevin Scheitzbach
• Raphael Thomas
• Whyley Yoshimura

• List of highest-grossing concert tours
• List of fastest-selling concert tours
• Impact of the COVID-19 pandemic on the music industry

Cities

Others