The Eras Tour
The Eras Tourが全世界で公開されました！日本でも2023年10月13日から15日間公開される。このツアーは2023年3月17日アメリカのグレンデールから始まり、2024年11月23日カナダのトロントまで146公演。世界を巡るワールドスタジアムツアー。日本では2024年2月7日、8日、9日、10日の4日間。
TAYLOR SWIFT | THE ERAS TOUR INTERNATIONAL DATES
TAYLOR SWIFT | THE ERAS TOUR 来日公演特設サイト
セットリストは44曲で時間はなんと3時間！！この迫力を映画で観れるということで、行くしかないでしょと思って行ったけど控えめに言って最高…という言葉がピッタリだった。
来年日本にも来日予定。それに先駆けて世界同時上映、日本でも同時公開となった。国内の上映日程は以下の通り。
【上映日】
2023年10月13日（金）、14日（土）、15日（日）、19日（木）、20日（金）、21日（土）、22日（日）、26日（木）、27日（金）、28日（土）、29日（日）、11月2日（木）、3日（金）、4日（土）、5日（日）【計15日間】
https://towapictures.co.jp/taylor/
Taylor Swift自身もMCで話しているように、これまではアルバムタイトルをツアータイトルにしていたが、今回は”Eras”とした。それはeras＝これまでのアーティストとしての17年間すべて！という意味が含まれている。その名の通りの内容だった。
彼女は2006年に16歳でデビューして2017年「Reputation」まで6枚のアルバムを前のビッグマシンレコードから出した。その後、ビッグマシンレコードが彼女の曲の権利をスクーターブラウンという天敵に売却するという信じられない事件を乗り越えて。
テイラー・スウィフトのマスターテープ、スクーター・ブラウンが売却。
ライブ中に彼女が話しているが、これまでの自身の曲をぎゅっとつめこんで3時間くらいのライブになったと。それをサラッと笑顔で言うからかっこいい。また映画でのライブ会場となるSofi Stadiumがすごい迫力。本当に一人紅白かってくらいのTaylor Swiftがカタログのようにつまっていた。
この映画を見て、Taylor Swiftの曲ってPopsを凌駕していると思った。すべてがTaylor SwiftだけどPopsの教科書みたいなくらい幅広くて本当にすごい。
その原動力は、きっとこれまで彼女が批判にさらされながらも、アーティストとして楽曲制作に集中して音楽で対抗し、ファンの期待に応えてきた戦いと創作の記録のように感じた。コンサート映画なんだけど、彼女の映画という感じ。
The Eras Tourを観るにあたり、彼女のBillboardでのスピーチは必見。
Billboard Woman of the Decade＝この10年で最高に活躍した女性アーティストに贈られる賞。これをTaylor Swiftは2019年に受賞。そのときのスピーチが話題をよんだ。以下彼女のスピーチから一部を抜粋。
So what does it mean to be the woman of this decade? Well, it means I’ve seen a lot. When this decade began I was 20 years old and I had put out my self-titled debut album when I was 16, and then the album that would become my breakthrough album, which was called Fearless. And I saw that there was a world of music and experience beyond country music that I was really curious about.
この”Woman of the Decade”とは何を意味するのでしょうか？この10年間たくさんのことを見てきました。それは10年前、20歳のときから始まりました。16歳のときにセルフタイトルのデビューアルバムをリリースし、その後、代表作となるアルバム『Fearless』をリリースしました。カントリーミュージックを超えた音楽の世界に私は強く魅了されました。
I saw pop stations send my songs ‘Love Story’ and ‘You Belong With Me’ to number one for the first time. And I saw that as a female in this industry, some people will always have slight reservations about you. Whether you deserve to be there, whether your male producer or co-writer is the reason for your success, or whether it was a savvy record label. It wasn’t.
Popsで「Love Story」と「You Belong With Me」が初めてナンバーワンになったのを見ました。それから、この業界に携わる女性として、常に若干の疑念を抱いている人がいるのを見てきました。あなたがその場にふさわしいかどうか、成功の理由が男性のプロデューサーや共同ライターかどうか、それとも業界に精通したレコードレーベルだったかどうか。私の場合はそうではありませんでした。
I saw that people love to explain away a woman’s success in the music industry, and I saw something in me change due to this realization. This was the decade when I became a mirror for my detractors. Whatever they decided I couldn’t do is exactly what I did….Whatever they criticized about me became material for musical satires or inspirational anthems, and the best lyrical examples I can think of are songs like ‘Mean,’ ‘Shake It Off,’ and ‘Blank Space.’ Basically if people had something to say about me, I usually said something back in my own way.
人々が音楽業界における女性の成功を説明したがるのを見て、自分の中で何かが変わったのを感じました。この10年間は私が中傷者の標的となった10年でした。彼らが私にできないと判断したことを私は実行しました…私について批判されたことはすべて音楽的な風刺や感動的な賛歌の材料になりました。最高の歌詞の例は「Mean」、「Shake It Off」、「Blank Space」などです。基本的に何かを言われたときは、いつも自分なりの方法で言い返ていました。
And this reflex dictated more than just my lyrics. When Fearless did win Album of the Year at the Grammys and I did become the youngest solo artist to ever win the award, with that win came criticism and backlash in 2010 that I’d never experienced before as a young new artist. All of a sudden people had doubts about my singing voice, was it strong enough? Was I a little bit pitchy? All of a sudden they weren’t sure if I was the one writing the songs because sometimes in the past I had had co-writers in the room.
この反応は歌詞以上のものをもたらしました。『Fearless』がグラミー賞でアルバム・オブ・ザ・イヤーを受賞し、私はソロ・アーティストとしては史上最年少でその賞を受賞しました。2010年、その受賞によって若い新人アーティストにはこれまで経験したことのないような批判と反発が巻き起こりました。突然、人々は私の歌声に疑問を抱きました。その声は力強いか？音程はどうか？私が曲を書いているのかどうかすら、疑われてしまいました。その理由は、過去に楽曲の共同制作者がいたこともあったからです。
At that time I couldn’t understand why this wave of harsh criticism had hit me so hard. I believe a popular headline back then was, ‘A Swift Backlash,’ which is clever, you gotta give it to ’em. And now I realize that this is just what happens to a woman in music if she achieves success or power beyond people’s comfort level. I now have come to expect that with good news comes some sort of pushback. But I didn’t know that then.
当時、なぜこの厳しい批判の波がこれほどの打撃を私に与えるのか理解できませんでした。よく見出しには「スウィフト反発」と書かれてあり、これは適格だったと思います。本来は批判をしている人に向けられる反発です。今となっては音楽業界において、女性が人々の快適なレベルを超えた成功や権力を得たとき、まさにこの反発が起こるのだと理解しました。今では良いニュースにも何らかの反発が起こることを予想するようになりました。でも、当時はそれを知りませんでした。
So then I decided that I would be the only songwriter on my third album, Speak Now, and that I would tour constantly, work on my vocals every day, and perfect my stamina in a live show. I decided I would be what they said I couldn’t be. I didn’t know then that soon enough people would decide on something else I wasn’t quite doing right, and then the circle would keep going on and on and rolling along and I would keep accommodating, over-correcting, in an effort to appease my critics.
私は3枚目のアルバム『Speak Now』の唯一のソングライターになり、定期的にツアーをし、毎日ボーカルレッスンに取り組み、ライブに備えるため体力を万全にしようと決めました。批判する人々が「なれない」と言った存在になることを決めました。そのときはそのやり方が間違っていると間もなく決めつけられるとは気づきませんでした。その批判の輪は延々と回り続け、私はそれを収め、過剰適応し続けながら批判の声を和らげようとしました。
They’re saying I’m dating too much in my 20s? Okay, I’ll stop, I’ll just be single. For years. Now they’re saying my album Red is filled with too many breakup songs? Okay, okay, I’ll make one about moving to New York and deciding that really my life is more fun with just my friends. Oh, they’re saying my music is changing too much for me to stay in country music? All right. Okay, here’s an entire genre shift and a pop album called 1989.
20代なのにデートしすぎだと言われている？わかりました。もうやめます。しばらくは一人でいます。アルバム『レッド』には別れの曲が多すぎる？わかりました。ニューヨークに引っ越して、本当は友達と一緒にいるほうが楽しいんだという内容のアルバムを作ります。はぁ…今度は私の音楽が変わりすぎて、カントリーミュージックから逸脱していると言われている？よし、わかりました。ジャンルを完全に変えた『1989』というアルバムを出します。
Now it’s that I’m showing you too many pictures of me with my friends, okay, I can stop doing that too. Now I’m actually a calculated manipulator rather than a smart businesswoman? Okay, I’ll disappear from public view for years. Now I’m being cast a villain to you? Okay, here’s an album called Reputation and there are lots of snakes everywhere.
友達と一緒の写真がたくさん出ていることにつていも、わかりました。それもやめます。今後は私が計算高い自己中心的な人物で、賢いビジネスウーマンではないと言われます。わかりました。しばらく姿を消します。なるほど、私には悪役が合ってるということですね？わかりました。『Reputation』ではどこにでもヘビを登場させました。
（以上Billboard Woman of the Decadeより。全文は最後にあります）
最年少で受賞した式でKanyeの妨害にあい、その他にも若い女性というアーティストでヒットを連発する成功を納めた裏で、ずっとあらゆる批判批評と戦ってきたことがわかる。
彼女の10代の動画をみると、かわいらしい女の子って感じで『Fealess』とか発売された当時は日本でも「妖精」なんて紹介されてた。でも今の彼女はBeyonceとかP!nkとかMadonnaみたいな力強さや迫力がある。今やPopsの女王様の貫禄。
それもそのはずと思うのがBillboardでの受賞スピーチ。曲の幅広さと、彼女の力強さは、彼女が若くして手にした地位、キャリアから様々な試練を乗り越えて、今もなおPopsのど真ん中にいるっていう迫力。楽曲が好きなことはもちろん、彼女のファンはその力強い生き様にも勇気をもらえているから、熱狂的なSwiftiesがいるんだと思う。
余談だけど、よく彼女のSwiftiesが動画や劇中にも出るけど男性も女性も両方可愛らしい感じなのがまたSwiftiesって感じがする。P!nkのライブにきてるファンて男性も女性もバチバチにクールというか、かっこいい感じなのよね。そういうのが面白い。
問題のスクーターブラウン氏は最近調子悪いよう。典型的なマニュピレーター（自分の利益のために他人を操る人）であり、テイカー（自分の利益だけを考える人）だな。
＜Discography＞
2006 Tim McGrew（16）- Taylor Swift
2008 Fearless
2009 MTV Vedio Music Award（最年少受賞）
2010 Speak Now
2012 RED
2017 Reputation
2018 11月ビッグマシンレコードとの契約を解除、リパブリックレコードに移籍
2019 Lover
2020 Miss Americana（Netflix）配信、Folklore、evermore
2021 Fearless（Taylor’s Version）、Red（Taylor’s Version）
2022 Midnights
2023 The Eras Tour開始、Speak Now（Taylor’s Version）、1989（Taylor’s Version）
＜参考＞
Taylor Swift Accepts Woman of the Decade Award at Billboard’s Women In Music: Read Her Full Speech
Taylor Swift Accepts Woman of the Decade Award | Women In Music - YouTube ＜Her Full Speech＞ Transcript: (00:00) Absolutely love this one, right? (audience applauds) Whew! This is sort of a, it's not a short speech. So just, I don't want this to slip and break 'cause it's very important to me. - I got it. - Thank you so much. (audience laughs) She's so supportive, we all need someone like that. (laughs) I'm Taylor, good evening. (00:25) I wanna first thank Billboard from the bottom of my heart for this honor, for-- Whoa, this is going great so far. (audience laughs) Excellent, okay. I wanna say thank you so much to Billboard for giving me this honor, for naming me as their Woman of the Decade. So what does it mean to be the woman of this decade? (00:47) Well, it means I've seen a lot. When this decade began I was 20 years old and I had put out my self-titled debut album when I was 16, and then the album that would become my breakthrough album, which was called Fearless. And I saw that there was a world of music and experience beyond country music that I was really curious about. (01:16) I saw pop stations send my songs Love Story and You Belong With Me to number one for the first time. And I saw that as a female in this industry, some people will always have slight reservations about you. Whether you deserve to be there, whether your male producer or co-writer is the reason for your success, (01:41) or whether it was a savvy record label. It wasn't. (audience laughs) I saw that people love to explain away a woman's success in the music industry, and I saw something in me change due to this realization. This was the decade when I became a mirror for my detractors. Whatever they decided I couldn't do is exactly what I did. (02:04) - [Audience Member] Woo! - Oh, I'll take it. (applauding) Thanks! Whatever they criticized about me became material for musical satires or inspirational anthems, and the best lyrical examples I can think of are songs like Mean, Shake It Off, and Blank Space. Basically if people had something to say about me, (02:28) I usually said something back in my own way. And this reflect dictated more than just my lyrics. When Fearless did win Album of the Year at the Grammys and I did become the youngest solo artist to ever win the award, with that win came criticism and backlash in 2010 that I'd never experienced before (02:50) as a young new artist. All of a sudden people had doubts about my singing voice, was it strong enough, was I a little bit pitchy? All of a sudden they weren't sure if I was the one writing the songs because sometimes in the past I had had co-writers in the room. At that time I couldn't understand why this wave of harsh criticism had hit me so hard. (03:14) I believe a popular headline back then was, A Swift Backlash, which is clever, you gotta give it to 'em. (audience laughs) And now I realize that this is just what happens to a woman in music if she achieves success or power beyond people's comfort level. I now have come to expect that with good news (03:37) comes some sort of pushback. But I didn't know that then. So then I decided that I would be the only songwriter on my third album, Speak Now, and that I would tour constantly, work on my vocals every day, and perfect my stamina in a live show. I decided I would be what they said I couldn't be. I didn't know then that soon enough (04:04) people would decide on something else I wasn't quite doing right, and then the circle would keep going on and on and rolling along and I would keep accommodating, over-correcting, in an effort to appease my critics. They're saying I'm dating too much in my 20s? Okay, I'll stop, I'll just be single. For years. (04:25) (audience laughs) Now they're saying my album Red is filled with too many breakup songs? Okay, okay, I'll make one about moving to New York and deciding that really my life is more fun with just my friends. Oh, they're saying my music is changing too much for me to stay in country music? All right. Okay, here's an entire genre shift (04:44) and a pop album called 1989. - [Audience Member] Woo! - Ah! (applauding) You heard it? Sick! Now it's that I'm showing you too many pictures of me with my friends, okay, I can stop doing that too. Now I'm actually a calculated manipulator rather than a smart businesswoman? Okay, I'll disappear from public view for years. (05:12) Now I'm being cast a villain to you? Okay, here's an album called Reputation and there are lots of snakes everywhere. In the last 10 years I have watched as women in this industry are criticized and measured up to each other and picked at for their bodies, their romantic lives, their fashion, or have you ever heard someone say about a male artist, (05:37) I really like his songs but I don't know what it is, there's just something about him I don't like? No! That criticism is reserved for us! But you know, I've learned that the difference between those who can continue to create in that climate usually comes down to this. Who lets that scrutiny break them (06:00) and who just keeps making art. I've watched as one of my favorite artists of this decade, Lana Del Rey, was ruthly criticized-- Yes! (man mumbles) Yeah. (applauding) Thank you. We have similar tastes, I like it. She was ruthlessly criticized in her early career and then slowly but surely she turned into, in my opinion, (06:25) the most influential artist in pop. Her vocal stylings, her lyrics, her aesthetics, they've been echoed and repurposed in every corner of music, and this year her incredible album is nominated for Album of the Year at the Grammys because she just kept making art. And that example should inspire all of us, (06:46) that the only way forward is forward motion. That we shouldn't let obstacles like criticism slow down the creative forces that drive us. And I see that fire in the newer faces in our music industry whose work I absolutely love. I see it in Lizzo, Rosalia, Tayla Parx, Hayley Kiyoko, King Princess, Camila Cabello, Halsey, (07:10) Megan Thee Stallion, Princess Nokia, Nina Nesbitt, Sigrid, Normani, H.E.R., Maggie Rogers, Becky G, Dua Lipa, Ella Mai, Billie Eilish. (audience cheers) And so many other amazing women who are making music right now. Female artists in music have dominated this decade in growth, streaming, record and ticket sales, (07:40) and critical acclaim. So why are we doing so well? Because we have to grow fast. We have to work this hard, we have to prove that we deserve this, and we have to top our last achievements. Women in music, onstage or behind the scenes, are not allowed to coast. We are held at a higher, sometimes impossible-feeling standard. (08:07) And it seems that my fellow female artists have taken this challenge and they have accepted it. It seems like the pressure that could have crushed us made us into diamonds instead. And what didn't kill us actually did make us stronger. But we need to keep advocating for women in the recording studios, behind the mixing board, (08:30) in A and R meetings, because rather than fighting to be taken seriously in their fields, these women are still struggling to even have a chance to be in the room. (audience applauds) We now find ourselves fully immersed in a vast frontier that wasn't around last decade, and that is the streaming world. (08:53) In music, we're always walking hand-in-hand with technology, and sometimes that is so awesome, like how now we're able to just drop a song that we made yesterday. I've spoken out in the past about the future of revenue flow for creators and the songwriters and producers who are being left behind due to these rapid shifts and changes. (09:16) I still don't think that record contracts or producers agreements have fully caught up, and I hope that in the next decade, we can keep searching for the right solution for producers, songwriters, and creators. Don't you? (audience applauds) Lately there's been a new shift that has affected me personally and that I feel is a potentially harmful force (09:40) in our industry, and as your resident loud person, I feel the need to bring it up. And that is the unregulated world of private equity coming in and buying up our music as if it is real estate. As if it's an app or a shoe line. This just happened to me without my approval, consultation, or consent. After I was denied the chance to purchase my music outright, (10:09) my entire catalog was sold to Scooter Braun's Ithaca Holdings in a deal that I'm told was funded by the Soros Family, 23 Capital, and the Carlyle Group. Yet to this day none of these investors have ever bothered to contact me or my team directly. To perform their due diligence on their investment. On their investment in me. (10:36) To ask how I might feel about the new owner of my art. The music I wrote. The videos I created. Photos of me, my handwriting, my album designs. And of course Scooter never contacted me or my team to discuss it prior to the sale or even when it was announced. I'm fairly certain he knew exactly how I would feel about it though. (11:04) And let me just say that the definition of the toxic male privilege in our industry is people saying, but he's always been nice to me, when I'm raising valid concerns about artists and their rights to own their music. And of course he's nice to you. If you're in this room, you have something he needs. (11:23) The fact is that private equity is what enabled this man to think, according to his own social media post, that he could buy me. But I'm obviously not going willingly. Yet the most amazing thing was to discover that it would be the women in our industry who would have my back and show me the most vocal support (11:47) at one of the most difficult times, and I will never, ever forget it. Like, ever. (cheers) (applauds) But to conclude, I will say that in 10 years I've seen forward steps in our industry, in our awareness, our inclusion, our ability to start calling out unfairness and misconduct. I've seen the advent of social media, (12:18) the way it can boost the breakthrough of emerging artists and I've seen fans become more engaged and supportive than ever before. I've leaned on that support and it has kept me in a place where no matter what, I always wanted to keep making music for them. I was up on a stage in New York City in 2014 (12:36) accepting Billboard Woman of the Year and I was talking about the future of streaming. How we needed to make sure that the female artists, writers, and producers of the next generation were protected and compensated fairly. This was before my record deal with Universal, last year, that would contractually guarantee (12:57) that the artists on their roster be paid upon any sale of their Spotify shares unrecoupable. So thank you for that. (audience applauds) This speech I'm referring to was on my 25th birthday. I'm about to turn 30 tonight, woo! (cheers) (applauds) But my exact quote during the speech was, "I really just feel like we need to continue to try (13:26) "to offer something to a younger generation of musicians, "because somewhere right now your future Woman of the Year "is probably sitting in a piano lesson or in a girls' choir "and today right now we need to take care of her." I've since learned that at that exact moment, an 11-year-old girl in California (13:47) really was taking piano lessons and really was in a girls' choir. And this year she has been named Woman of the Year at the age of 17, her name is Billie. (audience applauds) And those are the stories we need to think about every day as we do our jobs within this industry. The ones where people's dreams come true (14:14) and they get to create music and play it for people. The ones where fans feel a connection to music that makes their day easier, makes their night more fun, makes their love feel more sacred, or their heartache feel less isolating. The ones where all of you in this room stand as an example for someone else in the next generation (14:32) who loves the same thing that we love. Music. And no matter what else enters the conversation, we will always bring it back to music. And as for me, lately I've been focusing less on doing what they say I can't do and more on doing whatever the hell I want. (applauds) Thank you for a magnificent, happy, free, confused, sometimes lonely (14:59) but mostly golden decade. I'm honored to be here tonight. I feel very lucky to be with you, thank you so much. (cheers) (applauds)
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