selena gomez 2016 revival tour

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Review: Selena Gomez, a Disney Graduate, Majors in Angst Onstage

By Jon Pareles

• June 3, 2016

Selena Gomez wore black for the first segments of her concert at Barclays Center on Wednesday night: a cutaway black gown, a black bodysuit, a black catsuit. She was looking serious, looking tough.

It was the New York City stop on her “Revival” tour, which is named after the album she released last year, her first one outside the Disney empire. The tour is the next step in Ms. Gomez’s makeover from wholesome, baby-faced Disney Channel child actress and good-girl tween-pop hitmaker to a grown-up woman with her own desires, authority and angst.

At 23, she has been through the gantlet of child stardom, teenage upheavals, paparazzi onslaughts and a public romance and breakup with Justin Bieber. “I think all of you have seen my ups and you’ve seen my downs, that’s for sure,” she told an audience that was almost entirely female, from preschoolers on up. “So now I want to celebrate this with you.”

Ms. Gomez has constructed her transformation in the studio, with songs tailored to her by hitmakers like Max Martin and Stargate and video clips that draw hundreds of millions of views. Onstage, in real time, it was not quite as seamless.

The concert moved from resentment to faith to dancing to triumph, filled with songs from “Revival.” Ms. Gomez set aside much of her pop past, and she pushed most of her songs toward current electronic dance music. She introduced a new song, “Feel Me,” which hurls accusations at an ex: “I won’t be caught up in the middle/Through your highs and lows.”

The set started with the new Ms. Gomez, the one who grapples with troubles and resentments. In her black costumes, she sang slow, weighty songs in somber minor keys, rearranged with a deep bass undertow. Signaling her adult prerogatives, “Same Old Love” casually used a four-letter word in its lyrics; “Sober” charged, “You don’t know how to love me when you’re sober.”

She strove to keep a scowl on her face and a glare in her eyes as she sang, but every so often a smile would peek through — and when it did, the squeals of her audience redoubled. They still appreciate the good-girl version of Ms. Gomez, and they sang along jubilantly when Ms. Gomez reached back to her 2011 hit “Who Says,” a pep talk for people fighting insecurity.

Ms. Gomez strutted through an arena spectacle with spiky sets and a busy video backdrop. She shared some line dances with her acrobatic backup troupe, and she constantly hit marks onstage, where electric fans kept her long hair streaming. She has a small voice that benefits from the studio, where it can sound determined and unguarded; onstage, her backup singers could be seen joining her in unison nearly throughout the set.

Ms. Gomez’s band cranked up as she sang Eurythmics’ “Sweet Dreams (Are Made of This),” but she couldn’t make its bitterness convincing. She was better off in her own perkier, more optimistic advisory, “Kill Em With Kindness.” By then the tough Ms. Gomez had eased off and the positive, friendly one was back — a more comfortable zone for both the star and her adoring audience. “Revival,” the song that ended the show, declared, “I’m reborn in every moment/So who knows what I’ll become?,” and that’s still an open question.

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Selena Gomez’s ‘Revival’ tour doesn’t quite deliver on its name

Selena Gomez’s “Revival” tour stopped at Verizon Center on Saturday night, and fans looking for a memory didn’t have to settle for a T-shirt or a poster: They could also take a photo against a backdrop sponsored by Pantene. Gomez is not just a spokeswoman for the hair-care company but one of the latest proponents of the music industry’s version of “lather, rinse, repeat”: Find success with Disney, branch out into pop music, mature into “adult” artist.

Gomez is in the midst of that last step in the cycle, and she released her sophomore album, “Revival,” in October. Despite its title, topless cover photo, restrained writing and adult-oriented lyrics, the album and accompanying tour find her dipping her toe into the pool of maturity rather than doing a cannonball (or belly-flop, depending on your perspective), as Christina Aguilera did circa “Stripped” or Miley Cyrus since “Bangerz.”

“Revival” may be an over-the-top title for a second album from a 23-year-old, but Gomez has had a contentious few years: She fired her parents as managers, broke up with Justin Bieber, dealt with rumors about drug addiction and underwent chemotherapy to treat lupus.

“You’ve seen my ups, and you’ve seen my downs,” Gomez told the packed Verizon Center crowd. “Let’s just have fun, okay?”

“Revival” is plenty of fun, but it’s not a wholesale rejection of the catchy, simplistic dance-pop that Gomez has peddled since breaking through in 2009. The album is more about the evolution of pop music in general, as electronic dance music — or EDM, as it’s known — has been overtaken by more-restrained songcraft. Case in point: the versions of old singles “Love You Like a Love Song” and “Come and Get It” that Gomez performed Saturday where the burping synths of EDM-pop were replaced with hip-hop-inflected grooves.

And while she occasionally deals with adult themes, her lyrics are still marked by the clunky awkwardness of a young adult trying to seem older; for every “leave this dress a mess on the floor,” there’s a “syncopate my skin to your heart beating.”

The false maturity of “Revival” extends to her live performance, where a crew of dancers, singers and musicians do all the heavy lifting. Gomez’s voice has never been particularly impressive, and in concert, she often cedes the microphone to her backup singers. And unlike other pop stars who focus on their dance moves rather than their vocals, Gomez doesn’t really dance, either: Her repertoire is built on two-steps and wind-machine-assisted hair-flips.

But even with her weaknesses as a performer, the concert — with its giant inflatable flowers, exercise-ball dance routines and chariot rides — pleased her preteen and teenage fans, who even screamed in excitement during costume-change video interludes.

It seems that it’s only a matter of time before the final step in Gomez’s Disney princess pop-star cycle: Las Vegas residency.

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Selena Gomez Announces 2016 Revival Tour Dates

Selena Gomez will be hitting the road on May 6, 2016 for the start of a 41 city tour, her first tour since 2013. After kicking off the Revival Tour in Vegas, Gomez will stop in cities including Boston, Dallas, and San Diego before finishing up what could be just the first leg on July 8, 2015 in Los Angeles (Gomez will be adding more international tour dates in the future). Tickets will go on sale on October 13th to Citi cardmembers & Selenagomez.com music store customers and to the general public on October 17th at 10am on Ticketmaster.com .

Gomez’s new album Revival will be released on Interscope Records on October 9th. The new record features 14 tracks including the chart-topping single “Good For You.”

“I am ready to get back on the road and see my fans in person!” said Gomez, commenting on the 2016 tour. “This album marks a new and very important chapter in my life. I cannot wait to get on stage and perform this new material.”

Selena Gomez 2016 Tour Dates

May 6 – Las Vegas, NV at Mandalay Bay

May 8 – Fresno, CA at Save Mart Center

May 10 – Sacramento, CA at Sleep Train Arena

May 11 – San Jose, CA at SAP Center

May 13 – Seattle, WA at Key Arena

May 14 – Vancouver, BC at Rogers Arena

May 16 – Edmonton, AB at Rexall Place

May 17 – Calgary, AB at Scotiabank Saddledome

May 19 – Saskatoon, SK at SaskTel Centre

May 20 – Winnipeg, MB at MTS Centre

May 22 – Toronto, ON at Air Canada Centre

May 23 – London, ON at Budweiser Gardens

May 25 – Ottawa, ON at Canadian Tire Centre

May 26 – Montreal, QC at Bell Centre

May 28 – Boston, MA at TD Garden

May 29 – Uncasville, CT at Mohegan Sun

June 1 – Brooklyn, NY at Barclays Center

June 2 – Newark, NJ at Prudential Center

June 4 – Washington, D.C. at Verizon Center

June 5 – Cincinnati, OH at US Bank Arena

June 7 – Charlotte, NC at Time Warner

June 9 – Atlanta, GA at Phillips Arena

June 10 – Orlando, FL at Amway Center

June 11 – Miami, FL at American Airlines Arena

June 14 – New Orleans, LA at Smoothie King Center

June 15 – Houston, TX at Toyota Center

June 17 – Austin, TX at Frank Erwin

June 18 – Dallas, TX at American Airlines Center

June 19 – Tulsa, OK at BOK Center

June 21 – Nashville, TN at Bridgestone Arena

June 22 – Louisville, KY at KFC Yum Center

June 24 – Detroit, MI at Palace of Auburn Hills

June 25 – Chicago, IL at United Center

June 26 – St. Louis, MO at Scottrade Center

June 28 – Minneapolis, MN at Xcel Energy Center

June 29 – Milwaukee, WI at Summerfest

July 1 – Kansas City, MO at Sprint Center

July 2 – Denver, CO at Pepsi Center

July 5 – Phoenix, AZ at Talking Stick Resort Arena

July 6 – San Diego, CA at Valley View Casino Center

July 8 – Los Angeles, CA at Staples Center

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Everything That Happened During the First Night of Selena Gomez's Revival Tour

Glittery bodysuits! 20 songs! One new track! And a possible Justin Bieber voicemail!

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Zac Efron's ex-girlfriend Sami Miro and Miranda Kerr were spotted at the opening night of the show (no Taylor Swift this time). Fans were quick to speculate Justin Bieber, who was in New York City, may have left Sel this voicemail:

Below, the night in full, from Selena's dressing room to the after-party. Before the show, Selena Snapchatted, admitting she was a bit nervous. "I literally just want to go on stage. I'm losing my mind because it's the first show. I just want to get started already.'"

Joe Jonas's band DNCE opened for Selena:

Then Selena emerged, starting the show with "Revival." A curtain came down to unveil her and her glittery Monse bodysuit, made with Swarovski crystals:

She performed 19 more songs, mixing her old and new tracks. "Same Old Love," "Come and Get It," and "Sober" were in her first act. She started "Same Old Love" in a Fifty Shades -esque masquerade mask before removing it and her black dress:

While Selena changed, videos of the singer played, including one particularly steamy one:

Selena then emerged and did a chair dance for "Good for You" while in a skintight catsuit:

"Survivors" came after, with her jumpsuit's cape fluttering while she danced:

Then she did two of her old tracks—"Slow Down" and "Love You Like a Love Song"—before her new one, "Hands to Myself:"

[instagram ] https://www.instagram.com/p/BFGHnf-S05k/?taken-by=... [/instagram]

She changed into a sheer gown and did her classic "Who Says," a song the audience was really into:

The show slowed down a bit from there, when Selena took to the piano to do a cover of Christian band Hillsong Worship's "Transfiguration."

"This is the first time I'll ever be playing piano and singing at the same time," she told Entertainment Weekly . "I've taken piano ­lessons since the beginning of tour rehearsals. I wanted to have a whole section where it's just me, the mic, and my band. It's going to be very conversational: I've never written, "This is where I'm going to stop and say this." ­Whatever that night makes me feel, I say it whenever I want. When I see a girl crying, or excited, I feel what she's feeling."

She then did "Nobody," a song she said she wrote about God. She teared up while performing it:

But the biggest moment was her unveiling "Feel Me," a new song that may or may not be about the Biebs with its "I'm still on your mind/We were one in a million/Our love is hard to find" lyrics.

The dancing was at its most intense toward the end of the show. Selena performed an upbeat "Me & My Girls," "Me & the Rhythm," and "Body Heat" in a gold, Beyonce-style bodysuit. Elegant fans, sugar skulls, and roses were part of the visuals:

She then did a cover of "Sweet Dreams" in a glittery jacket before wrapping up with "Kill 'Em With Kindness," where she got playful with dancers and giant bouncy balls on stage:

Her encore included "I Want You to Know," where she asked the audience to sing with her. And finally, one last "Revival" remix:

"Thank you so much, Vegas," she told the crowd. "I cried, I danced."

Whee! The night's full set list:

Sel knew she killed it on stage in a Snapchat captured before her after party.

She spent the night there dancing with her friends (Sami among them) and thanked everyone for their support. "I'm so happy to celebrate!"

The next Revival concert is Sunday in Fresno, California.

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Selena Gomez Announces 2016 ‘Revival’ Tour

October 6, 2015

Selena Gomez is prepping for a memorable 2016 . After announcing her plans to hit the Jingle Ball circuit across the country this holiday season, the singer on Monday announced her “Revival” Tour, which will take her through North American between May and July of next year.

The tour kicks off on May 6 at Mandalay Bay Events Center in Los Angeles and winds across the continent through July 8 , when it wraps at the Staples Center in Los Angeles. With a nine-date excursion in Canada slated for mid-May, 41 dates in total are scheduled over the two-month jaunt.

The “Good For You” singer announced the massive tour in front of this Friday’s release of Revival , her sophomore LP. Tickets for all upcoming dates go on sale via Ticketmaster on Saturday, October 17 at 10 a.m.

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Check out the complete list of “Revival” Tour dates below:

Selena Gomez 2016 ‘Revival’ Tour Dates

May 6 Las Vegas, NV - Mandalay Bay May 8 Fresno, CA - Save Mart Center May 10 Sacramento, CA - Sleep Train Arena May 11 San Jose, CA - SAP Center May 13 Seattle, WA - Key Arena May 14 Vancouver, BC - Rogers Arena May 16 Edmonton, AB - Rexall Place May 17 Calgary, AB - Scotiabank Saddledome May 19 Saskatoon, SK -SaskTel Centre May 20 Winnipeg, MB - MTS Centre May 22 Toronto, ON - Air Canada Centre May 23 London, ON - Budweiser Gardens May 25 Ottawa, ON - Canadian Tire Centre May 26 Montreal, QC - Bell Centre May 28 Boston, MA - TD Garden May 29 Uncasville, CT - Mohegan Sun June 1 Brooklyn, NY - Barclays Center June 2 Newark, NJ - Prudential Center June 4 Washington, D.C. - Verizon Center June 5 Cincinnati, OH - US Bank Arena June 7 Charlotte, NC - Time Warner June 9 Atlanta, GA - Phillips Arena June 10 Orlando, FL - Amway Center June 11 Miami, FL - American Airlines Arena June 14 New Orleans, LA - Smoothie King Center June 15 Houston, TX - Toyota Center June 17 Austin, TX - Frank Erwin June 18 Dallas, TX - American Airlines Center June 19 Tulsa, OK - BOK Center June 21 Nashville, TN - Bridgestone Arena June 22 Louisville, KY - KFC Yum Center June 24 Detroit, MI - Palace of Auburn Hills June 25 Chicago, IL - United Center June 26 St . Louis, MO - Scottrade Center June 28 Minneapolis, MN- Xcel Energy Center June 29 Milwaukee, WI - Summerfest July 1 Kansas City, MO- Sprint Center July 2 Denver, CO- Pepsi Center July 5 Phoenix, AZ- Talking Stick Resort Arena July 6 San Diego, CA- Valley View Casino Center July 8 Los Angeles, CA- Staples Center

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• May 22, 2016 Setlist

Selena Gomez Setlist at Canadian Tire Centre, Ottawa, ON, Canada

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Tour: Revival Tour Tour statistics Add setlist

• Song played from tape Revival ( Interlude ) Play Video
• Same Old Love Play Video
• Come & Get It ( Remix ) Play Video
• Sober Play Video
• Song played from tape The Heart Wants What It Wants ( Interlude ) Play Video
• Good for You ( new version ) Play Video
• Survivors Play Video
• Slow Down Play Video
• Love You Like a Love Song ( Selena Gomez & the Scene  song) ( Remix ) Play Video
• Hands to Myself Play Video
• Song played from tape Selena Visuals ( Interlude ) Play Video
• Who Says ( Selena Gomez & the Scene  song) ( acustic version ) Play Video
• Transfiguration ( Hillsong Worship  cover) Play Video
• Nobody Play Video
• Feel Me Play Video
• Song played from tape Gold Girl ( Interlude ) Play Video
• Me & My Girls Play Video
• Me & the Rhythm Play Video
• Body Heat Play Video
• Sweet Dreams (Are Made of This) ( Eurythmics  cover) Play Video
• Kill Em With Kindness Play Video
• I Want You to Know ( Zedd  cover) Play Video
• Revival ( Remix ) Play Video

Edits and Comments

7 activities (last edit by bendobrin , 25 Jun 2020, 04:42 Etc/UTC )

Songs on Albums

• Good for You
• Hands to Myself
• Kill Em With Kindness
• Me & My Girls
• Me & the Rhythm
• Same Old Love
• I Want You to Know by Zedd
• Love You Like a Love Song by Selena Gomez & the Scene
• Sweet Dreams (Are Made of This) by Eurythmics
• Transfiguration by Hillsong Worship
• Who Says by Selena Gomez & the Scene
• Come & Get It

Complete Album stats

Selena Gomez

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Selena Gomez Gig Timeline

• May 19 2016 SaskTel Centre Saskatoon, SK, Canada Add time Add time
• May 20 2016 MTS Centre Winnipeg, MB, Canada Add time Add time
• May 22 2016 Canadian Tire Centre This Setlist Ottawa, ON, Canada Add time Add time
• May 23 2016 Budweiser Gardens London, ON, Canada Add time Add time
• May 25 2016 Air Canada Centre Toronto, ON, Canada Add time Add time

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<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/selena-gomez/2016/canadian-tire-centre-ottawa-on-canada-33fea009.html" title="Selena Gomez Setlist Canadian Tire Centre, Ottawa, ON, Canada 2016, Revival Tour" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=33fea009" alt="Selena Gomez Setlist Canadian Tire Centre, Ottawa, ON, Canada 2016, Revival Tour" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=33fea009&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/selena-gomez-3d665c3.html">More Selena Gomez setlists</a></div></div>

Last.fm Event Review

[url=https://www.setlist.fm/setlist/selena-gomez/2016/canadian-tire-centre-ottawa-on-canada-33fea009.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=33fea009[/img][/url] [url=https://www.setlist.fm/edit?setlist=33fea009&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/selena-gomez-3d665c3.html]More Selena Gomez setlists[/url]

Tour Update

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Revival Tour Photoshoot 2016

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Revival Tour Photoshoot by Elie Jonathan [ ]

THE REVIVAL TOUR: Live in Manila 2016! #SelenaGomezMNL

Keep an eye on this megapost for real-time updates and information about selena’s concert, click on the triangles to show more classified details about the concert.

The concert will be on JULY 31, 2016 at the Mall of Asia Arena

Tickets will be on sale starting APRIL 16, 2016 – SATURDAY at 10AM in all SM TICKET OUTLETS and through this link from SMTICKETS.COM

The prices are as follows: VIP Pit Zone (Standing) – ₱12600 SVIP A (Row A to J – Reserved Seating) – ₱12600 VIP A (Row K to Z – Reserved Seating) – ₱10500 VIP B (Row AA onwards – Reserved Seating) – ₱8400 Lower Box A (Row A to C – Reserved Seating) – ₱8400 Lower Box B (Row D to H – Reserved Seating) – ₱6300 Lower Box C (Row I to P – Reserved Seating) – ₱5250 Upper Box (Reserved Seating) – ₱3675 General Admission (Reserved Seating) – ₱1575

Ticket reservations are allowed for VIP Sections only, and reserved ticket(s) shall be paid shortly through the bank details which will be provided by Wilbros. You can call Wilbros Live at 374-2222 or 374-9999. Other sections don’t have ticket reservations, and will only be available through SM Tickets.

Yes, of course! 🙂

The only 0% Interest Installment Plan available is for BDO CREDIT CARDS only, with a duration of 3 months (for 3,000 above + single-receipt transactions only). This is available over the counter transactions only. Non-BDO credit cards holders will have to contact their respective banks for installment plans, but this will most probably have interest depending with the bank.

According to a a reliable source connected with the organizer, there are only about 200-250 slots for each Mosh Pit side. There are two sides for the Mosh Pit; the VIP Pit Zone Left and VIP Pit Zone Right

UPDATE: As of July 21, 11PM – VIP PIT ZONE LEFT is already SOLD OUT from SM Tickets. Few VIP Pit Zone slots are available from Wilbros Live. Send them a Private Message on Facebook or call 374-2222 for details.

Tickets to Selena Gomez’ The Revival Tour in Manila will be on-sale by Saturday, April 16 via SMTickets.com or Call 470-2222. For VIP Reservations, call 374-2222 or 374-9999.

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Selena Gomez 2016 Tour Dates

  2016 SELENA GOMEZ “REVIVAL” Tour Schedule & Show Dates (* = Canada)

• 5/6 at Mandalay Bay in Las Vegas, NV
• 5/8 at Save Mart Center in Fresno, CA
• 5/10 at Sleep Train Arena in Sacramento, CA
• 5/11 at SAP Center in San Jose, CA
• 5/13 at Key Arena in Seattle, WA
• 5/14 at Rogers Arena in Vancouver *
• 5/16 at Rexall Place in Edmonton *
• 5/17 at Scotiabank Saddledome in Calgary *
• 5/19 at SaskTel Centre in Saskatoon *
• 5/20 at MTS Centre in Winnipeg *
• 5/22 at Air Canada Centre in Toronto *
• 5/23 at Budweiser Gardens in London *
• 5/25 at Canadian Tire Centre in Ottawa *
• 5/26 at Bell Centre in Montreal *
• 5/28 at TD Garden in Boston, MA
• 5/29 at Mohegan Sun in Uncasville, CT
• 6/1 at Barclays Center in Brooklyn, NY
• 6/2 at Prudential Center in Newark, NJ
• 6/4 at Verizon Center in Washington, DC
• 6/5 at US Bank Center in Cincinatti, OH
• 6/7 at Time Warner Cable Arena in Charlotte, NC
• 6/9 at Philips Arena in Atlanta, GA
• 6/10 at Amway Center in Orlando, FL
• 6/11 at AmericanAirlines Arena in Miami, FL
• 6/14 at Smoothie King Center in New Orleans, LA
• 6/15 at Houston Toyota Center in Houston, TX
• 6/17 at Frank Erwin Center in Austin, TX
• 6/18 at American Airlines Center in Dallas, TX
• 6/19 at BOK Center in Tulsa, OK
• 6/21 at Bridgestone Arena in Nashville, TN
• 6/22 at KFC Yum! Center in Louisville, KY
• 6/24 at The Palace of Auburn Hills in Detroit, MI
• 6/25 at United Center in Chicago, IL
• 6/26 at Scottrade Center in Saint Louis, MO
• 6/28 at Xcel Energy Center in Minneapolis, MN
• 6/29 at Summerfest in Milwaukee, WI
• 7/1 at Sprint Center in Kansas City, MO
• 7/2 at Pepsi Center in Denver, CO
• 7/5 at Talking Stick Resort Arena in Phoenix, AZ
• 7/6 at Valley View Casino Center in San Diego, CA
• 7/8 at Staples Center in Los Angeles, CA

Check back to see if Selena Gomez adds any more tour dates to her Revival tour . She’s got North America pretty well covered, but there are definitely more cities she can hit up and perform in.

SELENA GOMEZ is Back With her Latest Album and a New 2016 Concert Tour for REVIVAL.

Written by Craig Scott

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Revival Tour: Selena Gomez Performs in Jakarta, Indonesia on July 23

• July 24, 2016
• Performances , Pictures
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Selena Gomez performs at Revival Tour on July 23, 2016 in Jakarta, Indonesia.

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Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More

As Disney Music Group celebrates its defining era of superstars and franchises, relive the magic of the 2000s with a playlist of hits from Hilary Duff, Jesse McCartney and more.

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers . 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus , Selena Gomez and Demi Lovato . Nick , Kevin and Joe . 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience .

View this post on Instagram A post shared by The El Capitan Theatre (@elcapitanthtre)

But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie . In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears .

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

" When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls , and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic , Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles . (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly , in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus ) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus .

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie , Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me , Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Photos (L-R): Buda Mendes/TAS23/Getty Images for TAS Rights Management, Jeff Kravitz/FilmMagic, Christopher Polk/Getty Images for Clear Channel

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

Editor’s note: This story was updated on April 19 to reflect the release of The Tortured Poets Department.

The world now knows Taylor Swift as a global pop superstar, but back in 2006, she was just a doe-eyed country prodigy. Since then, she's released 11 studio albums, re-recorded four as "Taylor's Version," and cultivated one of the most feverish fan bases in music. Oh, and she's also won 14 GRAMMY Awards, including four for Album Of The Year — the most ever won by an artist.

Swift has become one of music's most notable shapeshifters by refusing to limit herself to one genre, moving between country, pop, folk and beyond. A once-in-a-lifetime generational storyteller, one could argue that she is music's modern-day maverick, constantly evolving both her music and the culture around her.

Every album era has seen Swift reinvent herself over and over, which has helped pave the way for artists to explore other musical avenues. In turn, Swift hasn't just become one of the biggest artists of all time — she's changed pop music altogether.

To celebrate Taylor Swift's newest era with The Tortured Poets Department , GRAMMY.com looks back on all of her albums (Taylor's Versions not included) and how each era shaped her remarkable career.

Taylor Swift : Finding Her Place In Music

In a genre dominated by men, the odds were already stacked against Swift when she first broke into country music as a teenage female artist. The thing that differentiated her from other writers — and still does to this day — is her songwriting. She didn't want to be just "another girl singer" and knew writing her own songs would be what set her apart. 

Written throughout her adolescence, Taylor Swift was recorded at the end of 2005 and finalized by the time Swift finished her freshman year of high school. Serving as a snapshot of Swift's life and teenhood, she avoided songwriting stereotypes typically found in country music. Instead, she wanted to capture the years of her life while they still represented what she was going through, writing about what she was observing and experiencing, from love and friendship to feeling like an outsider. 

As a songwriter, Taylor Swift set the tone for what would be expected of her future recordings — all songs were written by her, some solely and others with one or two co-writers. One writer in particular, Liz Rose , applauded Swift's songwriting capabilities, stating that she was more of an "editor" for the songs because Swift already had such a distinct vision. 

The album's lead single, "Tim McGraw," an acoustic country ballad inspired by Swift knowing her relationship was going to end, represents an intricate part of Swift's songwriting process; meticulously picking apart her emotions to better understand them. With its follow-up, "Our Song" — which spent six consecutive weeks on the top of Billboard's Hot Country Songs chart — she became the youngest person to solely write and sing a No. 1 country single; she also became the first female solo artist in country music to write or co-write every song on an album. 

Although Swift's eponymous debut is underappreciated now — even lacking its own set on Swift's Eras Tour — Taylor Swift 's forthcoming rerecording is arguably the most anticipated by fans, who are eager to hear the songs with the singer's current and more refined vocals. Still, for fans who haven't properly explored Taylor Swift , it's easy to tie together Swift's earlier work to her current discography. 

On the track "A Place In This World," a song she wrote when she was just 13, Swift sings about not fitting in and trying to find her path. While her songwriting has developed and matured, feeling like an outsider and carving her own path is a theme she still writes about now, as seen on Midnights ' "You're On Your Own, Kid." 

Even as a new country artist, critics claimed that she "mastered" the genre while subsequently ushering it to a new era — one that would soon see Swift dabble in country-pop. 

Fearless : Creating A Different Kind Of Fairytale

If Taylor Swift was the soundtrack to navigating the early stages of teenhood, Fearless is Swift's coming-of-age record. More than its predecessor, Fearless blurs the line between country and pop thanks to crossover hits like "Love Story" and "You Belong With Me," yet still keeps the confessional attributes known in country songwriting. 

Most of Fearless is Swift coming to terms with what she believed love to be. On the album's liner notes, Swift says Fearless is about "living in spite" of the things that scare you, like falling in love again despite being hurt before or walking away and letting go. The 2008 version of Taylor wanted to "believe in love stories and prince charmings and happily ever after," whereas in Swift's Fearless (Taylor's Version) liner notes, she looks back on the album as a diary where she was learning "tiny lessons" every time there was a "new crack in the facade of the fairytale ending she'd been shown in the movies." 

Much of Fearless also sees Swift being reflective and nostalgic about adolescence, like in "Never Grow Up" and "Fifteen." Still wistful and romantic, the album explores Swift's hopes for love, as heard in the album's lead single "Love Story," which was one instance where she was "dramatizing" observations instead of actually experiencing them herself. 

Unlike the slow-burn of Taylor Swift , Fearless went straight to No. 1 on the Billboard 200 and stayed there for eight consecutive weeks. It won Swift's first Album Of The Year GRAMMY in 2010, at the time making her the youngest person to win the accolade at age 20. To date, it has sold 7.2 million copies in America alone. It might not be the romantic tale Swift dreamed of growing up, but her sophomore album signalled that bigger things were to come.

Speak Now : Proving Her Songwriting Prowess

Everything that happened after the success of Fearless pushed Swift from country music's best-kept secret to a mainstream star. But this meant that she faced more publicity and criticism, from naysayers who nitpicked her songwriting and vocals to the infamous Kanye West incident at the 2009 MTV Video Music Awards.

For the first time since becoming an artist, she was forced to reckon with the concept of celebrity and how turning into one — whether she wanted it or not — informed her own writing and perception of herself. No longer was she the girl writing songs like "Fifteen" in her bedroom — now she was working through becoming a highly publicized figure. Speak Now is the answer to those growing pains. 

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Read More: For The Record: How Taylor Swift's 'Speak Now' Changed Her Career — And Proved She'll Always Get The Last Word

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

Retrospective and reflective, Speak Now is an album about the speeches she could've, would've and should've said. From addressing the aforementioned VMA incident in the forgiving "Innocent" to a toxic relationship in "Dear John," Speak Now also hinted that her rose-colored glasses were cracked, but Swift (and her songwriting) was only becoming stronger because of it.

Red : Coming Into Her Own

Highly regarded as Swift's magnum opus, Red sees the singer shed the fairytale dresses and the girl-next-door persona to craft a body of work that has now been deemed as her first "adult" record. On Red, Swift focused on emotions evoked from a hot-and-cold relationship, one that forced her to experience " intense love, intense frustration, jealousy and confusion " — all feelings that she'd describe as "red." 

Unlike most of her previous writing that had been inspired by happy endings and fairytales, Red explores the lingering pain and loss that can embed itself within despite trying your hardest to let go. In her liner notes, she references Pablo Neruda's poem "Tonight I Can Write," stating that "Love is so short, forgetting is so long" is the overarching theme for the album. She plays with time — speeding it up in "Starlight," dabbling in the past in "All Too Well," and reframing it in "State of Grace" — to better understand her experiences. 

After releasing country-pop records, Red toed the line between genres more than ever before. Swift leaned further into the full pop territory by working with esteemed producers Max Martin and Shellback for the dubstep-leaning track "I Knew You Were Trouble," the punchy lead single "We Are Never Getting Back Together," and the bouncy anthem "22." But even when the pop power players weren't involved, her country stylings still leaned more pop across the album, as further evidenced with the racing deep cut "Holy Ground" and the echoing title track. 

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now , some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red 's successor, 1989 , like "Blank Space" and "Shake It Off."

Commercially, Red debuted at No. 1 on the Billboard 200 and sold 1.2 million copies in its first week, becoming the fastest-selling country album and making Swift the first female artist to have three consecutive albums spend six or more weeks at the top of the chart. The impact of Red extended beyond its own success, too. Often mentioned as a record that inspired a generation of artists from Troye Sivan to Conan Gray , Swift's confessional, soul-bearing authenticity set a new standard for straightforward pop music. 

1989 : Reinventing Into A Pop Genius

The night Red lost the GRAMMY for Album Of The Year in 2014, Swift decided that her next album would be a full-on pop record. After years of identifying as a country artist and flirting with pop, Swift departed her roots to reinvent herself, no matter what her then-label or critics had to say. And in true Swiftian fashion, turning into a pop artist didn't just prove her genre-shapeshifting capabilities — it further solidified her as an artist who is at her best when she freely creates to her desires and refuses to adhere to anyone.

1989 was lauded by critics for its infectious synth-pop that was reminiscent of the 1980s, yet still had a contemporary sound. Swift opted to lean more into radio-friendly hits, which resulted in songs like "Style," "Wildest Dreams," "Blank Space," and "Shake It Off," all of which became singles. And where some might trade a hit or two at the expense of their artistic integrity, Swift didn't falter — instead, her lyrics were just as heartfelt and intimate as they were on prior albums.

After exploring pop-leaning sonics she first found with Red , Swift worked with Martin and Shellback again on most of 1989 . This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights .

At the time, 1989 became Swift's best-selling album to date. It sold nearly 1.3 million copies within release week in the U.S., debuting atop the Billboard 200 and reigning for 11 non-consecutive weeks. The album also earned Swift several awards — including her second Album Of The Year GRAMMY, which made her the first female artist to ever win the award twice. 

Following the release of 1989 , Swift became a cultural juggernaut, and the album has had an omnipresence in music since. Swift didn't just normalize blending genres, but proved that you can create a sound that is uniquely yours by doing so. In turn, Billie Eilish , Dua Lipa and more pop stars have refused to conform or stick to what they've done prior. 

reputation : Killing The Old Taylor

For years, Swift was on a strict two-year cycle — she'd release an album one year, tour the next, and then release a new album the following year. But following the heightened scrutiny and highly publicized tabloid drama that followed the end of the 1989 era, Swift completely disappeared for a year. She stayed away from public appearances, didn't do any press, and missed the album schedule fans became accustomed to. It wasn't until summer 2017 when she returned from her media (and social media) blackout to unveil the fitting title for her new album: reputation .

Born as a response to the naysayers and name-callers, reputation follows Swift shedding her public image — which includes the pressure to be perfect, the drama, and the criticism — by declaring, "There will be no further explanation. There will just be reputation." Leaning on the same tongue-in-cheek songwriting techniques she used while penning "Blank Space," Swift wrote from the mindset of how the public perceived her.

When Swift released the lead single "Look What You Made Me Do," a song she initially wrote as a poem about not trusting specific people, many assumed the album would center on vengeance and drama. Although Swift said that the album has its vindictive moments — even declaring that the "old Taylor" is dead on the bridge of "Look What You Made Me Do" — it's a vulnerable record for her. Swift described reputation as a bait-and-switch; at their core, the songs are about finding love in the darkest moments. 

Swift still remained in the pop lane with reputation , largely leaning on Antonoff and the Martin/Shellback team. The sound almost mirrored the scrutiny Swift faced in the years prior — booming electropop beats, maximalist production and pulsing synthesizers dominate, particularly on "End Game," "I Did Something Bad," and "Ready For It…?" But the "old Taylor" isn't entirely gone on songs like "Call It What You Want," "So It Goes…" and "New Year's Day," where she lets her guard down to write earnest love odes.

Even after Swift spent some time away from the spotlight, the public didn't immediately gravitate toward her return. And even despite matching the 1.2 million first-week sales of her previous releases, some concluded that the album was her first commercial failure when compared to 1989 . With time, though, it became clear that the response to reputation became muddled with the public's overall perception of her at the time — some even claimed that Swift was ahead of her time with the album's overall sound.

For her 2023 TIME Person of the Year profile , Swift described reputation as a "goth-punk moment of female rage at being gaslit by an entire social structure." For years, she felt the pressure to be "America's Sweetheart" and to never step out of line. Writing reputation became a lifeline following the events that catalyzed it  — a way to shed the so-called snakeskin and make peace with however the public wanted to view her. 

Lover : Stepping Into The Daylight

After finding love amongst chaos with reput ation, Swift was learning to deal with the anxiety and fear of losing her partner — became a major theme of another aptly titled album, Lover . Both sonically and visually, Lover was a complete change from reputation . After touring reputation , Swift found that her fans saw her as "a flesh-and-blood human being," inspiring her to be "brave enough to be vulnerable" because her fans were along with her. Stepping away from the dark and antagonistic themes around reputation encouraged Swift to step into the light and be playful with her work on Lover .

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone. 

Looking at Lover retrospectively, it's an album that almost symbolizes a bookend in her discography. She was playful yet poignant, picking apart her past lyrics and feelings and looking at them with the perspective of someone who was once on top of the world, hit rock bottom, and survived in spite of it. This evolution is mentioned throughout Lover, particularly in a direct callback to 2012's Red , "Daylight," which sees her describe her love as "golden" rather than "burning red." 

Lover also marked the first time Swift divulged into politics and societal issues, like campaigning against Donald Trump, releasing the Pride-infused "You Need To Calm Down," and feeling disillusioned by the political climate with "Miss Americana & the Heartbreak Prince." Swift's documentary Miss Americana explores this change further, discussing how she regrets not being vocal about politics and issues prior, in addition to opening up about her body image issues and mental health struggles.

Lover became Swift's sixth No. 1 album in America, making her the first female artist to achieve the feat. But Lover was more than any accolades could reflect — it was Swift's transitional album in many ways, notably marking the first album that she owned entirely herself following leaving Big Machine Records for Republic Records in 2018.

folklore : Looking Beyond Her Personal Stories

After the pandemic started and Swift cancelled her Lover Fest, she spent the early stages of quarantine reading and watching a myriad of films. Without exactly setting out to create an album, she began dreaming of fictional stories and characters with various narrative arcs, allowing her imagination to run free. The result became folklore , 2020's surprise archetypal quarantine album.

Crafting a world with characters like the folklore love triangle between those in "betty" and "august," as well as Rebekah Harkness from "the last great american dynasty" (who once lived in Swift's Rhode Island mansion), was Swift's way of venturing outside her typical autobiographical style of writing. She'd see visceral images in her mind — from battleships to tree swings to mirrored disco balls — and turned them into stories, sometimes weaving in her own personal narrative throughout, or taking on a narrator role and speaking from the perspective of someone she had never met. 

She worked remotely with two producers — again working with her right-hand man Jack Antonoff, and first-time collaborator Aaron Dessner from The National . Some songs, like "peace," were recorded in just one take, capturing the essence and fragility in the song's story, whereas the lyrics for the sun-drenched "august" were penned on the spot as Swift was in her makeshift home studio in Los Angeles.

Another aspect that separated folklore from her previous work was the obvious decision not to create hits made for radio play, so much so that Dessner claimed that she made an anti-pop record at a time when radio wanted clear "bops." Sonically, it ventured into genres Swift hadn't explored much outside of a few folkier tracks on Lover . Rather than relying on mostly electronic elements, Swift, Antonoff and Dessner weaved in soft pianos, ethereal strings, and plucky guitars.

folklore 's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke , Gracie Abrams , and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year , making her the fourth artist in history to win three times in the Category. 

evermore : Embracing Experimentation

It was exciting enough for Swifties to experience one surprise album drop from Swift, an artist who typically has an entire album campaign calculated. So when evermore was released just six months after folklore , fans were in shock. 

Like its (literally) folklorian sister, evermore was a surprise release at the end of 2020, marking the first time Swift didn't have distinct "eras" between albums. She felt like there was something "different" with folklore , stating in a social media post that making it was less like she was "departing" and more like she was "returning" to the next stage of her discography. In turn, the album served as a similar escape for Swift as folklore did.

Bridging together the same wistful and nostalgic themes as heard on its predecessor, evermore sees Swift venture even further into escapism. She explores more stories and characters, some based in fiction like "dorothea," and some real, like "marjorie," written in dedication to Swift's grandmother. 

Evermore follows folklore 's inclusion of natural imagery and motifs, like landscapes, skies, ivy, and celestial elements. In contrast to the fairytale motifs and happy endings of Fearless , evermore saw Swift become fixated on "unhappy" endings — stories of failed marriages ("happiness"), lifeless relationships ("tolerate it"), and one-time flings ("'tis the damn season"). 

Sonically, evermore is a slight departure from its sister record; where folklore relies on more alt-leaning and indie-tinged sounds, evermore takes the sonics from all of Swift's past records — from pop to country to indie rock — and features all of them on one album. Country songs like "cowboy like me" and "no body, no crime" reaches back to Swift's earlier work in narrative building, seamlessly crafting a three-party story with ease. "Closure" is a "skittering" track that has the same energy as tracks like Lover 's "I Forgot That You Existed," whereas the ballad "champagne problems" is thematically reminiscent of Swift's Speak Now track "Back To December" where she takes responsibility for her lover's heartache. 

Working mostly with Dessner on evermore , Swift was emboldened to continue creating and opted to embrace whatever came naturally to them rather than limiting themselves to a sound. Swift felt a "quiet conclusion" after finishing up evermore , describing that it was more about grappling with endings of all "sizes and shapes," and the record represented a chapter closing. Even so, its poetic lyricism and mystical storytelling cleverly foreshadowed what was to come with subsequent albums, particularly The Tortured Poets Department .

Midnights : Encapsulating Her Artistic Magic

After coming out of the folklorian woods following folklore and evermore , fans and critics alike were intrigued to see what direction Swift would take on her next studio album. On Midnights , Swift leaves behind indie folk sounds and returns to the pop production of 1989 and Lover .

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover. 

Although the album is a departure from the two pandemic sister albums, the overall creation process didn't differ too much. In addition to working alongside Antonoff (and bringing Dessner in for the bonus-track-filled 3am Edition), Swift's worldbuilding is still the throughline that connects Midnights and Swift's recent albums, whether she's dreaming of a Parisian escape in "Paris" or using war imagery as a metaphor for the struggle of love in "The Great War."

Read More: 5 Takeaways From Taylor Swift's New Album 'Midnights'

Following the success with folklore and evermore , Swift's intrigue was at a then-all-time high upon the release of Midnights . Along with breaking several streaming records — including becoming the first album to exceed 700 million global streams in a week — it was Swift's 11th No. 1 debut on the Billboard 200, and was the highest-selling album of 2022 (and, remarkably, the second best-selling of 2023).

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work. 

As a result, there has arguably never been more excitement for a Taylor Swift album than for The Tortured Poets Department — especially because the announcement came on the heels of her lucky 13th GRAMMY win in February. Midnights helped further solidify Swift's larger-than-life status at the finale of the 2024 GRAMMYs, too, as she became the only artist in history to win Album Of The Year four times. 

The Tortured Poets Department : A Grief-Stricken Poetic Odyssey

It’s been a while since Swift has penned a full-fledged breakup album. On The Tortured Poets Department , she navigates the five stages of grief — denial, anger, bargaining, depression and acceptance — after her long-term relationship ended. Taking a page from the release of folklore and evermore , she dropped a double album and announced The Tortured Poets Department: The Anthology at 2 a.m. on release day. Throughout a total of 31 tracks, the prolific songwriter shelved the glittery pop radio-friendly tunes in favor of more subdued, synthy and heart-wrenching songs. 

On Instagram, Swift described the album as a collection of poetic songs that reflect the "events, opinions and sentiments from a fleeting and fatalistic moment in time," Swift pulled out the fountain and quill pens to craft songs about the "tortured poets" in her life — sometimes musing about lovers, sometimes taking aim at villains, and sometimes pointing the finger at herself. 

TTPD is also her most confessional album thus far. It pokes fun at so-called fans who overstep with her personal life ("But Daddy I Love Him"), says goodbye to a city that gave her a home ("So Long London"), and muses on how her own celebrity has stunted her growth ("Who's Afraid Of Little Old Me?"). To help explain this chapter of her life, Swift brings together a myriad of collaborators — from Stevie Nicks as fellow poetess, to duets with Florence Welch and Post Malone — and leans on real and fictional characters, like Clara Bow, Peter Pan ("Peter"), and Patti Smith .

In the same post, Swift declared that once she’s confessed all of her saddest stories, she’s able to find freedom. Yet The Tortured Poets Department (and its accompanying 15-track anthology) spends much time reflecting: she toys with her own lore, self-referencing past songs from albums like 1989 and poems from her reputation era. 

Fourteen years ago, Swift declared that she would never change, but she’ll never stay the same either. The Tortured Poets Department proves that in the throughline of Taylor Swift's many artistic eras is a commitment to exploration and a love of autobiographical lyricism.

All Things Taylor Swift

Photo: Ron Galella, Ltd./Ron Galella Collection via Getty Images

25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

To commemorate the anniversary of Backstreet Boys' biggest hit, take a look at 10 clever ways it's been covered and sampled — from Ed Sheeran's karaoke bit to a Weird Al special.

When the Backstreet Boys released "I Want It That Way" on April 12, 1999, they likely had no idea how beloved their smash hit would still be a quarter-century later.

Written by the Swedish powerhouse team of Andreas Carlsson and Max Martin , "I Want It That Way" is undoubtedly BSB's signature hit, particularly thanks to its memorable undulating melody and its long-debated cryptic meaning. But perhaps the most surprising part of the song's legacy is how it has resonated across genres — from a TikTok cover by Korn to a hip-hop sampling by Lil Uzi Vert .

As the Backstreet Boys celebrate the 25th anniversary of "I Want It That Way," take a look at how the song has been diversely covered, lovingly lampooned and karaoke jammed by an array of voices in the business.

Weird Al Yankovic (2003)

When the king of parody songs selects one to skewer, you know it's an iconic song. Weird Al Yankovic paid tribute to the largeness of the Backstreet Boys classic when he used "I Want It That Way" as the basis of a song called "eBay" in 2003.

Yankovic's chorus replaces the original's with, "A used pink bathrobe/ A rare mint snow globe/ A Smurf TV tray/ I bought on eBay." The Backstreet Boys send up appears on Yankovic's album Poodle Hat , which won Best Comedy Album at the 2004 GRAMMYs.

One Direction (2013)

Three years One Direction formed on "The X Factor," the five lads — Harry Styles , Zayn Malik, Niall Horan, Liam Payne and Louis Tomlinson — included a cover of "I Want It That Way" on their 2013 concert set lists, the young boy band paying homage to the ones that came before them. Though their English accents poked through at times, their version was loyal to the original, and got their crowds singing along.

"Glee" (2013)

Poking fun at the presumed rivalry between *NSYNC and Backstreet Boys, a medley of the former's "Bye Bye Bye" and "I Want It That Way" was featured in Season 4, Episode 16 of "Glee." In the episode — aptly titled "Feud" — choir director Mr. Schuester (Matthew Morrison) and glee club heartthrob Finn (Cory Monteith) face off in an epic boy band battle, which ultimately proved the groups' respective music was more cohesive than divisive.

Brittany Howard and Jim James (2016)

The lead singers of Alabama Shakes and My Morning Jacket covering a boy band classic. It doesn't sound real, but Brittany Howard and Jim James did just that in 2016 when they recorded "I Want It That Way" for an animated short cartoon called "A Love Story."

Released by the fast food chain Chipotle Mexican Grill, the clip was part of a creative campaign to showcase the company's focus on natural ingredients. Howard and James highlight the poignancy and versatility of the song by adding lush string arrangements and dramatic beats.

Backstreet Boys x Jimmy Fallon and The Roots (2018)

The 2018 live performance of "I Want It That Way" by the Backstreet Boys, Jimmy Fallon and The Roots for "The Tonight Show" is arguably the sweetest rendition of the song — and not just because they're using a mini xylophone, baby tambourine and other toy classroom instruments. It's even more endearing than the previous collaborations between Fallon and Backstreet Boys: a barbershop singing version of Sisqo's "Thong Song" and a "Bawkstreet Boys" version of "Everybody (Backstreet's Back)," with everyone dressed like fluffy birds.

The 1975 (2020)

British rockers The 1975 performed a fairly faithful cover of "I Want It That Way," hitting all the high notes at several of their 2023 world concert tour stops. But it's not the first time frontman Matty Healy has hinted at the Backstreet Boys' influence on his band: he told Pitchfork in 2020 that " College Dropout -era Kanye West meets Backstreet Boys" was part of their veritable moodboard at the time when working on their own song called "Tonight (I Wish I Was Your Boy)."

Lil Uzi Vert (2020)

In 2020, Lil Uzi Vert released a rap song called "That Way" that includes a refrain of "I want it that way" sung to the tune of the Backstreet original, but with an AutoTune twist. From there, the lyrics become quite a bit naughtier than anything the BSB guys have uttered in any song.

"I don't know how [the idea of] Backstreet Boys got involved in this song, I really don't," the song's producer Supah Mario told Splice at the time. "I think it was all Uzi. But it was a game changer."

The interpolation was so good, in fact, that Nick Carter even invited Lil Uzi Vert to collaborate: "Now you're gonna have to be featured on our next album bud," he tweeted upon the song's release.

Korn (2022)

Fans of Korn know that the nu metal band has a sense of humor, but few could've expected that Jonathan Davis and crew would post a TikTok of themselves singing "I Want It That Way" in 2022.

"I never wanna hear you say… 'Worst Is On Its Way,'" reads the caption on the post, a tongue-in-cheek reference to Korn's 2022 song of the same name.

Backstreet Boys responded on the app via a hilarious Duet video with Nick Carter. In the video, Carter — who sports fabulous metal eye makeup and a long silver wig — doesn't actually say or sing anything, he just drops his jaw in amazement.

Backstreet Boys x Downy (2022)

Downy hired the Backstreet Boys to poke fun at "I Want It That Way" with the now-viral "Tell Me Why" commercial in 2022. All five members — Nick Carter, Howie Dorough , Brian Littrell , AJ McLean and Kevin Richardson — appear as a Backstreet Boys poster on the wall that comes to life, using the "tell me why" hook of their hit to engage a woman doing laundry in a conversation about washing her clothes.

As Saatchi group account director Jen Brotman told Muse at the time, the nostalgic ad also spawned some memories for the folks working on the ad campaign.

"The moment [BSB] stood in front of the camera, they rehearsed 'I Want It That Way' just to get the notes right, and we felt like we were getting serenaded on set," Brotman recalled. "We couldn't believe how emotional we all got — there may or may not have been tears in some eyes. The song has always been a karaoke favorite of the team, so we knew which 'tell me whys' we wanted them to hit, and we still can't get it out of our heads."

Ed Sheeran (2023)

When he fancies singing a bit of karaoke, Ed Sheeran loves leaning on "I Want It That Way," as the star showed at his favorite Nashville bar in July 2023. A patron caught him on camera and his happiness level is undeniable when belting out this enduring pop classic.

As Sheeran told CBS News a few months later, he grew up on the pop hits of everyone from Backstreet Boys to Britney Spears . But what he said about "I Want It That Way" specifically may be the best way to describe its long-lasting impact: "You can't be in a bar, a couple of beers in, and 'I Want It That Way' comes on and not be like, 'This is a good song.' You can't."

24 Songs Turning 20: Listen To 2004's Bangers, From "Yeah!" To "Since U Been Gone"

Photo: Ashok Kumar/TAS24/Getty Images for TAS Rights Management

Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

As we count down to Taylor Swift's 11th studio album release on April 19, feast on all the morsels GRAMMY.com has gathered about the Queen of Pop's upcoming "tortured poet" era.

The dawn of Taylor Swift 's "tortured poet" era is upon us. The reigning Queen of Pop is set to release her highly anticipated 11th studio album, The Tortured Poets Department , on Friday, April 19. 

Ever since she announced the new album during the 2024 GRAMMYs — while accepting her lucky 13th GRAMMY Award for Best Pop Vocal Album for Midnights —- Swifties have been meticulously analyzing every detail of her existence for clues about the release of The Tortured Poets Department .

Fortunately, Swift has been serving a lot of information to snack on. After revealing the cover art in an Instagram post before accepting her record breaking fourth win for Album Of The Year , she didn't stop the feast. From the full track list to a five-stage breakup playlist — and, of course, all the bonus tracks and special editions — here's all the breadcrumbs GRAMMY.com collected in preparation for The Tortured Poets Department . 

All The Art Is Black And White

View this post on Instagram A post shared by Taylor Swift (@taylorswift)

The cover art for The Tortured Poets Department displays a black-and-white inset photo of Swift in repose on a stack of white pillows, with the album's title in uppercase white letters above her. The photography accompanying the album, including back covers and special editions, captures Swift in reflective solitude: standing before a body of water wearing an oversized white button-up, and in a pensive self-embrace against a stark black backdrop.

The photography for the album was shot by Swift's photographer since 2020, Beth Garrabrant, who also shot the covers of Swift's folklore , evermore , Fearless (Taylor's Version), Red (Taylor's Version), Midnights, Speak Now (Taylor's Version) , 1989 (Taylor's Version) . She's known for using a medium-format film photography that evokes an emotional closeness to her subjects — especially fitting for an album titled The Tortured Poets Department .

The Album Features Two Notable Collaborations

On GRAMMY night, alongside the album announcement, Swift posted the complete track list on her Instagram. The post included a photo of the album's back cover, showing a close-up of Swift with her hand on her forehead, overlaid with the text "I love you, it's ruining my life" in all-caps. 

The 16-track release has been split into four sides and also features collaborations with Post Malone on Side A opener "Fortnight" as well as Florence + The Machine on Side B's "Florida!!!" 

Check out the full track list:

** Side A ** “Fortnight” (feat. Post Malone) “The Tortured Poets Department” “My Boy Only Breaks His Favorite Toys” “Down Bad”

** Side B ** “So Long, London” “But Daddy I Love Him” “Fresh Out the Slammer” “Florida!!!” (feat. Florence + the Machine)

** Side C ** “Guilty As Sin?” “Who’s Afraid of Little Old Me?” “I Can Fix Him (No Really I Can)” “loml”

** Side D ** “I Can Do It With a Broken Heart” “The Smallest Man Who Ever Lived” “The Alchemy” “Clara Bow”

Bonus Tracks:

“The Manuscript”

“The Black Dog”

"The Albatross"

The Album Title Hints At Another Ex 

Mere moments after Swift dropped The Tortured Poets Department album name, the internet was ablaze with viral speculation that the title is derived from a play on ex Joe Alwyn's group chat, "The Tortured Man Club" with Paul Mescal and Andrew Scott. 

Alwyn and Mescal revealed their "club name" during an interview with Variety in December 2022 and it didn't take long for fans to connect the dots. Upon unearthing the tie-in, Swifties rushed to share memes and comment on the original interview across various social channels.

There Are Three Bonus Tracks (So Far)

Swift has revealed at least three bonus tracks for different editions of the album, each marked with its own "file name." The initial track list release, referred to as "The Manuscript," includes a bonus track sharing this name.  

On Feb. 23, Swift posted a slideshow on Instagram to promote a special edition named "The Albatross." It featured the bonus tracks and revealed the back cover, which presented a track list alongside a contemplative close-up of Swift overlaid with the question, " Am I allowed to cry?" 

Then, on March 3, she introduced the bonus track “The Black Dog” through a similar post that showcased new cover art, with the album's reverse side portraying Swift and the haunting text, "Old habits die screaming." 

Lyrics Have Already Been Shared

Unlike her previous album campaigns, Swift hasn't unveiled any music ahead of The Tortured Poets Department ’s release — but she has dropped plenty of hints at the subject matter to come. Handwritten lyrics first appeared in the album announcement post, in a stack of papers inside a folder tabbed with a monogram of the album's name.

"And so I enter into evidence/ My tarnished coat of arms/ My muses, acquired like bruises/ My talismans and charms/ The tick, tick, tick of love bombs/ My veins of pitch black ink," is written above the sign-off, "All's fair in love and poetry… Sincerely, The Chairman of The Tortured Poets Department."

Then, in an Instagram story posted on April 8 — the date of the total solar eclipse — Swift shared an image of a typewriter loaded with a sheet of paper stamped with the words, "Crowd goes wild at her fingertips/ Half moonshine, Full eclipse." 

Swift Created Five Playlists To Mirror The Stages Of A Breakup

Gearing up for the release, Swift dropped a 5-part playlist series on Apple Music on April 5 featuring previously released work arranged in playlists that reflect the five stages of grief. The playlist for "Denial: I Love You, It’s Ruining My Life Songs," features hits including Midnight 's "Lavender Haze," and Lover 's "Cruel Summer" and "False God." 

The other playlists run through the emotional gamut with titles like "Anger: You Don’t Get to Tell Me About Sad Songs," the midpoint "Bargaining: Am I Allowed to Cry? Songs," "Depression: Old Habits Die Screaming Songs," and finally "Acceptance: I Can Do It With a Broken Heart Songs." Each one takes listeners on a Taylor Swift escapade through love won and lost, representing what many believe to be a musical voyage through Swift's stages of grief following the end of her relationship with ex Joe Alwyn. 

Each playlist also includes a description from Swift. For "Denial," it says, "This is a list of songs about getting so caught up in the idea of something that you have a hard time seeing the red flags, possibly resulting in moments of denial and maybe a little bit of delusion. Results may vary.”

As April 19 nears closer, take a deep dive into everything Swift has unleashed so far — and get ready for a lot more divulging once The Tortured Poets Department arrives.

Photo: John Shearer/Getty Images for The Recording Academy

Dua Lipa's New Song "Illusion" Is Here: Listen & Watch The Video

Dua Lipa's 'Radical Optimism' era is in full swing — and now, we have a new song, "Illusion," with an aquatic-themed video. Check out the new banger, and its aqueous video, below.

Now that we've absorbed "Houdini" and " Training Season ," it's time for a third scoop of pop goodness from Dua Lipa .

On April 11, the three-time GRAMMY winner released "Illusion," the third single from her hotly anticipated new album, Radical Optimism , due out May 3. The percolating, endlessly catchy track arrived with a video where Lipa dances on a pool deck in Barcelona, with swimmers and surfers joining the party — a playful homage to the shark-infested waters of the album's cover.

Lipa first kicked off her Radical Optimism era in November with "Houdini," which she performed alongside the debut of "Training Season" in a head-spinning show opener at the 2024 GRAMMYs. The album follows her GRAMMY-winning second LP, 2020's Future Nostalgia .

"[Releasing the album] feels good. It feels, for lack of a better word, radically optimistic," Lipa told Billboard in March, when she also explained the inspiration for the shark fin cover art. "Throughout the whole record, there's this idea of chaos happening around and me trying to push through it in a way that feels authentic and honest to me."

Now, adding "Illusion" to the mix, Lipa has made it very clear the only way she knows how to cope with chaos is to dance — and Radical Optimism will continue the party that Future Nostalgia ignited. 

Check out the video for "Illusion" above, and check back to GRAMMY.com for more news about Dua Lipa and Radical Optimism !

Everything We Know About Dua Lipa's New Album Radical Optimism

• 1 Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More
• 2 Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon
• 3 25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More
• 4 Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know
• 5 Dua Lipa's New Song "Illusion" Is Here: Listen & Watch The Video