Are you ready for it? Because this week, Taylor Swift rolls into town for the first UK dates of her record-shattering Eras tour, to dominate front pages, social media, and a large proportion of the national conversation for the foreseeable.
Something has shifted in the Swiftverse in the past few years. She now transcends even the highest echelons of pop fame, massively boosting everything from music sales to, well, the entire global economy.
The Eras tour is a cultural and economic juggernaut; the first to cross the $1bn mark, according to Pollstar’s 2023 year-end charts, and already beating the record set by Sir Elton John and his Farewell Yellow Brick Road goodbye, which ran from 2018 to 2023 and grossed $939 million. Several experts predict it could generate more than $4bn by the time it finishes.
Swift is the first arts and entertainment star to be named Time’s Person of the Year. The first ever music billionaire to reach the milestone solely through her songwriting and recording. A slick pop star who understands the power of This. Sick. Beat, but also a songwriter and lyricist whose words are studied as poetry around the world. She has long been the biggest modern music star on the planet – but could she now be the biggest of all time?
To answer that question, you have to look to The Beatles. The band that changed the nature of the industry, long regarded as the most influential music act in music history.
In October last year, Swift re-released her fifth album, 1989, the record that really marked her crossover from incredibly successful country star to pop phenomenon. Featuring re-records of tracks that remain among her biggest hits to date, including Shake It Off, Blank Space and Bad Blood, 1989 (Taylor’s Version) inevitably followed all her others in skipping to the top of charts around the world.
Now And Then topped the singles chart, naturally. But when it came to taking on Swift on the album chart, the star held her spot – denying the biggest and most influential band in history an extension to their record-breaking UK number one tally of 16.
The unstoppable force of Taylor Swift
Image: Pic: AP/ George Walker IV
Of course, The Beatles albums were reissues, but it’s worth noting Swift’s re-recordings are also not entirely new – she is re-recording much of her early work to reclaim her rights, with the addition of “from the vault” tracks – plus, fans had already been buying 1989 (Taylor’s Version) for three weeks by this point.
To Swifties, she is undoubtedly the biggest music artist of all time. To fans of the Fab Four, there will never be another act that comes close. Can their achievements be compared?
It’s tricky. Swift and The Beatles reached the height of their fame (and Swift might not even be there yet) in different – ahem – eras. There are multiple caveats – inflation, population growth, streaming and the affordability of music, live music becoming more lucrative, social media, do we include the individual Beatles’ solo output (we haven’t), and so on – that mean there is no exact science here.
But, we’ve given it a go…
Topping the charts
In the battle of the number ones, The Beatles get the points.
When it comes to singles, surprisingly, Swift hasn’t had as many as you might think topping the charts in the UK. Her first was Look What You Made Me Do in 2017 – Shake It Off, her biggest-selling hit, reached number one in the US, but number two here. Anti-Hero, from Midnights, became her second UK number one in 2022, with Is It Over Now? (Taylor’s Version) and Fortnight, her recent collaboration with Post Malone, adding to the pile in the last year.
The Beatles, on the other hand, started scoring number ones early on. The first, From Me To You, was their third single, released in 1963, and was followed by hits including She Loves You, I Want To Hold Your Hand, Can’t Buy Me Love, Help!, All You Need Is Love, Hey Jude… the list goes on.
Album chart-toppers are more evenly matched. The Beatles actually have more in the US than they have in the UK, as different versions and more records were released across the pond. All apart from one of their 12 studio albums topped the charts in the UK – Yellow Submarine peaked at number three in 1969 – and they have also reached the top spot with live and compilation albums.
Apart from her debut, Taylor Swift, released in 2006, all of Swift’s albums have reached number one in the US. In the UK it was her fourth album, Red, that became her first chart-topper, and all others since have followed.
Record sales
This one is a tricky one as not all sales are certified. According to Guinness (and we’ll come to world records later), The Beatles have amassed the greatest sales for any group, with all-time sales estimated by record label EMI at more than one billion discs and tapes to date. Note this is worldwide, and estimated.
So we’ve looked at certified sales of the music stars’ studio albums – no compilations or live album sales – in the UK and US. In the UK, The Beatles take the win, with more platinum and gold sales than Swift. But in the US, she’s way ahead.
Interestingly, they both add up to just under 295 million certified sales in the UK and US.
In the UK, the British Phonographic Industry (BPI) rates platinum sales for albums as those that reach 300,000 units, with gold sales at 100,000. In the US, the Recording Industry Association of America (RIAA) rates diamond sales for albums at 10m units, while platinum is 1m and gold is 500,000.
The trophy cabinet
Swift wins this one – but there are a lot more awards up for grabs nowadays. She has 26 Teen Choice Awards, for example, and 40 American Music Awards, and neither were around in the 1960s.
The Grammy Awards were, though, and Swift is definitely the winner here – with 14 wins out of 52 nominations. Earlier this year, she became the first and only artist to win the Grammy for album of the year four times, for Midnights (2024), Folklore (2021), 1989 (2016), and Fearless (2010). She also has the most nominations for song of the year, with seven, but interestingly has never won in this category.
The Beatles have seven Grammy wins from 23 nominations, including best new artist and best performance by a vocal group, for A Hard Day’s Night, in 1964.
Despite her Grammys success, Swift is by no means the ceremony’s biggest winner – that accolade goes to Beyonce, who has 32 gongs from 88 nominations.
Deep space and earthquakes: Who’s the biggest record breaker?
In 2021, Swift’s re-recorded version of Fearless became the star’s third to top the UK charts in less than 12 months, breaking a long-held record by The Beatles.
In February, she surpassed their record for holding the most weeks in the Billboard 200’s Top 10 in the last 60 years. In April, she topped the UK album chart with The Tortured Poets Department, outselling the rest of the top 10 combined and beating The Beatles for the record of fastest artist to rack up 12 UK number ones.
And remember her billionaire status? Well, Sir Paul is also in the club – but having reached that point only earlier this year, a month after Swift, it’s taken him a lot longer to gain membership.
According to Guinness, Swift currently holds at least 77 records, while The Beatles hold at least 29. However, there is a chance there could be even more than this as records are constantly being set and broken – and it should be noted that with streaming, inflation and more awards shows now, it is easier to keep breaking records now than it was back in The Beatles’ day.
Some of Swift’s records include several for Spotify, such as being the most streamed act in 24 hours following the release of Midnights in 2022; most US singles chart entries (263); most million-selling weeks on the US albums chart; plus the greatest seismic activity caused by a music concert (equivalent to a 2.3 magnitude earthquake).
The Beatles’ records include the best-selling group ever worldwide; most consecutive weeks at number one on the UK albums chart – 30 weeks in 1963 for debut Please Please Me; most viewed Wikipedia page for a music group; and first song to be beamed into deep space with Across The Universe in 2008, courtesy of NASA.
Can’t Buy Me Love – but musicians can boost an economy
Now this one is pretty difficult to compare. So we won’t. But there are some impressive stats.
According to Barclays’ Swiftonomics report, released in May, the UK leg of the Eras tour is set to boost the UK economy by almost $1bn.
Eras Tour tickets sparked a 15.8% year-on-year increase in UK spending on entertainment when they were released last July, the bank says, and now the dates are here, nearly 1.2m fans attending 15 gigs taking place in Edinburgh, Cardiff, Liverpool and London are predicted to spend an average of £848 in total on tickets, travel, accommodation, outfits and other expenses.
The Beatles’ economic impact is harder to quantify. But there is information available on the band’s continuing boost to Liverpool alone – £81.9m to their home city’s economy each year, according to a report commissioned by Liverpool City Council in 2016.
This was set to grow by up to 15% each year, the report found at the time, with the band’s legacy also supporting more than 2,300 jobs.
Help! Is Swift bigger than The Beatles?
Image: Pic: AP
We asked some experts for their thoughts.
Dave Fawbert, founder of the Swiftogeddon club nights playing Swift, and nothing but Swift, says she is unmatched at the moment.
“She really does have it all,” he says. “She’s incredibly gifted melodically… you listen to Shake It Off, there’s literally about eight incredible hooks in that song.
“Most of the tracks, you hear the choruses once or twice, they’re so well written, you’ll be able to sing along by the third chorus. The other thing about her songs is they’re arranged so brilliantly, there’s never any wasted space in them.”
And then there’s her lyrics, he says, her ability to pick out universal emotions, specific details, and express them in song. “And she’s done it across virtually every genre. She’s a genius and she’s got the genius to work with good people as well.”
He says he would compare her dominance now to that of Michael Jackson in the 1980s and 1990s. But what about The Beatles? “I mean, they’re the best, I’m not sure they’ll ever be surpassed,” he admits. “But Taylor’s close.”
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UK tribute band The Bootleg Beatles say it’s too early to make a call.
“The music of The Beatles has already stood the test of time. The reaction we get as we continually tour around the UK – we’re back this month – and indeed the world, is testament to that,” they say. “So, while Taylor Swift is undoubtedly a wonderful talent, it’s probably around 50 years too early to judge her against the Fab Four.”
Hits Radio presenter Tom Green says they are two artists that “owned the zeitgeist” of their times. So is the comparison fair? “Yes and no.”
He elaborates: “I think it was probably a bit easier to be the whole zeitgeist in the ’60s, because there was only so many media outlets. Everyone was watching the same thing.”
Now, it’s a lot harder to create something that everyone is looking at, but Swift is constantly keeping our attention, he says. “I think the comparisons are really hard to do and music is so subjective. But I think the interesting thing about The Beatles is they brought in a genre of music, they ushered in the genre of rock and roll into pop music.”
Dr Clio Doyle, a lecturer in early modern literature at Queen Mary University of London, teaches a module on Swift’s lyrics as literature. In her field, she says she would draw comparisons with artists such as Bob Dylan rather than The Beatles.
“It’s this kind of body of work that is really self-examining and self-revising and revisiting in a way that feels very dynamic and alive and intellectually interesting,” she says of Swift’s music. “I also think that one thing Swift has always done throughout her career is, she’s often talking about literature – from a very early song like Love Story, which is rewriting Romeo And Juliet, to a later song like The Lakes, which is thinking about romantic poetry.”
Dylan became the first musician to win the Nobel Prize for literature in 2016, she points out, a decision deemed controversial due to arguments over whether lyrics count as literature. “I think we have to say they do because they’re written texts,” says Dr Doyle. “I think those are very interesting conversations. And I think we see some of those conversations also now around Taylor Swift.”
And Amy Skjerseth, a lecturer in audiovisual media and a member of the Institute of Popular Music at the University of Liverpool, says that like Swift, The Beatles also had different eras, but Swift’s experience in the industry will have been different to theirs, as four male stars.
“For women-identifying pop stars, eras often are about survival in a music industry that does not make space for them, especially for artists of colour and queer artists,” she says. “There are also significant differences in class between Swift and The Beatles – Swift’s family had the means to support her career.
“And while Beatlemania was heavily stereotyped back in the day, Swift’s fans have an increased ability to push for social justice and social change, connect with each other, and create a larger sense of community.
“Beyond Taylor Swift, the Eras concept might help attract wider attention to artists who have worked tirelessly under the radar to transform their musical messages across changing times.”
So are we any closer to saying whether Swift is the biggest artist of all time?
Some of the stats suggest she might be. Beatles fans will disagree.
Will there be an answer? Maybe in 50 years, as The Bootleg Beatles say. For now, we’ll let it be.
Ava was heading home from Pizza Hut when she found out her dad had been arrested.
Warning: This article includes references to indecent images of children and suicide that some readers may find distressing
It had been “a really good evening” celebrating her brother’s birthday.
Ava (not her real name) was just 13, and her brother several years younger. Their parents had divorced a few years earlier and they were living with their mum.
Suddenly Ava’s mum, sitting in the front car seat next to her new boyfriend, got a phone call.
“She answered the phone and it was the police,” Ava remembers.
“I think they realised that there were children in the back so they kept it very minimal, but I could hear them speaking.”
“I was so scared,” she says, as she overheard about his arrest.
Image: ‘Ava’ says she was ‘repulsed’ after discovering what her dad had done
“I was panicking loads because my dad actually used to do a lot of speeding and I was like: ‘Oh no, he’s been caught speeding, he’s going to get in trouble.'”
But Ava wasn’t told what had really happened until many weeks later, even though things changed immediately.
“We found out that we weren’t going to be able to see our dad for, well we didn’t know how long for – but we weren’t allowed to see him, or even speak to him. I couldn’t text him or anything. I was just wondering what was going on, I didn’t know. I didn’t understand.”
Ava’s dad, John, had been arrested for looking at indecent images of children online.
We hear this first-hand from John (not his real name), who we interviewed separately from Ava. What he told us about his offending was, of course, difficult to hear.
His offending went on for several years, looking at indecent images and videos of young children.
His own daughter told us she was “repulsed” by what he did.
But John wanted to speak to us, frankly and honestly.
He told us he was “sorry” for what he had done, and that it was only after counselling that he realised the “actual impact on the people in the images” of his crime.
By sharing his story, he hopes to try to stop other people doing what he did and raise awareness about the impact this type of offence has – on everyone involved, including his unsuspecting family.
John tells us he’d been looking at indecent images and videos of children since 2013.
“I was on the internet, on a chat site,” he says. “Someone sent a link. I opened it, and that’s what it was.
“Then more people started sending links and it just kind of gathered pace from there really. It kind of sucks you in without you even realising it. And it becomes almost like a drug, to, you know, get your next fix.”
John says he got a “sexual kick” from looking at the images and claims “at the time, when you’re doing it, you don’t realise how wrong it is”.
‘I told them exactly what they would find’
At the point of his arrest, John had around 1,000 indecent images and videos of children on his laptop – some were Category A, the most severe.
Referencing the counselling that he since received, John says he believes the abuse he received as a child affected the way he initially perceived what he was doing.
“I had this thing in my mind,” he says, “that the kids in these were enjoying it.”
“Unfortunately, [that] was the way that my brain was wired up” and “I’m not proud of it”, he adds.
John had been offending for several years when he downloaded an image that had been electronically tagged by security agencies. It flagged his location to police.
John was arrested at his work and says he “straight away just admitted everything”.
“I told them exactly what they would find, and they found it.”
The police bailed John – and he describes the next 24 hours as “hell”.
“I wanted to kill myself,” he remembers. “It was the only way I could see out of the situation. I was just thinking about my family, my daughter and my son, how is it going to affect them?”
But John says the police had given information about a free counselling service, a helpline, which he called that day.
“It stopped me in my tracks and probably saved my life.”
Image: ‘John’ thinks children of abusers should get more support
‘My world was crumbling around me’
Six weeks later, John was allowed to make contact with Ava.
By this point she describes how she was “hysterically crying” at school every day, not knowing what had happened to her dad.
But once he told her what he’d done, things got even worse.
“When I found out, it genuinely felt like my world was crumbling around me,” Ava says.
“I felt like I couldn’t tell anyone. I was so embarrassed of what people might think of me. It sounds so silly, but I was so scared that people would think that I would end up like him as well, which would never happen.
“It felt like this really big secret that I just had to hold in.”
“I genuinely felt like the only person that was going through something like this,” Ava says.
She didn’t know it then, but her father also had a sense of fear and shame.
“Youcan’t share what you’ve done with anybody because people can get killed for things like that,” he says.
“It would take a very, very brave man to go around telling people something like that.”
And as for his kids?
“They wouldn’t want to tell anybody, would they?” he says.
For her, Ava says “for a very, very long time” things were “incredibly dark”.
“I turned to drugs,” she says. “I was doing lots of like Class As and Bs and going out all the time, I guess because it just was a form of escape.
“There was a point in my life where I just I didn’t believe it was going to get better. I really just didn’t want to exist. I was just like, if this is what life is like then why am I here?”
Image: Professor Armitage says children of abusers should be legally recognised as victims
‘The trauma is huge for those children’
Ava felt alone, but research shows this is happening to thousands of British children every year.
Whereas suspects like John are able to access free services, such as counselling, there are no similar automatic services for their children – unless families can pay.
Professor Rachel Armitage, a criminology expert, set up a Leeds-based charity called Talking Forward in 2021.
It’s the only free, in-person, peer support group for families of suspected online child sex offenders in England. But it does not have the resources to provide support for under-18s.
“The trauma is huge for those children,” Prof Armitage says.
“We have families that are paying for private therapy for their children and getting in a huge amount of debt to pay for that.”
Prof Armitage says if these children were legally recognised as victims, then if would get them the right level of automatic, free support.
It’s not unheard of for “indirect” or “secondary” victims to be recognised in law.
Currently, the Domestic Abuse Act does that for children in a domestic abuse household, even if the child hasn’t been a direct victim themselves.
In the case of children like Ava, Prof Armitage says it would mean “they would have communication with the parents in terms of what was happening with this offence; they would get the therapeutic intervention and referral to school to let them know that something has happened, which that child needs consideration for”.
We asked the Ministry of Justice whether children of online child sex offenders could be legally recognised as victims.
“We sympathise with the challenges faced by the unsuspecting families of sex offenders and fund a helpline for prisoners’ families which provides free and confidential support,” a spokesperson said.
But when we spoke with that helpline, and several other charities that the Ministry of Justice said could help, they told us they could only help children with a parent in prison – which for online offences is, nowadays, rarely the outcome.
None of them could help children like Ava, whose dad received a three-year non-custodial sentence, and was put on the sex offenders’ register for five years.
“These children will absolutely fall through the gap,” Prof Armitage says.
“I think there’s some sort of belief that these families are almost not deserving enough,” she says. “That there’s some sort of hierarchy of harms, and that they’re not harmed enough, really.”
Image: ‘Ava’ started taking drugs after her dad’s arrest and ‘didn’t want to exist’
‘People try to protect kids from people like me’
Ava says there is simply not enough help – and that feels unfair.
“In some ways we’re kind of forgotten about by the services,” she says. “It’s always about the offender.”
John agrees with his daughter.
“I think the children should get more support than the offender because nobody stops and ask them really, do they?” he says.
“Nobody thinks about what they’re going through.”
Although Ava and John now see each other, they have never spoken about the impact that John’s offending had on his daughter.
Ava was happy for us to share with John what she had gone through.
“I never knew it was that bad,” he says. “I understand that this is probably something that will affect her the rest of her life.
“You try to protect your kids, don’t you. People try to protect their kids from people like me.”
Anyone feeling emotionally distressed or suicidal can call Samaritans for help on 116 123 or email jo@samaritans.org in the UK. In the US, call the Samaritans branch in your area or 1 (800) 273-TALK.
MasterChef presenter John Torode will no longer work on the show after an allegation he used an “extremely offensive racist term” was upheld, the BBC has said.
His co-host Gregg Wallace was also sacked last week after claims of inappropriate behaviour.
On Monday, Torode said an allegation he used racist language was upheld in a report into the behaviour of Wallace. The report found more than half of 83 allegations against Wallace were substantiated.
Torode, 59, insisted he had “absolutely no recollection” of the alleged incident involving him and he “did not believe that it happened,” adding “racial language is wholly unacceptable in any environment”.
Image: John Torode and Gregg Wallace in 2008. Pic: PA
In a statement on Tuesday, a BBCspokesperson said the allegation “involves an extremely offensive racist term being used in the workplace”.
The claim was “investigated and substantiated by the independent investigation led by the law firm Lewis Silkin”, they added.
“The BBC takes this upheld finding extremely seriously,” the spokesperson said.
“We will not tolerate racist language of any kind… we told Banijay UK, the makers of MasterChef, that action must be taken.
“John Torode’s contract on MasterChef will not be renewed.”
Australian-born Torode started presenting MasterChef alongside Wallace, 60, in 2005.
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1:11
Why Gregg Wallace says he ‘will not go quietly’
A statement from Banijay UK said it “takes this matter incredibly seriously” and Lewis Silkin “substantiated an accusation of highly offensive racist language against John Torode which occurred in 2018”.
“This matter has been formally discussed with John Torode by Banijay UK, and whilst we note that John says he does not recall the incident, Lewis Silkin have upheld the very serious complaint,” the TV production company added.
“Banijay UK and the BBC are agreed that we will not renew his contract on MasterChef.”
Earlier, as the BBC released its annual report, its director-general Tim Davie addressed MasterChef’s future, saying it can survive as it is “much bigger than individuals”.
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3:30
BBC annual report findings
Speaking to BBC News after Torode was sacked, Mr Davie said a decision is yet to be taken over whether an unseen MasterChef series – filmed with both Wallace and Torode last year – will be aired.
“It’s a difficult one because… those amateur chefs gave a lot to take part – it means a lot, it can be an enormous break if you come through the show,” he added.
“I want to just reflect on that with the team and make a decision, and we’ll communicate that in due course.”
Mr Davie refused to say what the “seriously racist term” Torode was alleged to have used but said: “I certainly think we’ve drawn a line in the sand.”
In 2022, Torode was made an MBE in the Queen’s Birthday Honours, for services to food and charity.
An inquiry into the case of a hospital worker who sexually abused dozens of corpses has concluded that “offences such as those committed by David Fuller could happen again”.
It found that “current arrangements in England for the regulation and oversight of the care of people after death are partial, ineffective and, in significant areas, completely lacking”.
Phase 2 of the inquiry has examined the broader national picture and considered if procedures and practices in other hospital and non-hospital settings, where deceased people are kept, safeguard their security and dignity.
During his time as a maintenance worker, he also abused the corpses of at least 101 women and girls at Kent and Sussex Hospital and the Tunbridge Wells Hospital before his arrest in December 2020.
His victims ranged in age from nine to 100.
Phase 1 of the inquiry found he entered one mortuary 444 times in the space of one year “unnoticed and unchecked” and that deceased people were also left out of fridges and overnight during working hours.
‘Inadequate management, governance and processes’
Presenting the findings on Tuesday, Sir Jonathan Michael, chair of the inquiry, said: “This is the first time that the security and dignity of people after death has been reviewed so comprehensively.
“Inadequate management, governance and processes helped create the environment in which David Fuller was able to offend for so long.”
He said that these “weaknesses” are not confined to where Fuller operated, adding that he found examples from “across the country”.
“I have asked myself whether there could be a recurrence of the appalling crimes committed by David Fuller. – I have concluded that yes, it is entirely possible that such offences could be repeated, particularly in those sectors that lack any form of statutory regulation.”
Sir Jonathan called for a statutory regulation to “protect the security and dignity of people after death”.
After an initial glance, his interim report already called for urgent regulation to safeguard the “security and dignity of the deceased”.
On publication of his final report he describes regulation and oversight of care as “ineffective, and in significant areas completely lacking”.
David Fuller was an electrician who committed sexual offences against at least 100 deceased women and girls in the mortuaries of the Kent and Sussex Hospital and the Tunbridge Wells Hospital. His victims ranged in age from nine to 100.
This first phase of the inquiry found Fuller entered the mortuary 444 times in a single year, “unnoticed and unchecked”.
It was highly critical of the systems in place that allowed this to happen.
His shocking discovery, looking at the broader industry – be it other NHS Trusts or the 4,500 funeral directors in England – is that it could easily have happened elsewhere.
The conditions described suggest someone like Fuller could get away with it again.