Taylor Swift’s Eras tour has landed in the UK – and it’s the grand adventure she promised
Taylor Swift has smashed a triumphant set in front of an enormous crowd in Edinburgh on her record-breaking Eras tour – telling fans it was “the wildest way to welcome a lass”.
As she welcomed the crowd, the US megastar announced it was officially the highest-attended stadium show in Scottish history.
“Oh hi,” she casually told the more than 70,000 people who came to see her perform.
See more: Swift’s Eras tour in Edinburgh in pictures
The 34-year-old star initially took to the stage in a diamante-encrusted corseted leotard and bejewelled cowboy boots.
She later admitted: “This tour has been the most fun I’ve had in my entire life… my one regret now is that I really should have come to perform in Scotland more.
“I can’t stop staring at you, I’m captivated by this audience.”
Blasting through her biggest hits in a set of 40+ songs, on stage for more than three hours, she promised to take fans on a “grand adventure” they’d never forget. She certainly did that.
“After tonight, you’re going to think about us and the memories we made,” she promised.
As it happened: Taylor Swift’s first UK Eras tour date
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Taylor Swift kicks off UK leg of Eras tour
The evening was “unforgettable”, she told the crowd, while her last song of the night, Karma, was dedicated to the crowd. “Edinburgh you have given us everything you could possibly give us tonight.”
It was a pinch-yourself evening for Swifties fortunate enough to get a ticket. Lyrics memorised, costumes perfected.
The show was a musical marathon which demonstrated not only why Swift is arguably one of the greatest songwriters of modern pop music but also one of the world’s most accomplished performers.
The show itself, paced perfectly to hold the audience’s interest with slick dance routines and theatrical, at times fantastical, staging.
The screams of support for her most famous hits were deafening. Countless fans leaving Murrayfield hoarse after she told the story of her eight Eras while delivering the ultimate singalong.
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Pic: PA
This was a long day for many, a hardened few sat outside since dawn to be among the first in-line to secure a front row spot.
“Anything’s worth it for Taylor,” Julia had told me at 7am outside the stadium. Her friend admitting she’d “sell my kidneys, probably both lungs” to get close to the star.
Why does she elicit such a reaction? Despite her billionaire status, Swift has somehow remained an artist whose voice remains real, authentic and honest.
Her songwriting – a shared diary of sorts – resonating all the more for her openness about her flaws, bad break-ups, sharing with fans not only the joy of falling in love, but the heartbreak.
The crowd at Murrayfield were word-perfect for her hits like You Belong With Me, the stadium echoing with noise during We Are Never Ever Getting Back Together.
If performing songs from her Tortured Poets Department Era – her latest album written about her ill-fated London loves – took on more poignancy for Swift this being the UK leg of her tour, she gave no indication on stage.
Pic: PA
An all but faultless performance but for the acoustic section of her show, where the star was forced to briefly stop playing the guitar, saying: “My hand has frozen in a weird cramp… this is so embarrassing… it’s like performing with a claw. No one relates.”
While it’s understandable that many balk at the stupidly expensive price of some VIP packages, few could question Swift’s commitment to offering her fans the ultimate experience. The confetti canons and fireworks, a needless distraction really from what she does best – singing out.
A one-woman economy boosting machine, Swift’s 15 UK shows are projected by some to boost the UK economy by almost £1bn with fans shelling out, not only on tickets, but accommodation, travel, and pre-show parties.
I spoke to people who travelled here from Spain, The Netherlands, America, India and even Australia.
Fans who’d spent months planning their costumes, painstakingly threading bracelets, embroidering jackets, which is undoubtedly half the fun.
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‘Anything’s worth it for Taylor!’
While this level of pop obsession is nothing new, that one artist can still achieve this in an age where we are swamped with musical choice speaks volumes as to the power of Swift’s music.
Forget about politicians touring the country, Swift’s whereabouts will be what’s dominating the national conversation for vast swathes of the country over the next month.
While some may scoff at the tweeness of swapping friendship bracelets, dressing up and glitter – there is a delightfulness to being a part of the Swift crowd, which is a warm and welcoming world.
Swift’s proving herself to be, not only a prolific songwriter, but the ultimate showwoman.
Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.
The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.
As Townshend puts it, the album he wrote is “perfect” for the stage.
Pete Townshend
“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.
“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”
If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.
But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.
Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation.
Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.
He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.
“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”
Paris Fitzpatrick and Pete Townshend. Pic: Johan Persson
This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.
For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.
Paris Fitzpatrick, who takes on the lead role of Jimmy in the ballet
“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.
“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”
Despite the album being written before he was born, the dancer says he was familiar with the genre already.
“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.
“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”
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In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.
“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.
Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.
It appears that over six decades later Mod culture is still cool and their issues still relatable.
Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.
Russell Brand has been charged with rape and two counts of sexual assault between 1999 and 2005.
The Metropolitan Police say the 50-year-old comedian, actor and author has also been charged with one count of oral rape and one count of indecent assault.
The charges relate to four women.
He is due to appear at Westminster Magistrates’ Court on Friday 2 May.
Police have said Brand is accused of raping a woman in the Bournemouth area in 1999 and indecently assaulting a woman in the Westminster area of London in 2001.
He is also accused of orally raping and sexually assaulting a woman in Westminster in 2004.
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Ashna Hurynag discusses Russell Brand’s charges
The fourth charge alleges that a woman was sexually assaulted in Westminster between 2004 and 2005.
Police began investigating Brand, from Oxfordshire, in September 2023 after receiving a number of allegations.
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The comedian has denied the accusations and said he has “never engaged in non-consensual activity”.
He added in a video on X: “Of course, I am now going to have the opportunity to defend these charges in court, and I’m incredibly grateful for that.”
Metropolitan Police Detective Superintendent Andy Furphy, who is leading the investigation, said: “The women who have made reports continue to receive support from specially trained officers.
“The Met’s investigation remains open and detectives ask anyone who has been affected by this case, or anyone who has any information, to come forward and speak with police.”
Tom Cruise has paid tribute to Val Kilmer, wishing his Top Gun co-star “well on the next journey”.
Cruise, speaking at the CinemaCon film event in Las Vegas on Thursday, asked for a moment’s silence to reflect on the “wonderful” times shared with the star, whom he called a “dear friend”.
Kilmer, who died of pneumonia on Tuesday aged 65, rocketed to fame starring alongside Cruise in the 1986 blockbuster Top Gun, playing Tom ‘Iceman’ Kazansky, a rival fighter pilot to Cruise’s character Maverick.
Tom Cruise said ‘I wish you well on the next journey’. Pic: AP
Val Kilmer in 2017. Pic: AP
His last part was a cameo role in the 2022 blockbuster sequel Top Gun: Maverick.
Cruise, on stage at Caesars Palace on Thursday, said: “I’d like to honour a dear friend of mine, Val Kilmer. I can’t tell you how much I admire his work, how grateful and honoured I was when he joined Top Gun and came back later for Top Gun: Maverick.
“I think it would be really nice if we could have a moment together because he loved movies and he gave a lot to all of us. Just kind of think about all the wonderful times that we had with him.
“I wish you well on the next journey.”
The moment of silence followed a string of tributes from Hollywood figures including Cher, Francis Ford Coppola, Antonio Banderas and Michelle Monaghan.
Kilmer’s daughter Mercedes told the New York Times on Wednesday that the actor had died from pneumonia.
Tom Cruise at Caesars Palace on Thursday. Pic: AP
Diagnosed with throat cancer in 2014, Kilmer discussed his illness and recovery in his 2020 memoir Your Huckleberry and Amazon Prime documentary Val.
He underwent radiation and chemotherapy treatments for the disease and also had a tracheostomy which damaged his vocal cords and permanently gave him a raspy speaking voice.
Kilmer played Batman in the 1995 film Batman Forever and received critical acclaim for his portrayal of rock singer Jim Morrison in the 1991 movie The Doors.
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He also starred in True Romance and Kiss Kiss Bang Bang, as well as playing criminal Chris Shiherlis in Michael Mann’s 1995 movie Heat and Doc Holliday in the 1993 film Tombstone.
In 1988 he married British actress Joanne Whalley, whom he met while working on fantasy adventure Willow.
The couple had two children before divorcing in 1996.
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