#reputation stadium tour uk

[dailytomlinson]

Faith In The Future Tour (Behind The Scenes) for IQ

Full interview with Matt Vines, tour promoters, agents and more people involved in the making of the tour under the cut:

Usually, when an act completes a world tour they come off the road for an extended period to rest, record new material, and then typically two or three years later the wheels are set in motion for an album release, promo, and tour dates. Louis Tomlinson did not get that memo. His first solo tour ran late due to the pandemic restrictions, meaning that by the time it concluded in September 2022, his second album, Faith In The Future, was scheduled to drop and tickets for the associated tour were ready to go on sale. 

“This tour went on sale last October or November ‒ basically a year in advance,” explains agent Holly Rowland, who represents Tomlinson, alongside Alex Hardee, internationally, while Wasserman Music colleagues Marty Diamond and Ash Mowry-Lewis do likewise for North America.

Despite that quick turnaround between tours, Rowland reports that ticket sales for the current tour are going very well indeed. “The first leg went through Scandinavia before doing the Baltics and Eastern Europe ‒ Romania, Bulgaria, and Greece ‒ places that most people, especially arena-level acts, don’t really go. And the second leg, which is more mainland Europe, started on 2 October.”

The tour is big. Very big for just a second outing in his own name.

Between May and July this year, Tomlinson played 39 dates in the US and Canada across a mix of amphitheaters, arenas, pavilions, and stadiums. In August, he returned to Europe, where he is currently in the midst of another 39 dates in arenas across the continent and the UK, which will take him to 18 November. Then, in early 2024, the Faith In The Future tour goes to Australia for two outdoor dates in Melbourne and Brisbane, before he takes the show to the country’s biggest indoor venue, the Qudos Bank Arena in Sydney. 

And, as IQ went to press, Tomlinson released dates for a return to Latin America in May 2024 for a mix of indoor and outdoor shows, including stadia, across Mexico, Argentina, Brazil, Chile, Colombia, Costa Rica, Panama, Paraguay, Puerto Rico, and Uruguay. 

“We’re going to Australia and part of Asia early next year,” states artist manager Matt Vines of London-based Seven 7 Management. “We then go into Latin America in May and June. And then we’ll handpick a selection of festivals next summer, before we draw the line on the campaign at the end of the summer.”

Rowland comments, “The tour before obviously was Covid tour where the date had to be chopped and changed. The positive aspect of that was that we were able to upgrade venues where that made sense. But it was really nice to start from scratch on this tour to make sure the routing was all going in the right direction.” She reports, “We’ve done nearly 16,000 tickets in Amsterdam, and 14,000 in Paris, which I think just underlines his credibility as an artist and his growing reputation among fans.”

Playing a major role in shifting that ticketing inventory is a network of promoters also enjoying Tomlinson’s rising star.

“On this tour, it’s mainly Live Nation ‒ we use a lot of the One Direction promoter,” explains Rowland. “But for Greece, we used Honeycomb Live, Charmenko did Romania, 8 Days A Week promoted the three shows in the Baltics, All Things Live did Finland, Fource are doing Prague, it’s Gadget in Switzerland, Atelier in Luxembourg, and when we get to the UK, it’s SJM, and MCD in Ireland.”

With a total of 39 European dates, Rowland split the outing into separate legs, scheduling a  break after Scandinavia, the Balkans, Baltics and Athens, Greece and another after mainland Europe ending in Zurich, Switzerland. 

“It's a perfect ratio, if I do say so myself,” she laughs. “It was right to split it up ‒ 39 dates in a long, long tour, especially with the American tour throughout the summer being 11 weeks! We made sure to schedule days off, for everyone to recharge their batteries.”

In Spain, Nacho Córdoba at Live Nation promoted Tomlinson’s shows in Bilbao, Madrid, and Barcelona and reports sell-outs at each of the arenas involved. 

“When Louis was last here, it was three days before the pandemic shut everything down in Spain. In fact, I think he played the final show before the market closed because of Covid,” says Córdoba. 

“Last year, Louis organised his Away From Home festival in Fuengirola, and that also sold out, so we know he has a big following in Spain, and we also know that Spanish fans are super loyal. So, on this tour we sold out 7,000 tickets at Bilbao Arena Miribilla, 13,600 tickets at WiZink in Madrid, and 11,200 at Palau St Jordi in Barcelona.”

Already looking forward to Tomlinson “and his fantastic team” returning on the next tour, Córdoba believes it will be important to see what happens with the next album ‒ and Tomlinson’s expectations ‒ before making any plans.

“The most important thing is to keep the fans happy and keep the momentum building with Louis,” he states. “I am a big fan of the arenas, because the atmosphere at his shows was incredible. So, rather than look at going bigger, it might be a case of looking at other arenas in other markets. Whatever he does, we cannot wait to have Louis back in Spain.”

Stefan Wyss at Gadget abc Entertainment in Switzerland promoted Tomlinson when he visited Zurich’s Hallenstadion on 23 October and explains that he previously played the city’s Halle 622 venue on the first tour.

Recalling that debut solo outing, Wyss tells IQ, “At first, we announced a mid-size theatre club show, 1,800-capacity, but it sold out instantly. Then we moved it to Halle 622, which it 3,500-cap, and that also sold out immediately, so it was a really big success.

“They’ve invested a lot in the production of this current tour, and it’s doing really strong numbers, so that’s why we decided to go to the arena this time around, where we set a mid-size capacity of 7,000, which is good for a small market like Switzerland, especially because he’s coming back just one year later and playing a much bigger show.”

Wyss adds, “He’s kept the ticket prices reasonable ‒ and he never wants to do any gold circle or VIP tickets. I think that’s why he’s so close to his fans, because it’s not about maximising profits. Another reason for his success is that in addition to attracting a mainstream audience, he’s also getting music lovers because he’s just a very good songwriter and has brilliant songs.”

Wyss also notes that with many young fans typically arriving the day before the concert, the responsibility to look after them is extended. “We set up toilets, we have security overnight, we give water away. It’s part of the organization that we will take care of the fans.”

Fresh from announcing 12 dates across Argentina, Brazil (x 3), Chile, Colombia, Costa Rica, Pery, Paraguay, Panama, Puerto Rico, and Uruguay, promoter Fabiano Lime de Queiroz at Move Concerts reports that Tomlinson will visit a mix of arenas, as well as stadiums in Santiago, São Paulo, and Buenos Aires during his May tour.

“Our first tour with Louis was supposed to be in 2020 and we’d booked half arenas everywhere ‒ 5,000-6,000 capacities,” he informs IQ. “Louis was one of those acts who connected very well with the fans during the pandemic, so when we shifted dates, first to 2021, and then to 2022, we ended up selling out and having to upgrade in certain metropolitan markets.”

“In Santiago, for instance, we’d sold out two full arenas of 13,000 cap, but then the government declared that for mass gatherings the numbers needed to be limited to 10,000 people.”

Rather than let fans down, Move added a third date, which again ended up selling out. “I remember being on a night plane from Miami, while Matt Vines was flying in from Dallas, and we were both using the aircraft wi-fi to negotiate via text for that third show,” says Queiroz. “It was an interesting way to confirm putting the third date on sale, just three days before the actual show!” 

He adds, “We’re taking a big bet on this tour when it comes to the number of cities and the capacities of the venues, but we’re hoping for the best and we’ve gone out strong. We feel that the artist is in a good moment and that the latest album has just created more interest, so we’re looking forward to when he arrives in May.”

Further north, Ocesa will prompte three dates in Mexico, including a stadium show at the F1 circuit, Autódromo Hermanos Rodríguez, deepening Tomlinson’s footprint in that crucial North America market. 

Meanwhile, in Tomlinson’s homeland, Jack Downling at SJM is promoting seven UK dates in November at arenas in Sheffield, Manchester, Glasgow, Brighton, Cardiff, London, and Birmingham, which will round out the European leg of the tour.

“SJM has done every show Louis has been involved with, including all the One Direction arena and stadium shows,” notes Dowling, adding that on the first tour, the London show was originally pencilled in as a Roundhouse, then two Roundhouse shows, before finally being upgraded to Wembley Arena.

“This time, The O2 arena show in London will be sold out, while all the others have passed the expectations of where we wanted to be on this tour. In fact, when the UK dates were announced, it ranked as the fourth most engaged tour on social media in SJM’s history ‒ his fans are just nuts.”

But Downling also reports that the fanbase for Tomlinson is expanding. “The demographics are pulling not just from pop but also from indie rock now.”

Downling adds, “Louis really looks after his fans. On the last tour they did a deal with Greggs {bakery chain} to give free food to the people waiting in line, as some of them camped out for days in advance.”

Ensuring his fans are looked after properly is the number-one priority in Tomlinson’s live career. 

Noting that Tomlinson’s audience comprises mainly young women and girls, Rowland reveals that, at the artists’s insistence, a safety team has been added to the tour to ensure everyone that attends his shows is looked after. “Thry manage all the safety within the shows for the fans,” she explains. “They came in for the Wembley show last year and have been with us ever since ‒ they’ve been beneficial to the running of the tour.”

“When he played in South America, some of his fans were camping outside for a month. So we have a responsibility to look after them. Coming to a show should be a safe space, it’s where they find joy, and we have a responsibility to protect that.”

Manager Vines comments, “One issue we came up against almost all last year was crushing and fans passing out. We adopted a system where we could communicate with fans, who could hold up a mobile phone with a flashing red-and-white sign if they were in trouble but then we’d see them all popping up.”

“I don’t know whether some of that was a hangover of the pandemic where fans just weren’t used to being in venues. But we experienced a number of situations where hydration and temperatures in venues became an issue. I know Billie Eilish went through similar issues.”

With Tomlinson determined to meet a duty of care towards his fans, Vines says that the team now sends a “considerable advance package” to promoters ahead of their tour dates. “Our safety team goes into venues in the morning and basically ensures that a number of different things are in place ‒ making sure that water is given to the fans, where the water comes from, and at what points in the show it happens.”

And on the crushing phenomena, he reports, “We’ve worked out how many fans it’s safe to have without a secondary barrier. So we instruct promoters to have certain barriers in place to relieve that pressure and avoid crushing.”

He adds, “I get detailed incident reports after each show, which lets myself and my management team know exactly what happened, and so far on this tour, we haven’t had any issues with crushing or hydration, which is fantastic.”

Production manager Craig Sherwood is impressed by the way the tour has pivoted to protect the ‘Louies’. “The welfare officers are vital for the young girls who are aged from, I guess, 14 upwards. They can get dehydrated and malnourished pretty quickly if they are camping out for days, so it’s important that we look out for their wellbeing,” says Sherwood.

Citing the extremes that the Louies will put themselves through in an effort to secure themselves prime positions at the front of the stage, Sherwood recalls, “The first show on our US tour was in February, and it was freezing, but we found out that girls had been camping out on the pavement for five days. It’s crazy, as we know these young girls are coming from all over the world to see Louis.”

However, Tomlinson’s connection with those fans is evident in the level of merchandise sales at each show. “It’s a huge part of our business,” says Vines. “In America, we averaged about $36 a head, and it’s not much shy of that in Europe ‒ we’ve set a few national records in terms of spend per head. But we spend a lot of time on merch plans, and we do venue-specific drops and give it a lot of care and attention, as it’s a really important element of Louis’ business.”

Making sure that the Faith In The Future tour delivers Tomlinson to his growing legion of fans, PM Sherwoord’s long association with artist manager Vines made him the obvious choice when the artist first began his solo career.

“I remember doing a lot of promo dates around the UK and US before we started touring properly,” says Sherwood of his work with Tomlinson. “In fact, one of the first shows I remember doing with Louis was in Madrid when he played in a stadium, and I could see it was a taste of things to come.”

The partnership between Sherwood and Vines is crucial.

“In terms of the show growing, our biggest challenge is keeping costs down, because we’re extremely cautious on ticket pricing,” says Vines. “We don’t do dynamic pricing, we don’t do platinium ticketing, we don’t do paid VIPs, we don’t increase ticket prices on aisle seats ‒ all those tricks that everyone does that most fans don’t know about: we don’t do any of those.”

“So, when it comes to the production side of things, we need to be incredibly careful. But I’ve been working with Craig for a decade, and he knows the importance of trying to keep costs as low as possible. For instance, we’ll run the show virtually a number of times so Louis can watch it with the show designer, Tom Taylor, make comments and tweak things. Then we’ll go into pre-production. But we try to do as much in virtual reality as possible before we take it into the physical world.”

Sherwood states, “Basically, we started out with two or three trucks, but now we’re up to nine, and things seem to be getting bigger day by day.”

Thankfully, Sherwood has amassed a vastly experienced crew over the years, allowing them to handle even the most unexpected scenarios. “I’ve been touring since the dawn of time, but the core crew I work with now have been together since about 2010, and I trust them implicitly, so I leave it up to them who they hire, as long as they think I’m going to like them, and they’ll get along with everyone. So far, it has worked well,” Sherwood reports.

And that veteran crew has dealt with some terrifying weather extremes on the current tour, including a show at Red Rocks in Colorado where the audience were subjected to a freak storm with golf ball-sized hailstones injuring dozens of people.

Elsewhere, the crew has had to act quickly when the threat of high winds in Nashville caused problems on that outdoor run. “We didn’t want the video screens blowing about above the heads of the band, so it must have been amusing for the audience to see us taking them down,” Sherwood reports.

Indoors in Europe, the environment has been more controllable. The production itself involves an A-stage set 180 degrees across the barricades, although Sherwood says that on occasion a catwalk is also used by the performers.

“It’s a great lighting show and fantastic for audio, as we have a phenomenal front-of-house sound engineer ‒ John Delf from Edge Studios ‒ who makes life very easy for the rest of us,” says Sherwood. He also namechecks Barrie Pitt (monitor engineer), Oli Crump (audio system designer), Tom Taylor (lighting designer), Sam Kenyon (lighting technical director), and Torin Arnold (stage manager), while he praises Solo-Tech for supplying the sound, and Colour Sound Experiment (CSE) for taking charge of lighting video, and rigging equipment.

Indeed, CSE has ten personnel out with the Faith In The Future tour. “We have eight screens on the road ‒ six on stage plus two IMAGS that we use wherever appropriate,” the company’s Haydn Cruickshank tells IQ.

“We need to tweak the rigging on a daily basis, as we move to different venues, but other than that it’s a fairly smooth process thanks to Craig Sherwood. He is old-school and planned and worked on the production very far in advance, which is a great scenario for all involved. Craig is definitely one of our favourite production managers to work with.”

Garry Lewis at bussing contractors Beat The Street is also a fan of PM Sherwood.

“Craig split the European tour into different runs. So, from Hamburg to Zurich, we had two super high-decker 12-berth buses for the tour party and two 16-berth double-deckers for the crew,” says Lewis. “After the show in Athens, we still have the two super high-deckers, as Louis loves them ‒ he prefers to spend time on the bus, rather than in hotels ‒ but we also have two 12-berth super high-deckers for the crew, as well as another crew 16-berth double-decker.”

Lewis continues, “We’ve worked with Craig for a good few years, and we have a great relationship with him. He plans everything way in advance, so it means it’s all very straightforward for us with no issues. So, we use single drivers for each bus, except on the longer runs or when our drivers are scheduled for prolonged breaks, and then we’ll fly in extra drivers as needed.”

With the production travelling to Australia in early 2024, before shifting to Latin America, Andy Lovell at Freight Minds is gearing up to become involved with Tomlinson once again.

“We did the Central and South America dates on the tour last year, and onto Mexico,” says Lovell. “It was very challenging back then as we were still coming back from Covid, and various systems and infrastructure were in pieces. But it all went well in the end, as we kept an eye on things and worked on it every day to make sure we had solutions to everything that was thrown our way.” 

Lovell continues, “Things on this tour kick in early next year for us. Historically, Australian services were quite reliable, as we could use any number of airlines. But post-pandemic, the number of long-haul flights still aren’t as frequent as they were. As a result, the production is being reverse engineered with the budget being worked out before we can see what we can afford to take as freight, and then we try to plan accordingly.”

“Similarly, in Central and South America there are still just a fraction of the flights operating, compared to pre-Covid, so that makes it very challenging. If there aren’t the flights to handle the gear, then you have to start looking at chartering aircraft, or alter your schedule, and that can become very expensive, very fast.”

With everyone working on the artist’s behalf to make sure the tour remains on track, being able to call on such experienced production experts is paying off on a daily basis.

Sherwood notes, “There are a few back-to-back shows over long distances that occasionally mean we don’t arrive at the next venue until 11am, rather than 6am. But we’ve never failed anywhere to open the doors on time, so we know we’re capable of getting things done, even if we have a late start at mid-day.”

Such dilemmas are not lost on agent Rowland. “It’s not so much the routing, it’s more like the timings, because Louis does have two support acts, so the show starts at 7 o’clock, and then when we’re done, we need to load out to get to the next show in good time for loading in the next morning and soundchecks, etc.”

Nonetheless, Sherwood admits that he loves the trickier venues and schedules. “Because I’m a dinosaur, I relish anything that makes things difficult or awkward for us on the production side of things,” he says. “I think everyone on the crew looks forward to challenges and finding the solutions to problems.”

Having amassed millions of fans through his association with One Direction, Tomlinson very much has a ‘pay it forward’ attitude to music and is building a reputation as a champion for emerging talent, wherever he performs. 

“He’s a great advocate for alternative music,” says manager Vines. “Louis realises that he’s in an incredibly privileged position in terms of what he can create in terms of awareness. He loves alternative music and indie music, and he understands how hard it is for that music to be heard. But we have this amazing platform where we can put these bands in front of these audiences as a showcase that allows them to build these authentic new audiences. It’s a hude part of his love of music, wanting to help younger bands.”

Rowland agrees. “He took an act called Andrew Cushin ‒ a very new artist ‒ on the road in America with him as his support, and he’s doing the same for Europe. Louis is a fan and is championing his career.”

Indeed, Tomlinson’s A&R skills have knock-on effects for his agent, too. “He asked me to confirm the Australian band Pacific Avenue as support for his Australian tour last year. The music was great and they didn’t have an agent, so now I’m representing them!” says Rowland.

As the European tour speeds toward its conclusion, agent Rowland is enjoying every minute of it.

“It’s incredible ‒ they’ve really stepped things up,” she says, fresh from seeing the show in Athens and Paris. “They’ve got 6 hanging LED screens on the stage, and the whole production just looks polished and professional.”

And Rowland is especially excited about next year’s Latin America dates, which will deliver her first stadium shows as an agent.

“The return to Latin America is going to be huge ‒ Louis is playing arenas and stadiums in South America and Mexico: 15 shows in 11 countries,” she says.

Vines is similarly enthused. Harking back to the Covid situation, when a show would go on sale, sell out, be postponed, and then rescheduled in a bigger venue, Vines says, “For example, in Chile, originally the show was scheduled at a 5,000-cap, half-capacity arena in Santiago. And what we ended up doing was three nights at 10,000-cap in that same venue.”

Vines contends that Tomlinson’s work ethic is outstanding. “He loves his fans, and he loves performing for them, it’s as simple as that,” he says. “He just loves being on the road and seeing how the songs connect live. In fact, the second album was very much written with the tour and live shows in mind ‒ ‘This song could work live,’ ‘This one will open the set,’ ‘This is the one we can do for the encore.’”

Another element to Tomlinson’s psyche has been his decision to visit places off the usual tour circuit. 

“Louis has a real desire to perform to fans in markets that are often overlooked,” says Rowland. 

Manager Vines explains that while the Covid-delayed first tour allowed them to upgrade venues pretty much everywhere, “On this tour, we’re a bit more competent on venue sizes, but we still speculate a little bit in different territories. In Europe, for example, we’ve gone into the Baltics and a number of different places to test the markets there, while in America, we are looking at A and B markets but also tertiary markets as well ‒ we go to places where people just don’t tour in America, just to see what the reaction is. That was something that very much interested Louis ‒ to play in front of people who don’t normally have gigs in their town. So there’s been a lot of experimentation on this tour in terms of where we go and what room to play.”

That concept is something that Vines has employed before. “I manage a band called Hurts who were pretty much overlooked by the British radio system and we have spent 15 years building a business outside of the UK. And that was built on going to play at those places where people didn’t normally go. They built to multiple arena level in Russia, for instance.”

“If you can build fanbases in lots of different places, you have festivals that you can play every summer, as well as youring those places. It allows you to have more consistency over a number of years, by having more opportunities.”

Such a strategy found a convert in Tomlinson. Vines tells IQ, “Louis also is extremely fan-focused in everything that he does. He comes at it from a perspective of ‘I want to take the show to them,’ meaning he’s always more willing to take the risky option to try something out.”

And the results? “It’s a combination,” concludes Vines. “There have been a couple of places where we now understand why tours don’t go there. But there are more places where it’s worked incredibly well. For example, we enjoyed incredibly good sales in Budapest. And overall, it’s allowing us to get a clearer idea, globally, of where the demand it, which will help us when we go into the next tour cycle.”

[justforbooks]

When Tina Turner, who has died aged 83, walked out on her abusive husband Ike in Dallas, Texas, she feared it would spell the end of her showbusiness career. It was 1976, and she had been performing with Ike for two decades, since she had first jumped onstage and sang with his band at the Manhattan club in East St Louis, Missouri. Yet, although she was desperate and had only 36 cents in her pocket, she was on her way to a renaissance as one of the most successful performers in popular music during the 1980s and 90s.

She had to endure several lean years, but a turning point came in 1983, when David Bowie told Capitol Records that she was his favourite singer. A version of Al Green’s Let’s Stay Together followed. Produced by the electro-poppers Martyn Ware and Ian Craig Marsh from Heaven 17, the track went to No 6 in the UK, then cracked the US Top 30 the following year.

Turner cemented the upturn in her fortunes with the album Private Dancer (1984). Driven by the huge hit What’s Love Got to Do With It? (her first American No 1), the album became a phenomenon, lodging itself in the American Top 10 for nine months and going on to sell more than 10m copies. Suddenly Turner was one of the biggest acts in an era of stadium superstars such as Michael Jackson, Dire Straits and Phil Collins.

In 1985 she was recruited to play Aunt Entity in the film Mad Max: Beyond Thunderdome, for which she recorded another international chartbuster, We Don’t Need Another Hero. A second Thunderdome single, One of the Living, won her a Grammy award, and she was an automatic choice to join the Live Aid benefit concert in that year, as well as to participate in its American theme song, We Are the World.

Her follow-up album, Break Every Rule (1986), launched Turner on a global touring campaign, during which a crowd of 184,000 watched her in Rio de Janeiro. The tour spun off a double album, Tina Live in Europe (1988).

The album Foreign Affair (1989) sold 6m copies and generated another trademark anthem, The Best, which was subsequently used to add oomph to numerous TV commercials and adopted both by the tennis ace Martina Navratilova and the racing driver Ayrton Senna. The subsequent Foreign Affair tour ended in Rotterdam in 1990, after which she duetted with Rod Stewart on the old Tammi Terrell/Marvin Gaye hit It Takes Two. Designed as the theme for a Pepsi advert, the track was a chart hit across Europe.

Turner was born Anna Mae Bullock in Nutbush, Tennessee, to Zelma Currie, a factory worker, and her husband, Floyd Bullock, a Baptist deacon. Abandoned by their father and temporarily by their mother, in 1956 Annie and her elder sister, Alline, moved to St Louis, Missouri, where they encountered Ike Turner and his band the Rhythm Kings. After Annie had talked the initially reluctant Ike into letting her sing with the band, he recruited her as one of his backing singers.

It was in 1960 that Tina – who had by then changed her name because it reminded Ike of the cartoon character Sheena, Queen of the Jungle – first sang a lead vocal with Ike’s band. A session singer failed to turn up, and Tina’s stand-in performance of A Fool in Love was a hit on both the pop and R&B charts. Ike immediately rebuilt his act around Tina, and christened it the Ike and Tina Turner Revue. They married in 1962.

Featuring nine musicians and a trio of skimpily dressed backing singers, the Ikettes, the Revue took the R&B circuit by storm. Tina rapidly developed into a mesmerising performer, radiating raw sexuality and bludgeoning audiences with the unvarnished force of her voice. They began to pepper the charts with hits, including I Idolise You, Poor Fool and Tra La La La La, and even if they only intermittently crossed over from the R&B charts to the pop mainstream, the band’s performing reputation was second to none. Evidence of their stage prowess was preserved on the 1965 album Live! The Ike and Tina Turner Show, recorded on tour in Texas.

However, the seeds of the couple’s destruction were being sown in their successful but intense lifestyle. Ike was a habitual womaniser, and also developed a destructive cocaine habit. This provoked violent outbursts against Tina, who, as she later revealed in her 1986 autobiography, I, Tina, was beaten, burned with cigarettes and scalded with hot coffee. She gained a glimpse of what life beyond Ike’s intimidating orbit might be like when she worked with the “Wall of Sound” producer Phil Spector in 1966. To Ike’s frustration, Spector refused to allow him in the studio while he worked on the single River Deep, Mountain High, which subsequently became regarded as a high point of both Spector’s and Turner’s careers.

The Turners’ work won them the admiration of many of their peers, not least the Rolling Stones, who invited them to open a UK tour for them in 1966, then to join them on their American tour in 1969. Mick Jagger was regularly spotted at the side of the stage during Tina’s performances, fascinated by her stage presence and dance routines. One of the high points of Live Aid in 1985 was Tina and Jagger performing together at JFK Stadium in Philadelphia.

Working with the Stones prompted the Turners to import a rock-orientated edge into their work, a ploy that worked most successfully when they recorded John Fogerty’s Proud Mary in 1971. It was their first million-selling single and a Top five hit on the American pop charts. In 1973 they notched up another landmark with Tina’s feisty composition Nutbush City Limits, inspired by her Tennessee origins. She took the role of the Acid Queen in Ken Russell’s film of The Who’s rock opera, Tommy (1975): her performance was one of its few critically acclaimed moments, though her spin-off solo album, The Acid Queen, made little impression on the charts.

After her split from Ike, Tina stayed with friends and was forced to survive on food stamps. When their divorce was finalised in 1978, she preferred to take no money or property from the settlement, to establish a complete break from her husband. She earned cash from TV guest appearances on the Donny & Marie and the Sonny & Cher shows, but her late-70s albums Rough and Love Explosion sold poorly.

In 1980 she signed a management deal with Roger Davies, an Australian promoter working in the US, who secured some lucrative engagements in Las Vegas. The following year the Rolling Stones galloped to the rescue once again by booking her as the opening act on their Tattoo You tour of the US, and she also appeared with Stewart in a California concert broadcast internationally by satellite.

By the time she was inducted (with Ike, though he was then in jail) into the Rock and Roll Hall of Fame in 1991, Turner had little left to prove. She was able to spend more time at the homes in Switzerland and the Cote d’Azur that she now shared with the German record executive Erwin Bach. A singles collection, Simply the Best (1991), reeled in more platinum discs as Turner entered the senior stateswoman phase of her career.

In 1993, as she launched her first US tour in six years, her film biography, What’s Love Got to Do With It, based on I, Tina, was released, starring Angela Bassett as Turner. The film brought forth a bestselling soundtrack album and another hit single with its opening track, I Don’t Wanna Fight.

A three-disc anthology, The Collected Recordings – Sixties to Nineties, appeared in 1994, and the following year came Turner’s recording of GoldenEye, the theme tune of the eponymous James Bond movie. The tour that accompanied her eighth studio album, Wildest Dreams (1996), became another record-breaker, grossing more than $100m in Europe alone. Twenty Four Seven (1999) teed up what Turner announced would be her last major arena and stadium tour. She had intended to tour with Elton John, but the idea was scrapped after she argued with him about the piano arrangement for Proud Mary during rehearsals for a TV special, Divas Live ’99. Her subsequent solo dates became the top-grossing tour of 2000.

A quiet period ensued, during which Turner confined herself to hand-picked events, such as a 2005 performance on the Oprah Winfrey Show. She contributed a version of Edith and the Kingpin to River: The Joni Letters (2007), a tribute album produced by Herbie Hancock. She performed alongside Beyoncé at the Grammy awards in 2008.

That October she went back on the road with the Tina! 50th Anniversary Tour, synchronised with the compilation album Tina: The Platinum Collection. In 2010 she became the first female artist to score top 40 hits in the UK in six consecutive decades (1960s-2010s) when The Best bounced back into the UK Top 10. Her Love Songs compilation appeared in 2014, and her remix of What’s Love Got to Do With It with the Norwegian DJ Kygo in 2020 made for a seventh decade containing UK hits.

Between 2009 and 2014 Turner appeared on four albums by Beyond, an all-woman group formed with her neighbours in Küsnacht, near Zürich. The music reflected the spiritual and religious beliefs of the participants, with Turner considering herself a Baptist-Buddhist (she was raised as a Baptist, but began practising Nichiren Buddhism in 1973).

In 2013 she married Bach and gave up her American citizenship to become a Swiss citizen. Three weeks after the marriage she suffered a stroke, and in 2016 she was diagnosed with intestinal cancer, then suffered kidney failure when “the toxins in my body had started taking over”, as she put it in her second autobiography, Tina Turner: My Love Story (2018). Her husband volunteered to give her one of his kidneys and a transplant operation was carried out successfully in 2017.

The following year, the biographical stage musical Tina opened at Aldwych theatre in London, directed by Phyllida Lloyd and starring Adrienne Warren in the title role. Turner received a Grammy lifetime achievement award, to go with her existing tally of eight Grammy awards and three Grammy Hall of Fame awards. Among her vast collection of honours, Turner also had five American Music awards, two World Music awards and three MTV Video Music awards.

In 2021 she joined the Rock and Roll Hall of Fame as an outright solo performer and sold the rights to her music catalogue to the publishing company BMG for an estimated $50m. Ready to retire fully, she bade farewell to her fans with the two-part HBO documentary Tina.

Alline died in 2010. Tina’s eldest son, Craig, from a relationship with the saxophonist Raymond Hill, took his own life in 2018. Ronnie, her son with Ike, died in 2022.

She is survived by Erwin and two sons, Ike Jr and Michael, from Ike’s first marriage.

🔔 Tina Turner (Anna Mae Bullock), singer and songwriter, born 26 November 1939; died 24 May 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[zot3-flopped]

Louis has nothing to say, but he’s got a plan, that one - in my opinion. I know not everything is truth but he seems to have a list of goals he’s ticking off: number 1 album, selling out stadiums (false but whatever), big world tour (not viable everywhere), documenting the young women pulling his shirt off, the tour film he financed himself, building a reputation as a hard drinking musical legend (stop laughing). I think he is ALL about the image as he will look back upon it, and as he expects his fans to look back upon it. It’s building a false legacy in real time. It’s like he learned some lessons in 1D about creating an image, and cranked the dial up to 11.

His working relationship with Helene Horlykk I think is important: she is all about manifesting things with nothing more than a ‘believe in yourself’ mantra. It works for him up to the point where you have to imagine non-fans being interested (they are not). And it looks really sad from the outside, it’s very expensive too, and there are obvious gaps. Where is his radio play? Where are the awards? I don’t even think he truly expects those things to happen. Where are his friends in the business? He is just living in his own little world and his fans are facilitating a fantasy for him.

He really pushes the limits of image over reality and like that anon said, it is absolutely not going to last. But he will have his public-facing memories. I dread to think what the reality of his private memories is. It cannot be easy forcing himself out there and meeting an audience of a couple of thousand women whom he knows are delusional and who want him to be a gay man, furthermore in a relationship with the one person whose career success must be quite galling for him. You have to ask why he does it and I think the answer is that his head is an absolute mess.

I agree. The daily vodka drinking doesn't help with that, although he thinks it does. His entire career is a vanity project. A few passionate and well off American Larries bought him his number one album by sending money to UK fans, and I wouldn't be shocked if he asked obscure members of his team whose name Louies don't know to send money too. His film was ignored by film critics, so much so that it doesn't have a Rotten Tomatoes score. Only four music critics reviewed FitF. The professionals aren't fooled by him.

[seeminglyranch87]

Taylor & Travis Timeline

August 2024 - Part 2

"salt air and the rust on the door, I never needed anything more" August, T. Swift

August 11,12 - Chiefs Training Camp, St Joseph, Mo | Day 16 & 17

#1 The Tortured Poets Department tops the Billboard 200 for the 14th non consecutive week - and this has consequences for other artists...

August 13 - Daily Mail report (x)

Taylor Swift hosted a lavish thank you party for her 200-strong tour team at private members' club Annabel's in Mayfair, London on Tuesday night. The hitmaker, 34, let her hair down with her crew and partied until 3am ahead of her final leg of the Eras Tour at Wembley Stadium.

Taylor is dressed in Vivienne Westwood.

Chiefs Training Camp, St Joseph, Mo | Day 18

Patrick Mahomes is interviewed on SiriusXM and shares...

“I've been trying to get [Travis] to grow his hair out and all of a sudden Taylor gets him to do it."

Reminds me of this moment during the Eras Tour with Travis dancing to Shake It Off (x)

August 14 - Chiefs Training Camp, St Joseph, Mo | Day 19

August 15 - The Eras Tour, Wembley Stadium, London, UK N4

Taylor appeared to tear up at the first show after events in Vienna.

Everything Has Changed x End Game x Thinking Out Loud with Ed Sheeran (guitar x) & King Of My Heart & The Alchemy (piano x)

Taylor also does the archer pose during her performance of So High School - do we assume Travis is watching the live stream?

ETonline reports (x)

A source tells ET, "Taylor and Travis always prioritize each other even when they are physically apart. They are still in constant communication texting and FaceTiming each other." The source adds that the pair is "very affectionate with each other even when they're apart."  One way that Kelce apparently shows his affection is by lavishing Swift with heartfelt gifts.  "Travis sends Taylor flowers and loves to shower her with surprise gifts and tokens of gratitude," the source says. "Their connection is unlike anything that they've ever experienced before." 

IJBOL - available for a few more hours... thank You aimEe live, see Taylorswift.com to purchase!!! Let's keep TTPD at #1 and remember who made TS famous.

Chiefs Training Camp, St Joseph, Mo | Day 20 Military Appreciation Day & final practice

August 16 - The Eras Tour, Wembley Stadium, London, UK N5

Taylor debuts a new Midnights costume ✨🌙

London Boy (guitar) & Dear John x Sad Beautiful Tragic (piano)

August 17 - Chiefs v Lions, Arrowhead Stadium, Kansas City, MO. NFL preseason. 23 - 24

Patrick passes behind his back to Travis for the first down (x)

The Eras Tour, Wembley Stadium, London, UK N6

I Did Something Bad (guitar) & My Boy Only Breaks HIs Favourite Toys x Coney Island (piano)

Cheekily there was no announcement for Reputation (TV). Taylor has played all songs from Rep on the Eras Tour.

Travis attends Kansas City Current women's soccer final with Patrick & Brittany Mahomes & friends.

August 19 - The Eras Tour, Wembley Stadium, London, UK N7

Long Live x Change (guitar) & The Archer x You're On Your Own Kid (piano)

Travis at preseason practice, KC (x)

Travis Kelce is announced to star in action comedy ‘LOOSE CANNONS’ for Lionsgate (x).

Go to previous update -> August 2024 part 1

Go to next update -> August 2024 part 3

Return to the timeline

[miashyperfixations]

TAYLOR SWIFT - REPUTATION STADIUM TOUR

8.06.2018 @ Etihad Stadium, Manchester (53,400 Capacity)

22.06.2018 @ Wembley Stadium, London (90,000 Capacity)

Written Feb 2023

I don't remember much from either date as they were my first concerts. The tickets for the Manchester show were a 2017 Christmas present for my sister and I as this had been the first time we’d been a fan of Taylor from the start of her new era, the reputation era, which is still one of my favorite eras to date. There were 6 of us that went that night, and although we were up at the top in the nosebleeds, we still had an amazing time because we were able to see everything at once. The good thing about Taylor’s shows is that she always makes sure that everyone has a good time and the main way in which she did this was move between the main stage at the front of the stadium and the 2 B Stages at the back of the stadium, one of which was almost directly in front of us.

It wasn't planned that we’d also go to the London show just 2 weeks later but my aunt, who had gone with us to the Manchester show, managed to get them off of someone that she worked with, who was selling some spare tickets. Unfortunately, she didn't come with us to the show and gave the spare ticket to another aunt, so there was still 5 of us going. Overall, the atmosphere of the Wembley show was better as you could clearly tell that more people were singing along and it was much fuller. Something that she did here that she didn’t do at Manchester that she did here, was bring out a surprise guest who happened to be Niall Horan and the two of them sang one of his songs together. This was a fun surprise as she’d been doing this with her friends in the industry across the American tour, so it was slightly expected, but it was still up in the air. He was the first guest she brought out in the UK dates, and she then proceeded to bring out Robbie Williams on Night 2 of the Wembley shows.

[newsper]

Global superstar Taylor Swift wowed fans at her “Eras” tour kick-off in London’s Wembley Stadium. The sold-out concert showcased Swift’s incredible talent and connection with audiences worldwide. Swift’s first UK concert since 2019’s “Reputation” tour was a visual spectacle, featuring hits from her latest album “Midnights”. Fans were treated to a career-spanning performance, complete with […]

[influencermagazineuk]

Anticipation Soars as Scottish Swifties Prepare for Taylor Swift’s Eras Tour in Edinburgh

Toglenn, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons Excitement is reaching a fever pitch as more than 200,000 Taylor Swift fans are set to converge on Murrayfield Stadium in Edinburgh for her highly anticipated Eras tour concerts on June 7, 8, and 9. The build-up to these sold-out performances has been marked by a flurry of activities, including the decoding of the singer’s hidden song messages online, pre-parties, and a host of enthusiastic preparations. Carla McCormack, a dedicated fan, shared her excitement, saying, "As a Swiftie in Scotland, it's just really exciting to have her coming here first." Last month, McCormack taught an introductory evening class about Swift at Glasgow Clyde College, aimed at helping parents and other companions understand what to expect from the Eras experience. “It’s a different level in terms of concertgoing,” she explained. “There will be people who have spent a lot of money on tickets and don’t know what to expect.” In her class, students were taught the customary audience responses for the tour, such as chanting “Taylor you’ll be fine” during a specific line in "Anti-Hero," and raising hands in a heart shape during "Fearless." McCormack also provided a rundown of significant events in Taylor Swift’s career, including her public disputes with Kanye West and Kim Kardashian, her history of re-recording albums due to issues with Scooter Braun, and a brief on her notable ex-boyfriends. Another avid fan, Elena Soper, is looking forward to the diversity of the crowd at the Edinburgh shows. “We saw how difficult it was to get tickets to shows in the US, so when they went on sale for the European tour, people went a bit wild and registered for lots of dates just in case. I know people coming from Paris and Poland as well as Scots,” she noted. Speculation is rife among fans about a potential “big announcement” during one of the Edinburgh shows, possibly involving the release of another re-recorded album. Local businesses and attractions are also getting into the spirit of the event. Scots-Italian ice-cream maker Equi’s has introduced a special Swiftie Swirl flavor for the occasion. Edinburgh’s Camera Obscura has dedicated a giant kaleidosphere to Swift, and Tynecastle Park, near Murrayfield, will host all-ages Swiftie Bingo sessions. To accommodate the influx of visitors, Edinburgh city council has arranged for marshals equipped with mobile phone chargers to assist concertgoers, and local residents have been informed about road closures around the stadium. Despite the excitement, the event has also brought some challenges. Accommodation prices have surged, with hotels, B&Bs, and short-let flats fully booked months in advance and single-night rates increasing by nearly 50%. This situation was underscored by reports from BBC Scotland that several homeless people were relocated to Aberdeen and Glasgow due to a shortage of local accommodation. The housing charity Shelter criticized this move as a “blatant injustice,” highlighting the competition between tourists and homeless individuals for available places to stay. Edinburgh city council stated that they are working to find appropriate alternative accommodation for those affected. Dave Fawbert, the creator of the UK-wide Swiftageddon club night, will be hosting pre-parties in Edinburgh. He remarked that the Eras tour represents a significant moment for Taylor Swift and her fans. “It has been this perfect storm – for Taylor herself, it’s a victory lap for her 20-year career, after she belatedly got the critical acclaim she deserved, and it’s her first tour since Reputation in 2018,” he said. “For the fans, people are still coming out of the pandemic and everyone is looking for shared experiences. This is the biggest thing I’ve seen since the heyday of Michael Jackson in the late 80s and early 90s. It’s a joyous moment and people are ready to celebrate and go mad for a month.” As the concert dates draw nearer, the excitement and anticipation among Scottish Swifties are palpable. The combination of Taylor Swift’s global appeal, the elaborate preparations by local businesses, and the sheer scale of the event promises an unforgettable experience for all attendees. Read the full article

[mykpopwire]

media release: K-POP POWER GIRL GROUP ITZY RETURNS TO SINGAPORE WITH 2ND WORLD TOUR <BORN TO BE>

Live Nation Singapore is thrilled to announce that the critically acclaimed K-pop girl group, ITZY, is set to return to the global stage for ITZY 2ND WORLD TOUR <BORN TO BE>, a show-stopping run of electrifying performances across 18 countries in Asia, Australia, New Zealand, Latin America, Europe and North America this year. Having demonstrated their exceptional skills as "stage masters" through a mix of hit songs and B-side tracks on their sold-out 2022 outing, ITZY THE 1ST WORLD TOUR <CHECKMATE>, the group's expanded 2024 world tour is poised to uphold their reputation during their return to North America and Asia. ITZY 2ND WORLD TOUR <BORN TO BE> will also feature the group's highly anticipated first performances in Latin America, the UK, Europe, Australia and New Zealand.

The tour will feature the first live performance of the group's latest mini album [BORN TO BE], which was released earlier this year. Featuring 10 new tracks, including their current title track "UNTOUCHABLE", [BORN TO BE] not only marks the group's first release in 2024, but continues to underscore their global reach, with the album debuting at #1 on the worldwide iTunes chart across 23 overseas regions.

Continuing to encapsulate messages of freedom and self-love, core identities of the group since their 2019 debut, the album also marks a monumental moment for ITZY, as it features solo songs from each member for the first time in the group's history. Each member contributed to the composition of each solo track, showcasing their musical competency, and asserting themselves as bold creative forces.

The [BORN TO BE] mini album comes on the heels of their release of the same name in addition to their solo songs, all of which were released with solo videos that currently hold approximately 21.1 million views collectively. [BORN TO BE] also follows the group's previous mini album [KILL MY DOUBT], which features tracks such as "BET ON ME," "None of My Business," and fan favourite, "CAKE". Their upcoming world tour will fully cater to fans' setlist desires with new music and beloved hits.

ITZY 2ND WORLD TOUR <BORN TO BE> in SINGAPORE will take place at Singapore Indoor Stadium on 6 April 2024 (Saturday). Singtel mobile users will enjoy an exclusive priority sale on 5 February (Mon), from 12pm to 11:59pm. Visit www.singtel.com/itzy for more information. Live Nation members can secure tickets during the Live Nation presale on 6 February (Tue), 12pm to 11:59pm. Visit livenation.sg for free membership signup and presale access. Tickets for the general public will go on sale on 7 February (Wed), from 12pm onwards via ticketmaster.sg. VIP tickets will be available for purchase for enthusiastic fans to gain access to the soundcheck party, and each VIP ticket holder will also receive a commemorative laminate with lanyard as well as a special VIP item!

*photos courtesy of Live Nation Singapore

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[thehannahmacposts]

alright so i might revive this blog but idk what i would revive it into so i’m just gonna do a bit of an intro since some things have ✨changed✨ since the last time i did one (i think it might be visible in my likes if those can be seen). anyway:

my names hannah

i’m 22, although 23 in november

i’m from the uk lol (the tories are a joke, i know)

i’m bi

i use she/they pronouns, tho i’m kinda avoidant of figuring out if i’m non-binary or not since my mental health didn’t exactly end up great when i realised i was bi lol

i have recently finished doing resits for my ✨law✨ degree, although don’t have results yet and may have to do further resits yet so my end result is not yet know

no fucking clue what i want to do as a job/ career so my goal is just to get a job that gets me a bit of money at the minute, though i am interested in going into the legal/ forensics side of things without aiming for the solicitor route if possible

music interests include: taylor swift, the wanted, fall out boy & harry styles mainly, but obvs have playlists full of other bits from like the barbie soundtrack & whatever

tv shows i’d say are my faves: agents of s.h.i.e.l.d. & brooklyn nine-nine (i think)

tv shows i’ve watched recently: good omens, the handmaid’s tale, two broke girls, manifest (im on s3 at the minute), heartstopper, the last of us

current fave films & recently watched: la la land, the barbie movie, red, white & royal blue, reputation stadium tour (i guess?), the unbearable weight of massive talent

book i’ve recently finished: the ballad of songbirds & snakes (hunger games prequel)

book i’m currently reading: the girl who broke the sea

there’s probably other little bits but tbh i can’t really think of them off the top of my head

but yeah, i’m no good at blogs or tumblr but if anyone has any idea of what i could use this for based on that then please help 😂😅 i’d be grateful ☺️

[womenwhoshapedtheworld]

Lily Parr and the Dick Kerr Ladies

With England’s ladies having won in the final of UEFA Euro 2022 tournament and playing in the Women’s world cup final today, it would be easy to believe that Women’s football has never been more popular in this country. However, Women’s football experienced a similar period of popularity in the late 1910’s to early 1920’s; such was the popularity of the women’s game in this period the FA banned women from playing football professionally. Arguably, one of the teams driving this popularity was the Dick Kerr Ladies team. The team was made up of young women who were working for the Dick Kerr munitions factory in the First World War. One of the star players for Dick Kerr Ladies was Lily Parr, a young lady who made her footballing debut in 1919 for St Helens Ladies, but was persuaded to move to Dick Kerr where she scored 43 goals for the team before she turned 16.

Lily Parr was born to an working class family on 26th April 1905 in a deprived area of St. Helens. She was the 4th of seven children. Uninterested by traditional ladies hobbies such as sewing or cookery, Parr often joined her brothers playing football and rugby as a child. By the time she was 14 Parr had become a strong enough player that she began playing for her local women’s football team, St. Helen’s ladies. It was while playing with St. Helen’s that Parr was spotted by the manager of Dick Kerr Ladies, Alfred Frankland. Frankland was impressed by Parr’s skill when St. Helens played against Dick Kerr in 1919, a match in which St. Helens won 6-1. Frankland was quick to snap up Parr’s talent offering her a job in the Dick Ker Factory and a position on the team, to sweeten the deal Frankland also offered her 10 shillings and a pack of cigarettes for every match she played. Parr accepted the deal and scored 43 goals for the team in her first season.

Dick Kerr ladies team continued to grow in prowess and reputation. Like most women’s teams at the time they used their matches to raise money for soldiers returning from the war. They donating vast sums of money various charities including the National Association of Discharged and Disabled soldiers. In 1920 the team represented England in a match against a Parisian team in North London, they then traveled to France and played games in Paris, Roubaix, Le Havre and Rouen, making them the first women’s team from the UK to complete an international tour. Back in the UK the team was insanely popular. They drew a crowd of 53,000 spectators to a match against Parr's former team, St. Helens, at Goodison Park on Boxing day (26th December) 1920, reportedly leaving a further 14,000 fans outside the stadium. Dick Kerr won the match 4-0, and raised 3,115 pounds for charity, £140,143 in today's money, in the process.

By 1921 Dick Kerr ladies were playing on average two matches a week all over the country. However, controversially, when the General Strike began in March 1921 the ladies choose to start playing matched in aid of the striking miners, a move the FA consider to be political. This support for the miners had not helped the ladies case when the FA decided to ban professional women's football. By that point the men’s game had recovered after the first word war. FA had also expanding increasing to 3 leagues in the 1920/21 season, meaning there were now 86 men’s teams controlled by the FA league. But the women’s game remained popular, too popular for the FA’s liking. Finally, in December 1921 the FA declared that football was "quite unsuitable for females and ought not to be encouraged" and banned their member clubs from allowing women to play in their grounds. This meant that women’s teams suddenly found it hard to find places to play.  In addition, many talented players, like Parr, found themselves unable to pursue a professional career in football. The FA did not recognize women’s football again until 1969.

Despite the lack of professional footballing opportunities for women, Parr and many of her team-mates did not give up playing. Parr and Dick Kerr ladies headed to America in 1922. Here they were to played in a series of 9 matches against American teams. However, it was not until they got there that they learnt these matches would be against men’s teams; but this did not deter the team, they played all 9 matches in front of crowds of 10,000 people. After these matches the ladies came back the UK where they continued to play games, mainly for charity, when they could.

During this time Parr also trained and qualified as a nurse and began working in Whittingham Hospital and Lunatic Asylum. It was her she met her long term partner Mary. The two went on to live and work together for many years being open about their relationship. Unlike male homosexuality, female homosexuality, although not looked upon favorably,  was never against the law in the UK.

The Dick Kerr ladies changed their name to the Preston ladies in 1926 after Frankland fell out with the owners of the Dick Kerr factory. Preston ladies continued their show their sporting prowess on the pitch, eventually winning the unofficial title of World Champions after they beat Edinburgh Ladies 5-1 in 1937. During the Second World War matches for both men’s and women’s football became less frequent due to time and energy once again being focused on the war effort. In 1946, after the war, Parr was named team captain, a position she held until she left the team. The team played matches in more obscure locations, due to the FA’s ban, until 1965 when they were forced to disband due to lack of players.

Parr continued to play for Dick Kerr ladies until she retired from football age 45 in August 1950. Parr continued to live with her partner until her death from cancer in 1978. Parr continues to be, arguably, one of the most influential female footballers in English football, and one of the best footballers of her generation. Over her footballing career Parr scored 967 goals for her team, to put that into perspective, the current top goal scorer in the men’s game is Crisiano Ronaldo with 844 goals across his career so far. Parr was the first women to have be included in the English Football Hall of Fame in Manchester in 2002, where a statue was later erected in her honor in 2019. In addition to this the Dick Kerr ladies team has also recently gained recognition, earning a permanent museum display being created about them in the National Football Museum in 2021.  Parr has also become a LGBT icon in the footballing world at least. In 2007-2009 the national LGBT+ teams of England France and the USA played for the Lily Parr exhibition trophy. Finally, it is important to remember that without players like Parr, who defied the FA's bans and continued to play football in spite of the restrictions, the women's game may not have been what it is today. Parr and women like her kept the game alive, and helped shape a world in which England's Ladies could win a World Cup final.

References

[alltootayloralisonswift]

feeling so anxious about uk tour sales. i’m all for new fans and more people enjoying taylor’s music but it makes me feel nervous that these ticket sales are going to be such a battle compared to the reputation stadium tour when you could buy face value tickets on the week of the show.

[dan6085]

Here are 20 of the most successful stadium concerts of all time, along with details on their attendance, venue, and significance:

1. Rod Stewart - Copacabana Beach, Rio de Janeiro, Brazil, 1994 - This free concert is estimated to have drawn a crowd of 3.5 million people, making it the largest concert in history.

2. Jean Michel Jarre - Moscow State University, Moscow, Russia, 1997 - This concert is estimated to have drawn a crowd of 3.5 million people, making it one of the largest concerts in history.

3. AC/DC - Circus Krone Building, Munich, Germany, 2003 - This concert is estimated to have drawn a crowd of 200,000 people, making it one of the largest indoor concerts in history.

4. Led Zeppelin - Ahmet Ertegun Tribute Concert, O2 Arena, London, UK, 2007 - This concert, held in honor of Atlantic Records co-founder Ahmet Ertegun, is estimated to have drawn a crowd of 20 million people trying to purchase tickets online, making it one of the most in-demand concerts in history.

5. The Rolling Stones - Copacabana Beach, Rio de Janeiro, Brazil, 2006 - This concert is estimated to have drawn a crowd of 1.5 million people, making it one of the largest concerts in history.

6. U2 - Rose Bowl, Pasadena, California, USA, 2009 - This concert is estimated to have drawn a crowd of 97,014 people, making it one of the largest stadium concerts in history.

7. Pink Floyd - The Wall Live, Potsdamer Platz, Berlin, Germany, 1990 - This concert is estimated to have drawn a crowd of 350,000 people, making it one of the largest concerts in history.

8. Paul McCartney - Shea Stadium, New York City, USA, 1965 - This concert is estimated to have drawn a crowd of 55,000 people, setting a record for the largest concert attendance at the time.

9. Bruce Springsteen and the E Street Band - Estadio Santiago Bernabeu, Madrid, Spain, 2016 - This concert is estimated to have drawn a crowd of 65,000 people, making it one of the largest stadium concerts in history.

10. Madonna - Sticky & Sweet Tour, Maracanã Stadium, Rio de Janeiro, Brazil, 2008 - This concert is estimated to have drawn a crowd of 74,000 people, making it one of the largest stadium concerts in history.

11. Guns N' Roses - Use Your Illusion Tour, Estadio River Plate, Buenos Aires, Argentina, 1993 - This concert is estimated to have drawn a crowd of 80,000 people, making it one of the largest stadium concerts in history.

12. The Who - Live Aid, Wembley Stadium, London, UK, 1985 - This concert is estimated to have drawn a crowd of over 72,000 people, and was broadcast to over a billion viewers worldwide.

13. Queen - Live Aid, Wembley Stadium, London, UK, 1985 - This concert is estimated to have drawn a crowd of over 72,000 people, and was broadcast to over a billion viewers worldwide.

14. Michael Jackson - Dangerous World Tour, Estadio Azteca, Mexico City, Mexico, 1993 - This concert is estimated to have drawn a crowd of 130,000 people, making it one of the largest stadium concerts in history.

15. David Bowie - Glass Spider Tour, Olympic Stadium, Montreal, Canada, 1987 - This concert is estimated to have drawn a crowd of over 80,000 people, making it one of the largest stadium concerts in history.

16. Beyoncé - Formation World Tour, Formation Stadium, Miami, Florida, USA, 2016 - This concert is estimated to have drawn a crowd of 47,000 people, making it one of the largest stadium concerts in recent years.

17. Ed Sheeran - Divide Tour, Stade de France, Paris, France, 2019 - This concert is estimated to have drawn a crowd of 94,000 people, making it one of the largest stadium concerts in recent years.

18. Taylor Swift - Reputation Stadium Tour, Etihad Stadium, Melbourne, Australia, 2018 - This concert is estimated to have drawn a crowd of 53,000 people, making it one of the largest stadium concerts in recent years.

19. Coldplay - A Head Full of Dreams Tour, Estadio Nacional, Santiago, Chile, 2017 - This concert is estimated to have drawn a crowd of 67,000 people, making it one of the largest stadium concerts in recent years.

20. Bruce Springsteen and the E Street Band - Born in the U.S.A. Tour, Los Angeles Memorial Coliseum, Los Angeles, California, USA, 1985 - This concert is estimated to have drawn a crowd of 93,000 people, making it one of the largest stadium concerts of the 1980s.

These stadium concerts have had a significant impact on the music industry and on popular culture more broadly. They have provided opportunities for artists to showcase their talents and connect with fans on a massive scale, and they have helped to shape the direction of musical trends and styles. Many of these concerts have also had a significant economic impact on their host cities and regions, generating millions of dollars in revenue and supporting local businesses and tourism.

[zot3-flopped]

I think whoever was in charge of booking stadiums and arenas for Louis had fallen prey to the same thing as BMG had when they took him on: his reputation and artistry are massively inflated by whoever it is who promotes him (his management I guess). WE know the make-up of his audience, WE know his popularity in 1D was based initially on him glomming onto little Harry, but then being relentlessly pushed by fans who felt sorry for him not being able to sing so getting fewer lines. (Just to choose ONE element of the conspiracy theories!)

We can still see the same levels of delusion today. TouringData is run by a Harrie! They didn’t report the standing tickets! It’s a conspiracy! Same with Louis writing most of the songs - get real, people. Same with Louis being the band boss. He obviously capitalises on all of this, with the result that his lack of musicality and vocals and writing seem to be completely drowned out by fairly reasonable short-term results. So a tour promoter is shown a loyal audience and not a shit performer. And that’s all they need. Dogged brand loyalty.

But it can only diminish, it can’t grow, and that’s where we see the risk BMG and tour organisers have taken. It hasn’t paid off. He puts nothing into growth. If he tours again, it simply cannot be at this level. Not now the difference between tour 1 and tour 2 has shown up the loss of fan loyalty, the only thing they have to support their investment in Louis.

Excellent points! I don't think another world tour will be financially viable for Louis but he might do a few dates in the UK and Europe.

[mytimemywinemyspiritmytrust]

‪I genuinely cannot wait for that feeling when I walk through into my stand for my first Dublin show and see the stage where she’s going to be RIGHT there it all its glory. From the moment we get in the car to travel down I’m going to be insufferable with excitement. It’s a good thing my mum is coming with me because she’ll be right up there with my ‘I’ve lost all my sanity’ levels since it’s feels like it’s been so long since we saw Taylor together! I’m so EXCITED!!! See you soon @taylorswift ♥️

[red2012deluxe]

ATTENTION 🚨 Im selling some of my taylor merch. All have basically never been worn / worn once. I’ll probably only ship to the UK unless you pay for the shipping price yourself. Bank transfer or paypal.

Taylor Swift reputation tour t-shirt merch

- size M

-£20 uk shipping included

-worn a couple times but not since 2019 maybe

-DM if interested on here or @taykotas on twitter. bank transfer or paypal

[foreverfearlessred]

I GOT TICKETS TO WEMBLEY GUYS (!!!!!!!!!) nosebleeds but idc because it’s gonna be lit af no matter where we are sat hmu if you’re in 503