‘Taylor Swift: Eras Tour’ Film Earns Record-Breaking $26 Million in Presales

Taylor Swift


Her “Eras Tour” concert film, which opens theatrically on Oct. 13, has already earned a massive $26 million in presale tickets at AMC Theatres. It set a single-day ticket sale record for AMC, besting the benchmark previously held by “Spider-Man: No Way Home” ($16.9 million) less than three hours after tickets went on sale, according to the cinema chain.

This figure is only for presales at AMC, meaning the actual number of tickets sold is much higher. AMC is the world’s biggest theater chain and the film’s official distrubutor, but the “Eras Tour” concert film is also playing at rival circuits like Regal and Cinemark, as well as independent locations. 

Separately, the ticketing service Fandango reported that “The Eras Tour” has broken its record for biggest first-day ticket sales for 2023. Without giving specific numbers, Fandango says pre-sales rank among blockbusters like “Avengers: Endgame,” “Star Wars: The Force Awakens,” “Spider-Man: No Way Home” at similar points in their sale cycles.

Taylor Swift Breaks Record

Taylor Swift

Taylor Swift has broken the record for most number one albums by a female artist:

Taylor Swift’s third re-recorded album, Speak Now (Taylor’s Version), blasts in at No. 1 on the Billboard 200 albums chart (dated July 22), launching with the year’s biggest week for any album, and gives Swift her 12th No. 1, surpassing Barbra Streisand for the most No. 1 albums among women.

Speak Now (Taylor’s Version) bows with 716,000 equivalent album units earned in the U.S. in the week ending July 13, according to Luminate, of which 507,000 are in traditional album sales. Both figures represent the largest week for any album in 2023 and the best since Swift’s last studio album, Midnights, debuted with 1.58 million units, of which 1.14 million were in album sales, last year (week ending Oct. 27, 2022; as reflected on the Nov. 5-dated Billboard 200).

The Eras Tour: Taylor Swift’s Greatest Love Song

Taylor Swift

The cynical view of Taylor Swift’s The Eras Tour goes something like this: let’s take a cash grab tour of her past lovers and public debacles through songs that may have changed genres two or three times, but all sound the same. (They don’t.)

The critical view goes something like this: after mastering country, pop, and indie, are we looking at the next all-time great? (Ignoring the fact that, if she were a man, she’d already be lauded as being there.)

The delusion fan view goes something like this: Is this algebraic formula an Easter egg? (No.) Taylor Swift is for the girls, gays, and theys and straight men shouldn’t be allowed at the tour. (This is exhausting.) I bought all four versions so I could have a clock. (Okay, this one is more on Taylor’s incredible mind for capitalism; but, c’mon folks, it’s the same record. You only need one copy.) Etc.

Somewhere in the middle of this wild and inaccurate Venn diagram of discourse is the truth: we are witnessing something not quite before seen in history. Taylor has achieved something not seen in decades: monoculture. She’s the zeitgeist. Everyone seemingly has something to say about it. Including me.

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