According to Forbes, which published a series of 2024 billionaire reports on Tuesday, Swift is the first musician to reach 10-figure status solely based on songwriting and performing (rather than brand deals or business ventures).

Swift's vast fortune is primarily thanks to her valuable discography and earnings from streaming deals, music sales, concert tickets, and merchandise.

Representatives for Swift did not immediately respond to Business Insider's request for comment regarding the Forbes report.

Swift's 21-month, five-continent Eras Tour was nothing short of a sensation. By the end of its first year, it had become the first tour ever to gross over $1 billion in revenue, on track to become the highest-grossing tour of all time. 

In October 2023, after Swift toured 56 dates across the US and Mexico, the Eras Tour had already generated $780 million and added $4.3 billion to America's gross domestic product, according to Bloomberg Economics.

Throughout 2024, Swift also made stops in Argentina, Brazil, Japan, Australia, Singapore, Canada, and 11 countries throughout Europe.

The morning of Swift's final performance in Vancouver, The New York Times reported that the Eras Tour had crossed the $2 billion threshold, making it the first concert tour in history to do so.

This figure was confirmed by Taylor Swift Touring, the singer's production company. All 149 stadium shows were sold out, and the company said over 10 billion people attended the Eras Tour.

That means the average ticket sold for $204, well above the industry average for top concert tours, per The New York Times. Resale tickets were even pricier, often going for thousands of dollars in secondhand markets. (Artists like Swift don't earn anything from resold tickets.)

Worldwide ticket presales had already exceeded $100 million before "Taylor Swift: The Eras Tour" was released (a day early) on October 12, 2023, AMC Theatres reported.

According to ticketing service Fandango, the film set a record for the highest first-day ticket sales in 2023. It has also become the highest-grossing concert movie of all time, surpassing "Justin Bieber: Never Say Never."

Swift, who bypassed movie studios to personally fund the concert movie, received half of the box office earnings for the film, which grossed $261 million worldwide.

Once "Taylor Swift: The Eras Tour" had left theaters, Swift struck a deal with Disney+ to release the film's extended version on streaming.

According to Puck News, Disney paid upwards of $75 million for the exclusive rights.

Citing anonymous sources, the outlet reported that Disney's Bob Iger outbid Netflix and Universal Pictures (which handled VOD distribution for the film in December) for the streaming rights by offering a huge sum, which the other two streamers couldn't match.

Shortly before the Eras Tour concluded, Swift released a photo book for Black Friday.

As she did with the Eras Tour film, Swift circumvented traditional routes and opted to self-publish instead, ensuring she would get more of the book's revenue.

The book was exclusively available at Target and sold hundreds of thousands of copies in its first weekend, becoming the second-best-selling non-fiction title after Barack Obama's presidential memoir.

These partnerships include Capital One, AT&T, Stella McCartney, Elizabeth Arden perfumes, American Express, Keds, Diet Coke, Walmart, and Apple.

That figure is according to the Los Angeles Times.

At the time, the Reputation Stadium Tour broke the record for the highest-grossing US tour ever, according to Billboard. Swift earned an average of $7 million per show, more than double the US per-concert average during the "1989" tour.

In April 2023, Forbes estimated that Swift's coveted on-site merchandise — which she sells at an average price of $80 —could add an estimated $87 million in proceeds to her fortune.

Swift's 11th studio album, "The Tortured Poets Department," was released on April 19, 2024. It debuted at No. 1 on the Billboard 200 with 2.61 million equivalent album units sold in its first week.

This sum was thanks to huge streaming totals and physical album sales, especially vinyl, which Swift sells more successfully than anyone else. According to a Billboard report from November 2023, one in every 15 vinyl albums sold in the US is one of Swift's.

Fans continued to buy and stream "Poets" throughout the year, sending it to No. 1 for 16 weeks total, the most of any album in 2024.

On November 30, 2024, "Poets" was certified 6x platinum by the Recording Industry Association of America, meaning it has sold at least 6 million copies in the US.

According to The Guardian, Swift's massive album sales for "Midnights" brought in $230 million for Swift's label Universal. 

With more than 1.5 million equivalent album units earned in the US in its first week, "Midnights" landed the biggest week for an album in seven years (since Swift's own album "Reputation").

Swift embarked on a mission to rerecord her first six albums after Scooter Braun, whom she accused of "incessant, manipulative bullying," purchased the legal rights to her back catalog in 2019. (He later sold the master recordings to a private-equity company.)

She released the first installment in the series, "Fearless (Taylor's Version)," in 2021. It debuted atop the Billboard 200 — indicating this would be a lucrative venture for Swift. Later that year, Swift's new version of "Red" became one of the year's top-selling albums.

The two rerecorded albums helped plant Swift on the "The Highest-Paid Entertainers 2022" report from Forbes.

She has since released "Speak Now (Taylor's Version)" and "1989 (Taylor's Version)." The latter sold over 1.6 million equivalent units in its first week, surpassing the original's total.

In fact, Swift is the only artist who's sold over 1 million copies of an album in one week since Adele released "30" in November 2015. In that window, Swift has achieved the feat four different times.

It consists of eight properties in four different states.

The latter is the cheapest property she owns.

In 2017, she was trying to turn it into a historic landmark, according to Teen Vogue.

With 12,000 square feet, it has plenty of room for parties and even inspired her song "The Last Great American Dynasty."

That includes an 8,309-square-foot duplex penthouse and a four-story townhouse.

She used to rent an apartment on Cornelia Street — the famous inspiration behind her "Lover" track "Cornelia Street" — which was listed in 2023 with a $17.9 million price tag.

The Dassault 7X is registered to Island Jet Inc., a holding company listed under the same address as Taylor Swift Productions, Business Insider previously reported.

She used to have two private jets, but quietly sold one amid criticism of her carbon footprint. ("Taylor's jet is loaned out regularly to other individuals," a rep for Swift said in a statement. "To attribute most or all of these trips to her is blatantly incorrect.")

There's no word on how much she paid for these vehicles, but a brand new Dassault 900 has a list price of $44 million, according to Business Jet Traveler. Elon Musk owns a similar model that cost about $26 million.

In the past, she's been spotted at The Fat Radish, The Spotted Pig, Sarabeth's, L'Asso, Nobu, and Vita Carota.

On her 24th birthday, she donated $100,000 to the Nashville Symphony, according to People.

Her commitment to education doesn't stop with music; Swift also donated $50,000 to NYC public schools, People reported.

In 2010, Swift donated $500,000 to Nashville flood relief and in 2016, she donated $1 million to the victims of Louisiana floods.

Swift also raised $750,000 through a Speak Now Help Now benefit concert for victims of tornadoes in the southern US in 2011, according to People.

Most recently, Swift donated $5 million to communities impacted by Hurricane Helene and Hurricane Milton.

She and her mom Andrea Swift quietly made the donation, according to USA Today.

She also gifted $13,000 each to two moms who were also struggling financially because of the pandemic.

Swift has long been an advocate for the LGBTQ+ community, threading references to the fight for equal rights into songs like "Welcome to New York" and "You Need to Calm Down."

Back in 2016, Swift participated in a charity auction to help keep the historic Stonewall Inn operational. The New York City gay bar was the scene of a police raid in 1969, sparking a riot that helped launch the nationwide fight for LGBTQ+ rights.

In more recent years, Swift has made generous donations to the Tennessee Equality Project and GLAAD, in addition to her vocal support of The Equality Act.

The checks were sent out in 2014, according to People.

Throughout the first US leg of her Eras Tour, Swift habitually made large donations to local food pantries. She continued this tradition throughout the tour's European leg.

Swift has also been known to support victims of gun violence in recent years.

For several years, Kesha was embroiled in a defamation lawsuit after she accused the music producer Dr. Luke, her former mentor, of "unrelenting abuse" and rape. (Dr. Luke denied the allegations, and they reached a settlement in 2023.)

The "Rainbow" singer revealed Swift's donation during an interview with Rolling Stone in 2017.

Kesha described Swift as "a fucking sweetheart. Very, very sweet, very, very genuine, extremely generous, picks up the phone every time I call her. My mom doesn't even always pick up the phone!"

In 2022, Swift pulled out of a $100 million sponsorship deal with Sam Bankman-Fried's FTX after she questioned the company if it was selling "unregistered securities."

As Business Insider reported, many other celebrities such as Tom Brady and Stephen Curry failed to do so and were subsequently sued for endorsing the now-bankrupt crypto exchange.

Each night during the Eras Tour, Swift performed an acoustic set with two surprise songs.

The dress for this segment was designed for a quick change; Swift slipped it over her outfit from the previous segment (first it was "1989," then it was "The Tortured Poets Department") while still onstage. It makes sense for the dress to be simple, but it doesn't make sense for the fabric to be the same color as Big Bird.

Frankly, the yellow dress is ugly. It's way too yellow.

It's too orange.

The green dress isn't ugly, but it's not especially notable either.

The original pink variant still isn't anything to write home about, but generally speaking, Swift looks good in pink.

I do appreciate that Swift eschewed the butterfly sleeves and unnecessary ruffles for this updated variant, but this dress still looks like it came from Forever 21.

Swift wore blue versions of several classic tour looks for the night she announced "1989 (Taylor's Version)."

Blue is the best option for a surprise song dress, partially because the color complements Swift's eyes that put those Georgia stars to shame and partially because it reminds me of Sharpay Evans singing "Bop to the Top."

You know the drill by now. This version of the dress is fine. Mostly it just looks simpler and cheaper than we'd expect from a billionaire — likely an intentional choice aligned with Swift's masterful PR strategy.

Swift debuted three versions of this chiffon wrap dress in Miami: magenta-violet-teal, bluish-purple, and orange-pink. Thanks to their ombré hues and flowy fabrics, these were promptly dubbed "betta fish dresses" by fans online.

The flowers plopped all over this dress are flimsy and weird-looking. I would be glad to never see it again.

Swift debuted a new collection of designer looks in Nanterre, France, the first stop on the tour's European leg.

The new style for "1989" was a sequined top and ombré skirt pairing by Roberto Cavalli, much like the skater skirts from the album's original era.

There are dozens of color combinations that Swift wore throughout the tour — blue and pink, orange and purple, yellow and red like her boyfriend's football team — but none of them were particularly chic. The silhouette aims to evoke nostalgia but ends up feeling outdated.

Honestly, Swift's outfits never slayed during the "Red" segment, but the ombré romper is the worst offender. It's not terrible, but it doesn't do anything for her.

Swift donned glittery, floor-grazing outerwear to perform "All Too Well (10 Minute Version)," which helped make the "Red" segment a bit more sophisticated — though it didn't match the somber vibe of the song. I much preferred the sleek look that Swift wore to perform the song on "Saturday Night Live."

There were six versions of this shirt, inspired by an outfit worn by Swift in the "22" music video: "A lot going on at the moment," "We are never getting back together like ever," "Who's Taylor Swift anyway? Ew," "This is not Taylor's Version," "I bet you think about me," and "I knew you were trouble." The shirt was always paired with a black bowler hat.

This look doesn't exactly scream high fashion, but it gets extra points for sentimentality. The hat is the antithesis of cool, but it gets extra points for the cuteness factor, since Swift would always give it to a special fan in the crowd.

This is a custom Roberto Cavalli dress, embellished with Swarovski crystals, but somehow it looks like a stringy array of ramen noodles.

Silver is slightly better than gold, but the tassels still look like octopus tentacles.

It's too puffy!

It's too pink!

This is a much nicer shade of pink.

This is a classic combination, but it lacks contrast and intrigue.

Blue is a natural fit for the "Midnights" segment, especially because the standard album cover features a light-blue font.

This version of the T-shirt dress is slightly elevated, with multicolored gems scattered across the fabric.

The fuzzy coat that Swift wore to open the "Midnights" segment was a reference to the "Lavender Haze" music video. This connection was most obvious when Swift wore the opalescent T-shirt dress underneath.

It kind of looks like Swift skinned a Muppet to make this coat, but don't worry: she confirmed in a behind-the-scenes clip that she would never wear real fur.

Blue-on-blue is a logical combo for the closing number, if a little predictable.

Chaotic, yet fun.

The contrast between Swift's bright skin, dark-blue bodysuit, and hot-pink fringe makes this the best option for the show's closing number.

I assume the gown for "The Tortured Poets Department" segment was designed to look like a "crumpled-up piece of paper lying here," evoking both the tragedy of "All Too Well" and the dark-academia aesthetic of the album itself.

It's a solid concept (and the neckline is divine), but ultimately, I can't support Swift's obsession with high-low mullet dresses. I thought we left this trend behind in 2010.

Worse still, the lyrics scrawled on the fabric ("I love you, it's ruining my life," from the single "Fortnight," and "Who's afraid of little old me? You should be") made it look like Swift was wearing a high-school theater costume, not couture Vivienne Westwood.

Swift added a military jacket atop her "Tortured Poets" gown to sing "The Smallest Man Who Ever Lived," an impassioned performance that casts Swift as a soldier on the front lines of a battlefield. The look is still a little corny, but at least it fully embraced the theatrical costume vibe.

After singing "The Smallest Man Who Ever Lived," Swift and her dancers would perform a brief skit, in which Swift was forced to strip off her dress, put on heels, and smile through the pain.

The onstage outfit change yielded a bralette and matching high-waisted bottoms, subsequently topped with a duster. The different color combos included black and gold, white with silver accents, and sparkly gray with a metallic jacket.

These ensembles recall the jackets and two-piece sets from The 1989 World Tour, combined with the ringmaster motif from the "Red" era.

At that time, Swift was battling an eating disorder and often feared she might faint onstage.

While the Eras Tour outfit was relatively simple, this callback added an extra layer of poignance to Swift's performance of "I Can Do It With a Broken Heart."

For the majority of the US leg, Swift only had one look for the "Evermore" segment: a mustard-yellow dress that screams cottagecore. It's cute, but nothing particularly special, and it did grow a little dull over time.

Note: There is a slightly less saturated version of this dress, but they're so similar, they don't warrant separate entries on this list.

Swift only wore this alternate "Evermore" dress a handful of times, but it made for a nice change of pace — and the deep, sparkling bronze compliments the moody, wintery vibe of songs like "'Tis the Damn Season," "Champagne Problems," and "Tolerate It." 

The tiered and embroidered "Folklore" outfits, custom-made by Alberta Ferretti, were always winners. The flowy style made Swift look like a friendly witch, much like her recent collaborator Florence Welch, which is a compliment.

However, the yellow one doesn't suit the era's aesthetic one bit. The mismatch was especially glaring during "My Tears Ricochet," which was intended to parallel a funeral procession.

This dress was likely designed to evoke the fusion of "Folklore" and "Evermore" into one segment, which came with Swift's newly altered setlist for the European leg. But still, as we previously established, yellow — especially this shade — should not be in Swift's color palette. It doesn't suit her.

Swift unveiled a berry-pink rendition of the woodsy "Folklore" gown during her second show in France.

The shade is stunning in a vacuum, but much like my previous complaint, it's the wrong color for the sister albums segment of the show.

The songs that populate "Folklore" and "Evermore" are full of yearning, betrayal, regret, depression, and even murder. These are not the hot-girl party bops of "1989" or "Midnights," which call for brighter hues and more pizzazz.

And if you think I'm being too nitpicky, I'll kindly remind you that Swift has embraced each album's individual color theory, down to the official Eras Tour branding. I'm simply following her lead.

The ballgown was a callback to the Speak Now World Tour, when Swift wore sparkly gowns while singing "Enchanted." For the Eras Tour, Swift pumped up the drama with voluminous skirts and embroidered jewels.

The gold version looks slightly cheaper than its counterparts, like an extravagant prom dress.

As opposed to muted gold, silver offers a lovely contrast with the purple visuals of "Speak Now."

The baby-pink version of the "Speak Now" ballgown is the best among the original set of options, with its flattering neckline and strips of sparkles that resemble falling rain.

This newer "Fearless" look, which Swift debuted in Milan, was a solid, mid-tier choice. It's much better than the era's stringy options, though it can't measure up to the original fringed minidress.

Swift debuted this version of the "Fearless" minidress in France, gleefully tossing her body around to show off the shimmery fringe. Again, it offered a mid-tier option, but definitely more fun and fresh than its Italian counterpart.

The deep purple hue made for an exciting change when Swift debuted this look in East Rutherford, New Jersey — but the tassels threw off the whole effect. They make the bodysuit look sillier and cheaper than it is.

Orange is the weakest link of the original Roberto Cavalli sets (and it signaled that she'd wear the yellow surprise-song dress. Yuck).

Maybe it was intended as a subtle Easter egg for "Karma," the rumored album that Swift scrapped between "1989" and "Reputation." (In the music video for "The Man," the word is graffitied on the wall in orange paint.)

The green is prettier than orange, but not as pretty as pink.

Although hot pink isn't quite right for the overall vibe of "1989," it did pair well with the feminine charm of "Blank Space" and the fiery passion of "Bad Blood."

After 26 concerts, we finally got to see Swift perform songs from "1989" wearing the album's distinctive color. This glittering blue set recalls the New York City skyline that inspired Swift's iconic pop songs.

This version of the "Midnights" bodysuit was designed by Zuhair Murad and unveiled in France. It subtly evokes millennial fashion trends with a halter neckline, waist slits, and a chevron-esque pattern.

This version of the "Midnights" bodysuit, which Swift debuted in Los Angeles, was likely designed to resemble an outfit that Swift wore during the 1989 World Tour. It was declared one of her most daring looks yet.

For over a year, Swifties had been jonesing for an updated "Reputation" costume — largely because they believed a new look would come paired with an announcement for "Reputation (Taylor's Version)," in the same way Swift debuted blue outfits on the same night that she announced "1989 (Taylor's Version)."

Alas, when Swift finally emerged wearing a new asymmetric catsuit in Miami, no such announcement came — and that's not the only reason this version is a letdown.

Swapping the red snakes for gold cobras does make thematic sense given the album's many references to the color (gold bodies, gold cages, gold tattoos), but these ones are extra chunky and extra sparkly, like tinsel you find at the party store, rather than lithe and fierce like Swift's original serpents. It made for a fun change of pace, but a downgrade nonetheless. 

The glitzy "Lover" bodysuits, custom-made by Versace, were an aesthetic highlight of Swift's Eras Tour wardrobe.

However, compared to its peers, there's something slightly underwhelming about the blue-and-yellow color combination. The tones are too muted to complement the show's opening visuals.

In theory, this is a strong color combo; it reminds me of a sunset. In reality, the bodysuit is just slightly too orange.

Swift slipped a bedazzled blazer over her "Lover" bodysuit to perform "The Man" and "You Need to Calm Down." This iteration is a pretty pale orange, though it didn't feel quite as commanding as the other options.

The glittering silver blazer was the first costume change ever seen during the Eras Tour. With the matching red-bottomed Christian Louboutin boots, it remained an effective mix of elements.

We all love the silver blazer, but the blue blazer is extremely hot.

The black blazer is even hotter than blue.

Although blue isn't the traditional "Speak Now" color, nearly everything about this dress is dazzling, from the floral details to the elegant train.

Plus, the color recalls a sky-blue ballgown that Swift wore during the original "Speak Now" tour in 2011, giving this look an extra layer of nostalgic charm.

The sheer, baby-blue cape sleeves are lovely, but this color isn't quite the right fit for "Folklore," which is not a blue-sounding album in the slightest. ("1989" and "Midnights" already have that vibe locked down.)

"Folklore" isn't a purple-sounding album either, but this dress does look like something a young widow might wear in a Jane Austen film adaptation, so it works.

Cream is a fitting color for "Folklore," an album that evokes earthy and neutral tones.

This is only slightly different from "Folklore" in cream, but the lace adds a new edge — romantic and old-timey, well-suited for the "pioneer woman in a forbidden love affair" that Swift imagined while she was writing these songs.

The "Speak Now" gown that Swift debuted in France is the best of the bunch.

The skirt has just enough volume to look elegant instead of puffy — while the delicate, glittering details evoke a similar dress that Swift wore to perform "Enchanted" in 2011, designed by Reem Acra.

Like the original "Fearless" minidress, Swift's final iteration was custom-made by Roberto Cavalli's creative director Fausto Puglisi.

The blue crystals, set against a shimmering silver backdrop, appear arranged to resemble a butterfly — most likely as a callback to the girlish, doodle-filled cover of Swift's self-titled debut album.

"Taylor Swift" didn't get its own segment on the Eras Tour, so it felt right to pay homage while Swift performed her other high school-era album.

The navy bodysuit is an Eras Tour classic, dark and twinkling like midnight rain.

Swift debuted her newest Zuhair Murad bodysuit at Wembley Stadium in London, the final stop on the European leg of the Eras Tour. With its star-spangled bodice and crescent-moon detail, it's the most on-the-nose "Midnights" look to ever exist.

Out of all the flowy "Folklore" gowns, green is the prettiest and best suited for the album's aura. It made Swift look like a woodland fairy.

Swift's flapper-inspired dress was ideal for performing classics like "You Belong With Me" and "Love Story." The fringe is fun and youthful, just like the original "Fearless" era, but paired with knee-high Chrisian Louboutin boots, it's still chic and modern.

In fact, according to Vogue, the dress was designed to resemble a similar Roberto Cavalli dress that Swift wore during her original "Fearless" tour.

"We chose a beautiful champagne color, which is very Taylor," Puglisi told the magazine.

For 130 consecutive shows, Swift wore the same one-legged catsuit to perform "Reputation." Some slandered this consistency as boring, but in my professional opinion, a classic proverb is more appropriate here: If it ain't broke, don't fix it.

This red reptilian number, also by Roberto Cavalli, is bold and sexy with a hint of danger, just like the album itself. Puglisi described it as "more of a badass, rock and roll look."

Stars and moons are great, but there is something especially ethereal about this version of the "Midnights" bodysuit, custom-made by Oscar de la Renta.

The blue has a slightly warmer, richer tone — a better match for Swift's ocean eyes and pinkish undertones than navy — and the scalloped detailing on the bodice is exquisite up close. Paired with Swift's now-signature garter, this look is a total knockout.

Swift looked like a Barbie come to life in this version of the blazer, which she debuted onstage in Argentina. It also gave her performance of "The Man" a flirty, feminine edge.

Swift also debuted this pink version of her opening look in Argentina. The gorgeous combination of shades, from baby pink to strawberry and fuchsia, compliments the tone of songs like "Cruel Summer" and "Lover."

This was the first outfit Swift wore when she arrived on The Eras Tour stage back in March, and to the end, it remained the best.

The blue, purple, and pink gems create the perfect color combo, especially suited for the warmth and whimsy of the "Lover" era.

Swift originally announced the Eras Tour in late 2022 as a 27-show run across the US.

The demand overwhelmed Ticketmaster's servers, prompting Swift to add more dates. Before long, the tour swelled into a multi-continent bonanza.

The Eras Tour kicked off on March 17, 2023, in Glendale, Arizona. The first US leg was followed by the Latin America leg, including stops in Mexico, Argentina, and Brazil.

In February 2024, the Eras Tour entered its second year with a four-show stint in Tokyo (famously the same weekend that Swift's boyfriend Travis Kelce played in the Super Bowl). Next came stops in Australia and Singapore.

The European leg covered 11 countries: France, Sweden, Portugal, Spain, Scotland, England, Wales, Ireland, the Netherlands, Switzerland, Italy, Germany, and Poland. Swift was forced to cancel all three planned shows in Vienna after the police discovered and thwarted a terrorist plot.

After returning to the US for another short leg, the tour concluded in Canada with stops in Toronto and Vancouver, bringing the final total to 149 shows across 21 countries.

Swift invited an array of friends, collaborators, and rising stars to open for the Eras Tour, periodically adding new faces and local performers as she traveled the world.

By the end of the tour's run, the complete slate of openers included, in order of appearance: Paramore, Gayle, Beabadoobee, MUNA, Gracie Abrams, Phoebe Bridgers, Owenn, Haim, Sabrina Carpenter, Louta, METTE, Griff, Benson Boone, Sofia Isella, Holly Humberstone, Suki Waterhouse, Maisie Peters, and Raye.

Several of these artists already had personal connections to Swift. Hayley Williams of Paramore, for example, has been close with the superstar since they were teenagers. When Swift released "Speak Now (Taylor's Version)" last year, Williams was a featured vocalist on the vault track "Castles Crumbling." Bridgers has also guested on a rerecorded vault track: "Nothing New," included on "Red (Taylor's Version)" in 2021. Similarly, after years of friendship, the Haim sisters lent background vocals to Swift's 2020 song "No Body, No Crime."

Most recently, Swift collaborated with Abrams for her album "The Secret of Us." Their duet, "Us," is nominated for best pop duo/group collaboration at the 2025 Grammys.

As the name suggests, the Eras Tour was designed to celebrate the many phases of Swift's 18-year career. Each night, she performed a marathon of songs, stretching from her first crossover hit, 2008's "Love Story," to her latest single, 2024's "I Can Do It With a Broken Heart." (Her 2006 debut album did not get its own portion of the show, but that's a complaint for another day.)

Thanks to the ambitious concept, the Eras Tour was easily the longest of Swift's career in terms of performance length.

While the exact duration could vary from show to show, depending on set list changes or weather delays, the average length of each concert was about three hours and 15 minutes.

Using that as a benchmark, we can estimate that across 149 shows, Swift spent about 484.25 hours singing, dancing, and dazzling the crowd. That's equivalent to 20 days, 4 hours, and 15 minutes.

To train for the grueling athletic feat, Swift said she ran on the treadmill every day while "singing the entire set list out loud."

Back in 2021, Swift unveiled the rerecorded version of "Red," her seminal 2012 album.

The tracklist included the 10-minute version of "All Too Well," a long-standing fan-favorite deep cut. Swifties had been begging to hear the song in its extended form ever since Swift let slip that she'd cut about half the lyrics she'd originally written.

Fueled by years of anticipation, a cinematic short film, and, of course, a healthy dose of muse speculation, "All Too Well (10 Minute Version)" debuted atop the Billboard Hot 100. It broke the record for the longest No. 1 song ever, previously held by Don McLean's "American Pie (Parts I & II)."

Later, the song became a staple on the Eras Tour setlist. Swift always performed the full version, which actually clocks in at 10 minutes and 13 seconds. Multiplied by 149 shows, Swift has spent approximately 25.32 hours on the Eras Tour stage singing about her lost scarf and her ex's casual cruelty.

The Eras Tour set list has always started with "Miss Americana & the Heartbreak Prince" and ended with "Karma."

Over the course of the tour, a handful of songs were shuffled around, added, or switched out. After Swift's split from Joe Alwyn was made public, she swapped "Invisible String" (a love song) for "The 1" (a breakup song). To celebrate the release of "Speak Now (Taylor's Version)," Swift briefly added "Long Live" to the setlist. She periodically performed "Nothing New" and "No Body, No Crime" when Bridgers and Haim were opening those shows.

The set list received its biggest overhaul for the European leg in May 2024, just after Swift released her newest album, "The Tortured Poets Department." Swift removed several songs and combined "Folklore" and "Evermore" into one chunk in order to make space for a "Tortured Poets" chapter — lovingly dubbed "Female Rage: The Musical" by Swift.

Each show on the Eras Tour included a special acoustic segment, during which Swift played one surprise song on the guitar and another on the piano.

These pairings could be chosen from any album or era, starting with the 2020 deep cut "Mirrorball" and Swift's 2006 debut single "Tim McGraw."

Occasionally, Swift would sing a song that wasn't hers as a duet with that artist, like "Espresso" with Sabrina Carpenter, "Thinking Out Loud" with Ed Sheeran, and "I Love You, I'm Sorry" with Gracie Abrams at the penultimate show.

Swift originally said she wouldn't repeat songs she'd already played, but that rule was squashed when she replayed "Clean" in New Jersey, claiming she wanted to try the song in a higher key.

During her second show in Buenos Aires, shortly after the release of "1989 (Taylor's Version)," Swift performed her first-ever mashup on the Eras Tour, combining the popular vault track "Is It Over Now?" with a single from the original album, "Out of the Woods."

Thus began a new tradition, which saw Swift blending songs that had similar tempos or themes.

If we exclude repeats and songs that had once been in the regular setlist, Swift performed 181 different songs acoustically.

"You're On Your Own, Kid" was released as the fifth track on "Midnights." In the outro, Swift sings, "Make the friendship bracelets, take the moment and taste it / You've got no reason to be afraid," which inspired fans to wear and trade bracelets at her concerts.

Swift also tended to repeat "Maroon" (10 times) and "Out of the Woods" (six times).

We don't know the exact details of Swift's charity during the Eras Tour, but according to multiple sources, she made a habit of donating huge amounts to food banks in the cities she visited.

Swift didn't make these donations public, but some of her recipients did, including food banks in Arizona, California, Colorado, Minnesota, Nevada, and Washington. Aditi Desai, chief marketing officer at the Food Bank of the Rockies, told AP News that Swift donated enough for 75,000 meals.

Swift continued this routine when she took the tour overseas, including in several cities across the United Kingdom.

In December 2023, the Eras Tour became the first concert tour to gross over $1 billion, according to the trade publication Pollstar.

Despite the high cost of attendance and even higher resale values, Swift had reportedly sold 4.35 million tickets — and the tour wasn't even halfway over yet. Her economic prowess, which injected millions into the US economy, would soon affect Europe and other countries around the world.

The morning of Swift's final performance, The New York Times reported that the Eras Tour had crossed the $2 billion threshold, making it the first concert tour in history to do so.

This figure was confirmed by Taylor Swift Touring, the singer's production company. The company said over 10 billion people attended the Eras Tour.