But beyond this commercial triumph, the superstar’s 149 concerts also had a major economic impact on the host cities and on the supporting artistes.
An American study, published in the Journal of the Music and Entertainment Industry Educators Association, reveals the dramatic impact the Eras Tour has had on the careers of emerging artists chosen to support Taylor Swift. For some, the opportunity was a veritable springboard to stardom.
The study was conducted by Jeff Apruzzese, professor at Drexel University and director of the Music Industry programme. Himself a musician and a former member of the band Passion Pit, he is well aware of the transformative potential of such exposure.
“There’s often a perception that opening for a major headliner is a guaranteed career boost for emerging artistes – but the reality is far more complex,” the researcher explains in a news release.
To better understand these dynamics, the researcher analysed data from 57 artistes who played opening slots on the most lucrative tours of 2022 and 2023.
He compared their audiences on Spotify four weeks before and four weeks after their live performances.
As a result, emerging artistes, classified as “developing”, recorded an 18% increase in listenership before the tour, followed by a slowdown afterward. Established artistes experienced more modest variations.
In the case of the Eras Tour, some clearly benefited from a genuine “Taylor Swift effect.”
Gracie Abrams, for example, was able to retain a large part of the audience she won when she opened for the singer. Owenn, on the other hand, saw a 188% increase in listeners during the tour, but enthusiasm then waned.
What seems to make the difference is the musical affinity between the guest artiste and the headliner. While being the opening act offers great visibility, it’s above all artistic coherence that builds audience loyalty.
Phoebe Bridgers, with her folk-pop sound reminiscent of Taylor Swift’s “Folklore” and “Evermore” albums, or Gracie Abrams, with her melancholy pop style, won over Swifties.
Opening the show can be a double-edged sword
To measure audience influence, Jeff Apruzzese conducted a survey of 525 concertgoers aged 18-55.
The results showed that 68% had discovered a new artiste through an opening act. Of these, half went on to buy a ticket to see the artiste solo again, and two-thirds listened to the artiste’s music via streaming.
In most cases, the audience didn’t know the name of the guest artiste when they bought their ticket. So it’s the energy of the live show that sparks their enthusiasm.
But for an artiste, opening for a big name in music is a mixed experience. Of the 47 artistes interviewed by Jeff Apruzzese, 63% said they had gained followers on social networks after taking part in another musician’s tour. Yet 40% lost money.
Travel, accommodation, equipment and crew costs are rarely covered. Worse, some even have to pay for the chance to go on stage – a reality unknown to the general public, yet commonplace in the music industry.
Opening for a major tour can therefore offer invaluable exposure. But it’s not enough.
As Jeff Apruzzese points out: “Overall, while the role of opening acts in career development is undeniable, it must be viewed as part of a broader strategic framework aimed at cultivating and sustaining an artist’s presence in the competitive landscape of the music industry,” the researcher explained.
To make the most of it, artistes need to be able to follow up with new tracks or projects, and sometimes even a bit of luck. Because in the world of music, a moment in the spotlight doesn’t always guarantee a long career.