greg marcus tour

'Taylor Swift: the Eras Tour' Will Be a Blockbuster — and Might Shake up the Movie Business

Movie theaters are readying for an onslaught like they’ve never seen before beginning Friday when “Taylor Swift: The Eras Tour” debuts

'Taylor Swift: the Eras Tour' Will Be a Blockbuster — and Might Shake up the Movie Business

George Walker IV

FILE - Taylor Swift performs during "The Eras Tour" in Nashville, Tenn., on May 5, 2023. Swift is releasing her "Taylor Swift: The Eras Tour” concert film on Oct. 13. (AP Photo/George Walker IV, File)

NEW YORK (AP) — Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin , stringing beads together while humming “Shake It Off.”

Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when “Taylor Swift: The Eras Tour” debuts. The concert film, compiled from several Swift shows at Southern California ’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”

Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic “Stop Making Sense” returned to theaters for a decades-later encore. But “The Eras Tour” heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and , in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like “Dune: Part Two.”

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film , with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But “The Eras Tour” could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere , only much cheaper and in most towns.

“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do.”

Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster’s site , saw sky-high resale mark-ups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour . Adult tickets are being sold for $19.89,” a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.

Both AMC and representatives for Swift declined to discuss the film’s release.

After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.

“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

“It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes “Taylor Swift: The Eras Tour” — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”

“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”

Meanwhile, “Taylor Swift: The Eras Tour” is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s “Justin Bieber: Never Say Never” holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for “The Eras Tour” to catch “Woodstock,” which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

“I’m just happy it's there,” he says.

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

Copyright 2023 The  Associated Press . All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Greg Marcus says you can take your phone out and sing along at 'Taylor Swift: The Eras Tour'

NEW YORK (AP) — Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”

Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when “Taylor Swift: The Eras Tour” debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”

Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic “Stop Making Sense” returned to theaters for a decades-later encore. But “The Eras Tour” heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and , in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like “Dune: Part Two.”

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film , with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But “The Eras Tour” could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere , only much cheaper and in most towns.

“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do.”

Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster’s site , saw sky-high resale mark-ups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour . Adult tickets are being sold for $19.89,” a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.

Both AMC and representatives for Swift declined to discuss the film’s release.

After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.

“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

“It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes “Taylor Swift: The Eras Tour” — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”

“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”

Meanwhile, “Taylor Swift: The Eras Tour” is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s “Justin Bieber: Never Say Never” holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for “The Eras Tour” to catch “Woodstock,” which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

“I’m just happy it's there,” he says.

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'Taylor Swift: The Eras Tour' will be a blockbuster — and might shake up the movie business

by JAKE COYLE AP Film Writer

NEW YORK (AP) — Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”

Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when “Taylor Swift: The Eras Tour” debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”

Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic “Stop Making Sense” returned to theaters for a decades-later encore. But “The Eras Tour” heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and , in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like “Dune: Part Two.”

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But “The Eras Tour” could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.

“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus.

The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do.

Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster’s site, saw sky-high resale mark-ups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89,” a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.

Both AMC and representatives for Swift declined to discuss the film’s release.

After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.

“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

“It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes “Taylor Swift: The Eras Tour” — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”

“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says.

The industry needs it and, frankly, so do consumers.

Meanwhile, “Taylor Swift: The Eras Tour” is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s “Justin Bieber: Never Say Never” holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for “The Eras Tour” to catch “Woodstock,” which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

“I’m just happy it's there,” he says.

'Taylor Swift: The Eras Tour' will be a blockbuster — and might shake up the movie business

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The Keystone Key: Unlocking younger votes

‘Taylor Swift: The Eras Tour' will be a blockbuster movie — and dancing is encouraged at theaters

Movie theaters are readying for an onslaught like they’ve never seen before beginning friday when “taylor swift: the eras tour” debuts, by jake coyle | the associated press • published october 10, 2023.

Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”

📺 24/7 Chicago news stream: Watch NBC 5 free wherever you are

Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when “Taylor Swift: The Eras Tour” debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”

Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic “Stop Making Sense” returned to theaters for a decades-later encore. But “The Eras Tour” heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and , in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like “Dune: Part Two.”

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Feeling out of the loop? We'll catch you up on the Chicago news you need to know. Sign up for the weekly Chicago Catch-Up newsletter .

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But “The Eras Tour” could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.

“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do.”

‘The Exorcist: Believer' now faces its biggest foe: Taylor Swift

Taylor Swift is NOT at Sunday's Kansas City Chiefs game in Minnesota

Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster’s site, saw sky-high resale mark-ups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89,” a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.

Both AMC and representatives for Swift declined to discuss the film’s release.

After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.

“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

“It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes “Taylor Swift: The Eras Tour” — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”

“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”

Meanwhile, “Taylor Swift: The Eras Tour” is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s “Justin Bieber: Never Say Never” holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for “The Eras Tour” to catch “Woodstock,” which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

“I’m just happy it's there,” he says.

This article tagged under:

Review: Dream-pop band Cigarettes After Sex lights up St. Paul arena with ultra-low flair

The ambient Texas trio got bumped up to Xcel Center just two years after it played First Ave.

By Chris Riemenschneider

A concert that might have gone over better in a meditation studio or sleep-study facility — or really anywhere not involving Bud Light and NHL signage — Tuesday’s ultra-mellow performance by Cigarettes After Sex at Xcel Energy Center still went over surprisingly well.

The low-energy, low-lit, low-frills Texas band with one of the highest-pitched male singers in modern rock seemed a very unlikely arena headliner when it played a pleasantly chill First Avenue gig just two years ago. In the interim, the trio’s delicate, slow-building guitar-pop has taken off as soundtrack fodder for arty, romantic TikTok and YouTube videos.

CAS’s viral traction has been strong enough to get it bumped up to the St. Paul sports arena in just over two years despite scant radio play — an overambitious move, it turned out, especially for a school night.

Only about 8,000 fans showed up Tuesday. Most of them were under 25, and many came wearing black attire, just like CAS’s three band members.

The undersized crowd created some problems. Empty seats in the upper level caused drummer Jacob Tomsky’s snare to echo back at fans throughout the 90-minute set. Also, the general-admission pit area in front of the stage was only half-full, leaving a large vacant space between the flat, super-minimalist stage and the rest of the crowd.

Those growing pains aside, the group was able to give its people what they want; including seats. With songs that are almost entirely timid and tender — languid and sluggish even by the standards of other artfully mellow bands such as Beach House or Sigur Rós — Cigarettes After Sex is definitely a live act you want to sit down for, if you can.

Fans who had chairs used them for most of the show, and it wasn’t any kind of sign the group was failing to connect with them. On the contrary, the crowd stayed noticeably tuned-in and zoned-out to the atmospheric melodies starting with the opening song “X’s,” the title track of the trio’s latest album. That was one of only three played off the new record, also including the swooning mid-show highlight “Tejano Blue.”

CAS’s neatly bearded, tight-lipped mastermind, singer/guitarist Greg Gonzalez, proved oddly compelling without any flashy frontman traits typically seen at arena concerts.

The most rock-starry thing about the 41-year-old El Paso native was the leather jacket he wore the entire set. He had no reason to take it off, since he moved so little and played and sang so softly. This guy probably doesn’t even break a sweat on a summer festival stage.

Still, Gonzalez’s softly wavering, high-desert-breeze-like voice showed plenty of personality. He sounded especially transfixing in some of the night’s most romantic and outright sensual tunes, including “Touch” and “Falling in Love” — the latter accompanied by a sea of unsolicited cell-phone lights from the fans.

As the set ever-so-gradually picked up momentum, Gonzalez heard more and more of his Cupid-pointed song lyrics being sung concurrently by the audience. “Cry,” “K.” and the pre-encore finale “Apocalypse” — the latter two from the group’s still-definitive 2017 eponymous album — found some of the loudest accompaniment from fans. Of course, “loud” in this case is a very relative term, but the love in the room felt immensely amped up.

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about the writer

Chris riemenschneider.

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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The Big Gigs: 10 best concerts to see in the Twin Cities this week

Highlights for Sept. 26-Oct. 2 include PJ Harvey, ELO, Cowboy Junkies, Jimmy Webb, Morris Day & the Time, the Family Stone and Rainbow Kitten Surprise.

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Greg LeMond was the first American winner of the Tour de France cycle race. He decided to (31) ……………. a cyclist when he was still at school and began to win a lot of prizes. LeMond missed going to the Moscow Olympics in 1980. Today he regrets having lost the (32) ……………. to win a gold medal. LeMond won his first Tour de France in 1986 and his future seemed to be very (33) ……………. but the next year LeMond had a terrible accident. LeMond wanted to take part in the 1987 Tour de France but his doctors didn't let him leave the hospital. Two years (34) ……………. he started training again. In 1989 he won the Tour de France on the last day of the race, and he was the winner again in 1990. LeMond (35) ……………. cycling in 1994 and opened a sports business with his father. 31 becoming became become becomes 32 possibility chance ability option 33 poor intelligent bright rich 34 later following shortly earlier 35 finished closed started stopped

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'taylor swift: the eras tour' will be a blockbuster — and might shake up the movie business.

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Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming "Shake It Off."

Movie theaters are readying for an onslaught like they've never seen before, beginning Friday when "Taylor Swift: The Eras Tour" debuts. The concert film, compiled from several Swift shows at Southern California's SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

"This is different," says Marcus. "Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere."

Concert films, of course, aren't anything new. Just last month, the Talking Heads classic "Stop Making Sense" returned to theaters for a decades-later encore. But "The Eras Tour" heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and, in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that's led to the postponement of big releases like "Dune: Part Two."

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But "The Eras Tour" could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.

"You could say we're in the movie business, but really we're in the getting-together-with-other-people business," says Marcus. "The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do."

Swift's camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster's site, saw sky-high resale markups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89," a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift's father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn't need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal "a coup for AMC" on social media.

Both AMC and representatives for Swift declined to discuss the film's release.

After a premiere in Los Angeles on Wednesday, there won't be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It's another wrinkle in a nontraditional release that's challenging Hollywood norms.

"Innovation comes out of challenging times in this business. We're seeing a lot of changes, some subtle, some not so subtle," says Paul Dergarabedian, senior media analyst for data firm Comscore. "It seems like, right now, there are no rules when it comes to being successful."

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

"It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

"Innovation had effectively been stunted," says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes "Taylor Swift: The Eras Tour" — as a movie distributed by a theater chain, with nontraditional ticket prices — could "fuel new business models to save the exhibitors."

"There will be more appetite to experiment different models for theatrical distribution," Delrahim says. "The industry needs it and, frankly, so do consumers."

Meanwhile, "Taylor Swift: The Eras Tour" is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011's "Justin Bieber: Never Say Never" holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for "The Eras Tour" to catch "Woodstock," which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus' theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

"I'm just happy it's there," he says.

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'taylor swift: the eras tour' will be a blockbuster — and might shake up the movie business.

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Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.

But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming "Shake It Off."

Movie theaters are readying for an onslaught like they've never seen before, beginning Friday when "Taylor Swift: The Eras Tour" debuts. The concert film, compiled from several Swift shows at Southern California's SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.

Swifties will descend. Dancing will be encouraged.

"This is different," says Marcus. "Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere."

Concert films, of course, aren't anything new. Just last month, the Talking Heads classic "Stop Making Sense" returned to theaters for a decades-later encore. But "The Eras Tour" heralds something new and potentially game-changing in the movie industry.

Two of the biggest stars on the planet — Swift and, in December under a very similar arrangement, Beyoncé — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.

But how did the once declared-for-dead multiplex become the go-to place this fall a pair of stars previously at home on Netflix?

When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that's led to the postponement of big releases like "Dune: Part Two."

Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.

Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But "The Eras Tour" could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.

"You could say we're in the movie business, but really we're in the getting-together-with-other-people business," says Marcus. "The more we do of it, the more the customers will think about it and the more talent will go: This is something I could do."

Swift's camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion, crashed Ticketmaster's site, saw sky-high resale markups and left many fans priced out.

The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89," a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That's higher than the average movie ticket but several thousand less than many tickets to see Swift live.

It's arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift's father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film, herself, and, with 274 million followers on Instagram, didn't need a studio to promote it.

The pop star's apparent relationship with Kansas City Chiefs tight end Travis Kelce has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)

Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion's share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal "a coup for AMC" on social media.

Both AMC and representatives for Swift declined to discuss the film's release.

After a premiere in Los Angeles on Wednesday, there won't be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It's another wrinkle in a nontraditional release that's challenging Hollywood norms.

"Innovation comes out of challenging times in this business. We're seeing a lot of changes, some subtle, some not so subtle," says Paul Dergarabedian, senior media analyst for data firm Comscore. "It seems like, right now, there are no rules when it comes to being successful."

Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.

"It really opens up the idea that other types of content can play really well in a movie theater," he says.

Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.

"Innovation had effectively been stunted," says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.

Delrahim believes "Taylor Swift: The Eras Tour" — as a movie distributed by a theater chain, with nontraditional ticket prices — could "fuel new business models to save the exhibitors."

"There will be more appetite to experiment different models for theatrical distribution," Delrahim says. "The industry needs it and, frankly, so do consumers."

Meanwhile, "Taylor Swift: The Eras Tour" is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011's "Justin Bieber: Never Say Never" holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for "The Eras Tour" to catch "Woodstock," which grossed $50 million in 1970, a total that translates to nearly $400 million today.

In Marcus' theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn't particularly mind.

"I'm just happy it's there," he says.

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We are Sergey and Simon, a Russian and a Frenchman, both  passionate about Moscow, Saint-Petersburg and classic cars. Together, we have created Put-in tours. Our goal is to help you experience Russian culture off the beaten path. Join us onboard our classic Soviet van and let’s get rolling!

In Moscow we offer you a city tour to discover most of the city in an original way as well as a night tour to admire the lights. Our pubcrawl is ideal to explore Moscow’s night-life and have fun. If you are craving to discover Russian culture, come impress your senses during our monastery diner or join our 100% Russian Banya Excursion . The latest will also bring you to Sergiyev Posad and it’s famous monastery!

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We also offer help to receive your visa , safe and multilingual airport transfers , as well as organisation services for team-building events or bachelor parties .

All our excursions (but the monastery diner) happen onboard our Soviet military vans and can be covered by our  professionnal photographer or videographer.

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Continue your discovery in style! The adrenaline lovers will like our shooting tour  which brings 3 Russian weapons to the tip of your trigger finger.

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At Put-in tours, we put you in our classic Soviet vans to go explore Moscow, Saint Petersburg and Russian culture off the beaten path. Discover our Moscow city guided tour, visit Moscow by night, join our banya & Sergiyev Posad excursion, visit and dine in one of Moscow's oldest monastery or even Luzhniki stadium, before you party on our famous pubcrawl! Original and atypical tours : Shoot AK47 and a bazooka after riding on a tank with our tank & bazooka excursion ! Extreme tours: Fly a fighter jet in Moscow onboard a L-29 or L-39 aircraft!

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