Wyomissing native Taylor Swift will return to Philadelphia in 2018 on her "Reputation" stadium tour, the singer announced Monday.
Swift is set to play Lincoln Financial Field on July 14. The tour begins May 8 in Arizona in support of Swift's recently released sixth studio album, Reputation.
The Philadelphia stop will be Swift's first since her 1989 world tour in 2015. It will be her fifth time playing the Linc. She performed there twice each in 2011 and 2015.
Inquirer music critic Dan DeLuca said about the 2015 show:
The 1989 tour includes all the apparently necessary elements of a stadium tour. There were fireworks, and a runway that extended to the 50-yard line and rose high into the air to give faraway fans a better look.
And by my count — and that of the delighted young fans next to me, there were 10 costume changes, with a succession of black, white, and red dresses, short shorts and purple skirts, thigh-high boots and bodysuits, including a Joan Jettish leather outfit for the aggressive new single "Bad Blood." That number was one of the few that felt over-choreographed and stilted during the generous, spirited, leisurely paced show. Swift swiftly recovered with the following song, a rocked-out recasting of her 2012 hit "We Are Never Ever Getting Back Together."
Ticket sales begin Dec. 13 via Ticketmaster. A presale runs Dec. 5-8, and fans can register with Ticketmaster through Nov. 28 to get early access to tickets.
Reputation, released last week, is Swift's first studio album since 1989 hit stores in 2014. That album took home the album of the year Grammy in 2016, bringing the singer's Grammy Award total to 10.
DeLuca liked Reputation, saying that, despite prerelease press that it heralded an all-new Taylor, Swift had not abandoned what made her Swifities so loyal in the first place. He wrote:
But what was really worrisome about Swift's reentry with "Look What You Made Me Do" isn't just her fixation with [Kanye] West and the damage to her reputation. It's that musically, she seems so proud to have thrown herself wholly into a style of assembly line machine-made pop that obscures the gifts for melody and songcraft that turned her into a country, and then pop, superstar in the first place. Look what you made her do, indeed.
So does that sad story dominate