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Gracie Abrams Thanks Swifties After Final Toronto Eras Tour Shows With Taylor Swift: ‘So Loud and So Generous and So Kind’

The singer has been the opening act on the final group of North American Eras gigs, which will officially end with a Dec. 6-8 run in Vancouver.

Gracie Abrams performs onstage during "Taylor Swift | The Eras Tour" at Rogers Centre on November 14, 2024 in Toronto, Ontario.

Gracie Abrams performs onstage during "Taylor Swift | The Eras Tour" at Rogers Centre on November 14, 2024 in Toronto, Ontario.

Emma McIntyre/TAS24/Getty Images for TAS Rights Management

Gracie Abrams has had the adventure of a lifetime opening for Taylor Swift on the singer’s Eras Tour over the past year. But with the end of the global outing just two weeks away, Abrams took some time on Sunday (Nov. 24) to reflect on the latest chapter in her wild ride.

“Torontoooooo ❤️💔 I will never ever forget those six shows. You were so loud and so generous and so kind,” Abrams wrote alongside a series of snaps from the six-show run at the Rogers Centre in Toronto that kicked off on Nov. 14 and wound down on Saturday (Nov. 23). “Thank you for hanging out with us while we waited for @taylorswift who brought me to tears every single night the past two weekends……Cassandra x mad woman x I did something bad forever good night.” The latter was a reference to the rapturously received mash-up Swift performed during night five in Toronto, which included the only The Tortured Poets Department: The Anthology song (“Cassandra”) that Swift had not performed yet live.


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The pictures in the roll included Abrams waving to the crowd from stage and singing a duet with Swift on a surprise mash-up of Taylor’s 1989 tune “Out of the Woods” and their joint track “Us” from Abrams’ The Secret of Us album during the Nov. 16 show. Elsewhere in the roll, Abrams posed in front of a mural of a maple leaf and hugged Swift on stage amid other shots from the Toronto shows.

Abrams has spent the past year, on-an-off, on the road with Swift on the history-making tour. She first took the stage in Arlington, TX in March 2023 at the beginning of the outing alongside Beabadoobee and Gracie, then jumped on shows throughout the first run of North American dates through an August 8 show at SoFi Stadium in Los Angeles. She hopped back into the mix last month when Swift returned from Europe for a trio of gigs at Hard Rock Stadium in Miami, followed by shows in New Orleans and Indianapolis in the run-up to the final Canadian concerts.

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This article first appeared on Billboard U.S.

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Shhenseea, MOLIY, Skillibeng and Silent Addy
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Shhenseea, MOLIY, Skillibeng and Silent Addy

Awards

Here’s Why ‘Shake It to the Max’ Was Deemed Ineligible at the 2026 Grammys — And Why Its Label Calls the Decision ‘Devoid of Any Common Sense’

Representatives from the Recording Academy and gamma. CEO Larry Jackson comment on one of this year's most shocking Grammy snubs.

Few phrases define the year in music and culture like Moliy’s scintillating directive to “shake it to the max.” The Ghanaian singer’s sultry voice reverberated across the globe, blending her own Afropop inclinations with Jamaican dancehall-informed production, courtesy of Miami-based duo Silent Addy and Disco Neil. Originally released in December 2024, Moliy’s breakthrough global crossover hit ascended to world domination, peaking at No. 6 on the Global 200, thanks to a remix featuring dancehall superstars Shenseea and Skillibeng. Simply put, “Max” soundtracked a seismic moment in African and Caribbean music in 2025.

Given its blockbuster success, “Shake It to the Max” was widely expected to be a frontrunner in several categories at the 2026 Grammys. In fact, had the song earned a nomination for either best African music performance or best global music performance, many forecasters anticipated a victory. So, when “Shake It to the Max” failed to appear on the final list of 2026 Grammy nominees in any category earlier this month (Nov. 7), listeners across the world were left scratching their heads — none more than gamma. CEO Larry Jackson.

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