The Secret of Success: Gracie Abrams tour report

The first time Gracie Abrams stepped on the Eras Tour stage, she was a rising artist. By the time she took her final bow, she was an undeniable star.

In 2016, Abrams posted a faux album cover with the caption “only for a school project but a girl can dream, right.” If you can dream it, Abrams proves you can do it.

Less than a decade later, her sophomore album, The Secret of Us, would rocket up the global charts, with hits like Close To You and That’s So True going viral across various platforms, including the one she made that wish on.

The whirlwind, worldwide demand that followed her chart-topping LP has been nothing short of remarkable. What started as a theatre-level jaunt has swiftly upgraded to arenas across Europe, Australia, and a second North American leg as Abrams rides an unstoppable trajectory into major venues and fans’ hearts around the world.

With The Secret of Us Tour’s global trek, Abrams’ intimate-yet-grand performances and stellar songwriting have solidified her place as a voice for the next generation.

Felt Good About You
Abrams first broke onto the music scene by posting herself singing online. Covers quickly turned into two EPs, and she started her performance career by hosting cosy online “bedroom shows” from her Los Angeles home.

“Performing in stadiums on Taylor Swift’s Eras Tour undoubtedly exposed her to an even wider audience”

After a run playing grassroots gigs across her native US, and two 320-capacity shows at London’s Omeara, she completed her first international outing in 2022 with the This Is What It Feels Like Tour in support of her second EP. With a sold-out small theatre tour and a stint opening for Olivia Rodrigo under her belt, Abrams released her debut album, Good Riddance, in 2023 and announced a headline run in support.

“Something was really happening at this point,” says agent Andy Cook of CAA, who has worked with the artist since 2019.

In 2023, Abrams found herself doing double duty, headlining shows across North American, European, and UK theatres while pivoting to open for Taylor Swift on what would become the highest-grossing tour of all time.

“Gracie has spent years building a loyal fanbase, but performing in stadiums on Taylor Swift’s Eras Tour undoubtedly exposed her to an even wider audience,” says Lesley Olenik, Live Nation’s SVP of touring.

Tour manager Mackenzie Dunster, who’s been on tour with Abrams since her first in 2021, says she witnessed the profound impact the experience had on the performer she has evolved into.

“Not only did she get a masterclass education from witnessing Taylor and the Eras team operate, but she also got the opportunity to understand how her own performance played in rooms those sizes. She took stock of how different it is to play to large vast crowds. She paid attention to what fans responded to, how to flow and fill the space on a big stage, and what moments musically felt more impactful,” she says.

“We decided that Gracie had enough going on to justify pushing into arenas in most markets”

Abrams then hit Australia in January 2024, where she sold out her biggest venues to date and broke merchandise records in venues across the country, according to Cook. Demand has only ballooned from there.

The Secret of Us dropped in June 2024 to widespread fervour and acclaim, landing on top of the charts in the UK, the Netherlands, Canada, and Australia. She scored her first No. 1 hit with That’s So True off the album, due in part to its virality online.

After the first leg of this support tour, Abrams returned as the final opener of The Eras Tour, even taking to the stage in Toronto to perform alongside Swift for their collaboration, us.

Let It Happen
After sales for the initial North American stint of The Secret of Us Tour blew up, Abrams’ team decided it was time to take things up a notch internationally.

“We decided that Gracie had enough going on to justify pushing into arenas in most markets. Knowing how strong the US sales were helped when making that decision,” explains Cook.

“Most markets went straight into arenas in Europe on this tour, but not all. There were a couple of markets that Gracie had never been to before, where we had to be a bit more conservative to begin with. But ultimately, we ended up upgrading those and moving into full-size arenas, and they all sold out very comfortably.”

“To say we underplayed Paris is a big statement, but we could have sold a few thousand more”

After rehearsals for the European leg at Madrid’s Fluge Audiovisuales, the touring team readied for 19 shows in 32 days across February and March, with major stints featuring two stops in Madrid, four across Germany, and six in the UK.

Abrams’ history in Paris is a strong example of how meteoric her rise has been, from selling out the 900-capacity Trabendo in May 2022 to shifting 14,000 tickets for an Accor Arena show less than three years later.

“To say we underplayed Paris is a big statement, but we could have sold a few thousand more,” says Live Nation France promoter Armel Campagna. He’s worked with Abrams throughout all her shows in the region and marvels at her rapid development from a budding pop artist to a poised performer.

Following her arena-headlining stint across Europe – where she sold more than 200,000 tickets across the run – Abrams is heading to Asia for the first time. The leg spans seven shows in seven countries, beginning in Singapore’s Star Theatre (5,000) and finishing 16 days later at Bangkok’s UOB Live (6,000).

A massive expedition across Australia and New Zealand follows. She’ll perform multi-night runs in Sydney, Brisbane, Melbourne, and Perth, with one-off shows in Auckland and Adelaide also in high demand. Her promoters in the region, Frontier Touring’s Louis Schlaghecke and Susan Heymann, have experienced seismic demand for the singer.

“We’re currently tracking to 150,000 sales on this run, with all shows sold out. It’s a fantastic escalation from Gracie’s last sold-out run here in 2024, where she sold around 22,000 tickets,” says Schlaghecke.
And Australia was where Abrams levelled up in venue sizes on the previous run. Is Down Under the biggest market for Abrams outside of her native US? “It did feel that fans here were early adopters of Gracie, but it’s fantastic to see the rest of the world is quickly getting on board and recognising just how talented she is,” says Heymann.

“She’s got the young audience and the young followers, and she’s a great songwriter from the young generation”

Abrams will spend the summer back in Europe on the festival circuit, performing at the likes of Glastonbury, Rock Werchter, Mad Cool, and Lollapalooza Berlin. Her run includes a performance at the LN-backed, 40,000-capacity Main Square Festival in Arras, France, which Campagna praised as a commitment to building new audiences.

“More and more artists tend to skip festivals to prioritise the headline business. [But] for the long-term vision, it is strategic to not forget to play for people who don’t know all your songs by heart,” he says.

Where Abrams goes, hair bows follow, with a core fanbase composed of young girls that are known for wearing butter-yellow-accented ensembles and bows in their hair. But all signs point to a rapidly expanding audience as she capitalises on mainstream success.

She’ll also play in Poland for the first time during the 75,000-capacity Open’er Festival in Gdynia to reach untapped audiences in new markets.

“She’s got the young audience and the young followers, and she’s a great songwriter from the young generation. There will be quite a mixed audience at our festival, and we are building the audience with people who are trying to experience something new,” says festival organiser Mikołaj Ziółkowski.

“We got to the end of the year, and the production literally doubled in size as ticket and venue sizes stepped up”

Right Now
With a step up in fanbases and venues came room for a sized-up production.

“We’d originally planned for a tour half of this size in terms of production. We got to the end of the year, and the production literally doubled in size as ticket and venue sizes stepped up,” says Stuart McPherson of transport firm KB Event.

For the European leg, the production gets compressed into ten trucks, alongside one merchandise truck, which McPherson describes as “quite compact.”

The stage design, brought to life by tour creative director Michael Brown, is straightforward – a singular riser in front of a semi-transparent video screen, a prom-esque shimmering backdrop, and accenting lights reminiscent of a theatre marquee. There are no interludes, no dancers, and no costume changes, with Abrams’ songwriting and authentic performance commanding the audience’s unwavering attention.

“The set design asked for an industrial look to the risers, so the support framing was not dressed to create that effect and to shine light through,” says Guy Forrester of All Access. The staging firm provided the main stage riser and rising B-stage platform, the latter of which is new to the European leg.

A stripped-back set puts Abrams and her four-member band centre stage, which is primarily where she performs throughout the show. She’ll kick off her shoes, gallivant across the stage’s tiers, and kneel to audience level as she runs through her discography.

“Gracie wanted to acknowledge her early days and invite the crowd into that space where it all began for her”

In the middle of the show, Abrams leaves the main stage to reveal a standalone keyboard nestled in a replica set of her childhood bedroom, lifted on hydraulic scissor lifts above the surrounding audience. An intimate setting in a vast arena – and symbolic of her Covid-era bedroom livestreams – the set is a reflection of the stretched hand she extends to her fans, both through her songs and the interactive conversations in between.

“Gracie wanted to acknowledge her early days and invite the crowd into that space where it all began for her,” says production manager Mike ‘Mac’ McAree, adding that Brown searched for exact replicants of her room’s furnishings to recreate the space.

The streamlined production features complementary video backings – like that of cloudy skies, sparkling projections of Abrams, or peaceful lakes – and multi-hued lighting, key in transforming the set for each song. McAree highlighted the production’s use of an automated, unmanned follow-spot system zactrack as a unique show element.

“It follows Gracie’s movement across the stage and moves the spotlights accordingly. The lighting team calibrates two small tracking devices, and we place them in Gracie’s wardrobe before the show.

“When she walks the stage, the spotlights follow her around. It’s a really impressive production tool and super cost-effective,” he explains.

Organisation and efficiency were pivotal to the success of the tour, with the main challenge coming from scaling the production up. Yet, “everyone across all departments has risen to the challenge exceptionally well,” McAree says.

“The joy we all have working for her is 100% a reflection of how she leads and runs her business”

Us.
The secret to success, despite the challenges? Teamwork and collaboration, as underscored by her agents, promoters, suppliers, and teams alike.

Abrams has worked with LA-based production firm The Beehive, of which PM McAree and TM Dunster are a part, for all of her tours. The Beehive’s founder Vinnie Ferra has worked with Abrams since 2020, helping conduct her virtual shows.

“From the early days, she would even touch the lighting console to spin the wheel to pick the colours she liked, [and now sends us] thorough examples [of] what she’s looking for.” He continues, “Gracie cares so much about her team and crew. The joy we all have working for her is 100% a reflection of how she leads and runs her business.”

Dunster adds to that: “When you work with good people, challenges just don’t feel as challenging.”
Abrams has four CAA agents behind her: Carole Kinzel and Shirin Nury for North America and Cook and Emma Banks for the rest of the world.

“It feels like we’re just getting started – Gracie is going to go on to even bigger and better things. It’s really exciting to be part of. She has a fantastic team, and there’s a very open line of communication between everyone,” Cook says.

“This touring team is nothing short of incredible”

Relationships with her promoters and suppliers were established early on and span across her tours. Live Nation France’s Campagna speaks highly of her evolvement, bolstered by the people around her.

“At the end of the show, there are crew credits, and you see every single person working, with their faces and smiley pictures. That just shows how that camp is doing things, and that is absolutely part of our success. She feels confident and well-surrounded,” he says.

Gracie’s manager, Alex DePersia, knows this to be true: “This touring team is nothing short of incredible,” she says. “It’s strategic, supportive, and kind. I love that we have so many day-oners, but those who have joined along the way have folded so easily into the family unit. This team has helped make touring such a beautiful experience for Gracie, and I’m so grateful to them,” she adds.

I Knew It, I Know You
With a handful of viral soundbites in her repertoire, Abrams is translating that digital success into genuine connections during her live performances. No matter the venue size, her collaborators speak positively about her ability to connect with fans offline as well as on.

“One thing that very quickly becomes apparent working with Gracie and her team is that there is a lot of thought and effort that goes into creating a positive and inclusive environment for her fans,” says Live Nation UK promoter Anna-Sophie Mertens, who is facilitating Abrams’ six-show charge through the market that “sold out with ease.”

“She dug in and did every capacity room and moved up step by step”

During her London show at the 20,000-cap O2, she referenced her humble beginnings with two shows at Omeara in ‘21, expressing gratitude to the fans who’ve supported her along the way.

“But now instead of 200 people screaming every word, it’s upwards of 18,000, which is so cool to witness,” Dunster says.

“She dug in and did every capacity room and moved up step by step. She also cares so deeply about giving fans the best experience possible and staying as connected to them as possible that she has been relentless in doing the work necessary to ensure that.”

Audiences interact directly with Abrams during shows, as she breaks up the stream of songs by responding to questions or accepting artwork from adoring fans. She’s handing out guitar picks early on and enthusiastically saying “I love you!” to the crowd before 20 minutes have rolled by.

“Gracie is very personable and will make everyone in the room feel comfortable and seen, and you can see the special bond her fans have with her because of this energy,” Mertens says.

“Gracie has connected with her audience in many ways, and I think that has been key for the demand she has generated across the world”

Virality may have a hand in her worldwide stardom, but her performances show there’s more behind the magic than an earworm.

“There usually needs to be more than just a song or two going viral for an artist to be able to sell tickets… Gracie has connected with her audience in many ways, and I think that has been key for the demand she has generated across the world,” says Ricardo Gómez, promoter at OCESA.

The Latin American promoter will bring Abrams to Mexico City for the first time to close out the ‘deluxe’ tour in August, with her two shows at Pepsi Center WTC selling 16,000 tickets. Gómez commends the team’s communication throughout the process of bringing Abrams to Mexico for the first time. “Everyone was aligned, and we all had the same goal in mind, and I think the results speak for themselves.”

Risk
The road to stardom has not been without difficulties. Abrams postponed two shows on the North American leg due to a vocal injury and was forced to reschedule three dates (in Brussels, Nottingham, and Leeds) on the European jaunt because of an unspecified illness.

For an artist with extremely limited time away from the stage – “We’ve toured non-stop since the first day she set foot on stage,” Dunster says – time for rest is seemingly few and far between. Her camp praises her dedication to the craft, signalling that putting in the hours is how Abrams likes to operate.

“She is one of the hardest working artists that I’ve ever come across. The demands on her time are insane, but she’s not just an incredibly hard-working artist, she does everything with such class. She’s a real force of nature,” Cook says.

“The tour’s success is a true reflection of her talent and authenticity as an artist, but the biggest driver is her deep connection with fans”

Despite her schedule being packed to the brim, Abrams quickly rescheduled the Nottingham and Leeds shows to follow the original UK/EU tour closer in Dublin, with Brussels expected to follow.

She’ll spend the vast majority of this year on the road, with the ‘deluxe’ leg bringing her back to North America from July to August after her festival slots over the summer. Two sold-out shows at Madison Square Garden (19,500) await Abrams in NYC, a true achievement for the 25-year-old singer who first hit the road less than five years ago.

Where Do We Go Now?
It’s pretty clear that the only way is up for Gracie Abrams. Supported by a powerhouse team in all departments, her knack for sincere performances and personable connections with fans will likely propel her to even bigger stages.

“The tour’s success is a true reflection of her talent and authenticity as an artist, but the biggest driver is her deep connection with fans – when you’re in the venue, every single fan is belting [out] her lyrics, crying, and most of all, connecting with the community around them,” Olenik says.

This tour will take her to Asia for the first time, but South American fans will have to wait a bit longer for Abrams’ debut in the continent – “It’s impossible to fit everything in one tour, but she’s set for a long touring career ahead and will continue to hit new cities in the future,” Olenik adds.

Mertens echoes this sentiment: “Demand certainly exceeded inventory, which shows you how much of a fanbase Gracie has built in only a few years – we’re confident that she will build on this success with even bigger and better things to come.”

On the road from online streams to the headlining shows of her dreams, Abrams has grown into a spectacular star in quite a short period. She’s learned from the best of the best, as her collaboration with Swift and experiences on Eras stages have been a formidable part of her journey to the top of the bill.

Nobody can say for sure what the future holds for the singer-songwriter, but what is sure is that Gracie Abrams wants to be close to her fans – both online and on stages across the globe.

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