The Eternal Sunshine Tour was the fifth concert tour and fourth arena tour by the American singer Ariana Grande, in support of her seventh studio album, Eternal Sunshine (2024), and its 2025 reissue, subtitled Brighter Days Ahead. The tour commenced on June 6, 2026, at Oakland Arena in Oakland, United States, and concluded on September 1 of the same year at the O2 Arena in London, England. It featured 41 shows.
Background and development In March 2024, Ariana Grande released her seventh studio album, Eternal Sunshine. Four months later, during an interview on the Shut Up Evan podcast, she said that she planned a "mini sampling of shows" supporting the album, adding that it would be "a really lovely idea to be able to trickle in some shows" between the releases of Wicked (2024) and Wicked: For Good (2025).
Speculation arose in December on an announcement of a concert tour for the following year; Grande's label, Republic Records, denied the rumors, stating that there were "no plans" for her to tour. During an interview with Variety that month, Grande stated that, although "music and being on stage will always be a part of [her] life", she would not be touring "anytime soon", prioritizing acting for "the next few years".
In July 2025, Grande teased potential shows for 2026 on social media, writing: "I plan to sing for you all next year. Even if its just for a little." At the end of August, Grande teased the tour on social media with a video that referenced her musical short film Brighter Days Ahead (2025). Live Nation Entertainment announced the tour a day later. The tour also incorporated songs from the album's 2025 reissue, also subtitled Brighter Days Ahead, as well as tracks from her sixth and eighth albums, Positions (2020) and Petal (2026); songs from Petal were gradually added to the setlist in the shows held following that album's release on July 31, 2026.
In November 2025, Grande confirmed that the tour would be "one last hurrah... for now", as she intends to take an indefinite hiatus from the music industry to focus on acting and theatre.
Production Grande and her long-time collaborator, Christian Breslauer, directed the tour, which features references to The Wizard of Oz (1939) and continues the narrative established in Brighter Days Ahead. The staging of the tour further alludes to Brighter Days Ahead by including the house featured in the film.
Fashion and styling On May 14, 2026, Law Roach revealed during an interview with The Hollywood Reporter that he would be styling the outfits for the tour. He previously styled the outfits for the Dangerous Woman Tour (2017) and the Sweetener World Tour (2019). Six custom costumes were designed for the concert by designers Givenchy by Sarah Burton, Christian Louboutin, Alexander McQueen, and Vivienne Westwood, among others. Following the tour's opening night, Roach spoke to Vogue and explained that the designs were selected based on Grande's decision regarding the set list. He described everything as "scores for a movie", emphasizing that they wanted the clothing to reflect that concept.
Concert synopsis
Each concert runs for around two hours and is divided into five acts. The stage design is centered around a destroyed house, seen throughout the promotional visuals for Eternal Sunshine, which becomes overgrown with flowers as the concert progresses. Multiple screens onstage also broadcast video interludes in between acts. These interludes continue the narrative established by the Brighter Days Ahead short film, in which Grande plays Peaches, a character who wants to erase her memories due to a traumatic past. The set list consists mostly of tracks from Eternal Sunshine and Brighter Days Ahead, as well as two to three songs from Grande's previous studio albums, excluding Sweetener (2018), and one from her eighth album, Petal.
The concert opens with a video intro that shows Peaches in her home as she brushes her teeth. Water begins to flood her surroundings, forcing her to flee. Upon leaving the house, she sees a vision of her past self midway through a memory-erasing procedure in the Brighter Days Clinic. The video ends, and Grande appears onstage in a lacy black dress to perform "Yes, And?", "Positions", and "Dandelion". For the latter two songs, large flames are projected on the runway screen and the screen behind the house backdrop. Police sirens blare from the speakers to introduce the first act's final song, "The Boy Is Mine". During the performance, Grande, now wearing a Catwoman-inspired cat mask, thrashes a whip and does a seductive dance with one of the backup dancers.
The next act's interlude features Peaches falling down a deep, dark hole. As she does, several hands revealed to be Grande's reach out to her. After "Saturn Returns Interlude" plays over the speakers and the visual ends, Grande enters from the B-stage in a pale pink gown and a hair bun. She then asks the crowd for a moment of silence. Using an onstage looping station, she constructs a vocal loop in real time to recreate the intro of "Eternal Sunshine". Once she is done layering and harmonizing her vocals, she transitions to a full performance of the song. Grande follows it up with "Just Like Magic", "Thank U, Next" and "7 Rings"; the A-stage and house backdrop are lit in a hot pink color during the latter two. Grande performs "Thank U, Next" seated on a couch by the backdrop, struts down the catwalk for "7 Rings", and tosses her hair after a backup dancer undoes her bun into a long ponytail. Jem Aswad of Variety interpreted the lattermost move as a nod to the hair toss scene in Wicked.
For the interlude preceding the third act, an unconscious Peaches is woken up by her younger self on a flowery grassland. The two then sit on a swing set and get acquainted; the young girl asks Peaches if she "comes here often" and Peaches replies, "No, actually." After the interlude, the house is revealed to be overgrown with greenery, and Grande appears in its upstairs bedroom for "Imperfect for You". She follows the song with "Warm", "Safety Net", "One Last Time", and "Rain on Me". To conclude the third act, Grande performs "Break Free"; as she does, the stage lights flash the colors of the rainbow.
The fourth act's interlude sees Peaches and her younger self watching The Wizard of Oz. The two walk down the flooded halls of the Brighter Days Clinic, witnessing three past versions of Grande having their memories erased. One of them wears the outfit for One Love Manchester, the benefit concert Grande organized following a terrorist attack that killed 22 people during a Manchester show for the Dangerous Woman Tour in 2017. Younger Peaches goes into one of the rooms and closes the door. Grande goes on stage for "Twilight Zone", improvises various high notes for "Past Life" and "Dangerous Woman", performs a jazz-inspired version of "Honeymoon Avenue", and closes the fourth act with "Hampstead" while seated on a stool at the end of the catwalk. After she leaves the stage, two dancers appear and perform a ballet routine set to the "Hampstead" instrumental.
In the fifth act's interlude, Peaches rushes to the version of herself prior to the memory wipe to stop the procedure. Her first attempts at getting the computer to cancel it fail; left with no other choice, she smashes the computer and ends the procedure for good. The screen then broadcasts footage of Grande backstage preparing her final act costume, styled by Law Roach. Smoke emanates from the stage once she enters the stage with her dancers for "Into You", after which the dancers leave. Grande performs "Hate That I Made You Love Me", ending the main concert.
For the encore, Grande returns to the main stage to perform "We Can't Be Friends (Wait for Your Love)" as pink clouds are displayed on the stage screens. She closes the show with "Supernatural", heading towards the B-stage with her backup dancers as the song progresses. She is gradually lifted by a harness up the stage towards a UFO-like structure as a beam of light shines towards her, recalling an alien abduction scene from the Brighter Days Ahead film. The final interlude depicts Peaches, who has reconciled with her past and present, sitting alongside her younger and older selves. "Ordinary Things" plays during the end credits.
Critical reception
The tour received overwhelmingly positive reviews from music critics, who praised the show's cinematic staging, exceptional showmanship, storytelling, and Grande's powerhouse vocals. Billboard Lyndsey Havens described Grande's opening night as "more special than ever". Havens further praised the concert's storytelling and Grande's humor as one of the best moments of the night. In a review for USA Today, Melissa Ruggieri described the concert's production as "lavish" and felt the tour was a "well-earned victory lap" and a "welcome homecoming" for Grande. Larisha Paul of Rolling Stone liked Grande's choice to craft a "pointed" set list, which they felt created "an essential conversation between herself and her fans". Mikael Wood from the Los Angeles Times commended Grande's high vocal register and Broadway-influenced belting, her ability to create unusual, visually memorable moments, and the intimacy and emotional quality of the performances. Variety Chris Willman highlighted Grande's captivating return to the stage, blending emotional depth and connection with her fans. Vogue writer Christian Allaire emphasized the show's cinematic, era-spanning production, and custom wardrobe. In a review for Boston.com, Samantha Genzer praised Grande's live vocal looping and precision as "a standout moment". She also noted that "her voice remained remarkably consistent" while frequently extending tracks past their original runtimes.
Numerous critics gave the Eternal Sunshine Tour total five-out-of-five star ratings. Paula Mejía of The Guardian wrote that Grande's "first tour in seven years brought the house down with emotive ballads and clubby bangers delivered with saucy wit". The Daily Telegraph writer Eleanor Halls noted that "Grande displays courage in a performance that takes you on a cosmic journey through her psychological universe". Nick Levine of NME praised the show as "brilliant business-as-usual" and hailed Grande's abilities as both "a performer and pop conceptualist". The Times Yasmin Choudhury called the show "dazzling", highlighting Grande's status as one of pop's most formidable vocalists through "two relentless hours of impossible highs". Danni Scott from Metro described the show "cool, collected and surprisingly vulnerable", while pointing out the "emotional cracks in [Grande's] popstar armour". Callum Wells from Attitude wrote that "Seven years is a long time to stay away from a live stage, but it was easy to see why the wait had been worth it". Gennaro Costanzo, writing for Schön!, lauded Grande's performance for its emotional depth and refusal to be defined by a single era. Mark Savage from BBC gave the show widespread critical acclaim, highlighting the conceptual narrative on memory and fame and calling the show a "powerhouse pop spectacle". He also praised Grande's extraordinary vocal rage, describing her riffs as "so tremendously colossal they should be registered as the eighth wonder of the world". Clashs Sabrina Soormally wrote that Grande is "[c]ementing her place as a generational pop voice".
Commercial performance