The Lifetimes Tour
The Lifetimes Tour was the fifth concert tour by the American singer Katy Perry, in supporting of her seventh studio album, 143. The tour commenced at Mexico City's Arena CDMX on April 23, 2025, and concluded at Abu Dhabi's Etihad Park on December 7. Perry visited North America, South America, Asia, Europe, and Oceania. The tour consisted of 91 shows, and it's supporting acts included musicians such as Cheat Codes, Becky Hill, and Rebecca Black, among others. It was Perry's first concert tour since Witness: The Tour. The Lifetimes Tour grossed more than $134 million and sold 1.05 million tickets.
Development
Tour announcements
On September 25, 2024, Perry announced live on the Australian breakfast show program Sunrise that she would embark on the Lifetimes Tour, and released the dates for the first five shows in Australia. The ticket pre-sale and general sale were announced simultaneously. In April 2025, during her flight into space aboard Blue Origin NS-31, Perry revealed the set list of the tour on a butterfly-shaped piece of paper.Shows
Following the announcement of the tour, additional shows in Sydney, Brisbane and Adelaide were announced, due to high demand, with the initial two shows in Adelaide being sold out within an hour. On October 3, 2024, Perry added one more show each in Melbourne, Perth, and Adelaide.On November 11, Perry revealed the tour would visit South America with shows in Santiago, Chile, Buenos Aires, and Argentina taking place the following September. Two days later, shows in Brazil and Mexico were announced, with four total additional shows distributed between Mexico City, Monterrey and Guadalajara being added after the first dates sold out. Shows in the United Kingdom were announced on November 17, 2024, with one pound per ticket sold being donated to the Music Venue Trust. On November 21, 2024, Perry added a second show in London. That same month, concerts in Canada were announced, and an additional concert in Buenos Aires was added, due to demand.
On December 9, 2024, Perry announced eight European dates for the tour, ultimately with two extra concerts added in Paris due to demand. On December 16, 2024, Perry announced a Bologna, Italy, date, followed by the announcement of a Munich, Germany date on January 22, 2025, and a Lyon, France date on January 29, 2025. On January 27, 2025, concerts in the United States were announced, as well as a secondary date in Toronto, Canada. On February 6, 2025, Perry announced a Belfast, Northern Ireland, date,with a second Belfast show announced on February 14, 2025. On February 19, 2025, Perry announced a Hanover, Germany, date. The following day, dates labeled as the "final" Australian concerts were announced. On February 24, 2025, Perry announced Spain dates for the tour.
Additionally, two concerts in Hangzhou, China, were announced on April 23, 2025. Three additional concerts in Asia were revealed by AEG Presents. On May 30, 2025, Perry announced two additional Brazil dates scheduled to take place in Curitiba and Brasília respectively on September 16 and 19 that year. A third Shanghai show and a second Saitama date were announced on July 16, 2025. The following day, a concert in Haikou, China, was announced.
Supporting acts
On March 9, 2025, it was announced Rebecca Black would serve as a supporting act for the tour. On April 23, 2025, Perry announced that Mexican DJ Mariana BO and Mexican band Midnight Generation will serve as the opening acts for the Mexican dates of the tour. In June 2025, Australian electronic dance music DJ duo Kinder were announced as the opening act for the Australian leg, followed in July by the announcement that American electronic music DJ and production trio Cheat Codes would be a supporting act on select dates in North America. On September 26, 2025, Perry announced opening acts for the UK and Europe legs, including Goldie Boutilier, Au/Ra and Becky Hill.Concert synopsis
The concert is set within a video game world, following Perry, a half-human, half-machine, in a battle against the artificial intelligence known as Mainframe. A narrated prologue reveals that the Mainframe has stolen the world's butterflies and that dogs are siding with cats over humans. During the show, she flies on wires, engages in a lightsaber battle and rides a metallic creature. The concert also features a "choose-your-own-adventure" segment, where fans can scan a QR code and vote on a song they want her to perform. Perry has described the show as a "sci-fi, hopeful video game" with "intense choreography", and likened it to a "travelling disneyland".Production
The tour's stage features 31 atypically positioned individual surfaces that make up the main LED screen, which show "animated videos of Perry's mission to free butterflies in order restore what was lost on her planet as a half human, half machine." There is an infinity-symbol shaped runway which takes up a large portion of the arena bowl, which is surrounded by dynamic lights that light up Perry and her dancers. The show's props include a "massive flying butterfly," and a 10-foot orb which "breaks apart and comes back together, holding Katy and ten dancers inside." There are also acrobats who perform on "hand-rolled metal flowers," and a lit-up saber pole which Perry uses to "fight off the warriors."Critical reception
North America
Commenting on the tour's opening night in Mexico City, Jo Vito of Consequence called the singer's choreography "unimpressive" and "middle-school-musical level." Vito said that Perry's presentation fell flat in comparison to then-recent concerts of other artists such as Lady Gaga and Taylor Swift. Vulture Jason P. Frank noted that the show's concept of Perry fighting an evil AI makes allegations of her using AI "ironic." Local critics had warmer reception to the opening night in Mexico, with Juan Garza of ABC calling the visuals and technical presentation "impressive," while Nancy Chávez from Mexican digital news outlet, SinEmbargo, noted that "Katy Perry captivated Mexican audiences with her magic during her first night of her world tour."Reviewing Perry's concert in Chicago, Selena Fragassi of the Chicago Sun-Times felt The Lifetimes Tour "suffers from much of the same issue" as the promoted 143 album, "where extravagance continues to supersede significance." She unfavorably compared the show to other 2020s pop performances, and criticized it for its "dissociated vibe" and "cringe-y" moments. In a review for The Boston Globe, Victoria Wasylak called the concert great for families and praised Perry's vocals but felt the show was cheap as opposed to camp. She also did not like how much of the set list contained material from 143 while past songs that fans loved were cut short. Ross Raihala of St. Paul Pioneer Press called the show a "garish spectacle," saying the expensive production looked "cheap and chintzy." He suggested that the concert was underpinned by a sense of desperation, particularly evident in Perry's attempt to weave new, less successful material—tracks from 143—between her established hits. However, he felt that Perry's vocal performance remained strong throughout and that she made full use of her massive stage setup.
Minnesota Star Tribune Chris Riemenschneider described the stage production as "hopelessly bloated and disjointed," and called the "lightsaber duel with some metal-armored aliens and low-rent-looking sandworms during 'E.T.'" as the concert's "most head-scratching" part. He however opined the tour "isn't as awful as the internet makes it out to be," as Perry's concerts had always been "goofy," and felt the singer's interactions with the audience were "sweet." Dallas Observer Carly May Gravely recounted the show as "wildly entertaining, yet weird and unserious," reflecting Perry's own persona. She noted that the audience consisted largely of children under 12 and argued that criticism from detractors stemmed from a misunderstanding of the show's intended demographic. Gravely emphasized that Perry clearly understands and embraces her young audience, with each element of the performance designed to captivate them.
Oceania
Reviewing tour's stop in Melbourne, Denise Barnes of Rolling Stone Australia gave the concert three and a half out of five stars, saying it was "far from perfect, but was it a fun, feel-good night with a generational superstar still giving it her all." Karl Quinn of The Sydney Morning Herald gave the opening night in Melbourne four stars, describing the show as "spectacular" and "surprisingly intimate", and Perry as "for the most part, well." Quinn noted the importance of the "wall of screens" backdrop being "integral to the narrative" as it is where "the framing story unfolds." Writing for Mamamia, Bree Player gave the opening night in Sydney a positive review, describing it as "high-concept and high-effort" while praising the tour's visuals and Perry's costumes. In a review of the opening night in Brisbane, Georgia Clelland of The Courier-Mail noted the tour's unfavourable response from commentators, but described the show as a "high-octane, theatrical spectacle" that "silenced early critics," and left her "genuinely wowed." In a review of the opening concert in Adelaide, Patrick McDonald from The Advertiser described the show as an "epic spectacle" where Perry brought the "wow factor," and praised the "impressive" set.Europe
In a review of the tour's stop at the OVO Hydro in Glasgow, Claire Biddles of The Guardian gave the show three out of five stars, commenting that the tour is "not the disaster that some have reported," but that it " from Perry not allowing herself to have as much fun as her audience are having." Biddles described the tour's visuals and staging as "excessive," but complimented the moments when Perry sings alone as being the "most natural" and having "more energy and charisma than she has had all night." Fabio Magnocavallo from Euphoria gave the tour's opening night in London four out of five stars, describing the show as striking a balance "between theatrical flair and crowd‑pleasing hits" which made for a "lively, feel‑good evening." Magnocavallo praised the "Choose Your Own Adventure" segment, commenting that it "added a touch of spontaneity" and made everyone "feel more connected to the show." Additionally, he described the concert as a "grand pop production" and Perry's presence as "warm and engaging."Writing for Le Progrès, Delphine Givord praised Perry's concert at the LDLC Arena in Lyon, describing it as a "two-hour dose of good vibes," where Perry "clearly enjoyed herself." Givord praised the "infinity-figure stage design," which she described as " an unobstructed view to all spectators," adding that the show was "meticulously choreographed" and Perry "gave it her all."