Taylor Swift and Travis Kelce make shock appearance at NHL Stanley Cup Final
Taylor Swift and Travis Kelce made a shock appearance at Thursday's Stanley Cup Final between the Florida Panthers and Edmonton Oilers.
The superstar couple were spotted taking in the action at Amerant Bank Arena almost an hour after rumors of their attendance first surfaced.
According to ESPN's Greg Wyshynski, a helicopter landed near the venue roughly 50 minutes before the puck drop, with the VIP entrance and elevators to the press box also closed to the public as the couple made their grand arrival.
Taylor and Travis were first seen walking through the corridors of the arena and heading out to their seats shortly after the game had begun in Florida.
The popstar wore a stylish cream white jacket with matching shorts and leather boots, while Travis opted for more of a casual look in a red sweater, matching shorts, white sneakers, and a baseball cap.
Yet despite talk of a secret wedding, Taylor was not flashing a diamond ring at the game, instead wearing the sparkly diamond 'TNT' bracelet - short for 'Travis and Taylor' - that her lover famously had made for her last year.
Travis surprised her with the tennis bracelet, as well as a matching version for himself, in early 2024 but didn't appear to be wearing his version for the game.
According to People, Taylor's bracelet was created by Wove Made Inc Jewelers with 14K yellow gold and 4.62 carat lab-grown diamonds.
The football star reportedly paid $6,360 for the flashy, personalized gift.
✨ In their #StanleyCup Final era ✨
Taylor Swift and Travis Kelce knew all too well they couldn't miss Game 4 in Sunrise 🙌 pic.twitter.com/nNfNH2TEVj
— Sportsnet (@Sportsnet) June 13, 2025
Taylor also wore a double 'T' diamond ring on her pointer finger.
The ring is a Tiffany & Co creation that retails for $2,675 and is part of the jeweler's Tiffany T collection.
She first debuted the pricey accessory while performing her Eras Tour in June 2024.
While the double 'T' is meant to represent Tiffany T, many are convinced that the ring represents something else to the singer as 'T' is both her and Kelce's first initials.
Travis and Taylor were picked out by TNT Sports cameras sitting in the stands as he showed his girlfriend something on his phone.
The singer seemed surprised and impressed by whatever he had on his screen as she appeared to say: 'Oh wow!'
The couple watched the crucial battle between the Panthers and the Oilers on Thursday night, which the visitors won in overtime to level the series at 2-2.
As the hosts stormed into an early 3-0 lead in Game 4, Taylor and Travis were seen celebrating in the stands as the sportsman high-fived another member of the crowd.
Yet during the third period, Taylor sparked controversy by sitting next to hockey legend and Donald Trump ally Wayne Gretzky.
The outing comes less than a month since Trump took a random shot at Taylor when he bizarrely claimed on Truth Social that he is the reason she is 'no longer hot.'
Liberals and Swifties were therefore not happy to see her in the company of a full-blown Trump ally on Thursday night.
One person on X wrote: 'Ugh with a trumpster so disappointed.'
Another posted: 'It's unfortunate he's a huge maga Trumpie.'
A third added: 'Would be great if Taylor Swift could stop associating with Trump supporters actually.'
Truly disappointed: Swifties were upset to see the popstar sat with Donald Trump ally Wayne Gretzky for part of the game
Some of Taylor's most loyal supporters were even unsure if the picture of their idol sitting with Gretzky was actually real.
One asked: 'is this ai?'
Gretzky has come under fire in Canada and the United States in recent months over his friendship with Trump.
Despite threatening to make Canada the 51st U.S. state, and his government placing tariffs on imports from the country, Trump still has the backing of the four-time Stanley Cup winner, whom he has tipped to run for 'governor' one day.
Prior to the game Travis and Taylor had been keeping a relatively low profile during his offseason until they were seen having dinner together in West Palm Beach last month.
They then briefly left Florida to attend the Kansas City Chiefs tight end's family wedding in Nashville last week.
Taylor gave guests the shock of a lifetime after joining her man as he celebrated his cousin, Tanner Corum.
Footage emerged online of them enjoying the reception as they watched Tanner and his bride, Samantha Peck, share their first dance together.
The singer was also spotted cuddling up to Travis while they sat together at the reception.
Travis Kelce and Taylor Swift taking in some Stanley Cup Finals action in Florida tonight 🔥
(via @BR_OpenIce) pic.twitter.com/lXXfEutSq7
— TSN (@TSN_Sports) June 13, 2025
Taylor's appearance at the wedding in Nashville came a few days after her and Travis's latest glitzy date night together.
They were seen visiting Buccan, a James Beard-nominated restaurant in Palm Beach, and before leaving the establishment hand-in-hand they greeted fans while making their way home in a black SUV.
The restaurant is located a short drive away from Kelce's $20million mansion in nearby Boca Raton.
A day after his date night with Taylor, Travis was seen was seen entering a workout facility in Palm Beach, Florida for a game of padel.
He was seen wearing a maroon shirt, black mesh shorts, and a gray hat as he arrived on Friday.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Reuters
27 minutes ago
- Reuters
Shai Gilgeous-Alexander, Thunder level Finals with late rally
June 14 - Shai Gilgeous-Alexander scored 35 points, helping the Oklahoma City Thunder come back from a late deficit to beat the Indiana Pacers 111-104 in Game 4 and even the NBA Finals on Friday in Indianapolis. The best-of-seven series is tied 2-2 heading into Game 5 on Monday in Oklahoma City. The Thunder trailed by seven entering the fourth quarter but outscored Indiana 31-17 in the last period to escape with the victory. Oklahoma City closed with a 12-1 run over the last three minutes. Thunder coach Mark Daigneault changed up his rotation a bit, giving Gilgeous-Alexander breaks earlier in each half, and it seemingly paid off in the fourth. Typically Gilgeous-Alexander sits early in the second and fourth quarters, but Friday, he sat late in the third and played virtually all of the fourth quarter. With just less than four minutes remaining, the Pacers led 101-97 before Gilgeous-Alexander took over. The NBA Most Valuable Player scored 13 points the rest of the way, making both of his field-goal attempts and all eight of his free-throw attempts to lift his team to victory. Gilgeous-Alexander finished 12 of 24 from the field, 10 of 10 at the free-throw line with three steals, a block and just two turnovers. He had no assists. With 2:23 left, Gilgeous-Alexander drove wide to the basket, pulling up from 14 feet out and hitting a step-back jumper over Aaron Nesmith to put the Thunder ahead for the first time in the second half, 104-103. Jalen Williams also had a big game for the Thunder, finishing with 27 points and seven rebounds. He was 11-for-11 at the free-throw line. Alex Caruso added 20 points and five steals off the bench in the win. Oklahoma City was 34 of 38 (89.5 percent) at the line but was just 3 of 17 (17.6 percent) on 3-point tries. The Thunder hadn't hit fewer than seven 3-pointers in any game during the 2024-25 regular season or postseason. Pascal Siakam led the Pacers with 20 points, starting hot with 10 points and four steals in the first quarter. He finished 6 of 15 from the field with five steals and eight rebounds. Tyrese Haliburton added 18 points and seven assists while Obi Toppin had 17 points off the Indiana bench. The Pacers made a push late in the third, with a 24-14 run to take a 10-point lead -- their largest of the night. Toppin hit back-to-back 3-pointers during that stretch. --Field Level Media
Reuters
42 minutes ago
- Reuters
NWSL roundup: Surging Wave build withstand Dash's rally
June 14 - Kenza Dali, Adriana Leon and Maria Sanchez scored goals as the San Diego Wave held on for a 3-2 victory over the host Houston Dash on Friday night. The Wave (7-3-2, 23 points) led 3-0 early in the second half before the Dash got back into the game on tallies from Barbara Olivieri and Yazmeen Ryan. San Diego is 6-1-1 over its last eight matches. Olivieri ignited the comeback bid by Houston (3-7-2, 11 points) with a long goal in the 61st minute. The right-footed blast from well outside the box hit the left goalpost and the ball caromed into the net. Seven minutes later, the Dash struck again as Ryan sent a left-footer into the upper left portion of the net. Dali got San Diego started in the 17th minute as she sent a right-footed shot into the left corner. In the 36th minute, a Houston misplay gave Hanna Lundkvist the ball and she sent a pass over to Leon, who knocked in a right-footer. Sanchez scored on a header off a cross from Delphine Cascarino in the 51st minute. The Wave dominated play with a 12-0 edge in corner kicks. Goalie Abby Smith recorded seven saves but the Houston winless streak (0-3-1) stretched to four. San Diego's Kailen Sheridan made one stop. Gotham FC 3, Utah Royals 0 Esther Gonzalez recorded her fourth brace of the season and Gotham FC snapped a three-game losing streak with the easy win over the Royals at Sandy, Utah. Jaclin Howell also scored for Gotham (4-5-3, 15 points), who halted a four-game winless stretch (0-3-1). Ann-Katrin Berger had three saves while notching the shutout. Gonzalez scored on a glancing header in the ninth minute to give Gotham the early lead. She added a penalty kick in the 58th minute to make it 3-0. She leads the NWSL with nine goals. Howell scored after a long run in the first minute of first-half stoppage time. She booted a right-footed shot into the left corner of the net. Gotham closed out the match with just nine players after Jess Carter (76th minute) and Howell (sixth minute of second-half stoppage time) received red cards. Mandy McGlynn had one save for Utah (1-9-2, 5 points), which is 0-6-1 over its past seven matches. Orlando Pride 1, Bay FC 0 Barbra Banda scored in the 58th minute as Orlando picked up its third straight win by holding off the hosts at San Jose, Calif. Anna Moorhouse made five saves and defender Kylie Nadaner saved the shutout with a stop of her own for the Pride (8-3-1, 25 points). Bay FC (4-5-3, 15 points) had a three-game unbeaten stretch (2-0-1) halted. Banda was loose in the left side of the box and took a right-footed shot that hit a Bay FC defender en route to finding the back of the net. Banda is second in the NWSL with eight goals. Bay FC came up empty on its best three chances. Moorhouse used her hand to deflect Taylor Huff's shot over the net in the 10th minute. Then in the 57th minute, Bay FC's Caprice Dydasco hit the crossbar with a fierce long shot. Later, Moorhouse dropped a corner kick at the feet of Penelope Hocking, but the latter's point-blank shot in the 78th minute was stymied by Nadaner, who was stationed in front of the open net. Bay FC had a 20-7 edge in shots. Goalie Emmie Allen made three stops. --Field Level Media
The Guardian
an hour ago
- The Guardian
Brian Wilson was a musical genius. Are there any left?
By all accounts, Brian Wilson was a genius. His fellow greats Bob Dylan and Paul McCartney both used the word in their tributes to the creative force behind the Beach Boys, who died this week aged 82. So did John Cale, Mick Fleetwood and Elton John. And so did Wilson's bandmates, who wrote in a joint statement: 'The world mourns a genius today.' You may imagine Wilson gradually accrued such a vaunted standing. Artistic legacy is largely dependent on the longevity of mass appeal, and the fact that the Beach Boys' opus Pet Sounds remains one of the most celebrated and beloved records of all time almost 60 years since its release is proof enough of his incredible talent. Wilson's claim to genius status began with a 1966 PR campaign masterminded by the ex-Beatles publicist Derek Taylor. Fortunately, Wilson's output justified it, and after spreading like wildfire through the British music press the 'Brian Wilson is a genius' rhetoric quickly caught on, 'especially with the UK public', says Wilson's biographer, David Leaf. It has been the consensus ever since. Do we just imagine musical geniuses are anointed in retrospect because we no longer have any? It is extremely difficult to argue that any artist of the last 30 years has reached the trailblazing standard of Wilson, Dylan, the Beatles, the Rolling Stones, Joni Mitchell and David Bowie. The remaining members of those acts are all over 80 (with the sole exception of Ronnie Wood at 78); Stevie Wonder is 75, Brian Eno is 77, Ralf Hütter, the surviving founder of Kraftwerk, is 78. The most recent claimants to the musical genius title are generally considered to have been Michael Jackson and Prince, both of whom died relatively young. Soon, the very idea of a living legend will be a thing of the past. In pop music, which reveres the new, genius is synonymous with innovation. Obviously, it is no coincidence that all of our unique and innovative musical minds were of a similar generation, starting work in the 1970s – at the very latest – when all the new drum, guitar and keyboard sounds and most resonant, memorable melodies were there for the taking. Such was the virgin territory before them, the Beach Boys even had the opportunity to sonically codify California, one of the most culturally significant places on the planet. 'I guess I just wasn't made for these times,' Wilson once sang. But if he hadn't been operating in those lonely years, would he have been considered a genius at all? What is also quite clear is that musical progress didn't abruptly end half a century ago. There is still as-yet-unheard music to be made – and made it is, all the time. Generic fusions, formal variations and experimental production techniques are not infinite but they are definitely not exhausted, and some have even coalesced into era-defining movements, as 21st-century genres such as grime, trap and hyperpop prove. Some genres – including grime, which can be convincingly traced back to the British producer Wiley and his turn-of-the-millennium experiments; and hyperpop, the brainchild of the London producer AG Cook and his PC Music collective – even have specific originators. Yet they still haven't produced any bona fide musical geniuses. First, the entirely explicable part. The demise of the monoculture – due to technology's fracturing of the media and cultural landscape – means only the most aggressively mainstream and inoffensively palatable acts (Adele, Ed Sheeran, Taylor Swift) are able to command the same level of fame and musical familiarity as their 1960s counterparts. Meanwhile, invention has remained staunchly at the cultural fringes – and if it does get anywhere near the zeitgeist, the journey is leisurely. Grime took off a full decade after its creation, thanks to Skepta and Stormzy; so did hyperpop, which reached the masses last summer in the guise of Charli xcx's Brat. This is another reason why musical genius is so thin on the ground: the people who do the actual innovating rarely end up in the spotlight themselves. This seems especially so in comparison with the 1960s; it is impossible to separate personal achievement from the decade's goldrush – a manic crusade to push pop and rock to its absolute limits. The famous rivalry between Wilson and the Beatles – healthy competition for the latter, says Leaf, if not so much for the former – accelerated progress and incentivised change. The pressure is also thought to have contributed to the decline in Wilson's mental health later in the decade. But then comes the more mysterious part. What is so astonishing about Wilson is how many different groundbreaking things he did simultaneously. In the studio, 'he was inventing a new way of making popular music,' Leaf says. 'What he called modular recording – recording bits and pieces of a song and then piecing it together.' He also pioneered the idea of one person helming all elements of a recorded song: composition, arrangement, performance, mixing, production. On top of that, he did something lyrically radical. He transformed pop into an 'emotional autobiography,' says Leaf. 'He was determined to put his feelings on to the recording tape and share it with the world,' which at that time was very much not the norm. Many of pop's canonical artists were similar: Dylan didn't just single-handedly make popular music a vessel for poetry, he also infused it with an all-new attitude and emotional palette (cynicism, disgust, rebellion), while conflating his previous folk fare with rock to create an entirely new sound. Dylan's decision to go electric has become emblematic of the musical genius's requirement to shock. Even Pet Sounds, an onslaught of loveliness, disturbed the band's record label with its leaps of progress, says Leaf. Nowadays, pop music is only really controversial where it overlaps with sex and violence; it is practically impossible to sonically surprise the listening public. The prospect of the end of musical innovation is something students and lovers of guitar music have already had to make peace with – at this point, nostalgia is inherent to the genre. 'I'm aware it's impossible to make genuinely new, novel guitar music, and so I tend to lean into anachronism,' was how Owen Williams, frontman of my new favourite old-sounding band, the Tubs, once put it. Just as selling out became a respected career move, explicit derivation is now an artform in itself; in recent years Beyoncé has stayed at the forefront of pop by essentially becoming a kind of musical historian. There is one thing that does feel jarring about the slowed pace of musical progress. Technological advancement has always been woven into sonic novelty – the advent of synths (which Wilson also anticipated), for example, or sampling. Considering technology has accelerated in unimaginable, terrifying ways over the past 20 years, you'd think that might be reflected in the pop zeitgeist. Instead, we have a chart stuffed with tracks that essentially could have been made at any point in the past 50 years. Perhaps the late 20th century – and particularly the 1960s – created a sort of natural selection of music: we found the combinations of notes and rhythms that appealed most to the western human ear and that is what we have continued to rehash. Surely, then, this is a problem artificial intelligence may be able to solve. This is technology determined to get to know us more intimately than we know ourselves. What better way to continue the quest for novel pop perfection that Wilson embarked on 60 years ago? In theory, it could supplant human creativity. In actuality, AI is unlikely to wrest control of pop's soul from humans. That's because musical innovation, and even catchy melodies, have ceded importance to the branding of people. If Swift's gargantuan success is anything to go by – which it probably is – pop's future depends on the carefully honed appeal of an individual human personalities, not what they can do on a keyboard (the musical kind). Swift's approach to her public image and the music business in general is groundbreaking in its own way, even if her music isn't. We will be mourning her as a cultural figure at some point, but a musical genius? That would take some real cognitive dissonance. It seems unlikely we will do so with anyone by the end of this century; we have no currently minted visionaries, although time will tell if anyone retroactively earns the title. What is certain is that as the pop canon continues to splinter into thousands of smaller, personal rosters, we will be losing musicians who mean everything to some people, but not – like Wilson – something to almost everyone.
