“Me too.”īlack Parade finds Beyoncé cruising the stage atop what looks like a kind of lunar rover. “Y’all having a good time, Stockholm?” our host inquires, wiping an imperceptible bead of sweat from her brow. Blink and you’ll miss dancers popping out of the stage like champagne corks, or Beyoncé’s powerhouse band getting wheeled into occasional view on a tall stepped riser (shades of Beychella), such as during Chic-style feelgood funk workout Cuff It. With many of the setlist’s whopping 36 songs abridged, the tempo is relentless. ![]() Photograph: Kevin Mazur/Getty Images for Parkwood Were all that not semi-hallucinogenic enough, Alien Superstar interpolates narcissistic anthem I’m Too Sexy by 90s dance-pop twosome Right Said Fred.īeyoncé rewired dance music past in a show of stunning ambition and stamina. She grinds with a dozen backing dancers to the jittery reggaeton of her boss bitch mission statement I’m That Girl, then dances with some actual robots (a pair of mechanical arms) during Cosy. Harking back to early house and techno and the ecstatic utopia of the dancefloor, a segment dedicated to the Renaissance album ensues with Beyoncé done up something akin to the Maschinenmensch in Metropolis. It’s an opening that seems designed to strip away artifice, if only to provide some sharp contrast for the heavily technologically augmented spectacle about to follow. By the second, Flaws and All, she already appears to be fighting back tears, whether of release or gratitude or both. And yet, once she emerges in the flesh – all sequins, shoulder pads and that megawatt smile, drinking in the crowd’s screams – she begins disarmingly with a slew of her rawest soul songs. “I want everything to be a surprise,” Bezerra smiles.īeyoncé appears first in a video cut scene, laid out luxuriously across the giant screen semi-naked in dimensions big enough to be visible from space. They were determined to come to the opening night to avoid social media spoilers about what to expect. Photograph: Kevin Mazur/Getty Images for Parkwoodīrazilian Yhes Bezerra wears a spangly cowboy hat like the one sported by Beyoncé in the tour poster, except theirs is homemade sticking on the thousands of tiny mirror panels took nine hours. With many of the show’s 36 songs abridged, the tempo was relentless. “To see her transcend, and become what she has become, especially as a Black woman, is exciting,” he enthuses.īeyoncé in Stockholm on Wednesday. Dressed head to toe in official tour merch, including a cap and hoodie both emblazoned with the word “THIQUE”, Mykwain Gainey has been to 20 Beyoncé shows over the past two decades and has spent nearly £2,000 to fly here from New York. The BeyHive, as Beyoncé’s fans collectively style themselves, are buzzing pre-show as they flood into the venue from around the world for their first chance proper to see their queen live since 2018’s On the Run II co-headliner with Mr B, Jay-Z. ![]() ![]() Dripping with sci-fi disco decadence, sex, body positivity and feminine Black pride, the near three-hour spectacular plays out in front, behind and, at times, inside a football-pitch-wide high-definition video screen designed to assault the senses at dizzying scale. Fifty-seven stadium dates globally, starting in Stockholm, are projected to gross as much as £1.9bn ($2.4bn) by the time the tour ends in New Orleans late September. Titled after the Texan’s disco glitter bomb post-pandemic party album of the same name, Renaissance is a monster blockbuster concert experience on a different plane.
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