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Beyoncé: Renaissance World Tour review – a dizzying three-hour spectacular

Friends Arena, Stockholm Queen Bey’s first solo headline tour in seven years is a lavish leap forward for live entertainment, dripping with sci-fi disco decadence, sex and Black pride

E ven without Taylor Swift’s Ticketmaster-melting Eras Tour nipping at her heels, it wouldn’t do for a star as compulsively ambitious as Beyoncé to merely protect her status as the greatest pop show on Earth. Not when her first solo headline tour since 2016 could instead push 21st-century live entertainment another lavish leap forward.

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. 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. 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.

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. 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. “To see her transcend, and become what she has become, especially as a Black woman, is exciting,” he enthuses.

Brazilian 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. They were determined to come to the opening night to avoid social media spoilers about what to expect. “I want everything to be a surprise,” Bezerra smiles.

Beyoncé 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. 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. By the second, Flaws and All, she already appears to be fighting back tears, whether of release or gratitude or both. 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.

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. 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. Were all that not semi-hallucinogenic enough, Alien Superstar interpolates narcissistic anthem I’m Too Sexy by 90s dance-pop twosome Right Said Fred.

With many of the setlist’s whopping 36 songs abridged, the tempo is relentless. 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. “Y’all having a good time, Stockholm?” our host inquires, wiping an imperceptible bead of sweat from her brow. “Me too.”

Black Parade finds Beyoncé cruising the stage atop what looks like a kind of lunar rover. Somewhat comically, it exits up the gusset of a pair of massive splayed legs. Later she sings Plastic Off the Sofa stretched out in a clamshell. Come Crazy in Love, the show finally gets the enormous disco ball it seems to have long craved, dangled from the rafters for only a bit longer than the time it takes for the crew to get it up there and back down.

Bass-quaking, envelope-pushing Black power anthem Formation is a powerful political statement in any setting. Performed in a kind of virtual cathedral, horny southern rap and gospel cocktail Church Girl (sample lyric: “drop it like a thottie, drop it like a thottie”) might just be intended to provoke. But by Beyoncé’s own standards, it’s hard not to read Renaissance as a show much lighter on overt socio-political messaging than it is sheer, unfettered, mildly chaotic indulgence. And who could blame her?

In a final, unsubtle, retro-futuristic fanfare, Bey summons Bianca Jagger’s iconic Studio 54 moment by gliding through the air on a glitter-encrusted white horse while Summer Renaissance – which samples Donna Summer’s I Feel Love – blares. The disco history references may or may not be landing with the mostly young BeyHive, but that’s not really the point. By rewiring dance music past in a sensory overload of truly stunning ambition and stamina, Beyoncé is writing some history of her own.

The Renaissance World Tour continues until 27 September, see https://tour.beyonce.com/ for dates

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All 36 songs on Beyoncé's set list for the opening night of the Renaissance World Tour

• Beyoncé kicked off the Renaissance World Tour on Wednesday in Stockholm, Sweden.
• The set list included a variety of hits, old singles, and tracks from her newest album "Renaissance."
• All 36 songs performed during opening night are listed below, not including video intros and interludes.

"Dangerously in Love 2"

"Flaws and All"

"1+1"

"I'm Goin' Down" (Mary J. Blige cover)

"I Care"

"I'm That Girl"

"Cozy"

"Alien Superstar"

"Lift Off" (Jay-Z and Kanye West cover)

"Cuff It"

"Energy"

"Break My Soul"

"Formation"

"Diva"

"Run the World (Girls)"

"My Power"

"Black Parade"

"Savage Remix" (Megan Thee Stallion cover)

"Partition"

"Church Girl"

"Get Me Bodied"

"Before I Let Go"

"Rather Die Young"

"Love On Top"

"Crazy In Love"

"Plastic Off The Sofa"

"Virgo's Groove"

"Naughty Girl"

"Move"

"Heated"

"Thique"

"All Up in Your Mind"

"Drunk in Love"

"America Has a Problem"

"Pure/Honey"

"Summer Renaissance"

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Beyoncé Announces ‘Renaissance’ 2023 World Tour

By Larisha Paul

Larisha Paul

If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.

Another Ticketmaster war is on the horizon as the BeyHive prepares for battle. After weeks of speculation, Beyoncé has officially confirmed a world tour in support of Renaissance , scheduled to make stops in stadiums across the world in 2023 .

The musician confirmed the news on Wednesday morning. The tour will begin in Europe this May before landing in North America on July 8 with back-to-back nights at Toronto’s Rogers Centre. The tour will make stops in Philadelphia, Nashville, Chicago, Boston, Atlanta, Miami, Houston, Las Vegas, Los Angeles, New Orleans, and more.

View this post on Instagram A post shared by Beyoncé (@beyonce)

The Renaissance tour marks Beyoncé’s first extended stretch on the road since the On the Run tour, which made 48 stops across North America and Europe in 2018. Those shows were proceeded by the singer’s redefining Coachella performance, which arrived as the Netflix concert film Homecoming the following year.

The clips sparked multiple viral moments, the most notable being Beyoncé’s new vocal arrangements on familiar records, including “Drunk in Love” and “Countdown.” The private concert, notably, did not include any Renaissance tracks on the setlist, even the chart-topping lead single “Break My Soul.”

The tour announcement arrives as a saving grace for a starved BeyHive, still yearning for any meaningful visual companion pieces to the singer’s acclaimed seventh studio album. If Beyoncé is heading on the road again, maybe the wait for the music videos she teased in the record release trailer won’t be too much longer.

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“As is customary for her, she layers the album with enough totems to fuel a million think pieces and dissertations,” Rolling Stone shared of Renaissance . “Yet it’s also possible to simply dance and vibe to the music. This is Beyoncé at her joyous peak, and you won’t get it unless you pull the “plastic off the sofa,” “drop it like a thottie,” and enjoy Queen Bey at her thrilling best.”

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Regarding Beyoncé, Mother of the House of Renaissance

By Julianne Escobedo Shepherd

When Renaissance dropped last summer, it was perfect timing. The masses were ready to shake off that last bit of ennui wrought by pandemic isolation, and Beyoncé exhorted us to celebrate that we were alive en masse, and to do so in the face of all that was scary: crowds, evil bosses, legislators, haters, the Supreme Court. “ Break My Soul ,” the single indebted to ’90s vocal house, was a jubilant, defiant protest. Its arrival on June 20, 2022, just four days before SCOTUS overturned Roe v. Wade , meant that it soundtracked furious pro-choice rallies across the country. It also lent itself to a larger landscape: a perfect lip-sync song in the era of state-level drag bans, a song of strength devoted to Black women and LGBTQ people in the ongoing fight for justice.

Millions of people have been enthralled by Beyoncé’s live imagination of Renaissance since it hit the road this May in Stockholm. When I saw her perform for a crowd of 82,000 at New Jersey’s MetLife Stadium this summer, it was impossible not to think of this timing. Her vehement demand for joy as an intervention was on full display, on giant glittering screens projecting her every expression and accessory. The pan-African flag gleamed across the masses as she sang “Black Parade” from atop a silver tank, her eleven-year-old daughter Blue Ivy raising a Black Power fist at her flank. The sound of ballroom artist Kevin JZ Prodigy commentated “cunt to the feminine what, ow” in staccato cracks as she hand-twirled into the quiet ferocity of “Cozy.” The rejuvenating tribute to her idol, the icon and queen of rock Tina Turner, with a transcendent rendition of “River Deep, Mountain High.” The retrofitting of the famous Italian painting The Birth of Venus , in which she emerged like a pearl on the half shell via Flora Purim singing “Plastic Off the Sofa.” The visibility she gave her inclusive, euphoric array of dancers and performers, including those who were nonbinary, transgender, plus-size, and, in the case of one trumpeter in her famous all-woman band, pregnant. The space she gave voguers from the ballroom scene, including Darius Hickman , Carlos Basquiat , and Honey Balenciaga , to express the beauty of their art.

That concert was one day after one of her fans, a 28-year-old Black dancer named O’Shae Sibley , was murdered in a racist and homophobic hate crime at a gas station in Brooklyn, simply for voguing to Renaissance . (The chant that followed at a memorial in Los Angeles, one of several across the country, went: “O-O-O-Shae. He was voguing to Beyoncé.”) Balenciaga took time off to join mourners in Brooklyn, and Beyoncé paid her respects . O’Shae Sibley’s death underscored the importance of her speaking directly to her queer fans, using her massive power as a place for others to reflect themselves back and, one hopes, teach everyone else respect and tolerance. The devil is working hard , but Beyoncé works harder.

And in a disquieting climate in which a young Black man can be targeted simply for expressing his joy, it’s a massive relief to experience something that feels like an unencumbered blast of good, even amidst the very real fact that inclusion and catharsis is not protection . In that way, Renaissance has been the year’s defining, galvanizing cultural event, a release in which the catharsis of the club has been replicated on a massive scale. Fashion alone has been altered irrevocably: Beyoncé’s custom looks for each concert are chronicled in all their intricate splendor on her Instagram , and her label Parkwood has been posting the fans in kind, showcasing their gorgeous outfit photos from each tour stop. (In late August, Beyoncé requested attendees “wear your most fabulous silver fashions” in honor of her birthday and Virgo season.)

The way attendees have been showing out reflects their widespread intent to be active participants in one of the most inclusive pop tours ever staged. They’ve spent massive amounts of money to travel overseas for early stops of the tour, to buy outfits that represent both the flashiest church and sophisticated club afters, and to be a member of the Renaissance. I saw these things span across age, race, gender identity, sexual orientation, even class differences, as evidenced by the high-low range of the style and ingenious amount of DIY fashion. While the active, enthusiastic participation has been delicious for fans to watch online, it felt even better to be cocooned in it in person—throngs of showgoers clad in glimmering sequins, silvery cowboy boots, iridescent hats, and LED accessories, taking a cue from the Renaissance cover art and Beyoncé's equine partner, the mirrorball-clad Reneigh. (Everyone, it seems, is a horse girl now.) Fans have been instrumental in the actualization of the tour and the crucial key to its ambience and sense of communal activity. When I was there, even the security was hype. In my row in the stands, an exceedingly jovial guard—over-50 and white, with a Jersey accent—took outfit photos for showgoers with their phones. When he saw my friend and I laughing happily at his enthusiasm, he admitted with a grin, “I turn into a bad bitch for Mrs. Carter!”

That fandom and connection goes beyond the camaraderie and aesthetics of such a show. In the realm of performance, there is simply no one better than Beyoncé, who is living proof that women don’t wither and die in middle age, they flourish. For the duration of her career, she has delivered pristine vocals alongside punishing athleticism, all while holding her facial expressions at exactly the correct angle and leading a gargantuan stage with tens of dancers and musicians. It’s the level of greatness that solicits respect from the greats themselves. On the Renaissance tour stop that fell on her birthday in September, Diana Ross—79 and still going strong—came onstage to support Beyoncé, leading a muva-to-muva singalong of “Happy Birthday” that ended with a heartfelt hug. “I’m thankful for every flaw, every stretch mark, every FUPA… I’m thankful that I’m here, at fuckin’ 42,” Beyoncé said before the going into the song “Flaws and All.” She held court in a black lace gown custom-made by Dolce & Gabbana, looking every bit the regal diva, making a promise that she’s nowhere near half-done. There is strength in seeing adult women command such massive audiences, and a reminder that our own wrinkles, or stretch marks, or crow’s feet don’t define us, but rather showcase our experiences and wisdom.

Beyoncé opens the Renaissance shows with a run of four ballads, including a majestically felt rendition of “Dangerously in Love” and Mary J. Blige’s “I’m Goin’ Down”—itself a cover of ’70s soul group Rose Royce—that grounds her as a brolic purveyor of blues. Through the rhythmic three hours that follow, she interpolates—live remixes, really—her own discography into itself as well as intergenerational cuts from other artists (“Love on Top” with the Jackson 5’s “I Want You Back,” to cite one ). Three-quarters of the way through the concert, she performs her transcendent cover of Frankie Beverly and Maze’s “Before I Let Go,” a nod to her Homecoming album and another link from her own music to Black pop hits past. She improvised deep cuts, too: upon seeing Tia Mowry in the Los Angeles crowd, she interpolated a bit of “ Yeah, Yeah, Yeah ,” a song Mowry released with her girl group Voices in 1992, when Bey was a tween. Throughout, she deploys the sorts of extravagance and camp that ballroom values, Mothering outlandishly through her “Heated” commentating , inspiring Beyoncslay memes across social media, and making an interactive game out of which city shushes most thoroughly when she sings “look around, everybody on mute” in “Energy.” (Houston seems to have won.)

No one else at this level possesses the same combination of historical gravitas and trenchant work ethic, or uses their platform to link their work to the roots of American Black music and beyond. Take, for instance, the segment in the Renaissance tour when she uses a costume change break to edify the audience about the history of house, with videos about its importance set to soundtracks like “ Percolator ” and “ Hot Music ,” the unofficial theme songs of New York City block parties for three decades. She not only grounds Renaissance in a long lineage, she reminds audiences that house music is Black music, and important to understanding its presence. To that end, she has enlisted a slate of young, queer, Black, and regional DJs to provide opening music—and vibes—for Club Renaissance, including Arca, Ariel Zetina, Mike Q, and Uniiqu3, both cosigning them and giving them the rare opportunity of playing music for stadiums. She’s also blessed regional stars at certain chosen stops—Kendrick in L.A., Megan Thee Stallion performing the “Savage Remix” for the first time ever in Houston, and a solid rumor that Big Freedia will join her on “Break My Soul” for her stop in New Orleans this week.

It’s hard to think of a massive pop tour that speaks so clearly and perfectly to its sociopolitical moment as the Renaissance tour. Beychella , to be sure, Beyoncé's 2018 culture-shifter devoted to Black feminism, HBCUs, and the nuances of various Black artforms. Before that, perhaps Madonna's 1990 Blond Ambition tour, when she performed “Vogue” in an earlier era of heightened homophobia and transphobia, flaunting her sexuality and power in a time when silence equaled death . As it happened, Madonna was in the audience in New Jersey , witnessing Beyoncé perform her Black woman-elevating remix of “Vogue,” as a sort of passing of the torch between Queens of Pop.

Maybe some of that freedom was simply Beyoncé living her house diva dreams, a significant statement in itself. So many pop house divas of the past were erased from the popular record of the time, a record that is only beginning to be corrected . The iconic Martha Wash, of the Weather Girls, spent the fatphobic ’80s and ’90s suing for her own credits , after being replaced with younger and thinner women lip-syncing her vocals in the videos for Black Box’s “Everybody Everybody” and C+C Music Factory's “Gonna Make You Sweat.” Those lawsuits were perhaps the best known, but similar stories of erasure have played out with Loleatta Holloway , Jocelyn Brown , Kelli-Leigh , and more, where Black women vocalists transformed scores of songs into indelible classics, but are viewed by their male producers and record labels as throwaway, mere clips to sample, or tertiary to the real genius.

Beyoncé placing herself in front of this history won’t right those wrongs, and it is easy to ascribe dreams and aspirations onto her. As with many pop stars, her moves don’t always square with the values she performs . But she does have the cultural power to reorient the narrative even just a little, whether centering house divas or paying homage to LGBTQ Black and Latine ballroom originators. (Plus vocalists are infinitely more interesting to watch than DJs, particularly in a climate when staring has supplanted dancing.) It is not uncommon to get hyperbolic about Beyoncé. She has, like many pop stars, been deified to the point of Veladoras hawked by candle companies, her beatific visage and unfailingly sick fits replacing the benevolent gaze and gently draped robe of La Virgen. During her tour she assumed the role of the conduit and protector; she is the “Mother of the House of Renaissance ,” as a voice-over goes in the tour as she fans herself in the style of the ball. A house mother is the keeper of her children, and her children are genuflected. But the Renaissance tour’s most important act was bringing Beyoncé’s fans together in massive numbers, creating a space in which joy can build and attendees can experience sweet release. That’s what dance music, at its beating heart, is about.

By Shaad D’Souza

By Madison Bloom

By Jazz Monroe

By Isabelia Herrera

By Matthew Strauss

By Nina Corcoran

Beyoncé lays claim to the throne at SoFi Stadium

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The Renaissance has reached Los Angeles.

Four months after it launched in Europe and immediately took over social media, Beyoncé’s blockbuster Renaissance world tour begins a sold-out, three-night stand at Inglewood’s SoFi Stadium on Friday. The pop superstar’s first solo outing since the Formation tour in 2016, Beyoncé’s latest live spectacle comes behind last year’s “ Renaissance ” album, her loving and meticulous ode to the Black and queer pioneers of half a century’s worth of dance music.

Reports from the road promise a high-tech, costume-heavy 2½-hour show in which the singer — after warming up with a series of R&B ballads — performs the songs from “Renaissance” in order with older tunes and covers interspersed among them. Close followers of the tour on TikTok also know to look out for onstage appearances by Beyoncé’s 11-year-old daughter, Blue Ivy, and for the so-called mute challenge , in which the crowd is supposed to go silent at a particular point in the song “Energy.” (Another recurring feature: Beyoncé’s husband, Jay-Z, who’s been spotted in the audience at more than a few gigs alongside the likes of Paul McCartney, Frank Ocean, Lizzo, Ariana Grande, Selena Gomez, Dua Lipa and Megan Thee Stallion.)

The ultimate guide to everything Beyoncé

Do you confuse Honey Balenciaga with Honey Djion? Carlos Basquiat with Jean-Michel Basquiat? Let The Times help, with this handy glossary for all things Queen B.

Aug. 28, 2023

The SoFi dates, which come as the tour enters its final weeks — and as its gross proceeds approach a half-billion dollars, according to Billboard — could prove especially splashy: Ahead of her 42nd birthday on Monday, Beyoncé has asked concertgoers to wear their “most fabulous silver fashions” to celebrate “Virgo season together in the house of chrome.”

The Times’ Mikael Wood and August Brown are at SoFi for opening night and will provide live updates from the show as it happens.

Entertainment & Arts

What to know about SoFi Stadium before Beyoncé’s Renaissance concert

Ahead of Beyoncé’s tour dates at SoFi Stadium, here are some things you should know, including the bag and outside food policies, what SoFi Stadium is like and what to eat once you’re there.

Aug. 29, 2023

7:15 p.m. Greetings from the (very) early shift at SoFi, where CeCe Peniston is pumping on the sound system and everyone seems to have obeyed Bey’s command to wear silver in honor of her triumphant Virgo season. I heard war stories of hours-long traffic jams for Taylor Swift’s Eras shows, so I took Metro to the stadium, which was relatively smooth sailing on the 212 bus. So far, the mood is pretty composed, but once all those fans’ tequila shots from the street vendors kick in (will we get “Drunk in Love” on this stop?), it’ll ramp up in short order. — August Brown

7:55 p.m. There’s no formal opener on the Renaissance tour, but there is a warm-up act for the Club Renaissance portion of the show: DJ Khaled, who made an extremely loud entrance with “All I Do Is Win.” Nice to see a guy so used to yelling his own name take a more humble billing. — A.B.

8:02 p.m. Can confirm the parking for Renaissance is just as nightmarish as the parking for Eras was! But traffic is far too boring a subject to dwell on as I walk into SoFi amid the beautifully silver-bedecked masses. Between recent gigs by Taylor, Morgan Wallen and Metallica, I feel like I’ve spent as much time in this building this summer as I have anywhere else in L.A. But no other fans can come close to matching the outfits on display tonight. — Mikael Wood

8:14 p.m. DJ Khaled brought a friend with him: 2 Chainz, who just popped out to do his songs “Watch Out” and “I’m Different” and to tell anyone with a birthday that we are most definitely celebrating tonight. Wonder if this cameo portends a special guest or two during Beyoncé’s set… — M.W.

8:22 p.m. As Khaled would say, ANOTHER ONE: Now Wiz Khalifa’s here, zipping through “Young, Wild & Free” and “See You Again.” (Alas, no Charlie Puth.) — M.W.

8:28 p.m. We’re still in the pregame portion, but now it’s local hero Roddy Ricch doing “The Box.” If you’re a rapper with a night off in L.A. and you’re not up here, it might be personal. — A.B.

8:30 p.m. Best silver outfits glimpsed so far: a guy in a glittery mariachi suit, a lady dressed as an alien superstar and a dude in full chain mail. — M.W.

8:36 p.m. When was the last time you listened to “Bad and Boujee”? If you’re at the Beyoncé show, you’re hearing it now: Offset just dropped in to rap the 2016 Migos hit with DJ Khaled. What a song. — M.W.

8:41 p.m. Lil Wayne just rolled up in a bucket hat and giant shorts like a true Zoomer. He was having some mic trouble and didn’t quite get off a full verse before departing. Still, it’s a great Bey bait and switch — why have one opener when you can have everyone open? — A.B.

8:42 p.m. This cavalcade of stars feels almost vulgar in its over-the-topness. Makes you proud to be an Angeleno. — M.W.

8:44 p.m. They’re tearing down Khaled’s rig. Countdown to Renaissance begins now. — A.B.

8:53 p.m. The lights have dimmed and we are approaching Bey o’clock. — M.W.

9:00 p.m. And ... it’s Beyoncé, in ballad mode out of the gate. She’s starting with “Dangerously in Love 2” with an all-silver backing band on a tall riser. No insane outfits, no fireworks, just a statement of intent that this is going to be a long ride, so get cozy. — A.B.

9:01 p.m. Man, can Beyoncé sing. I love the flex of opening the show with a vocal showcase like this. It’s like she’s saying: Yes, we’re gonna have a great time tonight, but first let me remind you of what I learned to do before you had any idea who I was. — M.W.

9:03 p.m. “Flaws and All” is next up. “I’m a train wreck in the morning,” she sings, absolutely perfectly, obviously. We knew this going in, but I love that this show starts on a very slow simmer before the rave. — A.B.

9:04 p.m. Two songs in and this band is cooking. — M.W.

9:07 p.m. Shout-out to Bey’s very pregnant trumpet player in a cropped top! — A.B.

9:10 p.m. Beyoncé has taken her seat atop a grand piano and is singing the ever-loving stuffing out of “1+1.” The riffs. The runs. The mic control! Truly a master. — M.W.

9:17 p.m. It’s easy to admire Beyoncé’s pace-setting fashion in a magazine shoot or music video, but wow, Shiona Turini and crew really saw this through down to the last stitch. We’ve barely even started, but it’s a whole new tier of care into these chrome and gold get-ups. — A.B.

9:19 p.m. Bey dedicates a slow roll through “River Deep, Mountain High” to the late Tina Turner, whom she calls “one of my biggest inspirations.” — M.W.

9:22 p.m. The ballads are finished; the club awaits. — M.W.

9:28 p.m. There’s a big camera rig on wires circling the stage and crowd; looks like the rumors of a concert doc being filmed may have some legs. — A.B.

9:30 p.m. The “Renaissance” portion of the evening opens with the album’s opener, “I’m That Girl,” and the way Beyoncé is toying with the song’s rhythms — stretching, shortening — let’s you know we’re in for a workout. — M.W.

9:31 p.m. Bey is in a resplendent Philosophy di Lorenzo Serafini pink coat that could protect one from the most fabulous winter storm. — A.B.

9:33 p.m. “Cozy” — what a wonderfully insane word to build a song around. — M.W.

9:35 p.m. Different kind of physical performance from Bey on this tour. She’s a magnificent dancer, one of the best in music, but she’s also not afraid to pout and roll around on a pile of mattresses and let her crew contort. She’s having a blast. — A.B.

9:36 p.m. Something the endless TikToks from the Renaissance tour don’t prepare you for is how delightfully campy the I-woke-up-like-this sequence from “Alien Superstar” is. A+ comedy. — M.W.

9:37 p.m. “Alien Superstar”: It’s the “Sailor Moon” meme IRL! — A.B.

9:42 p.m. Here come Les Twins, the dancing French brothers who lend an uncanny, ultra-athletic sidecar to Bey’s main course. — A.B.

9:54 p.m. Now we’re into “Cuff It” with the full band, and it’s all slap bass and hot-pink corsets and exuberant ‘70s vibes. She’s brought out a killer horn section, wearing P-Funk space suits. — A.B.

9:55 p.m. Very moved by the deep musician-liness of this show. “I’m a seasoned professional,” she sings in “Cuff It,” and how many pop superstars are out here emphasizing their onstage experience? — M.W.

9:56 p.m. She just hit the big “Everybody on Mute” moment of “Energy,” and you better believe no one dared move or made a sound. Pretty cool to hear absolute silence in a packed stadium. — A.B.

9:58 p.m. Seems too depressing to get into right now, but we should probably think about how “Break My Soul” — with its screw-the-paymasters message — softened the ground for “Rich Men North of Richmond.” :( — M.W.

10:07 p.m. Sorry, Bob Dylan: Let’s take a minute here to commend what has to be history’s largest gaucho hat on Beyoncé’s head as she starts “Formation.” — M.W.

10:08 p.m. Hope everyone took notes during the roll call of “Break My Soul,” as Lizzo returned to tonight’s lineup. Wonder what Zoomers will make of “Mississippi Goddam” and “Pull Up to the Bumper” after they get home tonight and do some Googling. — A.B.

10:11 p.m. Blue Ivy Carter’s entrance during “Run the World (Girls)” gets a deafening cheer from the crowd. — M.W.

10:16 p.m. As a parent of children older than 11-year-old Blue Ivy, can very much relate to the moment Beyoncé is taking here to soak in the adulation for her daughter. What a wild summer internship. — M.W.

10:18 p.m. Pretty wild that rapping is, like, the fifth-best thing Beyoncé does when she’s onstage, but here comes “Savage” and she’s spitting absolute flames. — A.B.

10:19 p.m. We forgot to mention that Bey is doing all this on … a tank? — M.W.

10:26 p.m. After a costume change, we are back with “Church Girl.” Says Beyoncé, “If this is your song, I wanna give you permission to go crazy.” — M.W.

10:31 p.m. Has anyone ever sung a Frankie Beverly and Maze song at SoFi Stadium before? Beyoncé, and tens of thousands of fans, are doing it now on her cover of “Before I Let Go.” — M.W.

10:35 p.m. Bey’s singing “Rather Die Young” from “4” dressed like she’s about to hit the pool in Palm Springs. Love to hear a ballad about not making it to old age without your man, now sung on the other side of 40 surrounded by your family onstage. — A.B.

10:40 p.m. The crowd taking over “Love on Top” from Beyoncé as the song goes through its increasingly delirious key changes? Top 10 concert experience. — M.W.

10:51 p.m. What could be a more sumptuous setting for “Plastic Off the Sofa” than the inside of a three-story opalescent clamshell? Bey took it from there right into “Virgo’s Groove,” one of the spiritual centerpieces of the tour and the reason for all the silver in the crowd. — A.B.

10:55 p.m. Shout out to Syd of the Internet, the talented L.A. native who co-wrote and co-produced “Plastic Off the Sofa,” and who’s been making beautiful and wily soul music on a smaller scale in this town for close to a decade. — M.W.

10:58 p.m. Before “Heated,” Beyoncé asks how many concertgoers brought fans to the show — then advises folks to use them. — M.W.

11:07 p.m. She’s back from a break with “Thique” and has made the dancers essentially run a live barre class across a horizontal railing. From my very limited experience in such a setting, that’s a brutal turn this late in the set, but they’re handling it with aplomb. — A.B.

11:14 p.m . “I’m gonna need y’all’s help with this one,” Beyoncé says, and that’s the cue for “Drunk in Love,” a rarity on the Renaissance tour that’s throbbing throughout SoFi right now, as the singer ascends on a platform surrounded by sparks. — M.W.

11:22 p.m. If “America Has a Problem,” Beyoncé is here to tell you about it behind the prop desk at her KNTY4 NEWS stage rig, dressed in a menacing-looking Mugler bee helmet. — A.B.

11:28 p.m. As the show approaches its finale, Beyoncé dedicates “Pure/Honey” — with a bit of “Blow” — to “the legendary Beyhive.” — M.W.

11:32 p.m. Totally virtuosic ballroom circle happening with all the backup dancers during “Pure/Honey,” replete with death drops and some of the sauciest vogueing of the whole night. — A.B.

11:36 p.m. And now we have Beyoncé asking us to take a screenshot as she emerges astride an enormous, beglittered, Bianca-Jagger-at-Studio-54-style horse to sing “Summer Renaissance.” What a show. What a night. — M.W.

11:38 p.m. We’ve known this since Coachella 2018, but she is simply the best live performer working today. — A.B.

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Beyoncé Drops Striking New Trailer for the 'Renaissance' Concert Film: 'The Renaissance Is Not Over'

'Renaissance: A Film by Beyoncé' arrives in theaters worldwide on Dec. 1

BeyHive, it’s time to get in formation. 

On Thursday, Beyoncé released the worldwide trailer for her upcoming concert film Renaissance: A Film By Beyoncé , several weeks out from its Dec. 1 release date. After dropping a teaser featuring behind-the-scenes footage and a voiceover when she announced the project , the new visual offers fans a preview of some of the live footage in the highly anticipated film. 

The clip teasing the theatrical version of the pop superstar’s acclaimed Renaissance World Tour opens to her silhouette before gracing an audience of thousands. “I close my eyes and travel through realms of space and time,” Queen Bey, 42, says in a voice over. “Reality holds no power or control of my state of mind on my voyage to find a source to charge my inner being. Assembly line frequency as I tap my MPC.” 

Beyoncé/ YouTube

As vulnerable backstage clips — including shots with her 11-year-old daughter Blue Ivy and husband JAY-Z — are interspersed with shots of her on stage, Beyoncé opens up about her identity and the challenges that she’s faced. She says, “In this world that is very male-dominated, I’ve had to be really tough. To balance motherhood and being on this stage, it just reminds me of who I really am.”

The minute-and-a-half-long teaser then bursts into glimpses of the Grammy winner’s record-breaking stage show, including brief looks at the spectacular wardrobe and choreography while audio of her hit “Break My Soul” plays. 

“You are the visual baby. It’s a new birth. I hope you feel liberated or the renaissance is not over,” the “America Has a Problem” singer says as the visual concludes. 

In the caption for the trailer, the official synopsis says the concert film “accentuates the journey of RENAISSANCE WORLD TOUR, from its inception, to the opening in Stockholm, Sweden, to the finale in Kansas City, Missouri.”

Kevin Mazur/WireImage for Parkwood

“It is about Beyoncé’s intention, hard work, involvement in every aspect of the production, her creative mind and purpose to create her legacy, and master her craft,” the description continues. “Received with extraordinary acclaim, Beyoncé’s RENAISSANCE WORLD TOUR created a sanctuary for freedom, and shared joy, for more than 2.7 million fans.”

The hitmaker announced Renaissance: A Film by Beyoncé after the final stop of her tour in Kansas City, Missouri on Oct. 1 by releasing the first trailer online. 

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In late October, the film’s distributor AMC Theatres Distribution confirmed that the singer-songwriter will celebrate the release of the on-screen version of her acclaimed tour with two premiere events . Several days before its release into cinemas worldwide on Dec. 1, the U.S. premiere will be held in L.A. on Nov. 25 and the world premiere will follow in London on Nov. 30. 

Tickets are now on sale for screenings across the globe at BeyonceFilm.com . 

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The Revealing Spectacle of Beyoncé’s “Renaissance”

By Carrie Battan

For the past decade, Beyoncé has been using documentary film to craft a narrative about herself in the absence of traditional press interviews and public appearances. Her films, which include “Life Is But a Dream” (2013) and “Homecoming” (2019), attempt to show audiences just how much labor is involved in the extraordinary job of being Beyoncé. In “Homecoming,” the Netflix documentary she released to supplement her historically ambitious 2018 Coachella performance , the brunt of the work on show was physical. “ Homecoming ” takes place months after Beyoncé gave birth to twins, and emphasizes just how brutal the diet, training, and choreography regimen that she undertook leading up to such an ambitious production was. In a voice-over that accompanies footage of her struggling through a piece of choreography, she says, “I had to rebuild my body from cut muscles. . . . In order for me to meet my goal, I’m limiting myself to no bread, no carbs, no sugar, no dairy, no meat, no fish, no alcohol. And I’m hungry.” Then she explains that she has learned a valuable lesson: “I will never, never push myself that far again.”

“Renaissance,” the superstar performer’s new concert film, which draws on footage of a global tour Beyoncé commenced in May this year and completed in October, shows the artist making good on that promise. The tour issues from her 2022 album of the same name, a dance record born out of a need to escape the ennui and claustrophobia of the pandemic’s prime time. As a paean to underground house and disco scenes and queer communities of the eighties and nineties, the album might have been Beyoncé’s most physical. But in the film, viewers see comparatively little of the elaborate, athletic choreography that has defined Beyoncé’s presence in so many of her other projects. Onstage, she uses dancers and set design to create movement, while she often sits, calm and regal, at the center of the storm. It’s a choice that allows her true gifts to shine through. Given the size of Beyoncé’s cultural footprint, it can be easy to forget that the forty-two-year-old is, at her core, a once-in-a-generation vocalist, but the film foregrounds this fact in delightful ways. It opens not with a rousing medley or cinematic intro but with a block of ballads that finds her trilling toward the limits of her vocal range.

The “Renaissance” tour is a maximalist project, among the most extravagant that Beyoncé has ever undertaken. The retrofuturism of the record, which borrows signatures of nineties house music and drag-ball culture, flows neatly into the stage show’s visual elements. The performance is punctuated with moments that blend whimsy, theatricality, and camp. During “Alien Superstar,” Beyoncé is enveloped in metallic pillows and a comforter, at which point she closes her eyes and tilts her head to the side, as if she’s taking a nap. Other parts of the show find her nestled inside an enormous iridescent clamshell, or sporting an elaborate bee costume while stationed behind a news anchor’s desk. Beyoncé may not be living out the hedonistic late-night dance-club dreams of “Renaissance” ’s lyrics in real life, but in this playfulness it seems as if she may have found a form of ecstatic freedom.

Like “Homecoming,” “Renaissance” mixes invigorating concert footage shot on various tour dates with artful clips from behind the scenes. In these portions, Beyoncé is more forthcoming than she has been in public for years. But her disclosures seem largely intended to direct the limelight to the show’s creation—the technology, the costuming, the dancers, the swarms of backstage production workers, and also her fans, her collaborators, and her oldest daughter. (That’s not to say that we can’t expect her fingerprints on every facet of the show: at one point, she elaborates on her abiding and autodidactic interest in lighting design.) The film, which runs nearly three hours long, emphasizes the staggering efforts that went into the tour’s making. Describing the vast amount of materials and manpower needed to create the set every night, Beyoncé notes, “It took four years to create this show. . . . This tour is a machine,” before pointing up to a screen so large that its content is visible across a football stadium. “You don’t realize that screen was built by hand.”

This summer, Beyoncé’s “Renaissance” performances overlapped with Taylor Swift’s Eras Tour , generating a live-pop-music doubleheader of epic proportions—a Barbenheimer for the music industry—as well as unprecedented expense. Tickets for the Eras Tour originally retailed for between forty-nine and four hundred and ninety-nine dollars, but they were so highly coveted, and so difficult to snag, that resale prices climbed into the thousands. Retail ticket prices for floor seats at “Renaissance” shows were north of a thousand dollars. Both artists have brought concert films to movie theatres as a consolation for the legions of fans who couldn’t, logistically or financially, swing the live shows—and to capitalize on their megastardom, a quality that is vanishingly rare in a world of fractured fans distinguished by highly specific tastes. This proved to be, for both women, a characteristically shrewd choice: In less than two months, the “Eras” film has already generated a quarter of a billion dollars in ticket revenue globally, and during its opening weekend “Renaissance” was No. 1 at the box office.

But the two artists have chosen radically different paths. Swift took the least fussy route available, using footage from shows at a single venue (SoFi Stadium, in Los Angeles). Though some of its set pieces are elaborate, “Eras” is a straightforward representation of a performance, and its proposition is simple: here is one woman and her never-ending collection of hit songs. Most of the action takes place through Swift’s facial expressions, or the light flicks of her wrist that count as her choreography.

“Renaissance,” aside from depicting a more grandiose affair, also has much loftier aspirations. One of these is to weave together an artist’s personal history with broader narratives of creative and technological evolution, an objective the film accomplishes in part by bridging the story of Beyoncé’s late uncle Johnny, who was gay, and the queer dance influences she draws from. Another is to provide a platform for undersung performers plucked from across the past few decades of American music. In doing so, the film continues Beyoncé’s recent spate of thoughtful and effective attempts to spotlight influential or innovative artists whose talents may have not received their appropriate due. Some of the most absorbing footage in “Renaissance” features Kevin JZ Prodigy, a longtime legend of the Philadelphia ballroom scene, who was recruited to m.c. the tour. Reams of footage showing the crowds in communal rapture, dressed in left-field ensembles, prove that Beyonce’s aim to “create a safe space” for her fans on the tour is not just a hollow, buzzword-based promise, but a hard-won reality.

Still, for Beyoncé the filmmaker and autobiographer, one narrative-building feat seems to remain out of reach. For her past several albums, she has been engaged in a war against her own perfectionism—striving for some kind of release from it, and for the world to see her humanity. In a behind-the-scenes video that was released during the rollout of her self-titled album, in 2013, she lamented the hollow satisfaction of all the prizes she’d worked for since childhood, which, in the video for the song “Pretty Hurts,” are symbolized by a trophy wall. “The trophy represents all of the sacrifices I made as a kid, all of the time that I lost,” she says. “And I just want to blow that shit up.”

A decade later, she is still on this mission. Early in the film, she announces that she is “embracing every flaw.” To that end, the film relates some of the technological hiccups that occurred at a handful of shows. These are flaws, sure, but not defining ones. And when the film begins to grapple in earnest with imperfection, it gets a little clammy. It is not until near the end that Beyoncé finally discusses the physical fact that surely helped to shape the tone and structure of the performance: shortly before rehearsals began, she relates, she underwent surgery for an old knee injury that had been aggravated. “I don’t feel the need to move around so much to give my best performance,” she explains. “My voice is my instrument.” Here is a glimpse of a deeply human limitation—even of mortality—but the film quickly moves on, returning to the nearly unbounded effort expended in the pursuit of another superhuman performance. ♦

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When will ‘Renaissance’ be streaming? How to watch every Beyoncé documentary and concert film

With the release of 'cowboy carter,' beyoncé is ushering in a new era. but what about 'renaissance'.

Beyoncé is moving on to a new era in her music. If you haven’t listened to the singer’s new album , Cowboy Carter, yet — seriously, what are you doing reading this? Just a few months after her concert film/documentary, Renaissance: A Film by Beyoncé, broke box office records, the Queen Bey announced that we were “ready” for her new music during a Super Bowl ad , officially ushering in Act II, AKA Cowboy Carter , AKA the sequel to Renaissance . Now that we’re in a brand new, distinctly Country era , fans may be wondering when the singer’s smash hit documentary capturing the making of Renaissance will be available to stream at home. Unfortunately, there’s no official word on when (or even if) Renaissance: A Film by Beyoncé will be hitting HBO’s Max or Netflix or another popular streaming platform yet.

But when it comes to documentaries and concert films, Renaissance   was in no way Beyoncé’s first rodeo. The musical icon has put out many projects offering her audience a glimpse of what goes into the making of her albums and world tours, as well as unforgettable visual albums and concert performances. So while you wait for Renaissance: A Film by Beyoncé to become available to watch online, why not revisit some of the “Texas Hold ‘Em” singer’s past projects? Here’s how to watch all of Beyoncé’s documentaries, concert films and visual albums.

Beyoncé: I Am… World Tour (2010)

In celebration of her successful world tour for her album I Am… Sasha Fierce, Beyoncé: I Am… World Tour (2010) immortalizes the 110-show tour. Footage focuses primarily on Beyoncé’s performances of hit songs including “Single Ladies” and “Halo,” but also includes behind-the-scenes clips shot by Beyoncé herself.

While I Am... World Tour isn't streaming on any platform right now, you can rent the concert film from Apple or free with a free trial through Amazon (and find it uploaded on YouTube ).

Watch free with Quello free trial $3.99 at Apple

Beyoncé: Year of 4 (2011)

Year of 4 focuses on the making of one of Beyoncé’s most iconic music videos, “Run The World (Girls).” This 20-minute short documentary film is available to watch totally free on YouTube.

Watch free on YouTube

Beyoncé: Life Is But a Dream (2013)

This full-length follow-up to Year of 4 takes a more intimate look at Beyoncé’s life in 2011 and early 2012. Beyoncé: Life Is But a Dream covers her decision to part ways with her father as her manager, the making of her fourth album, the miscarriage the star suffered right around the release of 4 , and the birth of Blue Ivy Carter. You can watch Life is But a Dream free with a free trial through Amazon (and find it uploaded on YouTube ).

Watch free with Quello free trial

Lemonade (2016)

While not technically a documentary or concert film, you can’t discuss Beyoncé’s on-screen work without including Lemonade. This hour-long film/visual album is "a conceptual project based on each woman's journey of self-knowledge and healing." You can watch the Lemonade film on Tidal (free with a free trial).

Watch free with Tidal free trial

Black Is King (2019)

Another can’t-miss visual album/film, Black is King is a companion musical film piece executive produced, and directed by Beyoncé, created as a visual companion to the 2019 album The Lion King: The Gift , which was curated by Beyoncé for the 2019 live-action remake of The Lion King . Black is King is streaming exclusively on Disney+.

Stream on Disney+

Beyoncé Presents: Making The Gift (2019)

This ABC special captures the behind-the-scenes process of making The Lion King: The Gift. The special is not currently streaming anywhere, but you can find the behind-the-scenes documentary uploaded on YouTube .

Watch on YouTube

Homecoming: A Film by Beyoncé (2019)

In 2018, Beyoncé became the first Black woman to headline Coachella. Homecoming: A Film by Beyoncé documents all the work that went into the singer’s historic performance, including the full setlist and all the behind-the-scenes effort. You can stream what is undeniably one of Beyoncé's most-popular documentaries/concert films on Netflix.

Stream on Netflix

Renaissance: A Film by Beyoncé (2023)

Beyoncé’s most-recent film release, the box office record-breaking Renaissance, once again combines documentary and concert film into one, looking at the process of making Renaissance the album , creating the Renaissance World Tour and then the actual tour performances.

Unfortunately Renaissance is not out on digital or streaming yet. But at least you can listen to ACT II: Cowboy Carter while you wait for the concert film to drop online.

When does Renaissance: A Film by Beyoncé   come out?

The film initially premiered in theaters on Nov. 25, 2023. Currently, Renaissance: A Film by Beyoncé does not have a streaming or digital release date set.

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Beyonce Confirms ‘Renaissance’ World Tour & Prepares To Hit The Road For 1st Time In 5 Years

Queen B will set out on a tour across the globe after her latest album 'Renaissance' was one of the biggest albums of the year.

The wait is over!  Beyonce   confirmed that she’s planning a 2023 world tour in an Instagram post on Wednesday, February 1. The “Break My Soul” singer, 41, shared a photo of a tour poster in the same style as her 2022 record Renaissance on Instagram , captioning it with the exciting announcement. “RENAISSANCE. WORLD TOUR 2023,” she wrote along with the photo.

Bey will hit the road beginning in May, and the tour will take her across Europe and North America. She listed the dates on her website . She’ll kick off the run in Stockholm, Sweden on May 10. The singer will end the European run on June 27 in Warsaw, Poland, but will only take a short break before the next leg begins in Toronto, Canada on July 8. The run will conclude on September 27 in New Orleans, Louisiana. Here are all the details you need about the upcoming tour.

When was Beyonce’s last tour?

The  Renaissance  tour will mark the singer’s first outing since her 2018 “On The Run II” tour alongside her husband  Jay-Z.   The co-headlining run came for the pair to promote their 2018 collaborative record  Everything Is Love , which they released under the name The Carters. The 48-show tour saw the two superstars bring their show to Europe and North America, beginning in Cardiff, Wales, and ending in Seattle, Washington.

The tour will also mark her first solo run since her epic 2018 headlining performance at Coachella, which was released as a live album and concert film Homecoming . Prior to the music festival performance, Bey’s last solo tour was the “Formation” world tour in 2016.

Ahead of the tour announcement, Beyonce did perform a special one-off concert at the luxury hotel Atlantis The Royal in Dubai in January. The 17-song private event was divided into three acts and had songs spanning her career and perhaps was a preview of what fans could expect on the tour.

Tickets & Presale

Ticket sales will begin on Monday, February 6 on Ticketmaster , per a press release from Live Nation. Fans can register for the “Verified Fan” presale now through Live Nation. There will also be Citi and Verizion Up presales for the concert event.

The tour will span over 40 dates in major cities across the United States and Europe. Here are The ‘Renaissance’ World Tour 2023 dates.

May 10 — Stockholm, SE — Friends Arena

May 14 — Brussels, BE — Baudoin Stadium

May 17 — Cardiff, UK — Principality Stadium

May 20 — Edinburgh, UK — Murrayfield

May 23 — Sunderland, UK — Stadium of Light

May 26 — Paris, FR — Stade de France

May 29 — London, UK — Tottenham Hotspur

May 30 — London, UK — Tottenham Hotspur

Jun 2 — London, UK — Tottenham Hotspur

Jun 6 — Lyon, FR — Groupama Stadium

Jun 8 — Barcelona, ES — Olympic Stadium

Jun 11 — Marseille, FR — Orange Velodrome

Jun 15 — Cologne, DE — Rheinenergiestadion

Jun 17 — Amsterdam, NL — JC Arena

Jun 18 — Amsterdam, NL — JC Arena

Jun 21 — Hamburg, DE —Volksparkstadion

Jun 24 — Frankfurt, DE — Deutsche Bank Park

Jun 27 — Warsaw, PL — PGE Nardowy

Jul 8 — Toronto, ON — Rogers Centre

Jul 9 — Toronto, ON — Rogers Centre

Jul 12 — Philadelphia, PA — Lincoln Financial Field

Jul 15 — Nashville, TN — Nissan Stadium

Jul 17 — Louisville, KY — Cardinal Stadium

Jul 20 — Minneapolis, MN — Huntington Bank Stadium

Jul 22 — Chicago, IL — Soldier Field

Jul 26 — Detroit, MI — Ford Field

Jul 29 — East Rutherford, NJ — Metlife Stadium

Jul 30 — East Rutherford, NJ — Metlife Stadium

Aug 1 — Foxborough, MA — Gillette Stadium

Aug 5 — Washington, DC — Fedex Field

Aug 9 — Charlotte, NC — Bank of America Stadium

Aug 11 — Atlanta, GA — Mercedes Benz Stadium

Aug 16 — Tampa, FL — Raymond James Stadium

Aug 18 — Miami, FL — Hard Rock Stadium

Aug 21 — St. Louis, MO — Dome at America’s Center

Aug 24 — Glendale, AZ — State Farm Stadium

Aug 26 — Las Vegas, NV — Allegiant Stadium

Aug 30 — San Francisco, CA — Levi’s Stadium

Sep 2 — Los Angeles, CA — SoFi Stadium

Sep 3 — Los Angeles, CA — SoFi Stadium

Sep 11 — Vancouver, BC — BC Place

Sep 13 — Seattle, WA — Lumen Field

Sep 18 — Kansas City, MO — Arrowhead Stadium

Sep 21 — Dallas, TX — AT&T Stadium

Sep 23 — Houston, TX — NRG Stadium

Sep 27 — New Orleans, LA — Caesars Superdome