The beginning …
The dancers line up in formation beside the gigantic luminous cube on stage.
Arena glow of phone screens erected.
the beat in “Formation”, as single overturned year Superbowl, swishing and bounce off the walls and ceiling.
Queen B hoisted up through a hole in the floor and stares the audience down to the shoes. I have seen many artists eloquently arenas. But no one ever gets over 50 000 people shouting down the smartphone glasses by starting nod with his head under a large hat.
“Are you proud of who you are and where you come from, say – I slay.”
audience: (shouts to split the ears)
And then the chorus:
“My daddy Alabama, Louisiana Momma
you mix that negro with that creole make a Texas bama
I like my baby heir with baby hair and afros
I like my negro nose with the Jackson Five nostrils
earned all this money but They never take the country out me “
You lose your breath. Since you will not recognize it at just over two hours.
Visuals, flamethrowers, short films, a giant cube that rotates and changes shape, dancers swirling everywhere and a soul star who owns every second with his voice, his songs and his magnetic aplomb.
As for premiere in Miami, I’m tired of everything afterwards. The eyes and ears, and body aches.
One can, as a small parenthesis, give a thought to what she does.
Calm, just a little thought.
Destiny’s Child era kept to single tracks and clips. We may not hear the adorable “XO”. Not the “Best thing I ever had” or “I miss you” or “Dangerously in Love” either. “If I were a boy”? Forget it.
It says a lot about the tunes Beyoncé sitting on. And it says even more about the ambition to innovate and continue to develop. The show and the tour will not resemble anything she or someone else has done.
It feels like the music is in a state of constant change. No song is finished. It is as if Beyoncé constantly trying to rewrite their own history, and even songs that was released in April.
She entertains the audience by challenging their eyes and ears instead of relying on old merits. It is perhaps the main reason for the concert’s ultra modern feel.
Complicated popföreställningar that are split into multiple files, containing countless stage and costume changes, based on even more torque where light and pyro based on the artists can not stand one centimeter error is usually felt stiff and chopped and tempo poor.
But not “The information tour”.
Beyoncé has a voice and a power in his performance that everything, the whole gigantic production, gets a fierce intensity and soul and life and heart. Her dancers are constantly one of the main instruments. They make the music and the numbers are even more powerful and physical.
Queen B knows how contemporary works. This is the “Live at the Apollo,” though for Instagram- and YouTube generation. I find myself wanting to tear up the phone every minute. Everything is fine and stylish, you have to catch it in a movie or picture to show their friends, those who were not in place.
The violent discharge of “Ring the Alarm”. Each time Beyoncé lets his main special effect, voice, fly freely around the arena. In the classic soul vent in “Crazy in love” with perfect timing fires and grandstands almost fire. When the “Halo” evolve into “call and response” -gospel. There are any amount.
But enough is enough “Freedom” takes it. Beyoncé singing and stomping and takes in order to glue the hair over the entire face. The song grows to a roaring protest march. It feels more than ever like a feminist continuation of James Brown’s “Say It Loud – I’m Black and I’m Proud”.
Music does not get bigger, more powerful or better. Will try to catch my breath now.
Let the song
The opening is a masterpiece. Beyoncé and her dancer stands up in formation. “Are you proud of who you are and where you come from, say – I slay!”
Did the world to wonder who “Becky with the Good hair “is when it was released in April.
The classic hit single as acapella version. Beyoncé’s voice explodes like fireworks.
A bright hard inferno of fire and smoke and a text that breaks the nasal bone.
Run the World (Girls)
diabolical. The attack felt all over the body. A näsblodsframkallande discharge with visuals and flamethrowers.
The set may, for a few moments, a softer and sadder setting before …
… dancehallbeatsen and Sean Paul begins to hammer in long spikes of the eardrums. Everything runaway, from zero to 470 kilometers per hour.
Spellbinding version of one of the many responses sick dramas from the album “Lemonade”. Barely have time to start before …
… the energy rush that teckande figures. The heat outside on the chaotic scene satellite feel against the skin. A short drum solo by slamming on the fly.
Me, myself and I
The ballad, which according to Beyoncé’s about the most important love we have – it within us – makes a modest impression compared to the initial bomb carpet. But also an excellent example of how the Bey’s voice can lift mediocre track several meters.
Runnin ‘(Lose It All)
Breath taking beautiful vocal performance in Covern the British producer Naughty Boy. (Beyoncé visited incidentally Naughty Boys online single 2015).
Bey manages to be yesterday and the future, Etta James and himself, at the same time.
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Do not hurt yourself
No genre seems more alien to her. In the introduction step a metal guitarist forward and behave in the same decibel level as Spinal Tap (eleven). Beyoncé self counter with a higher volume and worse. Here, the volume button on her speakers go up to twelve. Least.
Ring The Alarm
Ridiculously strong version where Bey creates a leaden storm where even the “Five to One” by The Doors, “Takeover” by Jay Z and “Independent Women” included …
… and everything continues to roll and the blare of an offensive without stopping.
hit single sewn together with …
… Nicki Minaj without seams or stitches visible.
The music scalded down to the bones. Only voice and drums.
Drunk in Love
“Swimming pools (dregs)” of hip ace Kendrick Lamar woven into this logically. Two of today’s most deserves to be heard from the PA system.
The tempo is screwed into a softer “quiet storm” numbers. Complete with a few seconds of D’Angelo’s “Untitled (How does it feel).”
The short number is at most a suggestive music video.
This should all music from New Orleans allow 2016. The only complaint – it should have been for fifteen minutes. Who had complained?
Love On Top
Acapella. Again. And, uh, the audience should be commended for trying to sing catch up with one of the world’s best singers. Developed to a hypnotic gospel.
1 + 1
Beyoncé sings on the knee. Friends Arena feels almost too small. The voice is so big it will not fit. Paralyzing good.
(Purple Rain interlude)
Between The game must be mentioned. The cube is lit purple. Princes voice floats up. Still so hard to take in that he is gone.
Crazy in Love (remix) / Crazy in Love / Bootylicious
The single is divided into two parts. First a slow trip hop-like remix. Since kicks vent from “Are you my woman (tell me so)” in and … good night.
Together with mashed version where “Love to Love You Baby” by Donna Summer play the main role.
A little fun to Doug E freshs and Slick Rick’s old school earring “La di da di” get a few seconds of fame.
In the evening it feels like the 2000s heir to James Brown’s “Say It Loud – I’m black and I’m proud “.
Five hearts. Least.
End of Time
Have mentioned the word inferno gets many times already, but how else to describe it played out on the water-filled satellite scene?
When Beyoncé toward the end, once again, turned to gospel queen, there is not much to add. A furiously uplifting finale.