Beyoncé. The Renaissance World Tour. My coochie pussy pink. My bootyhole chrome. | A Review

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is sat atop the disco horse, as the stage crew assist.

I got to see Beyoncé on her Renaissance World Tour.

Now, I could write an entire post on the ordeal of trying to get tickets to this shit. And how disgusted I am in myself for actually giving Ticketmaster my money, despite vowing in 2010 to never give them a penny after they scammed me out of my Hikaru Utada tickets. But I won’t. At least I’ll try not to.


So. I got to see Beyoncé on June 4th, the final day of Beyoncé’s 5 day residency in London - a residency of which I am very fortunate that she did, otherwise I would not have gotten to see her. Getting tickets for day one was an absolute mess. I like Beyoncé. But I was not paying the ridiculous prices for the tickets which were left at that point. And the way new dates released outta nowhere whilst I was already in a queue for another date; it was more chaos than a Sonic emerald. I’m exhausted just thinking about it.


I said I wasn’t gonna get into it. So I won’t. So let me instead get into the actual tour.

I ain’t worried doin’ me tonight
So, I got my tickets for the disco horse tour, but I had livestreamed most of the opening night in Super IKEA Land; so I knew what I was getting in terms of Opening Actoncé and Barely Danceyoncé. But we’ll get to that.

I, like many, was surprised with how the tour opened. Because we didn’t hear ‘These muthafuckas ain’t stoppin’ me’. We instead heard the opening guitars of “Dangerously in Love”. ‘Why would you open the Renaissance tour…with THIS song?’. Then she started singing “Flaws and All”. ‘Did a bitch forget what album this tour is for!?’. Then came “I Care” and “1+1” and I’m still trying to make sense of what ‘this’ was. But when Beyoncé finally got into the Renaissance of it all, it clicked.

She was opening for damn herself. Because who on earth could open for Beyoncé, but Beyoncé!?

I think the purpose of this was for fans to be like ‘Huh?’ for a second, knowing that enough of her fans would ‘get it’. But it was also a display of Beyoncé flexing her showpersonship, because she knew that she could hold the crowd in the palm of her hand and have them sing-along and sway to whatever slow and mid-tempo album cuts she chose to perform. Not only was it a fun ‘Gotcha’ moment, but it also provided Beyoncé a chance to perform songs that she knew wouldn’t work within the main setlist. And ya’ll. Let us rejoice. Because there was not a single note of “Halo” or “XO”. Thank Jebus. I am tired of both of those songs.

But when I finally got to witness the show for myself, Opening Actoncé hit differently. My cousin turned to me and said ‘I’m feeling a bit emotional’, and I got it. Because I felt it too. It was very surreal to be in the same space as Beyoncé. To see her RIGHT there. To hear her singing a ballad from an album which is over 20 years old. A song of which we had no idea would be the title track of her solo album, from a point in her career when we were already fans of hers; waiting on Beyoncé to become the star we knew she was destined to be. And my cousin and I have had seen Beyoncé in concert twice before together, one of which was a Destiny’s Child tour. We fanned out over Destiny’s Child and Beyoncé together as kids. So there’s all of this wrapped into it too. And then it dawned on me why “Dangerously in Love” was such a great choice to open the tour. Because it threw her fans back to a point in time tied to this song. Whilst “Crazy in Love” is of course Beyoncé’s smash hit debut single, there is something very special about “Dangerously in Love”. Not only did Beyoncé’s solo album bear this title, but it was the first solo song we had heard from Beyoncé before she officially went solo. Her solo career journey didn’t begin with “Crazy in Love” or “Work it Out”. It began with “Dangerously in Love” on Survivor.

Beyoncé opening her tour with mid-tempo songs also gave her a moment to remind people that she can sing. Because believe it or not, there are people who debate this. It’s always strange to me that whenever the discussion of great singers of today is had, Beyoncé’s name frequently gets left out; because she is an incredible singer and always has been.

A shot of Beyoncé performing on the Renaissance World Tour, during the opening section of the show.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

Login B, backslash, O-N-C-E
Opening the tour with a vibe and tone so different from what we get once the Renaissance of it all kicks off really heightens the impact of when it does, because you truly do feel like you’re being transported into this whole other world. It also creates somewhat of a distinction for Beyoncé. The I Am… Sasha Fierce dealio was foolishness on paper, but having an alter ego or a persona in certain situations is very real and it plays into Renaissance too. So it makes sense that there would be such a shift in tone between the opening of the show and the actual start of the show, and that Beyoncé would pick songs which not only speak to who she is, but songs about experiences that we all share. We all wanna dance, feel free and be inhibited. But first, let us celebrate love, our imperfections, our hurt and our weaknesses. Let’s get all of that out before we don our silver mirrorball cowboy hats, titty pasties and start painting the world pussy pink.

This may all be a complete reach. But then again, there is so much meticulousness when it comes to everything in regard to Renaissance, that I’m just gonna run with it and assume I’ve barely scratched the surface of what Beyoncé was trying to do with it all. Because Renaissance (album and tour, all of it) is truly an experience with layers.

But despite the huge tonal difference, the slow opening of the tour kinda set the tone for what would come in a number of ways.

I was here.
It would have made complete sense for Beyoncé to come out in full Renaissance mode and hit with the bangers. But Beyoncé coming out to sing some ballads with no on stage theatrics really grounded everybody, including herself. Beyoncé was able to have a moment of stillness on stage and really take in the fact that she’s touring again. That she’s able to see her fans. To fully embrace that people still adore her and went into all sorts of debt and used up all of their annual leave to see her fifty ‘leven times.

I truly do feel that Beyoncé forgets the level of her popularity sometimes. And I kinda get it. Beyoncé absolutely has burner accounts and sees all of the shit online. And she has a team who are very active and present online, and probably send her stuff all of the time. But social media skews so much. And popularity online doesn’t always translate into popularity offline - something a lot of these new girls and DC Comics are realising. So, for Beyoncé to be on that stage for the first time in 5 years, knowing full well she has done no press and no promo other than posts and bio changes on Instagram, and see every seat filled - it was probably a little overwhelming. She knows she’s that bitch. But no matter how bad a bitch she thinks she is, seeing the adoration fans have for you online versus seeing their faces in person, it’s a different thing.

Opening the tour with a ballad which wasn’t even released as a single also showed that Beyoncé is a performer by nature. Not just circumstantially based on the tempo of the songs, the popularity of the songs, or the spectacles of the stage she’s on. Beyoncé is at a point in her career where she can have an insane spectacle of the stage, and the Renaissance World Tour makes that VERY clear. But she doesn’t NEED any of it.

Opening Actoncé came up onto the stage and had nothing but her band, her pianist, a couple of background singers and a Windows XP backdrop. And Beyoncé was just singing. And yet Beyoncé was able to have everybody completely entranced and lost in the moment with her. It was truly magical. Any sense of ‘Why is she doing this song?’ melts away, because you realise you could listen / watch Beyoncé perform anything in this manner and still have a good time.

But the most notable thing about how this tour opened, which carried through into the rest of the show, is how present Beyoncé was. It was the one thing that surprised me most about the whole entire show. Beyoncé was SO very clearly present in a way I’ve seen her, and very few performers on a show of this scale, be before. And opening the tour in this way probably gave her a chance to really process everybody, everything and feed off of the moment, in order to fuel what was to come. It gave her a chance to get a lay of the land and suss the vibe. I completely get why some would find the opening of the tour so strange, but it makes so much sense to me. And the more I think about it, the more I realise that the tour opening any other way just wouldn’t work as well.

Opening Actoncé also set a tone that the tour wasn’t fully for Renaissance. But we’ll get to that.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé and her dancers all posing with their arms outstretched, at the end of “Alien Superstar”.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

Gimme a minute and I’ll be right back
So, the Renaissance of it all actually kicks off. And lemme tell you - the cheers and stamps when ‘Renaissance’ was displayed across the screen had the whole stadium erupt. I’ve never experienced anything like it before. And it clicked once again why Beyoncé chose to open the show the way that she did. For the impact of this moment to be the biggest that it could be.

When Renaissance first released, everybody was tweeting and memeing how the only way the tour could start is with “I’m That Girl”. That the lights would go out and all we’d hear is ‘These mothafuckas ain’t stopping me’. So this is what many disco horse fans were expecting. And we did get this moment. Just not the way many of us envisioned. And it was glorious. Because the payoff of when we did get it was 02_destinyschild_so good.wav.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is wearing a Mugler bodysuit, which was originally the outfit she wore for “I’m That Girl”, “Cozy” and “Alien Superstar”.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

‘Cos we like to partay
When Renaissance first dropped, everybody was talking about how the songs would work on a tour, and that Beyoncé wouldn’t need to change shit. That she could just run the album from top to bottom. Aaaaaaand she did exactly that. It only hit me a week later that the setlist order of the Renaissance songs run exactly as they do on the album. Transitions and all.

Now, some might be disappointed about the omission of some of Beyoncé’s older songs. There is no “Single Ladies (Put a Ring on It)”, no “Irreplaceable”, and no “Halo”. But, baby. This is the Renaissance World Tour. And Beyoncé does some cool things to include bits of older songs here and there, such as the inclusion of “Sweet Dreams” in “Alien Superstar”, “Freakum Dress” in “Before I Let You Go”, “End of Time” in “Energy” and a whole bunch of songs in “Virgo’s Groove”. Instances like these are peppered throughout songs, and are like cool Easter eggs for fans. I was pointing at the stage like Leonardo DiCaprio in that meme every time I heard an element of another song.

My beef with some of the older songs which were included in the setlist (aside from the fact they took up spots which should have been given to songs from The Gift) is that they weren’t remixes.

This is the remix
Something Beyoncé is known for when it comes to her live shows is flipping her songs, sneaking in mashups and not being afraid to completely change her shit from the album versions that fans are familiar with. And we get this across near enough every Renaissance song. “Break My Soul” including the “Vogue” sampling Queens remix and the horns from The Jacksons’ “Shake Your Body (Down to the Ground)”. “Move” featuring a mashup of Nina Sky’s “Move Your Body”. “Virgo’s Groove” working in “Signs”, “Speechless”, “Cater 2 U”, “Rocket” and more besides. But strangely, the older material doesn’t get the same treatment.

I was really surprised at how little effort was made to change the arrangements of the older songs, mash them or Renaissance-ify them. After all that Beyoncé did for some of her songs for Homecoming, I was expecting we’d get a lot of her older material flipped into disco or house jams; but we got no such thing aside from a club remix of “No Angel”, which was only used during one of many interludes. Oh, we gon’ get to this shit too.

A couple of the tour interludes featured new pieces of instrumental dance music, which felt like a missed opportunity to remix old songs. All of the interludes instrumentals were bangers. I was in the stalls rocking my head and shakin’ my entire ass. But with a discography as extensive as Beyoncé’s, it seems weird to just opt for some miscellaneous instrumental club tracks instead of just remixing a Beyoncé song. And to add insult to injury, there is a tour intermission which features a Beyoncé megamix of one of my favourite Destiny’s Child songs and one of my favourite songs from The Gift - but this wasn’t shown at the show I attended, because it’s an interlude which only plays when Beyoncé performs “Thique”, which she didn’t on this particular night.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is performing “Heated”, surrounded by silver microphones, with robot arms on stage, each with a silver fan.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

Whilst everything visually was very silver, chromed and Renaissance-ey, the sound of the tour as a whole didn’t really match this for me, because of how the older songs remained so untouched. Beyoncé has been so bold in the past when it comes to changing up her own songs, and yet there was a tentativeness about doing it for the one tour where it would have made sense. I also think this was an ideal tour for her to bring back remixes which touched on house and disco, such as the Maurice Joshua remix of Destiny’s Child’s “Illusions” - something which really would have separated the casual fans who are just there because they liked “Alien Superstar” from the most die-hard.

I really went into this tour expecting to hear all of these new versions of old songs, and I got not one ounce of that. And some of the older material she chose to include could have so easily been Renaissanced. If Beyoncé was willing to completely flip “Crazy in Love” for that Fifty Shades mess and perform that version of the song for the Formation World Tour, why not flip it into a house club track for the disco horse tour?

Beyoncé has been releasing remixes of songs from the album, in some cases with whole new sets of lyrics, vocals and arrangements. Beyoncé has even officially released a capellas and instrumentals to a couple of her own songs, willing fans to go wild with remixes. And yet this same energy wasn’t given to her older material for her tour. It was strange to me, and it made the older material feel separate from everything else. Fans have lived with the original versions of some of these songs for so long, that I doubt they’d be pissed that a couple of them sound a little different for the tour of an album which already had Beyoncé doing styles of music she’d never done before. And whilst it is widely documented that there were people who wanted more of ‘the old stuff’, FUCK THEM. This is the Renaissance World Tour. Not the Beyoncé Greatest Hits tour. Renaissance everything bitch.

But not opting to Renaissance-ify the older songs really cemented for me that this wasn’t solely a tour for just the music of Renaissance. And there was also one other thing which really drove this home for me. The inclusion of so many songs from the album 4.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé’s all dancing and strutting away behind her.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

I don’t know much about algeba
One thing which becomes clear when you experience the Renaissance World Tour, is that Beyoncé really likes that 4 album. She probably feels some type of way about never having toured it. Beyoncé very noticeably performed a bunch of songs off 4, and this isn’t a bad thing. In fact, it makes a lot of sense sonically, because 4 is a great album to bridge Renaissance and The Lion King: The Gift together (i.e “The End of Time”, “Countdown”) and we do get SOME elements of this. But still not enough for my liking.

Speaking of The Lion King: The Gift, I know a lot of you were lukewarm on this album, but I really liked it. Played it more than most of Beyoncé’s other albums. So I would have liked for just one more song from this album to have made the setlist. “Otherside” would have been great for Opening Actoncé. And I wish we had gotten a performance of “Find Your Way Back”, which is a top tier Beyoncé song as far as I’m concerned. One of her best.

But there’s more to my ‘This wasn’t really a tour for Renaissance’ theory. And that’s that some of the Renaissance songs got cut down. Severely in some cases.

Radio say ‘Speed it up’
“Church Girl”, “Plastic Off the Sofa” and “Virgo’s Groove”, all got significantly cut down, and none of them hit the way I felt they should have. And I took this personally, because “Church Girl” and “Virgo’s Groove” are my favourite songs on the disco horse album. But the icing on the cake for me was “Summer Renaissance” getting cut ALL the way down. The whole second verse got cut. The outro rap? Cut. And it’s so weird, because the build up for “Summer Renaissance” is so fucking long, and yet it feels like Beyoncé barely performed the song, because she spends so much time talking during the start and end of it.

Like... It’s the gayla gurl.

It ended the show on a bit of a bum note for me, because I adore “Summer Renaissance”. It’s such a perfect encore song, and I couldn’t believe it got done the way it did. The spectacle of the performance and seeing Beyoncé on the disco horse itself is amazing. I just wish we got to experience it all to the entire song.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is performing “Virgo’s Groove” whilst sat inside a giant silver clamshell.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

The question they ask when I hit the stage
The staging of the disco horse tour is really cool. It’s nothing special when you first see it with the LGBTYONCÉ+ test card. But the simplicity, the genius of the staging and what it allows for creatively becomes apparent once the show fully kicks off. And the production of the show as a whole never stops surprising you. You think it can’t get crazier than Beyoncé dancing with two frames being swung about by two gay robots FA33-0T and S1-55Y to “Cozy”, and then a giant inflatable disco horse emerges during “Break My Soul”. And then Beyoncé appears on a giant silver truck which drives down the stage. Then Beyoncé shakes her ass in front of a giant disco ball to “Crazy in Love”. Then Beyoncé rises from the stage with a full-ass news desk to “America Has a Problem”. Then Beyoncé rides THE disco horse into the air during “Summer Renaissance”. The entire show is a spectacle from start to finish.

The production value of the videos alone was off the charts and really put Beyoncé and her team in a whole other league. There are very few tours I can think of where the visuals were not only strong, creative and so well themed, but featured in such abundance. Usually you get a cool intro. You might get an interlude. And that’s it. The Renaissance World Tour featured what had to be at LEAST a good 15 - 20 minutes worth of videos.

The only problem with the staging IF I really had to get down to it, is that I don’t think the space was always used as well as it could have been. There are too many songs which Beyoncé performs at the back of the stage, when she should be right the way out at the front. There’s a circular runway which runs the perimeter of Club Renaissance, which is barely used. I wish the team had considered a stage setup where Beyoncé could actually be out in Club Renaissance more with her gadgets and gizmos, because it felt like everything just had to happen at the back of the stage, because that’s where everything is.

A shot of the giant LED wall at the Renaissance World Tour, displaying the word ‘Groove’.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

The main attraction of the staging was most definitely the screen with the giant circular aperture. Not only did the screens always show Beyoncé and her dancers with cool frames and effects to tie into the different themes of each act, but the camera crew were filming the show for the screens like it was being televised. Beyoncé was always giving it to the cameras, but never to the point it felt like she was neglecting the crowd. Whilst some may have something to say about her lack of dancing (and we will get to that), Beyoncé’s showpersonship really showed in these moments. Beyoncé was very present and very much about ensuring she put on a show for EVERYBODY, whether they could see her mere feet away or up in the nosebleeds and relying on the screens. I really do hope she releases this tour on video. It would be a shame if she didn’t.

And there was always something happening in or behind the circular aperture. Sometimes we’d see the band and the backing vocalists. Sometimes we’d get cool lighting rigs. Sometimes we’d get an illusion of a visual, such as during “Cozy” and “Alien Superstar”, where it made the circular space look like this tunnel which went on forever. And when the aperture was closed, it would display a screen, which would usually have some cool circular themed visual on it. Beyoncé’s creative team did a great job of using the staging in ways that made it feel like a character in and of itself. It wasn’t just something to service the show. It was performing as part of the show with everybody else. It’s the only way I can think of putting it.

Now. We gotta talk about the dancing.

Tonight I’m gonna dance for you
I figured that Beyoncé was done hitting 8 counts how she did for Homecoming. That shit was it for her. She showed us all she went through for that show as a reminder to herself and to her fans that it was a level of work and sacrifice that not just anybody could do. That some of it was foolishness. And that she would not be fucking doing it again. And I do not blame her.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is surrounded by her dancers during the Queens Remix section of “Break My Soul”.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

But I knew Beyoncé was serious about not busting her ass learning choreography for an album’s worth of songs with the release of Black is King. An album full of afrobeat songs and there is barely any dancing in the music videos? “Find Your Way Back”, and just walking across a desert? “Mood 4 Eva” and just sitting in a mansion? “Water” and just walking around with a basket on your head? This is when I knew. That show in Dubai where the extent of Beyoncé’s dancing was waving a hand was the confirmation for me that Danceyoncé had hung it up. That ship done sailed. So when I saw Beyoncé wasn’t dancing on this tour as much as she had done in the past, I can’t say I was surprised. Was I disappointed? Honestly, yeah - initially when I saw videos of the tour. But when I got to experience the tour for myself, I was so wrapped up in it all that I didn’t care, because I still got a heck of a show, and this is what Beyoncé does and is known for. Putting on a show. Not giving displays of choreography. She is not Janet Jackson.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is performing “Formation” wearing a silver Loewe outfit with a metallic breast plate.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

However, the dancing in general didn’t really pop for me. The only sections where the choreo really struck me was during “My Power” and “Black Parade” because of Blue Ivy, and “Before I Let you Go” because The Dolls looked great, were sharp and super playful with Beyoncé. (Oddly enough, she seemed a lot more at ease and let her guard down more with her gays more than she did the girls). And the ballroom section where we see some of the dancers show out and vogue down was amazing. But elsewhere in the show, the dancing didn’t really pop for me. But. I will say this. I think this may be due to the routines and choreo being geared toward looking good when filmed in a certain way. Because whenever Beyoncé has shared official videos and GIFs of the tour, the choreo absolutely pops in ways that it didn’t when I saw it live. Some choreo just be like that. Sometimes shit looks better when professionally filmed versus seeing it in person. Sometimes shit looks better in a music video than when on stage.

But something which did pop were the personalities of the dancers. Beyoncé picked some real characters for this tour. Some of the dancers truly shone so brightly, that it wouldn’t surprise me in the slightest if they had grown bigger fanbases as a result of their work on the tour - to such a point that some would probably attend the tour for them in addition to Beyoncé. It’s that serious.

Forever I’m that girl
Beyoncé has long been regarded as a great performer who is in a league of her own and this is still very much the case with the Renaissance World Tour - even with her dancing less than she had for other tours and large scale shows. Beyoncé’s gambit as a performer was never her dancing anyway; it was always her energy and how she conducted herself on stage and this hasn’t changed. But something in Beyoncé has definitely shifted and it’s made her a different performer.

Beyoncé isn’t trying to chase who she was before. She’s embracing the person she is now, and urging others to do the same. Whilst reminding people to move in the world and present yourself how best you want to be remembered.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is stood in front of the giant circular aperture of the LED wall, backed by her band, backup singers, all stood in front of a backdrop of shimmering silver.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

This tour provides an insight into how Beyoncé would like to see herself, how she would like her Uncle Jonny to see her now and how she would like to be remembered if this were the last memory that anybody had of her. And the Club Renaissance moniker pretty much sums up what Renaissance is. Renaissance isn’t just inspired by club culture. Renaissance and the experience of it in and of itself IS a club. A place of freedom and self expression which is free of judgement. Well, free of judgement unless you scream when you’re supposed to be on mute. Renaissance is a place where you can be whoever you want to be for those 2 hours and 4 minutes. It’s a celebration of self. And fans have absolutely run with this in ways I imagine Beyoncé had hoped, but never dreamed would catch on the way in which it has. But this is all for Beyoncé too. Renaissance allows her to be free. In fact, the most free she’s ever been. And this is no more evident than her approach to this tour. The Beyoncé I saw was very different to the one I’d seen before.

The Renaissance World Tour is the closest I think that I have ever come to being able to identify with Beyoncé. Not just the idea of her. But actually her. Which is crazy, because…she is Beyoncé. She’s got money and I don’t. She can sing and I can’t. She can perform and I can’t. But when she was on that stage like ‘Fuck it. I was born free. I’mma celebrate myself and do the things that even I denied myself from doing in the past.’ I was in the stalls like ‘BITCH. ME TOO!’. And she really had me believing that my non-existent songs on the radio be sounding so good, ‘cos I’m on that hoe.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is suspended in the air, amidst a shower of confetti during the “Summer Renaissance” encore.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

I wanna make you shine
For years I have always felt that Beyoncé was trying to be what people wanted her to be, or expected her to be. And Renaissance felt like the first album and tour where I truly saw her not trying to be anything and instead just...being. She finally reached a point in her life where she could let let it all go and allow herself to be in the moment, and be playful with not only the legacies which have inspired her, but her own.

Renaissance started out as Beyoncé’s safe space, but now it’s become so many of ours. The place where we all become our alter egos. Our avatars. Our truest selves. The versions of ourselves we wish we could be. Where we allow ourselves to be free of the things in life that we allow to bind us. Our shyness. Our lack of confidence. Our thoughts of how people perceive us. Things we deem as imperfections. Everything that Renaissance is as an idea is pretty much ballroom. And given that ballroom culture specifically was such a huge influence and source of inspiration for Renaissance, the two being so synonymous ideologically is no surprise. Renaissance. Ballroom. The requirement is if you’re gonna show up, then show the fuck up. Represent yourself as you want to be seen and be remembered, and nothing less. But most of all, believe in who you are in that moment and shine so bright that nobody could dim your light if they tried. There is no disenfranchisement of others in this bitch. And it was so beautiful to see that so many people got it and ‘understood the assignment’ as the kids say. Everybody showed up as their own metaphorical (and in some cases) literal mirror ball. To shine brightly. To be a reflection of something bigger than themselves. To be that something beautiful that others and the voices in our heads tell us we could never be.

Beyoncé seemed far less concerned with perfection and far more concerned with being present and enjoying herself - and this also feels like a big part of what Renaissance is. Living in a moment and creating memories so powerful and so strong that they transcend time and inspire in the future. Just as Beyoncé’s uncle Jonny inspired her to do ALL DIS decades later.

Beyoncé chuckled through mishaps. Was constantly making comments about things she was seeing and hearing in the midst of songs. Reading out fans’ signs. Picking out faces in Club Renaissance that she recognised from previous nights. Letting everybody know that Kelly Rowland was in attendance. Despite all of the cameras she had filming the entire show, Beyoncé still wanted to hold on to as many moments as she could by being present in them. And this was more beautiful than the outfits and the spectacle of the stage, because it was something real. It was Beyoncé realising her power and her purpose. That was going to a part of so many memories which would be treasured and inspired.

The show seemed to be as cathartic for Beyoncé as it was for fans. Beyoncé and her team created something special with the Renaissance album, and fans have had almost a year of living with it, having it be a part of their lives and manifest so many different things for them. Now she gets to share it in a different format; to invite people a little closer. To actually see people’s faces. The sparkles of silver. The tears of disbelief that they get to enjoy this moment with Beyoncé. The whole show was a reminder of everybody, including Beyoncé herself, that we are all alive in this moment and that we should be unafraid to live, no matter what happens in the reaches of the dark where the light and sparkles of silver can’t touch.

A shot of Beyoncé performing on the Renaissance World Tour. Beyoncé is suspended in the air, as her coat sparkles during the “Summer Renaissance” encore.
Beyoncé - Renaissance World Tour | Parkwood Entertainment

The Renaissance World Tour was more than just a show. It was a party. It was a celebration. It was an experience. It’s quite possibly a bit of a religion at this point. Beyoncé, her disco horse and her team managed to create something which is so easy to appreciate whether you’re a fan or not. Whether you’re queer or not. Whether you’re he, she or they. Renaissance feels like something that you not only want to be a part of, but something you want to be a part of with other people. I’m a pretty solitary person and a complete introvert. Yet Renaissance has elicited this urge in me to engage with others about it. To want to experience it with others. And to be at the tour with so many others who knew the words to the songs and could match the energy - it’s cliché as fuck to say, but it was magic. And then Beyoncé disappeared in a shower of silver confetti and returned to her house of chrome, as I and thousands of others returned to their own. All shining silver under the exact same sky. Unified by a shared experience that was and will always be Renaissance.

Ten, ten, tens, across the board.

A shot of the disco horse on the Renaissance World Tour. Positioned in the centre of the B stage at the very end of the show.
Beyoncé - Renaissance World Tour | Parkwood Entertainment