![]() ![]() Hair by Neal Farinah and makeup by Rokael Lizama. stop in Philadelphia Jn a look by Givenchy, styled by Shiona Turini. For good measure, Bey also threw in elements of the odd-hop “Apeshit” from her Carters album with husband Jay-Z, and a stretch of Hova’s “Lift Off” cut with Kanye West.īeyoncé opens her Renaissance World Tour first U.S. Removing herself from “Metropolis”-inspired, metallic fem-bot gear, the vocalist jaggedly cut through fresh robo-R&B versions of “Renaissance” material such as “I’m That Girl,” “Cozy” and “Alien Superstar.” By doing so – and with adventurous choreography utilizing mechanical framing to mirror the songs’ lyrics – Beyoncé recontextualized her most recent album as something stranger, freer and more audacious in its live setting than in its studio renditions. Blige), followed by her minor chord-heavy, avant-piano-filled slowdown of “River Deep, Mountain High,” the latter a tribute to the late, great Tina Turner.Īfter the balladry of segment one’s “Opening Act” (the show is broken into six segments), the mood shifted and Beyoncé and company were ready to party, albeit robotically. Seated atop a piano for a quiet “1+1,” Bey’s “baby-baby-baby” vamp there set her up for the mighty rolling soul of “I’m Going Down” (equal parts Rose Royce and Mary J. In concentrating on the drone cameras before her (for the sake of the stage’s wide video screens), every sideways glance was magnified. Rising from the stage floor wearing short black spangles and fringe, Beyoncé’s voice snaked through a Bond theme-like take on the Destiny’s Child track “Dangerously in Love” before slow-waltzing into an atmospheric, emotional “Flaws and All.” Repeating and re-punctuating vocal phrases, Bey went for classic jazz dynamism and R&B barnstorming when approaching these sinewy ballads. Who has the cojones to start a stadium show with the word “Club” at its top – and continue on for SIX songs – with ballads and really slow bangers? Ballsy even.īeyoncé opens her Renaissance World Tour first U.S. As a performer and as a curator-producer, her sonic choices and visual cues were often daring. As a singer, she proved to be righteously elastic with trills to thrill and vocal runs that ran fluidly atop every different musical interlude (and there were many sharp turns and frantic rhythms in which to contend). The only thing more very than all of the technology and vigorous dance moves of Club Renaissance was Beyoncé herself. ![]() ![]() Over-the-top, yet still elegantly refined, pretty much everything surrounding the show’s vocal and visual centerpiece was exquisitely executed and bolder for it. From its epic concept videos between changeovers and its athletic dancers to a sound system that pulsated crisply with each deep house reverberation, Club Renaissance never missed a beat. With the wealth of knock-off mirror-ball cowboy hats and barely-there sequined outfits in the crowd to the wide staging of Club Renaissance and its accoutrements - flying horses, group costumes, pianos for Bey to sit on - nearly everything was reflectively silver. Last night, the United States got its first in-person peek at the vibrancy of Club Renaissance with an opening show at Philadelphia’s Lincoln Financial Center.įour words immediately come to mind in trying to do justice to the show: Daring. From a private show in Dubai and its official opening in Stockholm to its Canadian dates last week, most of the globe has gotten at least a glimpse, from afar, of Beyoncé on the Renaissance World Tour - her first in nearly five years. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |