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Beyoncé’s Formation World Tour: The Complete Breakdown of Her First Show

By Liz Tracy

Beyoncé ’s performances can sometimes feel a bit serious, with her structured, synchronized dancers and no-one-wakes-up-like-that style. But at the kick-off of her Formation World Tour last night at Marlins Park in Miami, it seems like she finally found what it is that makes her smile. She appeared to have embraced the entirety of her intense nature, found the joy it it, then brought it to the stage. She was exact without seeming meticulous (which she obviously is), not to mention vulnerable and a little giddy. Instead of bowing before her, the Beyhive shook, swayed, and squealed alongside their queen.

The release of her new album, Lemonade , and its visual accompaniment just days before this arena show left no one in the dark about why Solange attacked Jay Z in that elevator. It seemed Bey wrote and sang her way through her grief to forgiveness in her marriage. And, as trite as it sounds, maybe that trial overcome was why the gleam in her eye was brighter than ever.

There was really no better way to open up in the Magic City than with living meme DJ Khaled presenting a receiving line of surprise guest rappers, each for a few minutes in the spotlight of an almost empty stadium: Rick Ross , 2 Chainz , Yo Gotti , Lil Wayne , Trick Daddy, Kent Jones, and finally, Future . Beyoncé, on the other hand, does only Beyoncé. She isn't the type to mess with surprises in the live setting very often (album releases are another story). This is her show, and she's who you came to see. Here’s a complete breakdown of what went down last night.

The Setlist

She sang a seamless 37-song mix starting with “ Formation ,” moving through a well-paced serving of Lemonade songs and forgotten early gems, ending with a string of popular, danceable bangers and a touching final few moments.

"Formation" "Sorry" "Bow Down / Tom Ford" "Run the World (Girls)" "Mine" "Baby Boy" "Hold Up" "Countdown" "Me, Myself and I" "Runnin'" (Naughty Boy song Bey appears on) "All Night" "Don’t Hurt Yourself" "Ring the Alarm" "Diva" "Flawless (Remix)" "Feeling Myself" "Yoncé" "7/11" "Drunk in Love" "Rocket" "Daddy Lessons" "Single Ladies (Put A Ring On It)" "Purple Rain" (Prince cover, obviously) "Crazy in Love/Bootylicious" "Naughty Girl" "Party" "Blow / Nasty Girl" "Sweet Dreams" (Eurythmics cover) "Sweet Dreams" (Bey's song) " Freedom " "Survivor" "End of Time/Grown Woman" "Halo"

The Performance

The lights shut off suddenly just minutes after the 8:30 p.m. start time and were replaced by a rotating rectangular cube screen that stood as high as the stadium. To the distinctive opening notes of “Formation,” the display showed a massive moving image of the singer with an orchid in her mouth that soon changed to artsy—but not screensaver-ish—nature scenes.

At first, it seemed like you could see her thighs gliding through the smoke as a tidy bevy of black-clad women in wide-brimmed hats sauntered out. Another mirror image gang suddenly appeared on the other side of the stage. It was there that the queen in all her glory was concealed amidst her subjects. “If you came to have a good time, say, ‘I slay!’” she instructed. The cheering crowd was a dark sea dotted with iPhone lights.

Next, a recording of Brenda Lee cooing “I’m Sorry” played as an explosion of blue and red light flooded the stage. “You all know this song. Try and help me sing,” Mrs. Carter announced before standing solo for her less apologetic “Sorry.” Her dancers came out, middle fingers blazing. Starting out boldly, this is the song that features the “better call Becky with the good hair” line currently ringing in everyone’s ears and rolling off their tongues. The intensity escalated and found expression in a concentrated group dance to “Flawless.” The feeling was heightened by bursts of fire reaching high into the clear night above the stage, as the Major Lazer sample at the heart of “Run the World (Girls)” pumped through the speakers. The mood swayed between personal and jovial, like when Sean Paul’s distinctive growl came through on “Baby Boy.” Things stayed cool and tropical with a clip of the Sister Nancy’s dancehall opus “Bam Bam” that transitioned into “Hold Up” while Beyoncé and her girls bounced their bottoms to the delight of the masses.

By Madison Bloom

By Matthew Strauss

The show continued smoothly with “7/11” and “Feeling Myself,” plus clips from O.T. Genasis’ “Cut It” and D’Angelo’s “Untitled (How Does It Feel).” “Drunk in Love” secured the rapture and participation of the crowd, with the lyrics after “surfboardt” being recited especially loudly. Bey had her Madonna BDSM “Human Nature” moment when she appeared in a wooden box wearing a red pleather bodysuit and sang her Fifty Shades of Gray version of “Crazy in Love” before a “Bootylicious”/“Naughty Girl” mashup that indicated the night was winding down. She even had an Annie Lennox moment, impressively covering the Eurythmics’ “Sweet Dreams (Are Made of This).”

The whole time, Beyoncé smiled through her sweat. She glowed as she said a long goodbye, complete with salutes, laughter, and a childlike jump in the air. Something happened to Beyoncé between the release of “Formation” and Lemonade that softened her hardest edges, sweetened her mood. She seemed to have struck the balance between being “perfect” and being perfectly herself.

A massive, moving video cube was the backdrop for the stage, and it helped greatly in transforming a baseball stadium into an arena of magic. Much of the video shown came from Lemonade, so the show stuck close to Bey’s powerful visual themes and various symbolism surrounding black womanhood, accompanied during interludes by Warsan Shire’s spoken-word poetry that was adapted for Lemonade . One video showed the singer with a muzzle of diamonds and a razor emerging from her mouth, which she used to slice a bloodless cross on her giant tongue. The crowd cringed as Bey removed her priceless silencing device to ask, “Why can’t you see you’re the love of my life?” Damn.

There were a few more lighthearted moments within the visuals as well, including fan videos asking Bey “to just put out a new CD!”, home movies with Jay and Blue Ivy at play, and clips from Bey’s childhood performances.

Photo by Frank Micelotta/Parkwood Entertainment via Getty Images

The Costumes

Not one leg on that stage was covered, which was kind of amazing considering the style in which her dancers—nearly all black women—were dressed: They resembled gothic ice skaters in puffy, long-sleeved, and sequined bodysuits. Bey’s outfit changes—of which there were roughly six throughout the two-hour show—were varied but not all that more ostentatious than the looks her dancers sported: think bodysuits emblazoned with red and gold sequins in geometric shapes, a few more elegant looks.

The Stage Set-Up & Choreography

The brilliant set design had every single person in the stadium feeling like they were in the front row, by blowing up Beyoncé’s live image to the size of a building. Dancers were suspended and twirling from the ends of wires, with one writhing in a metal cube midair. Queen Bey had a Game of Thrones -style throne that rose from the guts of the stage. Plus, obviously, there were fireworks, pyrotechnics, and a buttload of confetti. The mostly synchronized choreography, however, was a little simpler. Elements of African dance and flapper moves were incorporated throughout.

The greatest design aspect was the catwalk, which snaked its way in an L-shape into the crowd on the field. Towards the end of the show, it turned out to have a conveyer belt on it, which moved the dancers smoothly into the audience before lowering into a pool of water, where the ladies danced to “Freedom.” The choreo’s tone was serious and powerful given the song’s strong Civil Rights message , but the way the dancers splashed as they marched and stomped was also playful—and just incredible to watch, visually.

Later, Beyoncé sat barefoot in this pool of water and dedicated the final song, “Halo,” to her family and her “beautiful husband.” She also thanked Prince for his “beautiful music,” and God for speaking through all of “his artists.”

The Fan Interaction

Beyoncé spent a bit of time alone on stage, making her way down the catwalk by herself as she reveled in the attention. She told a few stories. Earlier that day, Blue Ivy saw the stadium and asked her if she was going to work. This reminded Beyoncé of being a little girl and fantasizing about having a sold-out stadium tour. “I’m witnessing a dream come true tonight,” she said, truly touched. “I want to thank my Beyhive.” She basked in some low-key songs that showed off her chops, like “Me, Myself, and I,” saying, “Nobody is responsible for your happiness but you. And you always have yourself, so you are never alone.” As Bey is one to do live, she asked for a lot of “help” singing her songs, with some call-and-response on “All Night.”

For “Single Ladies,” Beyoncé brought up two crowd members. Of course these young women—one wearing an “unavailable” tee and the other sporting a white bodysuit and curly mohawk—knew all the choreography and performed with panache.

The Beyhive was dressed to impress but in an understated way suited for Miami’s spring weather. There were moms sporting Talbots, slender young boys in heels and mascara, tons of girls rocking bodysuits, and even more wearing shirts purchased at the relatively unimpressive merch table. It would have been better if the girl wearing her homemade “I was served lemons but made lemonade” jean jacket had been serving up her creation for sale. There were two exceptions to these surprisingly underwhelming merch offerings, however: a stylish tank with a line drawing of Bey flipping the bird (for a steep $45), and “Boycott Beyoncé” shirts, which referenced the proposed police boycott of the concert by the Miami Fraternal Order of Police. Despite the so-called anti-police message in Beyoncé’s Super Bowl Halftime Show, the boys in blue showed up for work and managed the packed stadium. The show was, in fact, not politically charged in the way her Super Bowl performance was.

There was a Prince tribute that involved the huge screen turning purple and “Purple Rain” playing over the speakers. It was more of an interlude than a proper tribute. During one of the two guitar solos, Beyoncé also shouted-out one of Prince’s earliest proteges, the woman-powered R&B trio Vanity 6, and rolled out a little of their biggest hit “Nasty Girl,” which she’s covered before .

Also, Bey’s former Destiny’s Child cohort Michelle Williams was in the house, though not on stage. This was Beyoncé’s solo victory lap, through and through.

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By Jazz Monroe

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Critic's Notebook

Heels on the Ground: Beyoncé and the Army of Women at Her Command

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By Brian Seibert

• June 8, 2016

“O.K. ladies, now let’s get in formation.” These were Beyoncé’s first words at Citi Field on Tuesday night, when her “Formation” world tour made it to New York. The ladies in question — her backup dancers — were already in place, their heads nodding, like hers, under wide-brimmed black sombreros. But it’s fitting that Beyoncé acknowledged them before doing anything else. For what she does in concert, she needs all her ladies.

I went to Citi Field to check out the dancing, and there was a lot of it to take in. (The “Formation” concert has already been reviewed , when the tour opened in Miami in April.) There are sections of the show when Beyoncé sings alone, but it’s never long before the dancers return, as few as a pair or as many as 20, and she dances with them.

[ Jon Caramanica’s review of Beyoncé’s “Formation” tour ]

They are both a source and a manifestation of her strength, and it matters a great deal that they are all women — not something you see at a Rihanna or a Madonna concert. All the musicians are also women. A Beyoncé concert is a display of a female power, even when she isn’t singing about girls running the world or telling the audience that “there’s no such thing as a weak woman.” The dancers back up that message, too.

And they have her back, especially in the context of her latest album, “Lemonade,” with its story line of male infidelity and betrayal and violent emotional reactions. When she follows her own instructions in “Sorry,” to wave a middle finger in the face of a cheating man, the ladies all wave their fingers with her.

Projected images from the hourlong video version of “Lemonade,” rightly praised as an advance in Beyoncé’s artistry, give the concert much of its visual style. But nothing happens onstage that has the power of the video images of Beyoncé smashing car windows and surveillance cameras with a baseball bat and a big smile. And there’s nothing as politically provocative as the Black Panther gear that she and her dancers wore for this year’s Super Bowl halftime show. The video, in its high ambition, largely avoids dance; the concert, using dance heavily, doesn’t aim as high.

Because Beyoncé mostly does the same moves as the dancers do, and vice versa, they are a kind of visual amplifier of her dancing. As much as the jumbo-screen projections on the monolithic cube that is the concert’s main set piece, the dancers broadcast Beyoncé’s actions all over the arena. Dressed as she is, they sometimes seem an extension of her outfit, flowing behind her like a cape as she struts out onto the catwalk that extends into midfield, or advancing in front of her like body armor.

The dancers’ comings and goings are essential to the concert’s theatrical rhythm. When they leave her by herself, their absence creates a sudden intimacy, like a spotlight: just Beyoncé and her thousands of fans.

The main power expressed by the dancing is sexual. “She loves to grind,” as she says in “6 inch,” and grind she does, very well. Beyoncé has always bragged about her body and flaunted it. The strength of the choreography flows from its wide and low squats, its whipping hair, its percussive isolation of body parts, sometimes accompanied (aptly) by the sound of a gun being cocked. A hip thrust forward is a potent weapon, even when fired often, but the highest-caliber ammunition, of course, is Beyoncé’s famous backside, nearly bare in some costumes.

There is not necessarily any contradiction between this exhibition of female bodies and the theme of female empowerment, between the booty shaking and the raised fists. When Beyoncé and her dancers act out the song “Feeling Myself,” there’s a clear sense of self-pleasure, of their doing what they are doing as much for themselves as for the benefit of any man watching. And along with bragging and flaunting comes the threat of withholding, of see-what-you’ll-be-missing, an exercise of control.

And yet it’s hard not to notice that the women are often in boxes. For one number, the containers look like sarcophagi; in another, they are mirrored doors. But as the dancers writhed and slinked against their framing boxes, or cages, the image they kept summoning, at least for me, was of prostitutes selling themselves in the windows of Amsterdam’s red-light district. The bit with Beyoncé mounting a chair is borrowed from the Crazy Horse cabaret in Paris.

Sex, obviously, is part of what Beyoncé sells. But the range of her music is notably wider than that of her movement. Her songs, especially on the current album, break out of genre boxes, and her versatile voice handles many accents and styles. The dancing is much more restricted. It has essentially three formations: vertical line, horizontal line or a “V” with Beyoncé at the tip. It is always attached to the song’s rhythm in the same way, the line of bouncing dancers looking like a graphic equalizer on an old stereo flashing the beat in mobile bar-chart form.

The tough-girl country song “Daddy Lessons” occasions a little shuffling and a hint of the Virginia reel. And for “Freedom,” the ladies slip out of their platform heels to splash in a wading pool of water, their swinging kicks and stomps sloshing up the party-time release toward which the whole concert rushes, the water emphasizing the footwork absent elsewhere.

But mostly, the dancing stays in one mode. A bit of aerial display with women in harnesses is perfunctory. Beyoncé sings her anger and pain and vulnerability. She doesn’t dance it.

No one can say that Beyoncé isn’t a hard worker. Where other pop stars throw their fans bits of clothing or drumsticks, she throws them towels drenched in her sweat. Is it asking too much to want more from her? Beyoncé raises expectations.

How Beyoncé’s Dance Captain Stays #Flawless On The Road

By Emma Sarran Webster

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Watch almost any Beyoncé performance, and you’ll see Ashley Everett by her side. The fiery red head is the superstar’s dance captain, and has been a fixture on Team Bey since she was 17, slaying in everything from the iconic “Single Ladies” video to the epic “Formation” Super Bowl performance (and equally amazing video ) — she was even hand-picked by Beyoncé to star in the video for “Heaven,” .

Ashley has danced on some of the biggest stages in the world (we’re talking Grammys ) and performed alongside other major artists, including Jennifer Lopez and Nicki Minaj. But, as if being a world-traveling dance leader isn’t enough, Ashley is constantly taking on new challenges and adding new accomplishments to her resume. She just finished her third season playing a Devil Girl on VH1’s dance drama, Hit The Floor, and tells Teen Vogue exclusively that she recorded voiceover for a new children’s app, Reba to the Rescue , featuring learning stories and music from Grammy award-winning talents (Ashley recorded a story that promotes love and awareness about the body).

It’s all exciting, no doubt, but the constant activity can certainly take a toll on any person’s beauty routine, much less someone who is always in the spotlight, on camera, and holding her own next to, arguably, our generation’s biggest star. We chatted with Ashley to find out not only what it’s like to work alongside Beyoncé, but also just how she keeps herself looking #flawless in the process.

She’s got a mentor for the ages in Beyoncé. “She’s the best of the best. She is, I feel, [the] Michael Jackson of our time, and it’s just such a blessing to be with her for so long and [to be] learning from her. I think the most amazing [part] of working with her is just learning from her. I learn something new every day; every time we work on a new project. She has so much knowledge and is so wise with this industry; I’ve learned so much — everyone learns so much from her.”

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And that extends to beauty, too. “We learn a lot of makeup tips [from] her, [and] hair of course — you know she’s the hair queen!”

She has an unconventional strategy for keeping her lashes in line. “I know this might sound a little crazy, but sometimes for the fake eyelashes, instead of regular eyelash [glue]…sometimes we’ll use that hair weave glue because it just holds better, and when you’re sweating and the sweat is dripping on your eyelashes, eyelashes [attached with regular glue] will lift in the corners and have you looking cross-eyed. We’ll use the dark hair weave glue [like] if you’re gonna glue on a track — just pop that on to the eyelash and put it on. [But] don’t put it on too close to your real eyelashes, because it’s a little harder to take off.”

She’s a loyal MAC fan. “I use a lot of MAC. I think [it] holds really well, and their foundation is heavy enough for stage and to maintain through sweat and even water or rain or something. So I use MAC foundation [and] also their lipsticks.”

She sticks to matte lipsticks to avoid anything sticking to her. “I love a good matte lipstick, because when I’m dancing and my hair is down, I don’t like it to get stuck on my lips, so matte is key.”

And she’s all about the classic red. “I love [the MAC color] Ruby Woo. I think [it] looks great on everyone and it's the perfect go-to red , cause you know everybody wears red lipstick. It’s probably one of my [favorites]. And it’s super matte, so it doesn't go anywhere once you put it on, it's there. You can literally probably swim in the ocean with that on and it wouldn't go anywhere.”

By Angie Jaime

By Ashleigh Carter

She’s a fan of cornrows for easy hair care. “I have naturally thick, curly hair and you have to keep it conditioned [using] deep conditioners, especially after heat and curling irons and things like that that we have to use, but I’m so exhausted half the time I’m like, ‘Oh my gosh, I don’t even feel like doing my hair.’ For…the past week I’ve had my hair in those long cornrows; I did four cornrows with hair extensions that made it really long, and that’s a great way to put my hair away and I can condition it before they braid it, and then I don’t have to do too much with it...I can sleep in a little bit longer because I [don’t] have to get up and do my hair — just roll out of bed [and it’s] already done.”

She doesn’t go on tour without an arsenal of hair moisturizing products. “I absolutely have to have my conditioner and a deep conditioner… I just started using Mixed Chicks ; they have a deep conditioner and I really like it. I have to have my Moroccanoil…I have an Intense Curl Cream that I put in when my hair [is] wet after the shower. I also need a gel for my hair to style it when it’s wet and curly so it stays that way [when it dries]. I use Ouidad — it’s a lighter gel that doesn’t get crunchy, and heavy, and hard.

She’s enlightened to the benefits of coconut oil. “Coconut oil is really great just to keep [my hair] hydrated and moisturized at any part of the day.”

Her number one strategy for keeping her skin fresh and healthy is always removing her makeup. “I’m one of those people who stands by washing your makeup off every night. I don’t know how some people do not do that. Some people can get away with it and their skin still looks great, but I religiously wash my makeup off every night. If I have a moment where I wake up and I’m like, ‘Oh my gosh, I passed out so hard I forgot to take my makeup off,’ I’m so annoyed.”

She swears by a simple skincare routine and drugstore products. “I’m a minimalist when it comes to skincare products. I’m not a crazy person who tries all these different toners, and spritzes, and sprays, and scrubs. I think the simple things help my skin. For washing my face…I actually use Johnson‘s baby bar soap to clean off all the makeup, and then I use St. Ive’s Scrub to really get in the pores. And then I put on a moisturizer. I use a tinted moisturizer by Jergens , because my face is naturally lighter than the rest of my body.”

If she’s not performing, she prefers to go au natural. “When I don’t have to wear makeup, I try not to. Especially [with] dancing and sweating — sweating and makeup is not the best [combination], so I try and keep that to the shows if I can.”

When she does wear makeup off duty, she sticks to basics. “I use a Kevyn Aucoin concealer and I…really love bareMinerals powder. It’s just a general powder that you can rub all over your face, so I don’t have to put on a full foundation. I’ll also sometimes use a tinted moisturizer — I have one from MAC that is good and light for…daywear or a simple night face. I think the things I have to have [are] a cheek, an eyebrow, and mascara.”

She’s known for her vibrant red hair, but she’s an admitted novice at caring for it. “Oh my gosh, it is tough — I’m still trying to figure it out! I actually don’t use the color-treated hair products. I don’t shampoo my hair with the red hair stuff…because I think my hair texture needs more help than the color, so I focus on that. But I’m still always trying to figure out new things, so if anybody has any suggestions on the color-treated hair, I'm always open. I usually just color it and then I do my regular hair thing.

But she’s not planning to change it up anytime soon. “I’m not ready to leave red yet. I feel like it’s kind of my look and my thing, and I like red hair on me, so I don’t plan on changing it yet.”

She considers Beyoncé the “hair queen” and a major beauty icon, but she also admires another major pop star. “I think Jennifer Lopez is a wonderful icon. She is always gorgeous and doesn’t age a day in her life, I swear. She always looks beautiful.”

Related: 20 Photos That Prove Glitter Roots is The Official Hairstyle of Festival Season

By Kristi Kellogg

Beyonce’s ‘Formation’ Tour Is The Most Important Event Of The Year

Beyonce’s “Formation” tour is the most important tour in the world right now. Since the HBO debut of her visual album Lemonade in April, it’s been impossible to shake the impact this record has had on 2016. Whether or not you personally care for the music or the magnificent machination of Beyonce matters little — though history will and has consistently proven her detractors wrong — but to put it simply, the “Formation” tour is not for men. They may attend and enjoy it, they will probably be just as enthralled by the visual spectacle as their female companions, but every moment of the show caters to women.

In my observation at the Santa Clara date this past Saturday, not a single man appears on stage as part of Beyonce’s performance; all her backup dancers were women — women of color actually, save one — and she makes a special point of thanking her backup singers — all women of color — and “all-female band” toward the end of the show. The ease with which she pulled off this staffing decision lays to rest any excuses about lack of options within the industry, while the sheer excellence of the show proves much more than that. Multiple people within the industry and without have told me this is the best show of their lives. I’m inclined to agree.

https://www.instagram.com/p/BKe7mTvh9Jh/?taken-by=uproxxmusic

The most telling moment of Beyonce’s “Formation” tour does not come during a performance of a song off her new visual album Lemonade . It doesn’t come during one of the spectacularly choreographed dance numbers from 2013’s industry-shifting Beyonce , or from a reworked reclamation of a throwback hit from her Destiny’s Child days. Instead, it comes approximately one third of the way through the show, when she dismisses her entourage, tones down the enormous monolith screen behind her and tells us she’s going to sing a track off her debut solo album Dangerously in Love .

Before launching into “Me, Myself and I,” she gently commands her fans to embrace the power of self-love. For all the ferocity of “Formation,” all the delicious defiance of “Sorry,” and the deafening girl power of feminist anthem “Run the World,” this moment encapsulated the emotional core of her latest tour, and drew a through-line from her earliest work as Beyonce all the way up to her latest project. Lemonade is rather infamously an album told from the perspective of a woman who has discovered her beloved has cheated on her. Despite the album’s technical and artistic brilliance, the conversation was quick to swirl toward gossip and the veracity of the story: Was this album about Jay Z? Was Beyonce finally addressing those persistent cheating rumors that have dogged her marriage with the rapper-turned-mogul in the most public way possible? Of course, we were asking the wrong questions.

The core of Beyonce’s music has consistently addressed negative scripts that are applied to women — particularly within her own identity as a woman of color — and flipped those stereotypes into a source of affirmation so sweeping they impacted the world at large. From her Destiny’s Child days, “Bills, Bills, Bills” attacks the idea of the money-grubbing girlfriend and reframes the need for shared economic responsibility as a valid foundation for a romantic partnership. Later, in the even more influential “Bootylicious,” the group directly challenged the standard of beauty-as-waif-thin and elevated curvier bodies into the most desirable position.

In her solo career, specifically, she begins to address the pain of infidelity early on (“Ring the Alarm,” “Resentment,” “If I Were a Boy”) and continually confronted the hard, difficult work of monogamous relationships (“1+1,” “No Angel,” “Jealous,” “Mine”) all the way up through her self-titled and most personal album. Throughout, she also praises the power of monogamy in terms that veer toward spiritual and hyperbolic in their adoration (“Halo,” “Dance for You,” “Love on Top,” “Rocket”). But Lemonade directly addresses the “worst” thing that society tells us can happen to a woman in love — the cheating husband.

https://www.instagram.com/p/BKgnxbKByjs/?taken-by=uproxxmusic

The “Formation” tour preaches that surviving this is not only possible, but argues that the experience of it is yet another source of power to tap into. It doesn’t matter if any of this really happened to Beyonce or not, because it has probably happened to almost every single woman in the crowd at every stadium on her tour. Whether it’s cheating, betrayal of another kind, or simply romantic rejection, there are still few touchstones in our culture at large that acknowledge and tend to the painful emotional wounds women endure at the hands of men. Speculation about whether Lemonade is about Jay Z or Beyonce’s own father is similarly inconsequential; the ambiguity makes it even more accessible for women to work through their own betrayals, regardless of the circumstances. Lemonade makes something sweet out of all of these wounds; it is not just a successful pop album, it is an assertion that this pain matters, that it deserves to be addressed, and that it can be risen above.

Even in 2016, society teaches women that their primary source of worth is through validation from relationships with men. What a husband or boyfriend’s infidelity really boils down to is being told you’re not enough in a world that already identifies you as a second-class citizen. The narrative of Beyonce’s entire tour asserts that she is more than enough, and by experiencing that, the audience leaves with the affirmation that they are too. Lemonade and her tour are based around the idea that even if her relationship was broken and full of betrayal, it doesn’t make her less in any way. That’s why the moment when she tells us she understood that on “Me, Myself, and I” remains the crux of the entire performance; the music exhibits an independence in radical self-love that supersedes male romantic rejection.

The tour’s setlist is structured in such a way to mimic the emotional chapters of Lemonade , incorporating the anger from the beginning and running through toward the end into the deeper, lasting love. Instead of seeing this betrayal as an endpoint in the relationship, it becomes a beginning, a source of self-exploration and an examination of redemption that ultimately embraces one of the most powerful forces on Earth — that of unconditional love and forgiveness.

Pop music is often designated as a genre for fluff or shallow topics, and a big part of that is because the genre’s biggest fanbase is young women. It is written off as a industry-churned hits designed to stimulate the lowest common denominator, and maligned for the armies of experts who craft these songs, as though a community of creators is somehow less worthy of praise than a lone songwriter making music with traditional rock sounds and literary lyrics. Yet, the last two Beyonce albums have specifically sought to elevate literary works by two women of color writers, Chimamanda Ngozi Adichie and Warsan Shire respectively, to the same level as an international pop star. The “Formation” tour is the most important tour in the world right now, because it presents a different world — one in which women are the dominant force — completely catered to, wounds and all. That is certainly something worth falling in line for, whoever you are.

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All the Photos From Beyonce's 'Formation' Tour

Beyoncé kicks off the 'formation' world tour, beyoncé opens formation tour in miami.

Beyoncé kicked off her Formation world tour on Wednesday in Miami, where she performed old classics like "Crazy in Love" and new hits off Lemonade.

Beyoncé began the night by teasing her return with a video showing her walking up to the stage and the vastness of Miami's Marlins Park. Only hours later, did she bring the stadium to its feet with hits like "Baby Boy" and "Survivor."

Flanked by backup dancers, Beyoncé took the stage just four days after releasing her stunning visual album Lemonade .

Stills from Lemonade featuring Amandla Stenberg and Zendaya were projected behind Beyoncé while she performed tracks from the album.

During the show, Beyoncé paid tribute to the late Prince, who died April 21, by playing "Purple Rain." The crowd joined in for a sing-along and at the end of the concert, she thanked him "for your beautiful music."

Beyoncé ended the night with 2008's ballad "Halo." "I’d like to dedicate this song to my family,” she said before beginning her final song of the evening. "I’d like to dedicate it to my beautiful husband ." She added, "Blue, I love you so much."

Beyoncé's Formation tour will continue in North America through June, before heading to Europe. The whole run will wrap in August.

May 1, 2016 in Atlanta, Georgia

May 1, 2016 in atlanta, georgia., related articles.

Beyoncé's Formation tour: 7 things to watch for

Hold up, they don't love us like she loves us.

Beyoncé's Formation World Tour kickoff in Miami on Wednesday night was a glowing celebration of love between sisters, between idols and their worshipers, and to a lesser extent, between partners.

Because while many spectators likely entered Marlins Park with the saga of Bey, Jay and Becky on their minds, it couldn't have seemed farther from the performer's. Over the course of her marathon 30+ song set, she sang plenty of love songs -- she does make them better than nearly anyone else in pop. But while the dominant narrative of Beyonce's last arena tour, 2011's On The Run jaunt with Jay Z, was the couple's married bliss, the  Formation tour's ambitious first night was a thank you present  to fans , executed with her new girl gang at her side.

So now that the show's officially on the road, here's what to expect from 2016's most-anticipated tour.

DJ Khaled’s "opening set" is a loose concept

Besides being the king of Snapchat, Khaled makes his money from helping produce big rap/R&B ensemble tracks, and then yelling his name over them.

Don’t expect anything different from his opening set, which thankfully featured a parade of his famous friends at the Miami showincluding Rick Ross, 2 Chainz, Yo Gotti, Lil Wayne, Future and more. While it’s safe to assume that Khaled pulled out all the stops for the tour’s opening night, hopefully his sets at future tour dates also feature a surprise or two.

No Jay -- but it’s okay

Khaled’s circus of A-list rappers only highlighted the completely solo affair that was Beyoncé’s set, which unfolded sans Jay Z. Beyoncé, master of controlling the message that she is, managed to drop enough hints that all’s well in the Carter-Knowles household, introducing the lovey-dovey anthem All Night, describing it as her “favorite song on Lemonade .”

And at the concert’s end, she shouted out “beautiful husband” before closing with Halo -- “Boo boo, I love you so much.”

Black, white and red; leather, latex and crazily bejewleled; paired with her brimmed hat from Formation , with thigh-high boots for dance sequences or with no shoes at all for Freedom ’s puddle-jumping; Beyoncé couldn’t have made the Formation tour’s dominant fashion trend more obvious.

We loved the wild fashion show of flowing gowns that was the Lemonade visual album, but it’s hard to be upset with one-pieces as audacious, sexy and fun as we saw in Miami.

A life-giving team of backup dancers

Beyoncé’s live shows were never solo affairs, and some of her most iconic moments are notable for the dancers at her side, from Single Ladies ’ three-person routine to her incredible gear-shifting Ring The Alarm performance .

After digesting the imagery of Beyonce’s Lemonade, which beautifully celebrates the sisterhood among women of color, her insanely talented squad of dancers (who were nearly, if not entirely WOC) feel even more like an essential force. They weren't dancing behind Beyoncé but with her -- often literally as they rock and twirl in line.

Lots of Lemonade

The vast majority of the new album found its way onto the night's sprawling setlist, kicking off with a blazing version of Formation  and coming to a jubilant climax with  Freedom , as a water-covered walkway emerged in the middle of Marlins Park for a stomping dance routine.

The Lemonade visual album was also a regular presence, as clips showed up during interludes. And more broadly, the concert roughly adhered to Lemonade’s narrative arc, sweating its vindictiveness out early, raising trouble in its middle stretch and celebrating empowerment and love at its coda.

Hit after (abbreviated) hit 

Bey covered nearly all of her basics, and rather than performing full songs, she’d do a verse or two before flipping it into another hit to maximize her discography’s insanely deep bench.

Also fun were the Easter eggs of other songs hidden throughout her set, from her guitarist sneaking Kanye’s New Slaves riff into the intro for Don’t Hurt Yourself to Bey seamlessly inserting  a line from D’Angelo’s Untitled (How Does It Feel) in the middle of the similarly smoldering Rocket .

Merch you actually want to buy

The Formation merch tent is full a pleasant surprises. There were cute pins and glossy posters for fans looking for something less expensive, a gorgeous bomber jacket for the big spenders, and the Beyhive's instant favorite item -- the Boycott Beyonce tees.

More about the Formation tour here:

• You can now buy 'Boycott Beyoncé' shirts at the Formation tour
• Beyoncé honored Prince with a 'Purple Rain' singalong
• Two random fans joined Beyonce for the 'Single Ladies' dance

Things you buy through our links may earn  Vox Media  a commission.

The Formation Tour Is Beyoncé at Her Most Humanly Infallible

Beyoncé is not God. She tells you as much about a third of the way through her Formation World Tour — which lit up Citi Field in Queens for the second of two nights on Wednesday — with two stadium-length illuminated screens bearing the words “God is God. I am not” in all caps. As it does during the snarling “Don’t Hurt Yourself” in her visual masterpiece Lemonade , the message flashes fast. Blink and you’ll miss it. The position is reinforced by moments that are, if only briefly, unmistakably human — such as when, on the first night of her NYC dates, Beyoncé sneezed. Twice, politely and discreetly, into her arm, like any non-godly person, one not performing for a sold-out crowd at a stadium that last year co-hosted the World Series, might do.

But for many, witnessing Beyoncé let out a sneeze only adds to the mystique of feeling “close” to someone so seemingly godlike, prompting her otherwise quiet achoo to dominate the news cycle for an entire day. On her second night at Citi Field, Beyoncé’s bedazzled nude bodysuit ripped near the crotch during her finale — “Halo,” appropriately — moments after she and her apostolic all-female dancers create the illusion of walking barefoot on water. Beyoncé may not be God, but she still conveys an air of being more than human.

The Beyoncé that rises from the bitterness of Lemonade — and all the events that may or may not have inspired it — is a woman knocked off her axis. She’s been tortured, flung off a roof, gone rogue with a baseball bat, baptized in the holy water of redemption, and eventually resurrected. Every emotional flaw she exposes finds itself under her own microscope. Yet that vulnerability is absent from the Beyoncé brigade that marches out from behind the fog at Citi Field to open the show with the song from which the tour gets its name.

That group of dancers, dressed in all black and led by their queen, with Bey’s eyes glaring out from under a wide-brimmed hat that’s even larger than the one she wears in her “Formation” video, revels in infallibility. No matter the inevitability of the ambitious production erring (her costume tearing, or one of the huge video screens temporarily malfunctioning), Beyoncé remains a pillar of perfection holding it all together. At work, just as in the moments of personal crisis shared on Lemonade , any weakness, too, shall pass.

Attending a Beyoncé concert puts you front row to a series of spectacles. She makes dancers into trapeze artists. A massive rendering of her head shoots sparklers out of its eyes near the grand finale. She sings her favorite song, “1+1,” partially a cappella. During intermission — required so Beyoncé and her dancers can change into red latex bodysuits for a homage to the Parisian Crazy Horse cabaret show, which includes a performance of the smoldering  50 Shades of Grey version of “Crazy in Love,” as well as the original — the giant, glowing cube serving as the centerpiece of her stage goes purple for Prince. “Purple Rain” erupts from the speakers, lit phones are raised, and the crowd sings a eulogy.

At 34, Beyoncé has reached what probably isn’t the apex of her artistry just yet, but what certainly looks like she’s on the cusp of something unprecedented. Translating a visual album — or even just an album album — as rich, complex, and cinematic as Lemonade requires an understanding of the moments your audience will want to relive. She doesn’t deliver them all (there’s no reenacting the “Hold Up” video, sadly), but instead integrates what she knows we’ll love regardless of the demand. “Formation” into “Sorry” is a no-brainer opening to the show, but only the truly clairvoyant would’ve had a “Daddy Lessons” sing-along following the D’Angelo semi-cover “Rocket” on their wish list. It’s a highlight of the night.

In a rare breath during a show that never truly exhales, Beyoncé pauses to reflect on the 19 years that have passed since she made her debut with Destiny’s Child, thanking us for allowing her to grow. Seeing her perform songs from the latter half of her career — the set list is almost exclusively curated from her last three albums, save for surprise throwbacks like “Me, Myself, and I” and B’Day ’s “Kitty Kat” — makes the earlier cuts she performs feel like they’re from a different artist altogether. Still, she saves one of her former group’s biggest hits, “Survivor,” for nearly last, having already preached empowerment to the girls in the crowd: “There is no such thing as a weak woman. We are born strong.”

Beyoncé’s own strength isn’t in her ability to mastermind then maestro a two-hour concert event at stadiums worldwide. It’s that she can turn a phrase as modern, black, and gay as “I slay” into universal gospel — a mantra so transformative, it at once inspires mass worship at her altar and gives you the self-belief to build your own.

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Beyoncé’s Formation World Tour: Empowerment you can dance to

Flanked by 20 or so female dancer of all shades — in cornrow braids, bantu knots and afros — and backed by an all-woman band, Beyoncé captivated as she commanded her troops in perfect formation at Baltimore's M&T Bank Stadium on Friday night. After a brief welcome, the hypnotic bass of "Formation," the lead single from her latest album, " Lemonade ," filled the space as the singer let the BeyHive in on her plan for the evening: "We gon' slay." Beyoncé then strutted down the stage's catwalk, golden microphone in hand and clad in her signature leotard, giving her songs (and her fans) new life.

Over a career spanning nearly two decades, Beyoncé has come to be known for her unmatched attention to detail and showmanship. Case in point: a video wall that transformed into a rotating light box as tall as the stadium. Hours of practice were evident, her precision undeniable. But when all of the cinematic glitz fell away and Beyoncé was alone on stage, she revealed herself to be a true force of nature. Her voice was flawless during a stripped-down version of the self-affirming "Me, Myself and I," from her 2003 solo debut . But the standout moment came with the acoustic ballad "1+1." On her knees, she sang, simply. It was sweet yet powerful, and it spoke to a side of her artistry that sometimes gets swamped by the wake of her stagecraft.

Still, it’s the show that brings people fawning to her concerts.

Beyoncé wears her influences proudly. There were countless nods to the playbooks of Michael and Janet Jackson, as well as a dedication to Prince that turned an entire stadium into a constellation of cellphone lights. In such an instance, some of the moment's sadness gets replaced with gratitude that the legacy of a performer we have lost can live on in the music of another artist.

Mega-stars are often discussed in terms of their ability to transcend race and gender, but there can be none of that here. There were plenty of men in the audience, as well as in Beyoncé's songs: targets of her wrath, loves of her life and the one that raised her. But the Formation World Tour is very much a conversation with, for and about women. In particular, about girls and women of color, who are validated and made free in the presence of Beyoncé. She is an embodiment of #ICanBeBoth , a hashtag that was created to inspire black women to revel in the fact that they — like anyone else — can be both sexy and successful role models, worthy of respect.

For two hours and over 30 songs, Beyoncé danced all over that dichotomy. From the fiery and profane “Don’t Hurt Yourself” to the cabaret-inspired dance of “Partition” to “Freedom” — which included a metaphorical baptism in an onstage pool — Beyoncé reminded the ladies in the audience of their strength, encouraging them to love themselves first and always.

The spectacle brought to mind a Marianne Williamson quote (often misattributed to Nelson Mandela): “We ask ourselves, ‘Who am I to be brilliant, gorgeous, talented, fabulous?’ Actually, who are you not to be?” In that vein, Beyoncé gave her fans permission to let their lights shine. It’s proof of her power that her own fearless liberation is capable of liberating others, if only for a night.

Get To Know Saidah Nairobi, A ‘Formation Tour’ Dancer Who Inspires Young Women

Saidah nairobi opens up about cutting her off hair and inspiring young women through her platform., share this link via, or copy link.

Source: Kevin Mazur / Getty

For those of us who have been lucky enough to experience the greatness that occurs at a Beyonce concert , you understand the blood, sweat and tears that goes into putting on such an amazing show. From the band, to the stage crew, to the tour dancers; the energy can be felt throughout the arena long before Queen Bey even hits the stage. Saidah Nairobi knows this feeling all too well, as she’s been one of Beyonce’s main tour dancers for years, working the stage for the “I Am World Tour,” the Superbowl and most recently, the “Formation World Tour.”

https://www.instagram.com/p/BM9PkGUANbb/?taken-by=saidahnairobi

Traveling the world with Beyonce isn’t the only accolade on Saidah’s resume. She’s also worked with music superstars such as Usher, Ciara, and Ne-Yo, and performed on the Grammys, BET Awards, Empire and more. When she’s not on stage, she’s working on her socially-empowering record, “We Are”, a dance memoir entitled “The Journey of a Dream” and launching a non-profit organization, Gold Hearts & Crowns.

https://www.instagram.com/p/BN7v2vSA3pH/?taken-by=saidahnairobi

Saidah Nairobi is the definition of #BlackGirlMagic, #CareerGoals and everything in between. While her track record speaks for itself, we sat down and chatted with Saidah to find out more about this dance queen. Find out what it’s like to work alongside Beyonce, what it means to “be in Formation” and how she’s empowering women through her work in our exclusive interview below.

HelloBeautiful: How did you first start working with Beyonce?

Saidah Nairobi: I first auditioned for Beyonce in February 2009 for the “I Am World Tour.” I missed the first auditions that were held in Atlanta a few months prior because I was on a job with Ciara, but thanks to my long-time dance agency, Xcel Talent, who reached out to artistic director, Frank Gatson, I was able to attend the callback auditions in New York. Booking the “I Am World Tour” was a very unorthodox story, but you will have to read my upcoming book, “The Journey of A Dream,” to find out how.

HB: What do you remember about your first performance?

Saidah Nairobi: I remember my first performance with Bey was in March 2009 in Canada. The experience was surreal. I’d never heard the level of screams and applause like I did that first night. When the kabuki dropped and “Crazy in Love” burst through the speakers in the arena, the crowd lost their entire mind and the adrenaline rush you feel in that moment is unmatchable.

HB: What does it mean to be in “Formation?”

Saidah Nairobi: For me, what it meant to be in Formation was to be among a forward-moving army of slaying Queens, all on one accord, as a team and community of women. Women are so powerful when we understand who we are, know our worth, and can work together. There is strength in numbers and one of the greatest strengths a woman can possess is being a visionary, and to me that’s what getting in “Formation,” expressed.

HB: How do you plan on using your platform to encourage women?

Saidah Nairobi: For over 7 years, I’ve sported what became my signature short-blonde hairstyle, and so many young dancers and women that I meet have asked how I do my hair. They usually say they’re not confident enough to cut all their hair off and color it blonde, and I look at them and say “Yes you are, and yes you can.” I believe as women, if there is something we want to do, we should just do it. Hair is hair, it will grow back. If something we try doesn’t work, that’s OK, but at least we tried. Besides my hair, I have received so many personal messages from young girls saying how seeing me danced has inspired or motivated them to pursue a career in dance. Or how my energy on stage encouraged them to conquer their fears, and pursue their dreams. And that’s what it’s about for me. Being a positive source of inspiration to people of all ages and races to be confident, go for your dreams, own your unique style, and share your gifts because you never know who it will affect.

HB: What was the inspiration behind “We Are?”

Saidah Nairobi: On the way home one night, my husband and I were listening to Nigerian musician, FelaKuti, and something about the horns we were hearing felt like a call to action. There was so much going on in the news about police brutality and African-American males lives being senselessly taken, I got inspired to write a song that speaks about the power and potential in us as a community. A song that is uplifting, that speaks truth, and also serves as positive affirmations to speak over yourself, your children, your family. We Are Trail-Blazers. We Are Game-Changers. We Are Peace-Driven. We Are Light-Holders.

HB: What was your most inspiring moment?

Saidah Nairobi: Hair is a woman’s crowning glory. When I cut my hair off eight years ago, I did it because I felt that I was in a transitional period in my life. Something was on the horizon and I could feel it, and me cutting my hair was symbolic to me of a newness coming up ahead. A few months later, I embarked on my first world tour as a professional dancer, and did it with the most powerful woman in entertainment. The woman who knew that I could hold my own on stage dancing beside her with short, platinum blonde hair. That was my most inspiring moment.

HB: What is a spiritual quote that gets you through your toughest times?

Saidah Nairobi: For God has not given us the spirit of fear, but of love, power, and a sound mind! 2 Timothy 1:7.

HB: What advice do you have for aspiring dancers?

Saidah Nairobi: My advice for aspiring dancers is to establish clear goals for yourself first. It’s one thing to aspire to dance, but once you realize your dream, what is next? What are your 5-year goals? 10-year? Write your visions down and make them plain. Be a visionary. Study your favorite dancers, favorite tours, favorite artists, and understand what it takes to become a professional dancer. Make sure you are physically strong and skilled to compete with the top dancers in the industry. And put yourself out there. Social media is the most powerful discovery tool today. Use it to be creative and show your skills. You never know who is watching and looking for talent.

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Beyoncé’s Tour Style Slays! The Most Showstopping Costumes From Her Kickoff Show

By Marjon Carlos

We perhaps saw this coming. While Beyoncé poured us a hefty glass of lemonade with the release of her visual album of the same name last Saturday, we knew the hour-long feature-length film and 12-track album was simply a taste of what was to come. After all, the first night of her Formation world tour was days away, kicking off in Miami last night for a 41-date stretch. And as Bey strode into the Marlins arena like a lawless desperado under the wide, eye-skimming brim of her now trademark Barons hat—nay, sombrero—we knew a visual spectacle was about to be served cold.

In the same shape-shifting mode as Lemonade ’s costumes , Bey stalked the 3-D stage all night, morphing into new personas with the help of her seven showstopping looks, all styled by Marni Senofonte. A compendium of references from the Wild Wild West to the antebellum South to the shorelines of Africa—even BDSM dungeons—the high-octane looks were as explosive as her pyrotechnics show. Slithering about in a red latex bodysuit and matching platform over-the-knee boots, Bey was simply combustible, at once demure and a complete vixen, as her husband, Jay Z , looked on. Line dancing in zebra-print boots and a sequined army-inspired leotard, her blonde curls blowing in the wind, Bey appeared like a high-fashion buffalo soldier.

She fell into formation with her squad of backup dancers, slaying in a long-sleeve Balmain French lace bodysuit, embroidered with pearls and stones, and matching gray suede boots. And after chucking her platform footwear all together, Bey began dancing barefoot in puddles of water while wearing a sequined bodice. And if her costumes weren’t enough, the outspoken provocateur sold “Boycott Beyoncé” T-shirts as official tour merch, a cheeky challenge to the backlash she received for her pro–Black Lives Matter message. While her costumes will likely change even more as her tour gets further underway, we know the message will only grow stronger.

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Get the Story Behind Beyonce’s One-of-a-Kind Formation World Tour Hat

Spilling the lemonade! If you’re not able to make the Formation World Tour, Beyoncé ’s giving backstage access to the ins and outs of her tour wardrobe.

Related: PHOTOS: See Beyonce's Sasha-Fierce 'Formation' Tour Outfits

The “Sorry” singer, 34, enlisted costume designer Marni Senofonte to scope out looks for the 49-show tour that spans North America and Europe. “The process for designing this tour came from the beginning of the project, which was the movie,” Senofonte said, referring to the “Formation” music video that dropped in early February. “There was a very antebellum feel to the film. We went back to New Orleans, we had this Victorian street wear.”

Related: PHOTOS: Beyonce’s Red Carpet Evolution

Eyob Yohannes , Senofonte’s assistant, said that the search for looks began once tour plans were set in motion, and designers including Givenchy, Roberto Cavalli, Gucci and Dsquared2 courted Beyoncé’s team with their best ideas. Senofonte revealed that the singer was hands-on throughout the whole selection process, scanning through design sketches along her team and ultimately deciding what she wanted.

Related: PHOTOS: 12 Items to Buy From Beyonce's Ivy Park Clothing Line

An obvious winner was Balmain. While sifting through a rack of couture, the French fashion house earned praise from the Queen herself. “Wow, alright!” she exclaimed, fawning over a ruffled white lace bodysuit. “Somebody came through. That’s so pretty!”

Bey also tried on one of her huge hats, as seen in the “Formation” video and at the CFDA Fashion Awards 2016. “Nowhere in the world do they make these hats,” Senofonte told Beyoncé. “This hat maker literally drove to Mexico to buy sombreros.” 

Beyoncé’s dancers get VIP treatment, too. Workers were shown dyeing the dancers’ nude fishnet stockings in a Crock-Pot, as the singers all have different skin tones.  

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“It’s so exciting to see something that has been in your mind, that you’ve been working so hard [on],” Senofonte revealed. “All of it kind of goes away when you’re just sitting there and you’re living in it for those two hours.”

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World meat industry news

All news / a meat processing plant will be built in the moscow region on the territory of the industrial park "lytkarino".

• 06 Apr 2023, 10:01

In the Moscow region, an investment project is being implemented to build a meat processing plant LLC Meat Manufactory Lytkarino, the company has already received a construction permit and plans to start building production on the territory of the industrial park Lytkarino in the near future, the press service of the Ministry of Agriculture and Food of the Moscow Region reports.

“The enterprise will produce meat products at the level of world standards. This will allow us to take a leading position in the market, as well as create new jobs for the residents of the region. The design capacity of production is 1260 tons of finished products per month. The total amount of proposed investments is more than 1.5-2 billion rubles,” said Georgy Filimonov, Deputy Chairman of the Government of the Moscow Region, who is in charge of the Ministry of Agriculture and Food.

The plant will produce raw smoked and boiled sausages, frankfurters, pates. Products will be made from frozen and chilled raw materials of Russian producers - poultry, pork, beef.

The project will be completed by 2025. It is planned to reach full production capacity within 20 months from the moment the facility is put into operation.

The construction of the new enterprise will make it possible to organize about 300 new jobs.

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• Experience a selection of most striking features of Moscow Metro hidden from most tourists and even locals;
• Discover the underground treasure of Russian Soviet past – from mosaics to bronzes, paintings, marble arches, stained glass and even paleontological elements;
• Learn fun stories and myths about Coffee Ring, Zodiac signs of Moscow Metro and more;
• Admire Soviet-era architecture of pre- and post- World War II perious;
• Enjoy panoramic views of Sparrow Hills from Luzhniki Metro Bridge – MetroMost, the only station of Moscow Metro located over water and the highest station above ground level;
• If lucky, catch a unique «Aquarelle Train» – a wheeled picture gallery, brightly painted with images of peony, chrysanthemums, daisies, sunflowers and each car unit is unique;
• Become an expert at navigating the legendary Moscow Metro system;
• Have fun time with a very friendly local;
• + Atmospheric Metro lunch in Moscow’s the only Metro Diner (included in a 3-hr tour)

Hotel Pick-up

Metro stations:.

Komsomolskaya

Novoslobodskaya

Prospekt Mira

Belorusskaya

Mayakovskaya

Novokuznetskaya

Revolution Square

Sparrow Hills

+ for 3-hour tour

Victory Park

Slavic Boulevard

Vystavochnaya

Dostoevskaya

Elektrozavodskaya

Partizanskaya

Museum of Moscow Metro

• Drop-off  at your hotel, Novodevichy Convent, Sparrow Hills or any place you wish
• + Russian lunch  in Metro Diner with artistic metro-style interior for 3-hour tour

Fun facts from our Moscow Metro Tours:

From the very first days of its existence, the Moscow Metro was the object of civil defense, used as a bomb shelter, and designed as a defense for a possible attack on the Soviet Union.

At a depth of 50 to 120 meters lies the second, the coded system of Metro-2 of Moscow subway, which is equipped with everything you need, from food storage to the nuclear button.

According to some sources, the total length of Metro-2 reaches over 150 kilometers.

The Museum was opened on Sportivnaya metro station on November 6, 1967. It features the most interesting models of trains and stations.

Coffee Ring

The first scheme of Moscow Metro looked like a bunch of separate lines. Listen to a myth about Joseph Stalin and the main brown line of Moscow Metro.

Zodiac Metro

According to some astrologers, each of the 12 stops of the Moscow Ring Line corresponds to a particular sign of the zodiac and divides the city into astrological sector.

Astrologers believe that being in a particular zadiac sector of Moscow for a long time, you attract certain energy and events into your life.

Paleontological finds 

Red marble walls of some of the Metro stations hide in themselves petrified inhabitants of ancient seas. Try and find some!

• Every day each car in  Moscow metro passes  more than 600 km, which is the distance from Moscow to St. Petersburg.
• Moscow subway system is the  5th in the intensity  of use (after the subways of Beijing, Tokyo, Seoul and Shanghai).
• The interval in the movement of trains in rush hour is  90 seconds .

What you get:

• + A friend in Moscow.
• + Private & customized Moscow tour.
• + An exciting pastime, not just boring history lessons.
• + An authentic experience of local life.
• + Flexibility during the walking tour: changes can be made at any time to suit individual preferences.
• + Amazing deals for breakfast, lunch, and dinner in the very best cafes & restaurants. Discounts on weekdays (Mon-Fri).
• + A photo session amongst spectacular Moscow scenery that can be treasured for a lifetime.
• + Good value for souvenirs, taxis, and hotels.
• + Expert advice on what to do, where to go, and how to make the most of your time in Moscow.

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