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Pop Culture

How three female artists lead this summer's billion-dollar pop culture revival.

Bilal Qureshi

This summer, three women at the peak of their powers lead a spectacular pop culture revival. Beyoncé, left, performs onstage during the Renaissance World Tour in May 2023. Margot Robbie stars in Greta Gerwig's Barbie movie. And Taylor Swift performs during The Eras Tour in March 2023. Kevin Mazur/WireImage for Parkwood/Getty Images; Warner Bros. Pictures; John Medina/Getty Images hide caption

This summer, three women at the peak of their powers lead a spectacular pop culture revival. Beyoncé, left, performs onstage during the Renaissance World Tour in May 2023. Margot Robbie stars in Greta Gerwig's Barbie movie. And Taylor Swift performs during The Eras Tour in March 2023.

It was a last-minute impulse purchase. Two hours before showtime, I watched resale prices finally begin to fall for the extremely sold-out opening night of Taylor Swift's six-night "residency" at Los Angeles' SoFi stadium. Even as a non-Swiftie, it has been impossible not to follow the feverish local coverage of international pilgrimages, friendship bracelet -making, and traffic warnings. But that split-second pop culture purchase was, for me, pure irrationalism.

With no fringe or Eras-themed ensembles in my closet, I rushed to my single seat through a sea of sequined, screaming squads with trepidation and a dull white button-down. Would I, a fortysomething South Asian man with passing knowledge of Swfitism be identified as an unwelcome interloper? Instead, my very gracious neighbor schooled me on how to wear my allotted LED bracelet, and soon I was alight in the same neon pink as the sea of humanity around us, Swift finally emerging out of parallel technicolor hues. The big tent revival swept away any fears, differences, doubts.

A Taylor Swift fan wears friendship bracelets before Swift's performance on Aug. 7, 2023, at SoFi Stadium in Los Angeles. Chris Pizzello/Invision/AP hide caption

For three and a half hours, I too was part of the zeitgeist – a final chapter in a summer of spectacular pop culture revival led by three women at the peak of their powers.

Greta Gerwig, Beyoncé Knowles-Carter, and Taylor Swift have been the bona fide superstars of this American summer, transcending their own previous triumphs to reach unprecedented new heights.

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#HotGirlSummer is now more specifically #BillionGirlSummer, with Barbie already the first woman-directed film to gross more than a billion dollars and Beyoncé and Swift's dual stadium tours estimated to gross similarly dizzying amounts, each pumping even more into fledgling local economies around the country.

In a city without a center and isolating car culture, for one week Taylor Swift transformed LA's stadium into a cathedral – an in-person congregation for hundreds of thousands. Soon Beyoncé will bring her roving "Renaissance" to the same stadium for three nights. Across Los Angeles, cinemas are still packed with squads of women and let's not deny it, many men – dressed in 50 shades of pink laughing and crying alongside Barbie's quest to become whole again.

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Where's the song of the summer plus, the making of beyoncé's 'crazy in love'.

A few weeks ago my colleague Brittany Luse hosted an episode of her show It's Been a Minute lamenting the death of the summer song that dominated and unified pop culture in our idealized millennial memories. As a guest thinking aloud with Brittany on the show, I wondered whether the shift from '90s and early 2000s broadcast monoculture into a streaming era Airpod "me" culture meant there were still summer anthems but only of an atomized, individual variety that reflect our splintered cultural and political lives.

That rumination, however, was before the Barbie , Beyoncé and Swift trilogy went pied piping their way through state after state, shattering records and creating an entire communal economy of irrational exuberance.

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'barbie' review: sometimes corporate propaganda can be fun as hell.

Let's turn briefly to the matter of crass capitalism and excess marketing underlying the feel-good fuzzies of corporate pop. It's been impossible to avoid the incessant social media coverage of this trinity of pink extravaganzas. Even my Pakistani immigrant father is texting me about how to join the Verified fans waitlist for Taylor's next dates. Despite the exorbitant prices for concert tickets, travel and even local movie theater outings – not to mention endless product tie-ins for all manner of merchandise — is this feverish demand simply consumer madness? Is it the cumulative decline of seriousness and taste that pretentious critics lament?

Music Reviews

Beyoncé's 'renaissance' tour remixes her archive for an intergalactic future.

The answer is a resounding no. The hype surrounding Barbie , Beyoncé's Renaissance, and Taylor's Eras tour is commensurate with the sheer amount of resources, time and attention so many Americans of all races, genders and ages are devoting to being part of this moment. Critical acclaim has followed each of these works, layers of meaning are being made. They are an undeniable triumph of women's creativity and ownership. Nobody I know of is asking for refunds.

At a deeper level, the roaring return of big tent monoculture follows the ennui of lockdowns. It is pop at its collective and connective best – the very opposite of the culture that has defined the recent past – a splintered, atomized state of streaming individualism that seemed to be a permanent new state of affairs. The promise of streaming allowed for a kind of hyper-specificity that ensured incessant algorithm based devotion to the platform of delivery. Insularity, it turns out, has its limits. With at-home viewing no longer the only medium for entertainment, I'm certainly not alone in craving the very opposite.

The ongoing strikes in Hollywood have only added to a downturn for streaming's eminence as new shows have slowed for the first time in years. Years of niche and challenging TV that supplanted cinema and boosted corporate profits have been unmasked as rooted in extractive labor practices.

Critics like myself often raved about shows that are radical in form and representational progress, but many of these kinds of works hardly aim for or achieve mainstream success. Narrowcasting satisfies individual tastes, but doesn't always build bridges to those beyond one's own tribal allegiances. As new TV grinds to a halt, and a post-pandemic world feels fully open for business, in-person extravaganzas are meeting audiences where they are, and where others also are.

View this post on Instagram A post shared by The Eras Tour (@taylorerastour)

On a national level, a once relentless wildfire of political crises has also changed course. In the doom-scrolling era of the Trump presidency and the subsequently brittle politics of the pandemic, defiant narratives about identity, pain and reckoning became recurring and natural themes. For many makers and consumers, entertainment could offer catharsis and defiance. But in the glow of a post-pandemic summer that feels like the calm before a brewing storm, the heavy notes and sharp edges of overly political pop seem out of season. Billion dollar blockbusters can't succeed with borders.

In the communal ecstasy of sold-out Barbie screenings and stadium séance of Beyhives and Swifties – the mood is strategic and intentional inclusion.

What Geriwg, Swift and Carter-Knowles have created in each of their new masterworks are gated dreamworlds. Swift in her moss-covered cottage of Americana folklore turns stadiums into fireside chats for any romantic, Beyoncé's House of Chrome is a black queer club as a spaceship of alien superstars soaring above the fray – and Barbieland is a pastry inversion of the real-world's patriarchy: a Palm Springs-style fantasia where walls don't exist, convertibles are always top-down and Supreme Courts marginalize men for a change.

There are serious political undercurrents to all this, but the mood at the experiential level is buoyant, escapist and even comedic. Hovering on the distant horizon are Presidential elections and reminders of climate catastrophe but here is a ticketed invitation to get dressed, join the festivities and for the duration, release the wiggle, to quote the "Renaissance."

The closing note of each of these spectacles is a kind of transfer of energy, exuberance and American optimism that has been absent from public and cultural life for years.

Winter is of course coming. But in the interim, there has been a remarkable sense of sunshine this summer. Even those not in attendance have felt the afterglow of the women at its center. Not a cruel, but a communal, collective, and yes, glorious summer.

For one week this summer Taylor Swift transformed LA's SoFi stadium into a cathedral — an in-person congregation for hundreds of thousands. Bilal Qureshi/NPR hide caption

• Taylor Swift

Beyoncé Went Full Barbiecore For A Renaissance Performance And Turns Out It Was Her Own Design

A true talent.

The world has known how multitalented Beyoncé is for decades. Whether it’s acting in an Oscar-nominated film, releasing record-breaking albums, or directing her own concert film for Netflix , the Lemonade artist is always finding ways to expand her reach creatively. Her Renaissance tour is no exception, as she not only is experimenting sonically with her own music, but debuting iconic fashion moments. Her latest on-stage look captures the Barbiecore trend, and she looks absolutely stunning. Turns out, the Grammy winner designed the look herself. 

 The “Crazy in Love” singer shouted out the hot pink look in question in a recent Instagram post following the show that was pretty in pink. Not only did she reveal that she designed the look herself, but she also opened up about some of the fashion influences. The neon pink color was meant to channel elements of the IVY PARK line, the singer’s clothing line with Adidas. She also talks about how proud she is to be included in the group of Black designers who contributed to her on-stage wardrobe. You can see her performing in the look below. 

The outfit may incorporate a trendy color, but the look as a whole is uniquely Beyoncé. The double slit not only perfectly aligns with her style, but also makes walking around and performing in the outfit practical, given how much dancing is in the show. The gloves and the sunglasses are effortlessly cool, and Bey pulls them off flawlessly. She also pairs it with a set of sparkly silver heels. You can see the look from another angle below.

The blonde hair and the pink color feel like such a cool play on the Barbiecore fashion trend . Along with the first looks from the new Barbie film, many celebs have been rocking bright pink, showing that the trend is taking over. It’s not only fun, but it's also timeless. Sydney Sweeney stunned in the Barbie pink color while promoting her film with Glen Powell recently, and Megan Fox played with the aesthetic in an appearance at the Audacity Beach Festival. I think Margot Robbie may be the winner, considering she has been killing it in a number of Barbiecore looks leading up to Barbie ’s release date on the 2023 movie schedule , where she plays the title character. However, Beyoncé’s look is on another level in my opinion.

While this Barbiecore look is a stand-out from Beyoncé’s tour, it’s certainly not the only look that is creating a stir online. Her disco cowboy outfit from the Renaissance album shoot was absolutely iconic, causing the mirrorball cowboy hat she wears to sell out on Etsy. Also, her crystal bikini from the shoot was legendary, showing how the “Flawless” artist continues to be one of the leaders in the fashion world. I can’t wait to see what other looks she designs in the future. 

Beyoncé is currently touring her Renaissance album worldwide, so make sure to see the pop star’s iconic stadium performance while you can. For fans who couldn't get tickets, you can check out her memorable 2018 Coachella show, Homecoming , with a Netflix subscription . For information on other projects coming to Netflix in the near future, make sure to consult our 2023 Netflix release schedule. 

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Beyoncé adds extra dates for long-awaited Renaissance World Tour: See show schedule

"Please do not be alarmed, remain calm. Do not attempt to leave the dance floor."

Beyoncé announced her long-awaited tour for her seventh studio album " Renaissance " on Wednesday to kick off Black History Month . Demand for tickets skyrocketed so fast, the artist added second show dates seven cities: Toronto; Chicago; Washington D.C.; Atlanta; Houston; Inglewood, Calif. and East Rutherford, New Jersey.

The album, which debuted in July, is an ode to Black queer culture. Disco anthems, soulful ballads and sexy lyrics are packaged together in "Renaissance."

"RENAISSANCE WORLD TOUR 2023," she shared on Instagram .

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Full Renaissance World Tour dates

Beyoncé's world tour kicks off in May and ends in September and includes stops in Nashville, Louisville, Chicago, Detroit, New York, Boston, Miami, Phoenix, Las Vegas, Los Angeles and many more.

Note: Some dates have changed. For the most up-to-date information, visit  tour.beyonce.com .

• May 10: Stockholm, SE (Friends Arena)
• May 14: Brussels, BE (Baudoin Stadium)
• May 17:  Cardiff, UK (Principality Stadium)
• May 20: Edinburgh, UK (Murrayfield)
• May 23: Sunderland, UK (Stadium of Light)
• May 26:  Paris, FR (Stade de France)
• May 29: London, UK (Tottenham Hotspur Stadium)
• May 30:  London, UK (Tottenham Hotspur Stadium)
• June 6:  Lyon, FR (Groupama Stadium)
• June 8: Barcelona, SP (Olympic Stadium)
• June 11:  Marseille, FR (Orange Vélodrome)
• June 15:  Cologne, DE (Rheinenergiestadion)
• June 17:  Amsterdam, NL (JC Arena)
• June 18: Amsterdam, NL (JC Arena)
• June 21:  Hamburg, DE (Volksparkstadion)
• June 24: Frankfurt, DE (Deutsche Bank Park)
• June 27:  Warsaw, PL (Pge Nardowy)
• July 8:  Toronto, CA (Rogers Centre)
• July 9: Toronto, CA (Rogers Centre)
• July 15: Nashville, TN (Nissan Stadium)
• July 17: Louisville, KY (L&N Federal Credit Union Stadium)
• July 20: Minneapolis, MN (Huntington Bank Stadium)
• July 22: Chicago, IL (Soldier Field)
• July 23: Chicago, IL (Soldier Field)
• July 26: Detroit, MI (Ford Field)
• July 29: East Rutherford, NJ (Metlife Stadium)
• July 30: East Rutherford, NJ (Metlife Stadium)
• Aug. 1: Boston, MA (Gillette Stadium)
• Aug. 3: Pittsburgh, PA (Heinz Field)
• Aug. 5: Washington, DC (FedEx Field)
• Aug. 6: Washington, DC (FedEx Field)
• Aug. 9: Charlotte, NC (Bank of America Stadium)
• Aug. 11: Atlanta, GA (Mercedes Benz Stadium)
• Aug. 12: Atlanta, GA (Mercedes Benz Stadium)
• Aug. 16: Tampa, FL (Raymond James Stadium)
• Aug. 18: Miami, FL (Hard Rock Stadium)
• Aug. 21:  St. Louis, MI (Dome at Americas Center)
• Aug. 24: Phoenix, AZ (State Farm Stadium)
• Aug. 26: Las Vegas, NV (Allegiant Stadium)
• Aug. 30: San Francisco, CA (Levi's Stadium)
• Sept. 2:  Inglewood, CA (SoFi Stadium)
• Sept. 3:  Inglewood, CA (SoFi Stadium)
• Sept. 11: Vancouver, CA (BC Place)
• Sept. 13: Seattle, WA (Lumen Field)
• Sept. 18: Kansas City, MO (Arrowhead Stadium)
• Sept. 21: Dallas, TX (AT&T Stadium)
• Sept. 23: Houston, TX (NRG Stadium)
• Sept. 24: Houston, TX (NRG Stadium)
• Sept. 27: New Orleans, LA (Caesars Superdome)

How to purchase tickets, presale information

Ticketing begins Feb. 6, starting with an exclusive presale to BeyHive members.

There are several presale ticket options for Beyoncé fans. Verified fan registration for North American dates are available on beyonce.livenation.com  and Ticketmaster . Citi cardmembers will have access to a presale via citientertainment.com . Verizon Up members can buy presale tickets at  verizon.com/featured/verizon-up .

Visit the various websites for more on presale tickets as times vary by city.

You can also find "Register" buttons next to each date on her tour website .

Beyoncé returned to the stage for first time in four years in January

Last month, Beyoncé made her return to the stage and performed at the opening of the Atlantis The Royal hotel in Dubai. Despite the luxury experience, the singer left fans wanting more, as she did not perform any songs from "Renaissance," The Hollywood Reporter reported.

The invitation-only event marked her first concert in more than four years. She last performed at the  Global Citizen Festival: Mandela 100 event in 2018.

Beyoncé dominates Grammy nominations

The singer's tour announcement comes days ahead of the Grammys where Beyoncé leads the 2023 lineup with nine nominations, including best dance/electronic album ("Renaissance"), best R&B performance ("Virgo’s Groove") and best traditional R&B performance ("Plastic Off the Sofa"). 

With 28 wins and 88 total career nominations, Beyoncé now ties her husband, rapper Jay-Z , for the most nominations in Grammy history. If Beyoncé picks up four or more awards this year, she will surpass the late Georg Solti for the most Grammy wins of all time. (The Hungarian-born conductor holds the record with 31.) 

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Beyoncé and Jay-Z have got "to be the most intense power couple in the history of music," Recording Academy president Harvey Mason Jr. Mason said after the nominations were revealed. "That’s music and Grammy royalty – that’s the royal family."

Their combined 176 nominations are "absolutely a testament to their talent, to their level of excellence, to their work ethic, to their level of greatness over a long period of time. I don’t even know what the next (leading) couple would be, but it’s not anywhere close.”

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Beyoncé noticeably was not nominated in any of the music video categories for the Grammys, having not released any album visuals for "Renaissance" since its debut.

Contributing: Patrick Ryan

Beyoncé Returns To The Global Stage For Renaissance World Tour

WELCOME TO THE RENAISSANCE

40 shows across north america and europe, verified fan registration open for north american dates now at   beyonce.livenation.com, citi cardmembers, verizon up and beyhive members will have additional access to presales.

Following the wildly successful release of BEYONCÉ’s seventh studio album,  RENAISSANCE , the global superstar has announced RENAISSANCE WORLD TOUR  today, her first solo tour in over six years. The North American leg of the tour is leveraging Ticketmaster’s Verified Fan technology to ensure more tickets get into the hands of concertgoers. Fans can register now   HERE . Ticketing will begin Monday, February 6, 2023, starting with an exclusive presale to BeyHive members.

The 2023 tour, produced by Parkwood Entertainment, and promoted by Live Nation, kicks off on May 10, 2023, at Friends Arena in Stockholm, SE, making stops throughout Europe in Cardiff, Edinburgh, Sunderland, Paris, London, Marseille, Amsterdam, Warsaw and more. The tour then continues across North America with shows in Toronto, Chicago, East Rutherford, Atlanta, Las Vegas, Los Angeles, Houston and more.

RENAISSANCE WORLD TOUR  will also visit Brussels, Barcelona, Cologne, Frankfurt, Hamburg, and more in Europe in May & June. Additional North American cities include Boston, Charlotte, Dallas, Detroit, Kansas City, Louisville, Miami, Minneapolis, Nashville, New Orleans, Philadelphia, Pittsburgh, San Francisco, St. Louis, Tampa, Vancouver and more.

As with previous tours, Beyoncé will make her mark offstage, too, with BeyGOOD, the initiative she founded in 2013 to support people and programs around the world.  BeyGOOD will continue its legacy of philanthropy, building out this focus on economic equity by supporting organizations that serve marginalized and underserved communities with access to scholarships, opportunities for internships that lead to job placement, and resources to support entrepreneurship.

In various cities throughout the tour, BeyGOOD will support entrepreneurs through Black Parade Route luncheons, celebrating small business owners, with grant opportunities being awarded and a foray of services with global partners to promote business sustainability. One thousand small businesses will be supported with a commitment totaling one million dollars.

BeyGOOD will also support students through scholarship funds that will be given to colleges and universities in ten different cities along the tour. Each school will be given one hundred thousand dollars and will select the student recipients. BeyGOOD’s total scholarship commitment during RENAISSANCE WORLD TOUR will be one million dollars.

Working with Beyoncé and the BeyGOOD Foundation, Citi and Verizon will purchase 100 tickets combined in each market across the U.S. touring leg for distribution to local community initiatives.

A noted partner with Beyoncé, Tiffany & Co. is the official jeweler of  RENAISSANCE WORLD TOUR.  Tiffany & Co. has a longstanding commitment to conducting itself responsibly, sustaining the natural environment, prioritizing diversity and inclusion, and positively impacting the communities in which it operates.

TICKETING DETAILS :

On sale dates:

• North American Dates:  Verified Fan Registration is open now and closes at different times based on city. Visit  beyonce.livenation.com  for the exact details as ticketing on sale timelines vary by city. 
• Europe an  Dates:  Check your local event listings for complete ticket information regarding European dates of the tour.

Pre sale dates:

• Citi Presale powered by Verified Fan:  Citi is the official credit card of  RENAISSANCE WORLD TOUR . After the Verified Fan process, Citi cardmembers may have the opportunity to access the special Citi Presale powered by Verified Fan for tour dates in the United States. For those who are not existing Citi cardmembers, consumers can apply for the Citi Custom Cash Card online. If approved, new cardmembers may request instant access to their card for the Citi Presale powered by Verified Fan.* For complete presale details visit  www.citientertainment.com  and for details on Custom Cash instant access visit  www.citientertainment.com/faq . 
• Verizon Up Presale:  Verizon Up customers can access this presale by visiting   Verizon Up . Verizon will offer an exclusive presale for  RENAISSANCE WORLD TOUR  in the U.S through the customer loyalty program Verizon Up. Customers will have access to purchase presale tickets for select shows.

RENAISSANCE WORLD TOUR DATES:

May 10, 2023 – Stockholm, SE – Friends Arena

May 14, 2023 – Brussels, BE – King Baudouin Stadium

May 17, 2023 – Cardiff, UK – Cardiff Principality Stadium

May 20, 2023 – Edinburgh, UK – BT Murray Field Stadium

May 23, 2023 – Sunderland, UK – Stadium of Light

May 26, 2023 – Paris, FR – Stade de France

May 29, 2023 – London, UK – Tottenham Hotspur Stadium

May 30, 2023 – London, UK – Tottenham Hotspur Stadium

June 08, 2023 – Barcelona, ES – Olympic Stadium

June 11, 2023 – Marseille, FR – Orange Velodrome

June 15, 2023 – Cologne, DE – Rhein Energie Stadion

June 17, 2023 – Amsterdam, NL – Johan Crujff Arena

June 21, 2023 – Hamburg, DE – Volksparkstadion

June 24, 2023 – Frankfurt, DE – Deutsche Bank Park

June 27, 2023 – Warsaw, PL – PGE Narodowy

NORTH AMERICA

July 8, 2023 – Toronto, ON – Rogers Centre

July 12, 2023 – Philadelphia, PA – Lincoln Financial Field

July 15, 2023 – Nashville, TN – Nissan Stadium

July 17, 2023 – Louisville, KY – L&N Federal Credit Union Stadium

July 20, 2023 – Minneapolis, MN – Huntington Bank Stadium

July 22, 2023 – Chicago, IL – Soldier Field Stadium

July 26, 2023 – Detroit, MI – Ford Field

July 29, 2023 – East Rutherford, NJ – MetLife Stadium

Aug. 01, 2023 – Boston, MA – Gillette Stadium

Aug. 03, 2023 – Pittsburgh, PA – Acrisure Stadium

Aug. 05, 2023 – Washington, DC – FedEx Field

Aug. 09, 2023 – Charlotte, SC – Bank of America Stadium

Aug. 11, 2023 – Atlanta, GA – Mercedes-Benz Stadium

Aug. 16, 2023 – Tampa, FL – Raymond James Stadium

Aug. 18, 2023 – Miami, FL – Hard Rock Stadium

Aug. 21, 2023 – St. Louis, MO – Dome at America’s Center

Aug. 24, 2023 – Phoenix, AZ – State Farm Stadium

Aug. 26, 2023 – Las Vegas, NV – Allegiant Stadium

Aug. 30, 2023 – San Francisco, CA – Levi’s Stadium

Sept. 02, 2023 – Inglewood, CA – SoFi Stadium

Sept. 11, 2023 – Vancouver, BC – BC Place

Sept. 13, 2023 – Seattle, WA – Lumen Field

Sept. 18, 2023 – Kansas City, MO – Arrowhead Stadium

Sept. 21, 2023 – Dallas, TX – AT&T Stadium

Sept. 23, 2023 – Houston, TX – NRG Stadium

Sept. 27, 2023 – New Orleans, LA – Caesars Superdome

For complete ticketing and additional information visit  beyonce.livenation.com  and  tour.beyonce.com .

*Citi Instant Access Process:  *If approved for the card after applying online, new Citi Custom Cash cardmembers must write down their temporary account information to have ready when they go to try to make a purchase during the presale. They will not have access to their information again until the physical card arrives in the mail, which may take 7-10 days. 

About Parkwood Entertainment

Parkwood Entertainment is a film and production company, record label and management firm founded by entertainer and entrepreneur, Beyoncé Knowles-Carter in 2010.  With offices in Los Angeles and New York City, the company houses departments in music, film, video, live performances and concert production, management, business development, marketing, technology, creative, philanthropy, and publicity.  Under its original name, Parkwood Pictures, the company released the film Cadillac Records (2008), in which Beyoncé starred and co-produced. The company has also released the films Obsessed (2009), with Beyoncé as star and executive producer, the winner of the Peabody Award for Entertainment, Lemonade (2017), the Emmy®-nominated Homecoming: A Film By Beyoncé (2019), which documents Beyoncé’s history-making performance at the Coachella Valley Music & Arts Festival in 2018, and the Emmy®-winning Black Is King (2020). Parkwood Entertainment produced The Mrs. Carter Show World Tour (2013-2014), The Formation World Tour (2016), and the aforementioned “Homecoming” performances at Coachella (2018) and co-produced the ON THE RUN Tour (2014) and ON THE RUN II (2018).

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit   www.livenationentertainment.com .

MEDIA CONTACTS:

Parkwood Entertainment

Yvette Noel-Schure, Parkwood Entertainment  |  [email protected]

Live Nation Concerts

Monique Sowinski |  [email protected]

Maya Sarin |  [email protected]

Valeska Thomas |  [email protected]

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

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

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

Titled after the Texan’s disco glitter bomb post-pandemic party album of the same name , Renaissance is a monster blockbuster concert experience on a different plane. Fifty-seven stadium dates globally, starting in Stockholm, are projected to gross as much as £1.9bn ($2.4bn) by the time the tour ends in New Orleans late September. Dripping with sci-fi disco decadence, sex, body positivity and feminine Black pride, the near three-hour spectacular plays out in front, behind and, at times, inside a football-pitch-wide high-definition video screen designed to assault the senses at dizzying scale.

The BeyHive, as Beyoncé’s fans collectively style themselves, are buzzing pre-show as they flood into the venue from around the world for their first chance proper to see their queen live since 2018’s On the Run II co-headliner with Mr B, Jay-Z. Dressed head to toe in official tour merch, including a cap and hoodie both emblazoned with the word “THIQUE”, Mykwain Gainey has been to 20 Beyoncé shows over the past two decades and has spent nearly £2,000 to fly here from New York. “To see her transcend, and become what she has become, especially as a Black woman, is exciting,” he enthuses.

Brazilian Yhes Bezerra wears a spangly cowboy hat like the one sported by Beyoncé in the tour poster, except theirs is homemade; sticking on the thousands of tiny mirror panels took nine hours. They were determined to come to the opening night to avoid social media spoilers about what to expect. “I want everything to be a surprise,” Bezerra smiles.

Beyoncé appears first in a video cut scene, laid out luxuriously across the giant screen semi-naked in dimensions big enough to be visible from space. And yet, once she emerges in the flesh – all sequins, shoulder pads and that megawatt smile, drinking in the crowd’s screams – she begins disarmingly with a slew of her rawest soul songs. By the second, Flaws and All, she already appears to be fighting back tears, whether of release or gratitude or both. It’s an opening that seems designed to strip away artifice, if only to provide some sharp contrast for the heavily technologically augmented spectacle about to follow.

Harking back to early house and techno and the ecstatic utopia of the dancefloor, a segment dedicated to the Renaissance album ensues with Beyoncé done up something akin to the Maschinenmensch in Metropolis. She grinds with a dozen backing dancers to the jittery reggaeton of her boss bitch mission statement I’m That Girl, then dances with some actual robots (a pair of mechanical arms) during Cosy. Were all that not semi-hallucinogenic enough, Alien Superstar interpolates narcissistic anthem I’m Too Sexy by 90s dance-pop twosome Right Said Fred.

With many of the setlist’s whopping 36 songs abridged, the tempo is relentless. Blink and you’ll miss dancers popping out of the stage like champagne corks, or Beyoncé’s powerhouse band getting wheeled into occasional view on a tall stepped riser (shades of Beychella), such as during Chic-style feelgood funk workout Cuff It. “Y’all having a good time, Stockholm?” our host inquires, wiping an imperceptible bead of sweat from her brow. “Me too.”

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

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

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

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

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Beyoncé Announces ‘Renaissance’ Stadium Tour Dates

By Jem Aswad

Executive Editor, Music

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As expected, Beyoncé has announced a 2023 world tour on Instagram, supporting her multiple-Grammy-nominated 2022 album, “Renaissance.” She also released the dates and cities on her official website.

The timing of the announcement, which comes just days before the Grammy Awards on Sunday, sparks speculation that the singer may perform or at least appear on the show. Beyoncé is the most nominated artist for the awards with nine, all related to “ Renaissance .” Sources tell Variety that her husband Jay-Z will perform with DJ Khaled on the show, most likely their nominated song “God Did.”

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Beyoncé has said that “Renaissance” is a three-part project, so it’s possible that the next parts could be another album, a long-form video project or even the tour itself.

Beyoncé’s last full tour was the nearly six-month, 49-date “Formation” tour in 2016, which unusually featured no guest appearances until the final show, at New Jersey’s MetLife Stadium, where she brought out Kendrick Lamar and Jay-Z.

She did, however, stage an epochal “Homecoming” headlining performance at the 2018 Coachella festival — which was postponed from 2017 due to the birth of her and Jay’s twins — for which she was accompanied by a full marching band in a nod to historically Black colleges and universities. That blockbuster performance was later released as the “Homecoming” album and — via a three-project deal with Netflix that sources tell Variety is worth $60 million — a feature-length documentary. It seems possible that a future “Renaissance” video project could be part of that deal as well.

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

May 10, 2023 – Stockholm, SE – Friends Arena

May 14, 2023 – Brussels, BE – King Baudouin Stadium

May 17, 2023 – Cardiff, UK – Cardiff Principality Stadium

May 20, 2023 – Edinburgh, UK – BT Murrayfield Stadium

May 23, 2023 – Sunderland, UK – Stadium of Light

May 26, 2023 – Paris, FR – Stade de France

May 29, 2023 – London, UK – Tottenham Hotspur Stadium

May 30, 2023 – London, UK – Tottenham Hotspur Stadium

June 08, 2023 – Barcelona, ES – Olympic Stadium

June 11, 2023 – Marseille, FR – Orange Velodrome

June 15, 2023 – Cologne, DE – Rhein Energie Stadion June 17, 2023 – Amsterdam, NL – Johan Cruijff Arena

June 21, 2023 – Hamburg, DE – Volksparkstadion

June 24, 2023 – Frankfurt, DE – Deutsche Bank Park

June 27, 2023 – Warsaw, PL – PGE Narodowy

NORTH AMERICA

July 8, 2023 – Toronto, ON – Rogers Centre

July 12, 2023 – Philadelphia, PA – Lincoln Financial Field

July 15, 2023 – Nashville, TN – Nissan Stadium

July 17, 2023 – Louisville, KY – L&N Federal Credit Union Stadium

July 20, 2023 – Minneapolis, MN – Huntington Bank Stadium

July 22, 2023 – Chicago, IL – Soldier Field Stadium

July 26, 2023 – Detroit, MI – Ford Field

July 29, 2023 – East Rutherford, NJ – MetLife Stadium

Aug. 01, 2023 – Boston, MA – Gillette Stadium

Aug. 03, 2023 – Pittsburgh, PA – Acrisure Stadium

Aug. 05, 2023 – Washington, DC – FedEx Field

Aug. 09, 2023 – Charlotte, NC – Bank of America Stadium

Aug. 11, 2023 – Atlanta, GA – Mercedes-Benz Stadium

Aug. 16, 2023 – Tampa, FL – Raymond James Stadium

Aug. 18, 2023 – Miami, FL – Hard Rock Stadium

Aug. 21, 2023 – St. Louis, MO – Dome at America’s Center

Aug. 24, 2023 – Phoenix, AZ – State Farm Stadium

Aug. 26, 2023 – Las Vegas, NV – Allegiant Stadium

Aug. 30, 2023 – San Francisco, CA – Levi’s Stadium

Sept. 02, 2023 – Inglewood, CA – SoFi Stadium

Sept. 11, 2023 – Vancouver, BC – BC Place

Sept. 13, 2023 – Seattle, WA – Lumen Field

Sept. 18, 2023 – Kansas City, MO – GEHA Field At Arrowhead Stadium

Sept. 21, 2023 – Dallas, TX – AT&T Stadium

Sept. 23, 2023 – Houston, TX – NRG Stadium

Sept. 27, 2023 – New Orleans, LA – Caesars Superdome

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2023 Is One Big Costume Party

H anging in Khloé Lewis’ closet is a shimmering lavender party dress with a single puffed sleeve, a bedazzled mini dress with matching cowboy hat, and a rose-colored shirt. She wore these items to Taylor Swift’s Eras Tour , Beyoncé’s Renaissance World Tour , and the Barbie movie , respectively. For Lewis, a 29-year-old PR professional, dressing up made the experience even better.

“It’s always fun to have a reason to dress up in something that’s outside of your norm,” she told TIME.

Lewis isn’t alone. This summer, concert and moviegoers showed up in themed regalia. For Barbie, attendees donned all shades of pink , from a shocking magenta to more demure hues of bubblegum. At the Eras Tour, Swifties paid homage with sparkles, bright colors, and friendship bracelets. Meanwhile, fans wore disco-inspired clubwear in silver and black, accessorizing with rhinestone-encrusted cowboy hats and boots, to Beyoncé’s Club Renaissance. And with Swift and Beyoncé both dropping concert movies , it appears that the costume party that was 2023 shows no sign of stopping.

Read more: The Eras Tour Movie Is Irresistible No Matter How Much You Think You Like Taylor Swift

Fashion historian and ​​assistant curator of fashion at the Cleveland Museum of Art, Darnell-Jamal Lisby agrees, saying that the outsize showing of themed dressing this summer could be a reflection of the freedom people craved after the pandemic.

“Post-pandemic, people want to be free to be their authentic selves,” Lisby told TIME. “People want to have fun with it and experiment because that’s something in their control and something that they can use to communicate to each other and within themselves about how they're feeling and how they’re connected.” 

For Dalvin Brown, a 30-year-old journalist who saw Beyoncé for the first time on the Renaissance tour, that connection happened both in person and online. Brown, who sported a diamanté bodysuit with a male physique design on it and a studded cowboy hat and leather jacket, went viral online for his striking look, captured and shared by Beyhive fans at the concert. Brown says the influx of interest in dressing up was accelerated by the pandemic, but also by the Internet, where social media rapidly disseminated trends and fast fashion from online retailers has made putting together a look nearly effortless.

Read more : What Beyo ncé Gave Us

“The access to fast fashion and the Internet creates this world where if you want to experiment with how you dress, you can,” he told TIME. “There's lots of inspiration online and you’re pretty much getting permission from the Internet because there's so many people expressing themselves in really creative and wild ways.”

The element of connection was an essential part of Anna Belkin’s decision to dress up for the three Barbie screenings she went to in the span of two weeks. The 34-year-old attorney dressed in a pink jumpsuit for a viewing on opening night; for the second screening, she went with her parents and helped her mother find a pink scarf, while her father wore a shirt that read “On Wednesdays, we smash the patriarchy” in pink lettering. For the third screening, which was part of a bachelorette party activity, she wore pastels to complement the bride-to-be’s outfit. Belkin says dressing up was a way to share the experience with the people she loved. She was also pleasantly surprised by the camaraderie it sparked with her fellow moviegoers.

“Part of the joy of dressing up was to fully be a part of the experience,” she told TIME. “It was truly delightful to walk around in public, where everyone is saying to each other, complete strangers, ‘Hi Barbie!’ It's nice to be a part of a bigger thing, even if it’s a movie about a doll that is literally like sanctioned by the corporation that makes it, and to feel like you're not just enjoying the art, but you're a part of the art.”

Read more : How Barbie Took Over the World

For Jezz Chung, a 32-year-old author, artist and performer, dressing up for the Renaissance tour and the Barbie movie was an empowering experience, rooted in queer community and fun. Chung, who is autistic, said that their outfit was an important part of their sensory experience of the concert. Before attending, Chung hand-affixed gems to a pair of pants, relishing both the feel and the look of the outfit. Dressing, especially in tumultuous times, can be a daily but not insignificant way to claim space, Chung says. A brightly colored outfit or smattering of sparkling rhinestones is a way to express themselves and to present the way they want to, regardless of social conventions.

“Dressing up feels like a way to maintain a sort of agency of our bodies and our lives, shaping who we are in this world and how we get to show up,” they told TIME. “There’s a deep history with people of color, queer people, any kind of marginalized people looking to beauty and fashion, whether that’s clothes, makeup or artistry, to practice a sense of deep liberation.”

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Write to Cady Lang at [email protected]

Every Look From Beyoncé’s Renaissance Tour, From Custom Catsuits to Disco-Inspired Couture

Beyoncé’s Renaissance tour began with a bang in Stockholm and it hasn't slowed down since. The highly-anticipated show has featured inventive set design, a decades-spanning setlist, and a plethora of standout style moments—from to archival pieces to custom looks and nearly everything in between. The star’s wardrobe has combined her signature style with the visual ethos of the album Renaissance ( think lots of sequins, silver, catsuits, and the occasional bee-inspired look). Beyoncé has also been wearing looks from brands specific to the city she’s performing in—for the UK leg of her tour she wore picks from the London-based Mary Katrantzou and Robert Wun while in Marseille, France she opted for a look by designer Simon Porte Jacquemus.

The singer has donned looks from both established brands—Valentino, Mugler, lots of Alexander McQueen, among others—as well as smaller labels like Anrealage and Brandon Blackwood. Balmain catsuits and mini dresses have been a constant throughout her tour wardrobe (in March, she partnered with creative director Olivier Rousteing to design a Renaissance couture line for the brand ) as well as imaginative pieces from Loewe. Beyoncé began the tour in Europe which has seen her in London, Paris, and other cities with the last being Warsaw, Poland on June 28th. She will then head to North America with her last date coming in New Orleans, Louisiana on September 27th. Needless to say, there will be countless more style moments to come—so, to make sure you don’t miss one look, keep checking back here as we keep track of everything Beyoncé has worn during the Renaissance world tour.

Beyoncé certainly made a splash for her final Renaissance show in Kansas City, Missouri. To open the concert, the star wore a custom Balenciaga gown, embroidered with over 8000 crystal rhinestones, and black opera gloves.

The star also brought out a black, latex version of a previous Ivy Park bodysuit and cropped jacket for her final show.

It’s fitting that perhaps the most memorable look from Beyoncé’s tour, a crystalized Loewe bodysuit, came in not one, not two, but three color ways.

At Beyoncé’s Houston show, Meghan Thee Stallion hit the stage to perform the “Savage” remix live for the first time. Naturally, then, the singer made sure to bring out a handful of major looks for such an occasion, including this dramatic black-and-white Balmain gown.

For another Houston ensemble, Beyoncé went with a black number by British maestro Gareth Pugh that was trimmed with reflective detailing.

Lingerie powerhouse Agent Provocateur designed this fringed, metallic piece for the singer’s Houston Renaissance stop.

American designer Rick Owens’ first custom look for Beyoncé’s tour came in the form of this plunging, sculptural bodysuit that she paired with silver cut-out boots and shield sunglasses.

The Carters have a song called “Boss,” but it was Beyoncé who looked in control wearing this full look from, yes, Boss. Silver was again the color of choice for the star—opting for slouchy boots, a form-fitting bodysuit, and cropped statement jacket.

Beyoncé donned her mermaid best while in Dallas, Texas with this custom Georges Hobeika couture look. The gown, which took over 300 hours to make, is embroidered with layers of Swarovski crystals and features a dramatic head veil.

This custom look from Milanese house Del Core featured pink garter boots and a sculptural bodysuit complete with statement shoulders. Plus, some very “Alien Superstar” sunglasses to match.

Despite saying her “Telfar bag imported,” it took Beyoncé until her tour’s Seattle stop to sport a look from the New York brand . The red, sequined cut-out bodysuit was certainly worth the wait, though (Blue Ivy also had a matching look from Telfar).

For her show in Seattle, Washington, Beyoncé donned lots of denim in the form of this Diesel bodysuit moment complete with a blue overcoat.

The star pulled out this crystallized, sheer Elie Saab couture look complete with a dramatic hood and feathered train.

This sequined Vera Wang bodysuit was taken to the next level with layers of blue chiffon that moved gracefully while the singer performed in Vancouver, Canada.

For her first Renaissance concert up North in Vancouver, Canada, Beyoncé pulled out a few new looks like this custom Ivy Park gear that featured intricate embroidery throughout. She added a matching top hat, overcoat, and silver above-the-knee boots to complete the ensemble.

Brazilian brand PatBO brought the sparkle (and fringe) with this eye-catching, hand-beaded number they designed for the singer’s Vancouver, Canada concert.

This is the second flame bodysuit that Roberto Cavalli has designed for the singer. This time, though, the look was even more fiery thanks to dozens of red and orange Swarovski crystals lining the piece.

Beyoncé made this barely-there lingerie look by Agent Provocateur stage-ready by adding fringed boots and a sparkly overcoat.

Like many a pop star, it’s no secret that Beyoncé loves a Mugler bodysuit. Here, the star wore a strappy silver version that she styled with metallic boots and shield sunglasses.

Beyoncé pulled out all types of looks for her Los Angeles show, which also happened to fall on her 42nd birthday. In one of many new looks during the night, she rocked this embroidered Givenchy bodysuit with a cropped black jacket and patent heels.

Beyoncé went big for her first Versace look during her Renaissance tour. She wore a skin-hugging mini dress and over-the knee boots designed in the Italian brand’s signature Medusa print.

The star opted for a lace Dolce & Gabbana look consisting of a corseted bodice and a dramatic off-the-shoulder train.

A vision in red, Beyoncé wore a ruched Balmain top that she paired with latex, cargo-style pants and opera-length gloves. To round out the look, she wore a Ruslan Baginskiy hat and Thierry Lasry sunglasses.

Pucci is known for their statement prints, so it’s no surprise this bodysuit was heavy on all sorts of colors. The look featured the Italian brand’s archival "Giardino” print as well as crystal embellishments and a sparkling body chain.

Loewe may have created the most memorable look from Beyoncé’s tour thus far with their “hands” bodysuit. For her Los Angeles show, the singer wore another anatomy-focused look from the Spanish brand, this one, in black and red.

This pink Gucci look consisted of pleated satin and a handful of pearl and crystal embellishments. The star added in velvet gloves, a wide-brimmed hat, and a pair of bedazzled binoculars for good measure.

For the opening portion of her Los Angeles show, Beyoncé donned this rose pink Tamara Ralph gown that featured ruching at the side and feathered sleeves.

While she may have been hidden underneath a sculptural headpiece, this ivory Danielle Frankel look certainly spoke for itself.

Australian designer Tamara Ralph created this velvet gown, complete with shimmering details at the bodice, for Beyoncé’s Los Angeles show. She paired the dramatic piece with a black top hat and Alaïa heels.

The singer looked in control with a custom A-Morir cane that she wore with a bedazzled bodysuit by Prada inspired by their spring/summer 2012 collection.

Instead of her usual over-the-knee stilettos, Beyoncé opted for a towering pair of Marc Jacobs “Kiki” boots. She also wore a custom iteration of a look from the American brand’s fall/winter 2023 collection that featured a glittering red scarf.

This custom Alexander McQeen number, which featured an embellished mini dress and sculptural headpiece, was inspired by the brand’s fall/winter 2013 couture collection.

Sarah Diouf, the designer behind African brand Tongoro, designed this black-and-white motif bodysuit, gloves, and boots for the singer’s Santa Clara, California show.

The star looked presidential in another Ralph Lauren look, this one, a tuxedo-style bodysuit that she paired with a feather boa, bedazzled cane, and black boots.

In an ensemble that would make her song “Telephone” proud, Beyoncé donned a custom bodysuit by Lou de Bètoly made from recycled phones, chargers, and crystals.

Yes, that is Beyoncé hidden under all of that silver fringe. During her Las Vegas show, she certainly made a statement in this silver Jacquemus look.

Even when hidden underneath a red top hat, Beyoncé looked Renaissance -ready in this silver mini dress by Ukrainian brand Frolov.

Beyoncé opted for another printed Marine Serre ensemble, this time, a silver bodysuit layered with a red cut-out dress.

Cult-favorite lingerie brand Agent Provocateur designed this metallic bodysuit, completed with cut-out detailing, for the singer’s Las Vegas show.

Leave it to Beyoncé to make newsboy caps look cool. Here, she paired the accessory with a latex and fishnet look from Dundas.

The star spiced things up with a sheer, crystalized bodysuit by Bronx and Banco that she wore with a white feather overcoat.

Beyoncé donned another Givenchy look during her Glendale, Arizona stop–this one a form-fitting suit dress complete with gold accents along the waist and arms.

British brand Gareth Pugh designed this sculptural metallic bodysuit for the singer, which she paired with over-the-knee boots and flashy opera gloves.

The star swapped out her Loewe “hands” bodysuit for an equally as flashy look from the Spanish brand in the form of a black long sleeve, high-low dress.

Beyoncé looked ravishing in red when she wore this Atelier Zuhra look composed of a glittering bodysuit and a statement-making, sculptural train.

This very “Alien Superstar” ensemble by Zigman featured a semi-sheer bodysuit, metallic knee-high boots, and antena-like wings that doubled as a train.

Georgian brand Situationist and Ukrainian label Yaspis came together to create this custom metallic look for Beyoncé’s Phoenix, Arizona show. The dress featured a criss-cross halter bodice and an asymmetrical draped skirt with a daring slit up to her waist. To finish things off, the star added in a pair of opera-length gloves and a crystal mesh bodysuit.

The superstar, who celebrates her birthday September 4, recently posted a request to her fans via Instagram. “Virgo season is upon us,” she wrote. “This tour has been such a joy and as we approach the last month, my birthday wish is to celebrate with you wearing your most fabulous silver fashions to the show 8.23 – 9.22.”

Beyoncé has long been a fan of Lebanese designer Nicolas Jebran, so it’s only fitting that he crafted one of her buzziest Renaissance World Tour ensembles yet. The custom yellow bodysuit, which took over 200 hour s to make, was paired with beaded opera gloves and knee-high boots. Of course, the star rounded things out with antenna-like shield glasses.

London-based Alessandra Rich designed this shimmering ensemble for Beyoncé’s St. Louis, Missouri stop. The look featured a semi-sheer crystal net bodysuit complete with patent detailing at the midsection and sleeves. Prior to showing off the form-fitting catsuit, she wore a vinyl trench coat and coordinating top hat.

Beyoncé celebrated the arrival of Virgo season with this custom Loewe look that she wore for her St. Louis, Missouri show. She paired the look, which consisted of a metallic sculptural top and black maxi skirt, with sparkly heels from The Attico. The singer also announced that she wants her fans to wear their “most fabulous silver fashions” for the remaining month of her Renaissance tour, which concludes on September 22nd. “We’ll surround ourselves in a shimmering human disco ball each night,” she said in a statement.

The singer previously wore a similar swirl motif mini dress from David Koma earlier on in her tour. This time, though, she paired the piece with an asymmetrical leather jacket, patent cowboy boots, and sleek silver sunglasses.

Beyoncé definitely brought the heat to Miami in this sparkling custom Gucci look. The Italian brand created a corseted bodysuit draped with strands of silver fabric for the singer, which she paired with over-the-knee fringe boots.

Though this custom Valdrin Sahiti bodysuit followed a similar silhouette to many of Beyoncé’s form-fitting looks, its dramatic tulle shoulders and flowing train certainly spiced things up a bit. The singer rounded out the look with a pair of cat eye sunglasses and PVC heels by Mach and Mach.

Unlike her Marni look which was heavy on mixed metals, this custom Missoni ensemble was pure silver. The Italian house designed a patterned form-fitting dress (complete with a leg-baring) slit that the singer unveiled during her Tampa, Florida show. She also wore a silver long sleeve top with built-in gloves underneath, Amina Muaddi heels, and custom Tiffany & Co. glasses.

Patchwork like never before. The singer donned this custom Marni look, composed of a cropped puffer jacket, bodysuit, and boots, for her Atlanta show. The silver and gold pieces were made of leather and fragmented crystals for some extra shine.

Rounding out a pair of Gaurav Gupta looks in Atlanta, Beyoncé chose this show-stopping hooded gown for her final show in the city. The sparkling number is from the brand’s fall/winter 2023 collection and featured a one-sleeve silhouette and a trio of cut-out details.

Beyoncé turned up the heat in this blue flame bodysuit by Roberto Cavalli. The brand’s creative director Fausto Puglisi created the trompe l’oeil ensemble with a slew of Swarovski crystals and even added in a dazzling cowboy hat and gloves to finish off the look.

Even Beyoncé got in on fashion’s sheer obsession with this statement-making Dolce & Gabbana look. She paired the bodysuit, which featured sprawling crystal embroidery, with a pair of fringe sunglasses.

If anyone can make a newsboy cap work, it’s certainly Beyoncé. She accessorized this fitted, embroidered bodysuit from Self-Portrait with a matching hat and strappy heels.

Alberta Ferretti has been a constant throughout Beyoncé’s Renaissance wardrobe. So, naturally, the singer chose a scarlet bodysuit, complete with a sculpted bodice and plenty of crystals, for her Atlanta show.

The star opted for another Gaurav Gupta look, this one, from the brand’s fall/winter 2023 collection. Like her previous ensemble from the brand, the green dress featured an array of smartly placed cut-outs and a thigh-high slit.

If this Carolina Herrera ensemble looks familiar, that’s because Beyoncé previously wore a red version earlier on in her tour. Like the last wear, this one was made complete with a dramatic headpiece and opera-style gloves. The star also tied in a pair of Alaïa cabaret sandals, a pari she’s taken a liking to throughout her time on the road.

The star chose a Barbie pink look from Lapointe during her show in Charlotte, North Carolina. The curve-hugging mini dress featured a one-side feather sleeve and a draped train at the side. Of course, she had to add in a pair of sequined knee-high boots and fringe sunglasses from A-Morir for good measure.

This Gaurav Gupta bodysuit may be Beyoncé’s most detailed one to date—the piece featured elaborate infinity draping that cascaded throughout the look. She then paired the top half with garter-inspired crystal leggings that transitioned into boots.

Beyoncé dazzled in this custom Ralph Lauren satin gown and feather shawl for her Washington, D.C. show (which drew heavyweight guests like Solange Knowles, the Obamas, and Kamala Harris).

Tinsel chic? Beyoncé’s latest custom Gucci look (a fringe bodysuit, sculptural hat, boots, and overcoat) turned heads for all the right reasons at her D.C. show.

Nina Ricci designer Harris Reed created this crystal and velvet bodysuit inspired by the brand’s archival couture gowns. Beyoncé accessorized the look with custom drop earrings and an Elsa Peretti diamond ring from Tiffany & Co.

Beyoncé went with this custom royal blue look from Off-White (she wore a similar red version earlier on in her tour) for her show in the nation’s capital.

Self-Portrait creative director Han Chong custom designed this glittering mesh bodysuit and matching skirt for the star’s Washington, D.C. show. The sequined piece featured a diamond cut-out at the midsection and dramatic feather cuffs.

For her Boston show, Beyoncé dazzled in this reflective silver ensemblefrom Peter Dundas’s namesake brand. The look featured a form-fitting mini dress, oversized trench coat, ankle boots, and a coordinating hat.

Beyoncé got in on the lingerie dressing fad with this sultry custom look from Spanish-born, Paris-based designer Arturo Obegero.

Israeli designer Alon Livné designed this sheer catsuit, complete with intricately placed cut-outs, and ruffled cape for the singer’s Boston show.

Beyoncé looked straight out of a sci-fi thriller in this custom Demobaza look which featured a color blocked bodysuit, harness, and white boots.

Jean Paul Gaultier is known for their trippy prints, so it’s no surprise then that the bending motif was the focal point of this custom bodysuit.

The debate is still out on whether this look should be classified as Barbie pink or Valentino pink. Regardless, Beyoncé nailed this custom look from the Italian brand. She paired the form-fitting bodysuit (which was layered under a cape) with knee-high boots and feathered shield sunglasses.

For her New York show, Beyoncé, fittingly, wore one of the city’s favorite designers. Her custom Marc Jacobs gown featured a dramatic slit, bending black and white stripes, and a slew of dazzling Swarovski crystals.

This Alexander McQueen may look familiar. The singer wore a similar version just a few stops ago in Minneapolis, Minnesota. This one, however, featured a slightly different color way in bronze and silver and was accented by a dramatic reflective cape.

The singer looked ethereal in this semi-sheer Georges Hobeika gown. The piece featured delicate embroidery throughout and a strappy neckline at the bodice. Her sheer headpiece was crafted with 3D embroidered flowers and her opera gloves were trimmed with train-like pieces of fabric.

Beyoncé donned another custom Ivy Park look for her New Jersey show. This one kept up the camouflage theme with another pair of slouchy knee-high boots. Instead of a form-fitting bodysuit like she’s worn in the past, her jersey-style long sleeve was decidedly more casual (yet still packed a punch with crystal embroidery). Blue Ivy had on a matching jersey, too.

Sparkles and (faux) fur took center stage in this Philosophy di Lorenzo Serafini look. Her long sleeve bodysuit was embellished with Swarovski crystals and layered perfectly beneath the apricot coat.

The singer packed on the sparkle in this Miu Miu look during her stop in East Rutherford, New Jersey. The tank and cut-off shorts were embroidered with rhinestones and crystals as were her fringed knee-high boots, naturally. She paired the set with a custom Tiffany & Co. silver peephole cowboy hat and HardWear drop earrings.

Louis Vuitton’s newly appointed creative director of menswear, Pharrell Williams, designed this glittering catsuit for Beyoncé’s Detroit, Michigan concert. The two have quite the history as long time friends and collaborators—Williams has produced songs for Beyoncé in the past and she recently attended his debut runway show for the French brand earlier this year. The custom bodysuit put a spin on the brand’s famed Damier check through glittering crystal embroidery. Williams also created custom ensembles for Blue Ivy and Beyoncé’s backup dancers.

Beyoncé looked like liquid gold in this hooded mesh gown from Ivy Park. The piece featured slight ruching at the waist and a dramatic side slit which showed off her daring footwear choice—a pair of Alaïa cabaret heels. The patent calfskin choice are from the brand’s spring/summer 2023 collection in which the heel is designed to mimick the shape of two legs.

This silver cut-out number may just be Beyoncé’s most disco-ready jumpsuit yet. Custom designed by Lanvin, the piece featured the brand’s signature gold hardware as well as ruching throughout. To round things out, Beyoncé accessorized the look with equally as flashy opera gloves and above-the-knee boots.

Beyoncé traded her tour wardrobe of silver and gold for some Tiffany blue while in Chicago, Illinois. The look was created in partnership with designer Giles Deacon and featured a sculptural bodice and sheer organza gloves. She paired the dress with, of course, a custom Tiffany & Co. Twister Collar Necklace.

Beyoncé’s Acne Studios ensemble may have nailed the Barbie pink look, but it certainly did not disappoint during her Minneapolis show. She paired her reflective mini shorts and bustier with an oversized jacket and sparkling thigh-high boots.

Beyoncé’s Renaissance wardrobe isn’t just limited to bodysuits—she’s also been incorporating dramatic ensembles like this custom Schiaparelli mini dress and shawl. The strapless piece featured white feathered detailing which she paired with simple Dolce & Gabbana heels.

Balmain has been a focal point of Beyoncé’s Renaissance wardrobe and things got taken up a notch during her stop in Minneapolis. The singer opted for a sculptural latex bodysuit that she accessorized with knee-high boots, shield sunglasses, and a brimmed top hat.

Beyoncé stunned in silver with this custom Marine Serre look. The star wore a fitted bodysuit, complete with the brand’s signature moon motif, as well as chain undergarments layered on top. She added in a brimmed hat and silver boots for good measure, too.

This custom Alexander McQueen bodysuit is a riff on a similar look from the brand’s fall/winter 2016 collection. The semi-sheer piece features sequin horse embroidery and a tulle base.

It’s no secret that Beyoncé has been all in on the bodysuit style throughout her tour. But this custom Diesel look for her Louisville, Kentucky show may just be one of her most unique styles thus far. The trompe l’oeil look featured a print mimicking denim and grey crystals throughout. And to round things out, the piece’s boots and gloves were connected to the main portion of the ensemble.

Pulling out the sequins in Louisville, Beyoncé dazzled in this custom mini dress by Raisa Vanessa. The dress took nearly six months to make and featured a plunging neckline and two slits on either side. The singer rounded out the look with glittering knee-high boots and goggle-style sunglasses.

Beyoncé donned this Dsquared2 bodysuit—complete with layers of dazzling embellishments and a plunging neckline—for the opening act of her Louisville concert.

Alexander McQueen was a staple throughout Beyoncé’s European performances, so it’s no surprise that she’s returned to the British brand when stateside. During her Nashville concert, the singer wore a custom bodysuit, gloves, and boots complete with crystal embroidery. She stopped it off with a UFO-shaped chapeau appropriate for an alien superstar. The outfit seemed to be a shorter version of a look she wore earlier on in the tour.

The singer opted for another dazzling custom look from David Koma. Unlike her previous printed mini dress from the British designer, this red number had plenty of sequins throughout as well as an asymmetrical train detail. She rounded things out with patent leather boots, a ruby belt, and pendant necklace.

The McQueen look wasn’t the only repurposed silhouette Beyoncé wore in Nashville. She opted for a pink Ivy Park jacket, halter top, and shorts that are, again, a shorter iteration of a similar bodysuit she previously wore in Europe. She also mixed in a pair of custom Tiffany & Co. sunglasses and Gedebe boots to make things even more Renaissance worthy.

Beyoncé certainly leaned into some drama (and disco) with this custom Valentino look in Philadelphia. The focal point was the seemingly never-ending sequined train that connected to the pouf bodice of the bodysuit. She paired the flashy piece with coordinating boots, and towards the end of the show, she flew above the crowd in this look while mounted on a horse.

The singer mixed in some more sequins in Philadelphia with this custom Givenchy mini dress. The piece featured intricately placed cut-outs as well as fringe throughout the dress. She rounded things out with strappy heels and sheer black opera gloves. She, of course, also had on diamonds from Tiffany & Co. in the form of a ring, drop earrings, and a tennis bracelet.

Beyoncé went with another camouflage look from her label Ivy Park, this one a two-piece set. The crop top had built in sleeve-gloves and the mini shorts also featured chaps-like detailing that extended into her boots.

Beyoncé has been wearing plenty of Tiffany & Co. jewelry throughout her tour, but she took it to another level for her first North American stop in Toronto, Canada. The singer donned a dazzling bespoke mini dress from the brand complete with layers of chains and stones. The mesh look of the piece was inspired by the designs of Elsa Peretti and took nearly 200 hours to make. Beyoncé paired the piece with custom Malone Souliers heels as well as vintage earrings and an anklet both from Tiffany & Co.

Also while in Toronto, the singer traded her layered mini dress for a dazzling custom Fendi gown. The piece is a riff on a similar look from the brand’s spring/summer 2021 couture collection and features a daring slit as well as crystal embroidery meant to imitate the appearance of honeycombs. She rounded out the look with another pair of clear heels and statement tassel earrings.

Leave it Beyoncé to make comouflage cool. During the Toronto stop of her tour, the singer wore a fully patterned ensemble from her brand Ivy Park. The look featured a cropped jacket, over-the-knee boots and a plunging bodysuit.

For the final stop of the European leg, Beyoncé went with a slew of sequined and silver ensembles while performing in Warsaw, Poland. This look, by Balmain’s Olivier Rousteing, featured a dramatic bodice that cascaded down her side as well as a daring slit at the skirt. The singer rounded out her look with velvet gloves and a pair of Manolo Blahnik heels.

While Beyoncé has had some pretty avant-garde outfits, this Richard Quinn number may be her most “Alien Superstar” yet. The look featured legging-style pants with large crystal embellishments as well as a peplum-inspired top finished with similar adornments. However, the focal point of the ensemble is certainly the UFO-like headpiece that obscured everything but the singer’s eyes.

Outfitting an entire crew and Beyoncé is certainly no small feat, but global brand Daily Paper seemed to be up for the task. During the "Opulence" section of her concert in Warsaw, Beyoncé donned an embellished black jumpsuit and reflective track jacket from the brand—which she paired with knee-high boots and one of her signature top hats. In addition to Beyoncé’s look, Daily Paper designed over 100 custom tracksuits for her crew and dancers, mostly in silver reflective nylon.

Just one night after sporting a similar hooded piece while in Paris, Beyoncé went with another veiled look, this time, for her concert in Hamburg, Germany. The ensemble is designed by Carolina Herrera creative director Wes Gordon and features a plunging bodysuit, sheer red tights, and a silk hood that connects at the head and arms. Of course, the singer also had on her signature opera gloves and glitzy earrings to round out the look.

Again in Hamburg, the singer chose a look from Ivy Park—one of a wider selection of pieces from an upcoming collection between her brand and Adidas. Naturally, backup dancer’s leotards matched her ruched mini dress and knee-high boots.

Ferragamo’s creative director Maximillian Davis designed this red glittering gown for the singer’s show in Amsterdam. In honor of Juneteenth, Davis was one of several Black designers that Beyoncé wore throughout the show.

This robo-couture custom Balmain look featured silver-plated detailing that paneled the singer’s bodysuit. She paired the piece, which drifted into gloves, with a pair of knee-high boots.

“In the industry where we have to all fight, I want to thank [Beyoncé’s] support last night [to] all the Black designers that had created their own space in this tough industry,” Balmain designer Olivier Rousteing said . “This was the celebration.”

This is the second all-red Off-White look worn by Beyoncé during her tour. Her second version, however, featured a shortened silhouette and an accompanying top hat that was designed by the brand’s art and image director Ibrahim Kamara.

For her second Balmain look in Amsterdam, Beyoncé went with another iteration of the bee-inspired catsuits we’ve seen repeatedly on her tour thus far. This time, she paired the ensemble with a coordinating top hat rather than her infamous insect-like antena.

New York designer LaQuan Smith crafted this silver, shattered glass bodysuit for the singer’s Amsterdam stop. She paired the plunging piece with an equally as disco-worthy cape and heels.

London-based brand Feben outfitted Beyoncé in a color-blocked catsuit. “Thank you for inviting me into your world,” the designer wrote on Instagram . “What an incredible moment to be a part of, and a pivotal one for myself, and my inner child. It means the world to be supported and seen as a Black female designer in the industry.”

This deep silver mini dress was the second look from Ferragamo the singer wore in Amsterdam. The look featured ruched detailing that drifted into a train and above-knee boots.

While Beyoncé has, seemingly, unlimited access to a never-ending roster of designers, she went with her own label Ivy Park for this pink look in Amsterdam—and rightly so. Designed by the star herself, the piece featured daring slits, opera-style gloves, and a halter neckline.

“I started designing this collection over a year ago,” she said on Instagram . “I was so engulfed in all things Renaissance and was inspired by Studio 54, Bob Mackie, and the disco era.”

In Amsterdam, the singer went with a custom Gucci corseted leotard. The glitzy piece featured sheer detailing and draped crystal fringe that fell across the bodice area.

Naturally, Dutch designer Iris van Herpen was a standout of Beyoncé’s wardrobe for her first night in Amsterdam. The custom look, which took over 700 hours to make, featured a flowing train paired with a sculptural mini dress.

Yes, you can always count on Beyoncé to wear a form-fitting catsuit. But this one by Lebanese designer had a handful of eye-catching details. The bodice was composed of various strands of rhinestones and crystals and the sheer portion wrapped entirely around her body (even down to her boots).

French designer Simon Porte Jacquemus is from Marseille, France so it’s fitting that he outfitted the singer for her tour stop there. Jacquemus, who attended the concert, designed a form-ftting mini dress, boots, and gloves that featured disco ball-esque paillettes.

“[Beyoncé] is the first singer I saw live in Marseille 15 years ago,” he wrote on Instagram . “I’m so happy and proud. What a night in Provence, means a lot.”

This custom gown by Alebrta Ferretti has an embroidered leotard and a gold draped train that cascades down the singer’s side. Beyoncé wore the eye-catching piece with matching knee-high boots and black opera gloves (which have been a running theme in many of her looks throughout the tour thus far).

Beyoncé went with a sparkling, disco-inspired Stella McCartney dress and stirrup leggings for her concert in Barcelona, Spain. The custom look was made of environmentally friendly materials such as silver lead-free crystals.

“It is a life moment to dress someone as iconic and inspiring as Beyoncé—a visionary pioneer, disruptor, and artist who has worked tirelessly to make the world a better place,” the British designer said. A pair of clear Amina Muaddi heels rounded out the ensemble.

The star wore a custom Fendi leather intarsia catsuit for her show in the Spanish city. It was paired with over-the-knee boots, matching gloves, and an upcycled fur cape inspired by illustrations by Antonio Lopez as seen in Fendi’s spring 2022 collection.

For her fifth and final show in London, Beyoncé wore a custom Mary Katrantzou surrealist mini dress with black and gold detailing. The look, meant to resemble a perfume bottle, also featured a custom Stephen Jones bottle top headpiece, latex boots, and gloves.

The 41-year-old singer opted for a dramatic “Black Blossom” Robert Wun look. The form-fitting ensemble featured a plunging blazer accented by ruffled sleeves and asymmetrical pleated detailing.

Beyoncé again went with another British label for her third London show, this time a custom Andreas Kronthaler for Vivienne Westwood look. The mini latex dress features corset-style detailing and sheer spiral sleeves.

Beyoncé wore a custom royal blue Roksanda number for her London show. The piece is a riff of a similar dress from the brand’s fall/winter 2023 collection.

Alexander McQueen has been a staple of Beyoncé’s Renaissance wardrobe thus far. Here, she wore a custom deep red embroidered dress with coordinating boots and opera gloves—an iteration of a similar look from their fall/winter 2023 collection.

The signature silver paillettes of Paco Rabanne fit perfectly into the visual aesthetic of Renaissance, so its no surprise the star opted for a piece from the brand. She wore a glitzy custom gown for her show in Paris.

The 41-year-old looked ethereal in a custom light blue gown by New York brand Brandon Blackwood. She paired the off-the-shoulder number with coordinating opera gloves and silver jewels.

Beyoncé chose a statement-making Off-White look for her London show. The red bodysuit features a bustier-style top and 40,000 red hotfix crystals throughout.

Ditching the catsuits that fill the latter half of her concert, Beyoncé has chosen a series of stunning gowns for the opening segment of her show. Here, she wore a white Valentino dress complete with a train and coordinating opera gloves.

The singer was worn several looks from London-based brand David Koma over the course of her tour—one of them being this asymmetrical mini dress that features glittering fringe and wide shoulders.

The star has worn a silver two piece set from Loewe for several of her tour stops. On top of the long sleeve, she layered a molded breastplate and rounded out the look will silver boots.

This custom Dolce & Gabbana bodysuit is one of many bee-themed looks that Beyoncé has worn (there’s a reason she’s referred to as the Queen B after all). The piece features black and yellow embroidery as well as coordinating opera gloves.

Beyoncé continued her longstanding relationship with Balmain’s Olivier Rousteing—here, she wore an silver asymmetrical mini dress, thigh high boots, and wraparound sunglasses.

Beyoncé kept the bee theme rolling at the opening night of her tour in Stockholm. She wore a custom Mugler catsuit complete with towering antennas and bug-like sunglasses.

This custom look from Alexander McQueen features bugle bead and crystal anatomical embroidery. Beyoncé wore the piece during the opening night in Stockholm.

This trompe l’oeil Loewe catsuit has become a fan favorite throughout the star’s tour. The piece was custom made by the brand’s creative director Jonathan Anderson and is a play on a similar dress that recently went down the runway.

Beyoncé has worn this silver cutout bodysuit from French brand Courrèges several times thus far.

Beyoncé and her dancers wore colorful David Koma looks for opening night. The ruched dress, which she wore with a reflective jacket, is inspired by the brand’s Spring/Summer 2023 collection.

Beyoncé wore another custom Balmain look, a catsuit complete with the brand’s signature silver embroidery.

Beyoncé donned a color changing robe by Japanese brand Anrealage in what was one of the more experimental looks of the tour. The piece changed colors when exposed to UV lights and revealed a stained glass-like pattern.

This article was originally published on May 31, 2023

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Beyoncé Announces Renaissance World Tour

By Evan Minsker and Allison Hussey

Beyoncé has announced that she’s touring in support of her latest album, Renaissance . The tour begins with a European leg in May, followed by dates in Canada and the United States that extend from from early July through late September. It’s her first tour since her 2018 co-headlining On the Run II Tour with Jay-Z behind their collaborative album, Everything Is Love , and her first headlining tour since 2016’s Formation World Tour behind Lemonade . The Renaissance World Tour is produced by Parkwood Entertainment and promoted by Live Nation. See all of the dates below.

Renaissance arrived July 29, rising swiftly to No. 1 on the Billboard 200 and marking Beyoncé’s seventh album to summit the albums chart. It is the first act in what will be a three-part series, she has indicated.

Beyoncé hinted at her world tour in late October, during the fifth annual Wearable Art Gala, where the raffle included “ a UNIQUE experience ” to see her on the Renaissance tour. Purported images from the auction featured descriptions of the summer 2023 trek. Valued at $20,000, the package included first-class plane tickets, a three-night hotel stay, two concert tickets, and a guided backstage tour from Beyoncé’s mother, Tina Knowles aka Miss Tina. Beyoncé was reportedly in attendance at the gala. In January, she performed at the opening of a new luxury resort in Dubai, but did not play any Renaissance material at the private concert . It was her first live performance since 2020.

Since sharing Renaissance , Beyoncé has made a few adjustments to the album; she replaced ableist lyrics in “ Heated ,” and removed an interpolation of Kelis ’ “Milkshake” on “Energy” after Kelis said she was not informed by Beyoncé and her team that her music was going to be used on the new album. Beyoncé also dropped Honey Dijon and Madonna remixes of “ Break My Soul .” 

In 2019, Beyoncé released Homecoming: The Live Album . The next year, she shared Black Is King , a visual album based on her 2019 soundtrack for The Lion King: The Gift . (Beyoncé voiced adult Nala in the CGI remake film.) On Juneteenth of that year, she surprise-released “ Black Parade ,” which would go on to win the Grammy Award for Best R&B Performance . At the same ceremony, she also won Best Rap Performance and Best Rap Song (for her feature on the remix of Megan Thee Stallion ’s “ Savage ”), as well as Best Music Video (for The Gift ’s “ Brown Skin Girl ”). “ Be Alive ”—her contribution to the King Richard soundtrack—was nominated for an Oscar at last year’s ceremony.

Beyoncé is nominated for nine honors at the 2023 Grammy Awards : Record of the Year , Song of the Year , and Best Dance/Electronic Recording for “Break My Soul”; Album of the Year and Best Dance/Electronic Music Album for Renaissance ; Best R&B Performance for “Virgo’s Groove”; Best Traditional R&B Performance for “Plastic Off the Sofa”; Best R&B Song for “Cuff It”; and Best Song Written for Visual Media for “Be Alive.”

Read “ 5 Takeaways From Beyoncé’s New Album, Renaissance ” over on the Pitch.

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05-10 Stockholm, Sweden - Friends Arena 05-14 Brussels, Belgium - King Baudoin Stadium 05-17 Cardiff, Wales - Cardiff Principality Stadium 05-20 Edinburgh, Scotland - BT Murrayfield Stadium 05-23 Sunderland, England - Stadium of Light 05-26 Paris, France - Stade de France 05-29 London, England - Tottenham Hotspur Stadium 05-30 London, England - Tottenham Hotspur Stadium 06-08 Barcelona, Spain - Olympic Stadium 06-11 Marseille, France - Orange Velodrome 06-15 Cologne, Germany - RheinEnergieStadion 06-17 Amsterdam, Netherlands - Johan Cruijff Arena 06-21 Hamburg, Germany - Volksparkstadion 06-24 Frankfurt, Germany - Deutsche Bank Park 06-27 Warsaw, Poland - PGE Nardowy 07-08 Toronto, Ontario - Rogers Centre 07-09 Toronto, Ontario - Rogers Centre 07-12 Philadelphia, PA - Lincoln Financial Field 07-15 Nashville, TN - Nissan Stadium 07-17 Louisville, KY - L&N Federal Credit Union Stadium 07-20 Minneapolis, MN - Huntington Bank Stadium 07-22 Chicago, IL - Soldier Field 07-23 Chicago, IL - Soldier Field 07-26 Detroit, MI - Ford Field 07-29 East Rutherford, NJ - MetLife Stadium 07-30 East Rutherford, NJ - MetLife Stadium 08-01 Foxborough, MA - Gillette Stadium 08-03 Pittsburgh, PA - Acrisure Stadium 08-05 Washington, D.C. - FedEx Field 08-06 Washington, D.C. - FedEx Field 08-09 Charlotte, NC - Bank of America Stadium 08-11 Atlanta, GA - Mercedes-Benz Stadium 08-16 Tampa, FL - Raymond James Stadium 08-18 Miami Gardens, FL - Hard Rock Stadium 08-21 St. Louis, MO - Dome at America’s Center 08-24 Glendale, AZ - State Farm Stadium 08-26 Las Vegas, NV - Allegiant Stadium 08-30 Santa Clara, CA - Levi’s Stadium 09-02 Inglewood, CA - SoFi Stadium 09-03 Inglewood, CA - SoFi Stadium 09-11 Vancouver, British Columbia - BC Place 09-13 Seattle, WA - Lumen Field 09-18 Kansas City, MO - GEHA Field at Arrowhead Stadium 09-21 Dallas, TX - AT&T Stadium 09-23 Houston, TX - NRG Stadium 09-24 Houston, TX - NRG Stadium 09-27 New Orleans, LA - Caesars Superdome

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In the Summer of ‘Barbie’ and ‘Renaissance,’ Will All Women Finally Get the Recognition They Deserve?

Currently, three women— Barbie , Beyoncé and Taylor Swift —seem to be running the world, or at least the economy, judging by record-shattering tour and box office revenues. But, as in the case of Beyoncé and other female artists of color, this success does not translate to deserved recognition from prestigious institutions.  

Feb. 6 is  a date now infamous to Beyhive Twitter . I was among those who expected to see Beyoncé’s seventh studio album  Renaissance , an homage to house music, ballroom and Black queer creatives . It is the very album that has now sparked a record-breaking world tour and was expected to win Album of the Year at the 65th Annual Grammy Awards. But, when the award went to Harry Styles for  Harry’s House , many young women of color like me felt robbed.  

The late-night betrayal prompted a deep dive into the Grammy Awards. I discovered that it has been more than two decades since a Black woman was awarded Album of the Year. (Lauryn Hill won for  The Miseducation of Lauryn Hill in  1999 .)

Before Lizzo’s 2023 Record of the Year win, the last Black woman to hold the award was Whitney Houston in  1994 .

Despite  Beyoncé becoming the most Grammy-awarded artist in history , she has only won one award from the four major categories: Album, Record, Song of the Year and Best New Artist. She won Song of the Year for  Single Ladies in  2010 .

The Recording Academy has often relegated Beyoncé and other Black female artists to discreet categories like Best R&B Song/Performance, Best Rap Song/Performance and Best Urban Contemporary Album—all presumably code for Black.  

How has the one-and-only Beyoncé been under-recognized by prestigious institutions, especially given the undeniable genre-building influence of Black artists and female artists of color? The message young women absorb is that unless you are a one-in-a-generation talent like Lauryn Hill or Whitney Houston, female artists of color can kiss goodbye any hope of wide-scale recognition by the Recording Academy. I’m reminded of the phrase girls of color like myself heard growing up: “We have to be twice as good to get half as far.” 

The underrecognition and snubbing of female creatives, particularly women of color, transcends the Grammys. During this past Oscars,  the Academy nominated no female directors . This repeated offense, called out by many including  Natalie Portman in 2018 in part inspired  new inclusion standards  for films seeking Oscar nominations. But for now, only three women have ever won Best Director and only five have won Best Original Screenplay.   

The message young women absorb is that unless you are a one-in-a-generation talent like Lauryn Hill or Whitney Houston, female artists of color can kiss goodbye any hope of wide-scale recognition by the Recording Academy.

As a culture, we place considerable emphasis on awards and national recognition. While the Oscars nominating no female directors and the Grammys snubbing Beyoncé may seem arbitrary, it reflects—and, more importantly, shapes—what the public sees as valid art. When rap and R&B are sidelined during major awards, along with female artists themselves, those institutions signal that these genres and creatives are culturally unimportant, even when they dominate the economy. We all deserve better. 

Now amid the Writers Guild of America and SAG-AFTRA strikes, these questions of who deserves apt recognition for their labor are especially relevant. Just as writers and actors are the backbone of the entertainment industry, female creatives (particularly women of color) have shaped music, film and TV, but do not see their contributions duly recognized.    

The dual strikes have already disrupted the timing of the Emmys, which are postponed until January. I would love to see the unions’ demand for more equitably compensated work go even further than winning fair contracts and delaying the award show season.

Maybe the strikes, combined with the thrilling Barbie and Renaissance summer, will forever change how we see female creatives and artists of color. Then they can finally get their flowers, and we can all watch it play on television screens across the world. 

The Vibe Was Silver: Beyoncé Brings Afrofuturistic Feminism to the World Stage

Five Decades of Women in Hip-Hop: A Feminist Anthem Playlist

Barbie and My Midlife Crisis

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Beyoncé’s Renaissance World Tour Wardrobe Is Fashion Diplomacy at Its Finest

By André-Naquian Wheeler

At this point, Beyoncé’s  Renaissance  world tour is part concert, part extended exercise in seeing just how many custom looks one pop star can commission and pack. Queen Bey has upended the typical stadium show model and turned it into an ever-changing format full of surprises and new looks. 

Nearly every tour stop so far—there are 51 dates on the books in total, as of right now—has featured a new never-been-seen look designed by some of the biggest names in contemporary fashion. Off-White, Balmain, Brandon Blackwood, and on and on. What you may not have noticed, however, is that Bey often honors the country she’s in by wearing a designer who calls that nation home: Jacquemus for Marseille, France (the designer’s hometown); Alexander McQueen,  David Koma , Robert Wun, and Stella McCartney for the singer’s five-night residency in London; custom Fendi in Barcelona that featured designs pulled from Spanish artist Antonio Lopez. It’s the pop star’s version of fashion diplomacy. 

Using fashion as a medium to silently signal a connection and appreciation towards a culture or community is nothing new, but it’s more usually the territory of royals (see:  Kate Middleton  and Meghan Markle ) and political figures ( first lady Jill Biden being one great example). But then again, Beyoncé, with over 300 million followers on Instagram, is her own kind of head of state. The full-throated amplification of international voices feels even more poignant in a post-COVID landscape. Only a mere few years ago, such a large-scale world tour, bringing together thousands of people, was hard to imagine happening again. 

But such is the sartorial savvy of Beyoncé. She has developed a penchant for pulling multiple looks—in varying colorways and shades—for a single tour, often bringing new custom looks in and out for a specific leg of a tour or a marquee performance. But the Renaissance  world tour takes the idea of constant reinvention, long popular among female pop stars especially, to unprecedented heights. There is a seemingly never-ending stream of shiny, disco-era-inflected looks that build upon  Renaissance ’s ballroom-inspired sonic and visual aesthetic, styled by KJ Moody, Shiona Turini, Karen Langley, and Julia Sarr-Jamois. There’s something campy and almost Barbie-like about the sheer scope of the singer’s wardrobe at this point. It aligns with the maximalist, more-is-more theme of  Renaissance and its celebration of ballroom culture. In the underground world of ballroom and drag, largely populated by marginalized Black and brown queer voices, there is nothing more aspirational than unbounded excess. 

It’s easy for one to get the sense that Beyoncé is changing clothes so frequently and so wildly not particularly because she has to maintain our attention, but because she wants to. It would make sense for an artist, album, and tour squarely focused on self-determination and control. One of the show’s interludes features an emcee, full of boastful sass, poking fun at fans’ never-ending pleas and thirst for supporting  Renaissance  music videos. “You’ve asked for the visuals,” the voice says. “You’ve called for the queen. But a queen moves at her own pace.” There are no visuals yet, but there has been an effective and fabulous exploration of the album’s world through a plethora of looks, including ones worn in the “I’m That Girl” teaser visual, appearances at the Grammys, and a haute couture collaboration with Olivier Rousteing at Balmain. In fact, the aesthetic has been so well constructed that fans are eagerly replicating and building upon it with their  own looks . 

There are undoubtedly more custom looks to come from Beyoncé—she has not even made her way through the reported  41 custom pairs of Jimmy Choo shoes she bought along for the ride. It would make sense if the North American section of the tour, which kicks off next month, features even more considered and specific references to cities. Wearing the designs of New York–based designer Telfar while in the New York City area could be fun and meaningful. Perhaps she could wear a gown by Taiwanese Canadian designer Jason Wu while performing in Toronto. There are a lot of possibilities. But then again, Beyoncé has always marched to the beat of her own fashion drum, so it’s possible she has different plans entirely. As she’s told us, a queen moves at her own pace. 

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All the Renaissance Tour Hair, Makeup, and Nails Inspo You Need

From Barbie-fied Beyoncé makeup to silver eyeshadow—here's everything you need to get your Renaissance Tour beauty look together.

Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy.

Get up girls—we’re going out again. In the midst of the pandemic, there have been rumblings of a “Roaring 20s” type of moment for 2023, something to inspire and catapult us outside. Could it be Beyoncé’s Renaissance tour? The same way one gets dressed for a momentous occasion—a first date, a wedding, an all white party, or a rave, concert-goers are giving us the visuals that Beyoncé seems to have forgone for her latest album.

The Bey Hive is a creative bunch and based off of the *one* visual that was released and what we’re seeing on tour—Beyoncé fans are getting makeup looks together that are fit for the Queen. If you’re headed to the Renaissance tour, your makeup look is an easy and affordable way to get Beyoncé-fied. You can focus on hair, makeup, nails—or all three! Many people have been leaning into silver and metallic influences, while others are opting for more subtle looks featuring one notable standout. No matter what your makeup aesthetic—there is a Beyoncé Renaissance makeup look for you.

Several ELLE Editors went to the Renaissance tour when it stopped through New York City. If you’ve been searching the perfect Beyoncé makeup for your Renaissance moment, keep scrolling We’ve shared how ELLE Editors’ did their Renaissance tour makeup and added some additional inspo. You’ll be transformed into an alien superstar in no time!

Beyoncé recently performed in the rain while in D.C. Her makeup did not budge, honey. The secret? Beyoncé’s makeup artist, Rokael revealed that Patrick Starr’s One/Size Setting Spray keeps her makeup on all night long.

ONE/SIZE by Patrick Starrr On 'Til Dawn Mattifying Waterproof Setting Spray

Danielle James, Digital Beauty Director

I went for a Barbie Beyoncé look and was so thrilled to see her Barbie pink moment during Cozy! For my makeup, I wanted to play off of the red and pink, so I went for a pink eye, some rhinestones to give nod to the Alien Superstar metallic, bedazzled looks we’ve been seeing, and a bold red lip to bring out the red plumage in my feather top. I got ready with Tarte Cosmetics, so my entire makeup look is Tarte.

I love to wear jewels on my face—concert or not, and the Bakeup makes great face gems that last on your face all day.

For my nails, I didn’t have time to get a manicure, so I used OPI x Barbie xPRESS/On Press On Nails —they lasted me ten days without budging and looked so natural.

My tip for your Renaissance makeup look is to focus on what makes you feel beautiful. That’s what the Queen would want!

Tarte Maneater™ After Dark Eyeshadow Palette

OPI OPI x Barbie xPRESS/On Press On Nails

big ego™ to go palette

Bakeup Playbox by Jo Baker

maracuja juicy liquid lip

Shape Tape™ Radiant Medium Coverage Concealer

shape tape™ stay spray vegan setting spray

Nerisha Penrose, Beauty Commerce Editor

I woke up on the morning of Beyoncé’s #RenaissanceWorldTour with no inspiration or real direction for my look, just vibes and the sheer confidence of knowing that whatever look I pulled together would EAT. I stopped by Brooklyn’s Braided salon for a pre-concert tune-up and gave my hairstylist the freedom to freestyle box braids throughout my curly hair. To start, she blow-dried small sections of my hair using RevAir , a one-step dryer that takes your hair from curly to smooth-straight without tension, to stretch the pieces that would be braided. She braided in gold strings and peppered hoops and pearls on each braid for a fun festival-esque edge to my disco look. On the face, I kept the base simple by using my sweat-proof staples: E.L.F Power Grip Primer , Nars Soft Matte foundation , Huda Beauty Easy Bake Setting Powder , and One/Size Beauty Mattifying Waterproof Setting Spray . What’s 4+4? Exactly.

New Reverse-Air Dryer

e.l.f. Power Grip Primer

NARS Soft Matte Complete Foundation

HUDA BEAUTY Easy Bake Loose Baking & Setting Powder

Kathleen Hou, Beauty Director

Sparkles, black, and a good vibe were my contribution to the Bey dress code. It first came together via my favorite glitter product on the planet, Lemonhead’s Spacejam. Take the most glittery thing you can think of (the day after New Year’s Eve in Times Square, Dolly Parton’s closet) and picture all that jammed into a clear balm. For a dewy disco eye, I knew that I needed their silver shade ( Interstella ) smeared all over my lids so I could do justice to Beyonce’s ultimate 70s album. I finished it off with a few coats of Benefit’s new Fan Fest mascara , which made my lashes look fluttery and extra long, even with the 100 degree day, and my new favorite undereye concealer, Shiseido’s Future Solution LX Total Radiance Foundation , because dark eye-bags are not proper concert attire.

Lemonhead LA Lemonhead LA Spacejam

Benefit Fan Fest

Shiseido Future Solution LX Total Radiance Foundation

Kayla Adler, Deputy Editor

To be honest, after seeing everyone else’s stunningly creative looks at the show, I wish I’d gone bolder, but I just wanted to feel good and happy and a cat eye and a dark lip always makes me feel my best!

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Fatima Robinson Talks Beyoncé’s Renaissance Tour, Crowns Her ‘The Michael Jackson of Our Time’

The renowned choreographer stopped by the Questlove Supreme podcast to describe Beyoncé's process behind the Renaissance World Tour.

By Kyle Denis

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Beyoncé may be riding high off Cowboy Carter right now, but Renaissance is the gift that keeps on giving.

In a revelatory conversation with Ahmir Questlove Thompson on his Questlove Supreme podcast, renowned choreographer Fatima Robinson revealed how Beyoncé came up with stage design and concept for the Renaissance World Tour during the pandemic — and why the superstar shifted her approach to dance on her most recent trek.

Beyoncé Achieves Eighth No. 1 Album on Billboard 200 With ‘Cowboy Carter’

“That was Beyoncé sitting in a pandemic with a lot of time on her hands and coming up with the most incredible, creative stage that I had ever gotten to work on,” Robinson gushed of the Renaissance World Tour stage. The sold-out stadium tour featured two separate platforms connected by a moving ramp, a main stage complete with a sprawling flatscreen, a B stage that stretched into the crowd, and a slew of props including, a tank, pyrotechnics, a laser show, a giant clam shell, robot arms, a flying “disco horse” and various levitating platforms.

Trending on Billboard

“She has quite a few choreographers across her span of music,” said Robinson. “We gave me the title ‘director of choreography’ because I was the point person that all the choreographers worked under and with. It was such a big boulder to get up a hill, that show.”

While Robinson has worked with Beyoncé in the past — most notably on 2006’s Oscar-winning Dreamgirls and her “Be Alive” performance at the 2022 Oscars — she joined forces with several other choreographers for the Renaissance tour, including her two other team members, Chris Grant and four other choreographers who worked on numbers sporadically.

Her first solo concert tour since 2016’s Formation World Tour , the Renaissance World Tour presented a notably different Beyoncé. While the three-hour show was still a feast for the eyes and ears, the performance included less intense choreography than her past tours — partially due to a knee injury she suffered before those 56 sold-out shows.

Robinson’s revelations echo sentiments Beyoncé herself shared in Renaissance: A Film by Beyoncé . Throughout the documentary, Queen Bey mused about looking to her idols to inform how she moves in her career. The Renaissance tour was a celebration of that, from a surprise appearance from Diana Ross to a multi-city tribute to the late Tina Turner .

“Look at how Prince was when he passed away, he had those hip replacements because of all those splits and stuff,” noted Robinson. “Look where Michael [Jackson] is. We want you around performing for years to come, so let’s not put that kind of pressure. Let’s ease into it, let’s stand there and be powerful and step into a different kind of power, and guess what? They gon’ come with you!”

That approach to performing also resulted in a very Beyoncé take on the concept of an opening act. For each show, Beyoncé began with a set of ballads , introduced by a beautiful piano-led rendition of 2003’s seminal “Dangerously In Love 2.”

“I turned to her and I was like, ‘This is really fly, starting with ballads,'” recounted Robinson. “She laughed and she said, “I’m opening up for myself!”

In addition to the Renaissance World Tour, Robinson also worked on 2023’s The Color Purple movie musical, which topped the domestic box office on opening day and earned one Oscar nomination (best supporting actress for Danielle Brooks).

Click here to watch the full clip of Fatima Robinson describing the creation of the Renaissance World Tour.

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See All Beyoncé’s Best Looks from Her Renaissance World Tour — from Balmain to Ivy Park

Sequins, silver and more! Here's a look at the Grammy winner's best stage costumes on her sold-out tour

Kevin Mazur/WireImage

If there’s anyone who will deliver the most outstanding tour wardrobe, it's Beyoncé .

Since embarking on her international Renaissance tour – supporting her expansive discography, from the classics to her new Renaissance tracks – in May, the 32-time Grammy winner has proved that she isn't afraid to push the envelope when it comes to her daring stage costumes.

Performing for nearly three hours during each of her shows hasn't stopped the global superstar from commanding attention from her Beyhive fans in some of the most creative, avant-garde designs.

Ahead, see Beyoncé's best show looks so far.

Chromatic Cowgirl

Kevin Mazur/WireImage for Parkwood

What's one way to make an all-silver ensemble pop? More silver! These Christian Louboutin thigh-high boots designed with tiers of fringe took Beyoncé's dazzling cowgirl getup to the next level.

Mirror, Mirror

Beyonce to Parkwood Entertainment

DUNDAS created a head-to-toe reflective look featuring a metallic leather admirals coat, a plunging embellished bustier teamed with a matching mini skirt, gloves and a monogrammed hat.

Mod-est Fashion

Among the sea of neoteric metallic looks is this retro black-and-white striped Marc Jacobs gem decked out in Swarovski crystals.

Beyoncé Barbie

Beyonce/Parkwood

Acne Studios hopped on board to create an all-pink look for the superstar's Minneapolis show. This outfit featured a metallic leather cape, seemingly attached to a cropped blazer, a corset with matching shorts, and rose-tinted sunglasses. She also wore glittery over-the-knee boots.

Ruffling Feathers

Kevin Mazur/Getty Images for Parkwood

It's clear that Beyoncé favors embellishments for her statement looks. In Chicago, she wore a Schiaparelli Haute Couture silk bustier dress and a high-drama stole embroidered with feathers and stones.

Extra High-Fashion Armor

For her stop in The Windy City, Beyoncé also shone bright like the moon wearing Marine Serre.

The label, which Beyoncé became a fan of early on, designed a body chain harness made out of silver cutlery, which was layered over a skintight catsuit accented with reflective panels and Marine Serre's crescent moon motif. The metallic colorway continued down into the shoes gunmetal gray strap kitten heels.

Not pictured: Beyoncé's over-the-top silver hat.

McQueen for Queen B

In Nashville, Beyoncé wore a custom Alexander McQueen bodice – embroidered with silver bugle beads, sequins and crystals and crafted with a sweetheart neckline – as well as matching gloves and boots.

Beads Galore

Givenchy provided one of the newer looks in Beyoncé's wardrobe for her U.S. tour – a cutout micro dress draping in glass beads, stones and bugles. And of course, there were gloves.

Team Tiffany & Co.

Tiffany & Co., the official jeweler of the Renaissance Tour added a bespoke dress made with chains of bezel-set stones to its Renaissance collection, which also includes diamond-encrusted in-ear-monitors .

Inspired by Elsa Peretti's designs, the gown – which Beyoncé wore to open her first North American tour stop in Toronto – is crafted from approximately 150 feet of mesh ribbon and woven with 300,000 rings in the mesh. The whole piece took over 200 hours to execute. She complemented the look with vintage stud earrings and a custom anklet.

A Camo Queen

Another look that the singer debuted in Toronto was this camouflage sequined bodysuit, which she wore with a cropped jacket (featuring mega shoulder pads!), gloves and over-the-knee boots.

A part of Beyoncé's new look was also her "Crème Brûlée Blonde" hair color, a tri-blonde hue achieved by celebrity hairstylist Rita Hazan , who tells PEOPLE exclusively that she used three shades of blonde to create dimensional "creamy"-looking highlights that complement her skin tone. The pro built the colorway on top of the singer's " Sunwashed Blonde " hue revealed in May – "This is an essential way to go blonder over time without damaging your hair," she advises.

"She loves to switch up her color and style and likes to have fun with her color," Hazan says of working with Beyoncé.

This Mugler bodysuit certainly had a lot of buzz. Beyoncé wore the bug-like bodysuit – topped off with an antenna headpiece (which later broke during a wardrobe malfunction in London) – for her performance of "America Has a Problem."

It's campness was elevated with vinyl over-the-knee boots.

Futuristic Vision

Beyoncé chose Balmain for this metallic silver armor, made by designer Olivier Rousteing, with whom the singer released a Renaissance -inspired collection earlier this year.

An Angelic Moment

Dutch label Iris van Herpen created this heavenly one-of-a-kind look over the course of 700 hours. The halo-inspired Heliosphere gown, which Beyoncé wore for her Tina Turner tribute, was made of almost a thousand , individually stitched falcate embellishments that were molded into dimensional shapes by casting silver-marbled silicone.

Ivy Park Pride

Kevin Mazur/WireImage 

Beyoncé celebrated Juneteenth during her show in Amsterdam by wearing costumes exclusively made by Black designers, including herself.

The "Cuff It" singer rocked this hot pink look – consisting of a sequin crisscross bodysuit, gloves and fur coat (taken off mid-performance) – that was created through her label Ivy Park and inspired by "Studio 54, [legendary designer] Bob Mackie and the disco era," she wrote on Instagram.

Soaring High in Style

For "Summer Renaissance," the finale song, Beyoncé suspends above the crowd seated atop a blinged-out horse, before flying around the stadium to greet her fans.

In Warsaw, Poland, she debuted a green-and-white ensemble complete with a sequin one-piece, sparkly boots and a trailing cape lined with black lycra.

Lady in Red

Another celebratory Juneteenth outfit came courtesy of Maximilian Davis , creative director of Ferragamo. An elegant ruby red gown, embroidered with crystals, embedded Old Hollywood glamour to her otherwise over-the-top looks. She teamed the one-piece with silver wrist cuffs.

Blue Fit for Royalty

Beyoncé pulled out this regal blue Roksanda number for her London concert. The design stole the show with its sculptural full-body silhouette.

Spacing Out

Beyoncé transformed into a Gucci goddess in Amsterdam, wearing a custom bodysuit laced with iridescent gemstone chains. Her one-piece was layered with a sheer chainmail long-sleeve top also embellished with light-reflective rhinestones. Her accessories: an orbit-shaped hat and cat-eye sunglasses with bling.

Too Classy for this World!

In Warsaw, Beyoncé tapped into her "Alien Superstar" energy with this out-of-this-world Richard Quinn ensemble – a head-to-toe bejeweled suit topped off with a spaceship-shaped face covering.

And More Silver

On the last stop of her European leg, Beyoncé glittered like a disco ball in this Balmain one-shoulder gown made with a flared-out bodice and velvet black gloves.

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See Beyoncé’s best looks from her haute couture-rich Renaissance tour

I t’s not the diamonds or the pearls that make Beyoncé that girl, but fashion is a critical part of what’s made her Renaissance World Tour unforgettable.

In celebration of her seventh album of the same name, Beyoncé’s first solo tour in seven years featured a wardrobe fit for a queen. With many of the looks switching out from venue to venue — and some specific to particular cities on the tour — it also moonlighted as a traveling fashion show, keeping fans on their toes for whatever Beyoncé and her team of stylists had up their sleeves (or opera gloves) next.

This “Renaissance” era in Beyoncé’s music is about unbridled joy, self-empowerment, freedom in love, movement and identity — be it racial, sexual or gender — and the expression of these journeys through disco and futurism.

“Creating this album allowed me a place to dream and to find escape during a scary time for the world,” Beyoncé wrote on Instagram in 2022. “My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom.”

This message — and the creation of community, with attendees sporting their own “Renaissance couture” to fit the tour’s theme — translated sartorially, too.

When developing the tour wardrobe, “Beyoncé and her team talked about a sci-fi disco, like a gigantic party in another galaxy or space,” said fashion designer Iris van Herpen, who created one look for the tour. “I love designing with the concepts of sci-fi as it gives creative freedom to travel time and space. For me, during her Renaissance tour she is Queen B Beyond, a timeless queen that moves in a dazzling constellation.”

“This ethereal and futurist femininity complements and extends her other looks in the tour that beautifully highlight other aspects of feminine empowerment,” van Herpen added.

Designer David Koma was “particularly excited to receive the call for the world tour because I knew it would be an incredible performance,” he said, calling the tour “an iconic pop culture moment I would be so proud to be a part of.”

“It feels like (a) once in a lifetime experience that every attendee will remember forever,” Koma, who has collaborated with Beyoncé for over a decade, told CNN via email.

Here are some of the best Renaissance tour looks, which fans will be able to see even more of upon the release of “Renaissance: A Film by Beyoncé” in theaters December 1.

‘It should cost a billion to look this good’

For the tour’s opening night in Stockholm, Beyoncé stepped into her “House of Chrome” wearing a custom Alexander McQueen bodysuit featuring thousands of silver bugle beads and crystals hand-embroidered on a black tulle base.

For the final stop of the tour in Kansas City, Missouri, meanwhile, she opened the show in a bustier dress embroidered with thousands of rhinestones, paired with black opera gloves.

André Courrèges was one of the instrumental designers of space-inspired, intergalactic fashion of the ‘60s, and critical in defining the “retro-futurism” aesthetic. Fittingly, Beyoncé wore a custom silver Courrèges leotard with cutouts for several performances of “Alien Superstar.”

She opened the first of three London tour stops in a custom full-body cobalt blue gown from the London-based designer Roksanda Ilincic, similar to pieces from Ilincic’s Fall/Winter 2023 collection.

One of the most iconic looks of the tour was a custom gold Loewe bodysuit with hand motifs from the house’s Fall-Winter 2022 runway, which appear like an illusion in tandem with Beyoncé and her backing dancers’ movements.

In collaboration with tour stylist Shiona Turini, Loewe creative director Jonathan Anderson designed a series of looks “inspired by the escapist joy” of “Renaissance,” playing on sculptural forms and body illusion and blending “futuristic concepts with theatrical, disco-era aesthetics,” according to Loewe’s website .

In Amsterdam, Beyoncé wore a custom black corseted Gucci leotard with strands of crystals crisscrossing the bodice, atop sheer mesh with rhinestone detailing. She paired the look with a wide-brimmed, metallic silver hat — and a pair of ornate sunglasses.

The custom Mugler bee outfit Beyoncé often wore while performing “America Has a Problem” referenced the house’s Spring-Summer 1997 “Les Insects” collection . Designed by Mugler creative director Casey Cadwallader and styled by Turini, the look pays homage to Beyoncé’s “queen bee” persona while also contributing to the otherworldly feel of much of the tour’s fashions.

In LA, Beyoncé wore another intricate Mugler piece: a strappy silver bodysuit designed by Cadwallader and styled by Turini.

As Beyoncé floated around the arena during the encore performance, “Summer Renaissance,” at her premiere show, so did her custom Coperni ensemble, which was inspired by a look from the brand’s Fall-Winter 2023 collection.

“She wore an embroidered cape, bodysuit and gloves,” Coperni said on Instagram . The outfit, created from silver laser-cut feathers, required hundreds of hours of hand stitching.

In New York City, the singer opened the “Renaissance” act of the show in a custom Philosophy di Lorenzo Serafini “bodysuit featuring a sculpted bullet bra adorned with a dazzling decoration of degradè Swarovski crystals,” according to the brand’s Instagram . She accessorized with thigh-high silver boots and an apricot eco-kidassia coat.

For her June 18 Amsterdam show, Beyoncé’s own work was among that of Black designers showcased to celebrate Juneteenth. She donned pieces from her Ivy Park fashion line.

“I was so engulfed in all things RENAISSANCE and was inspired by Studio 54, Bob Mackie and the disco era,” the star said in an Instagram post . “I wanted to do a modern twist using the signature IVY PARK neon and bring disco to the beach in this swim collection.”

In Kansas City, she also wore an all-black version of the Ivy Park design.

This custom Iris van Herpen look “was a complex combination of high-tech and craftsmanship. A total of 980 falcate-shapes were 3D constructed by casting silver-marbled silicone into mirrored laser-cut outlines,” van Herpen told CNN. “I designed this look to bring a futuristic softness and otherworldliness to her powerful performance. I wanted her look to be an intense and hypnotizing experience on stage.”

Styled by tour stylist K.J. Moody, this custom David Koma “mother of pearl” print mesh bodysuit and asymmetric skirt was paired with iridescent embossed knee-high cowboy boots.

“I wanted to create a memorable and striking look but with comfort and movement as a priority,” Koma said. “We created pieces that were visually delicate but also durable — something that can be worn for multiple nights of the tour.”

Koma felt like part of his inspiration for the print — Dr. Sylvia Earle, a trailblazing marine biologist — “subconsciously resonated with Beyoncé and the empowerment nature of her music and the tour,” he added.

Beyoncé opened her Chicago show in a custom Schiaparelli minidress designed by Daniel Roseberry and made of black silk faille, with “a floor-length stole covered in hand-embroidered silver stones and leaf feathers,” according to Schiaparelli .

For a California tour date, Beyoncé wore a pink Gucci bustier look with pleated detailing accentuated by crystal embellishments. The look featured bedazzled black velvet opera gloves, matching boots — and binoculars (not pictured).

The camo Ivy Park looks worn for several shows served well the soldier-like arc of the set list, during which Beyoncé and her dancers performed songs including “Formation,” “Diva,” “Run the World (Girls)” and “Black Parade,” a song the singer released to mark Juneteenth in 2020.

Also paired with a pair of thigh-high camo boots, this custom casual jersey look is from Ivy Park’s “Park Trail” collection . With colors that appear to salute Beyoncé’s sister Solange and the Lakers NBA team — “Sol Ange” (solar orange) and “Lake-Her” (legacy indigo), respectively — the collection “is inspired by the resilience of the outdoors, the spirit of the streets, and the possibilities of the future,” according to Adidas .

This full-body Richard Quinn bodysuit featured a peplum-style bodice and a sculptural, dome-like hat that obscured everything except for Beyoncé’s eyes, with large rhinestone details throughout.

For an opening look during a tour date in Atlanta, Beyoncé wore a neon green gown from Indian designer Gaurav Gupta’s “Hiranyagarbha” collection, presented at Paris Haute Couture Week in July.

“She shines in ethereal electricity, chiffon drapes of Athena with orbiting satin sculpting,” Gupta said on Instagram .

For a show in Warsaw, she stunned in a custom Elie Saab haute couture gown styled by Karen Langley and Tara Greville.

And for her Minneapolis show, Beyoncé hit the stage wearing head-to-toe custom Acne Studios, including metallic pink shorts and a bustier, oversized coat and sparkling thigh-high boots.

This custom Balmain look by Olivier Rousteing was one of many silver ensembles Beyoncé donned during the tour. It featured sequins, a dramatic clam shell-like bodice and a hip-level slit. The star released a Renaissance couture collection with the label in March; each look translating a song from the album into fashion.

For the assertive soldier-themed arc of another show, Beyoncé donned a black patent and fishnet look by Peter Dundas, also styled by Moody.

This custom Off-White look, featured on the poster of Beyoncé’s upcoming film, included a bustier-style bodysuit encrusted in 40,000 red hotfix crystals designed by Ibrahim Kamara, the label’s art and image director.

A second all-red Off-White look featured a top hat, bomber jacket and shorter silhouette.

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Tina Knowles praises Beyoncé and Taylor Swift for boosting the economy. See how much their tours have made

Tina Knowles is celebrating two of 2023’s hottest tickets — Beyoncé’s “Renaissance Tour” and Taylor Swift’s “Eras Tour.”

On Instagram , Knowles shared a screenshot of a Facebook post from New York Times , which linked out to an article that detailed the economic and cultural impact of her daughter Beyoncé’s tour.

In the caption of her post, Knowles wrote, “This is so awesome ! To b able to stimulate the economy is no small feat! @beyonce.”

Knowles also gave a sweet nod to Swift in her caption, adding, “And ! @taylorswift ! Just being young women and being able to say this , is so awesome!!! Proud of them both !”

Beyoncé and Swift’s tours overlapped in the United States during the summer. Both were a pop culture sensation, with social media platforms inundated by various trends coming out of each tour.

For Swift’s “Eras Tour,” friendship bracelets and DIY themed costumes became the norm while Beyoncé’s “Renaissance” world tour birthed the “mute” challenge and had concertgoers following her request for a silver theme in celebration of Virgo season.

With Beyoncé’s tour wrapping up on Oct. 1 and Swift’s on-going tour resuming Nov. 9 in Argentina, both tours have already generated millions of dollars along the way.

Read on to learn more about each tour's economic impact.

How much has the “Renaissance Tour” made?

Beyoncé’s “Renaissance Tour” kicked off May 10 in Sweden and will conclude Oct. 1 in Kansas City. Before the tour kicked off, Forbes estimated that Beyoncé would earn nearly $2.1 billion from her tour.

The “Cuff It” singer’s tour set multiple records over the summer, including back-to-back records for the highest one-month gross in history in both July and August, according to a Sept. report by Billboard .

In July, she grossed $127.6 million and in August, that number increased to $179 million. The outlet also reported the “Renaissance Tour” became the highest grossing tour by a female artist, surpassing Madonna's “Sticky & Sweet Tour” with $461.3 million.

During the “Renaissance Tour,” Beyoncé also gave back $2 million to students and small business through her charity foundation, BeyGOOD. Half of the donations went to entrepreneurs, with luncheons hosted by BeyGOOD the day before each show for a chance to win a $100 thousand grant. The other portion of the $2 million donation was allocated to the Renaissance Scholarship Fund.

Beyoncé’s tour spawned several special moments over the course of its run, including a special tribute to the late Tina Turner , a birthday surprise from Diana Ross , as well as numerous performances alongside her eldest daughter, Blue Ivy.

It was also a hotspot for celebrities including Leonardo DiCaprio, Vanessa Bryant, Prince Harry and Meghan Markle, Kim and Khloe Kardashian, and more.

How much has the “Eras Tour” made?

Swift’s “Eras Tour” originally ran from March 17 through August 9. Throughout the year, Swift added on additional dates including several international dates in 2023 and 2024 as well as additional 2024 dates in the United States and internationally. 

While Swift’s tour still has 13 months to go, so far it’s been estimated she's earned $1 billion in sales , with Pollstar estimating the singer will exceed $1.4 billion in the new year .

Swift's economic impact far has exceeded solely ticket sales, too. The tour also increased revenue for hotels across the country, with fans flocking to each city to experience her career-sprawling performances.

It was also reported Swift made several donations with her tour’s earnings, including donating to local food banks at each stop and gifting $100,000 bonus checks to her truck drivers at the end of the U.S. leg of the tour.

The singer’s tour is also set to hit the big screen in the United States, and now internationally. In a press release, AMC said that it took less than 24 hours for the film to “shatter AMC’s U.S. record for the highest ticket-sales revenue during a single day in AMC’s 103-year history.”

Swift’s “Eras Tour” was not without its faults though.

The singer spoke out against Ticketmaster after fans struggled to obtain tickets to the tour due to “historically unprecedented demand” causing the website to crash. The debacle sparked public scrutiny, including questions from senators , and elicited changes from the company before Beyoncé’s “Renaissance Tour” tickets went on sale.

Francesca Gariano is a New York City-based freelance journalist reporting on culture, entertainment, beauty, lifestyle and wellness. She is a freelance contributor to TODAY.com, where she covers pop culture and breaking news.

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Taylor Swift and Beyoncé Avoided a Collision on the Charts. (Again.)

Pop’s two reigning queens are often cast as rivals, but they have continually supported each other — and spaced out their album releases.

By Craig Marks

In February, Taylor Swift took the stage at the Grammy Awards to accept the prize for best pop vocal album. After dutifully thanking the Recording Academy and her fans, she got down to business: “My brand-new album comes out April 19,” she said, in a surprise announcement revealing “The Tortured Poets Department.” It was a heads up for her loyal followers, as well as anyone else in the business with a spring release on the radar: If you want your new album to debut at No. 1, don’t release it on April 19. Or April 26. Or May 3, for that matter.

A week later, following a teaser during a Super Bowl commercial, Beyoncé also dropped news of a new album : “Cowboy Carter” would arrive earlier than “Poets,” with breathing room, on March 29. Another pop powerhouse in the Grammy audience made her own announcement in early April: Billie Eilish will unveil her forthcoming third album, “Hit Me Hard and Soft,” a month after Swift’s release, on May 17.

Beyoncé and Swift, the 21st century’s pre-eminent pop stars, have often been cast as competitors if not rivals, a story line partly rooted in misogyny and amplified by dueling fan armies filled with stans, or superfans.

For their part, the two artists have regularly dispelled the notion over the years. They were first linked, through no fault of their own, at the 2009 MTV Video Music Awards, when Kanye West interrupted a Swift acceptance speech to advocate for her fellow nominee Beyoncé; later that night, Beyoncé brought Swift onstage to finish her remarks. In 2021, Swift shared on Instagram that Beyoncé had sent her congratulatory flowers after Swift won the album of the year Grammy for “Folklore,” calling Beyoncé “the queen of grace & greatness.” And last year, following their blockbuster stadium tours, they appeared at each other’s concert film premieres, a pointed rebuke to message-board zealots looking to sow discord.

“Clearly, it’s very lucrative for the media and stan culture to pit two women against each other, even when the two artists in question refuse to participate in that discussion,” Swift told Time magazine. (Representatives for Swift and Beyoncé declined to comment.)

In fact, when it comes to album releases, whether by design or by chance, the two superstars have generally avoided one another altogether. The only other time they’ve released LPs in the same window was way back in November 2008, when Beyoncé’s “I Am … Sasha Fierce” supplanted Swift’s “Fearless” at No. 1. Absent Swift’s 2006 debut LP, every studio album from Beyoncé and Swift — 21 in all, including Swift’s rerecordings of her earlier catalog — has entered the Billboard 200 at No. 1. (Eilish’s previous albums both opened big at the top, as well.)

In the streaming era, where songs have superseded albums as music’s main currency, and chart placements are based on an opaque formula that blends streams with sales, a No. 1 album doesn’t have quite the same cultural or historical resonance it once did. Still, said Jonathan Daniel of Crush Management, which oversees the careers of Miley Cyrus, Green Day and Lorde, it remains “a great talking point,” perhaps most of all for the online superfans who take pride in hoisting their heroes to the top.

“Pop-stan Twitter is fierce,” Daniel said. Partisans treat the Spotify and Billboard charts like a zero-sum game. “It’s their version of sports.”

While top artists and their teams tend to avoid overlapping album releases in order to secure a No. 1 and the bragging rights that go along with it, that wasn’t always the case. “In the days when the only way to consume music was to go to your local record store or big-box retailer, labels would sometimes schedule a release so that it would come out on the same day as a similar but bigger release,” said Keith Caulfield, Billboard’s managing director of charts and data operations.

That way, someone who came to Best Buy to purchase, say, “the ‘Bodyguard’ soundtrack might also spot the new Anita Baker CD and say, ‘I’ll get that, too,’” he said. Before social media, where artists can post album updates to their followers with unrelenting frequency, casual fans might not even have known a new record existed unless they spotted it in the wild.

One of the most high-profile examples of convergent superstar releases came in September 2007, when the rappers Kanye West and 50 Cent colluded to issue their new albums on the same date. “We marketed it like a heavyweight boxing match,” said Dennis Dennehy, who led publicity for 50 Cent’s label, Interscope. “It was Ali vs. Frazier.”

West and 50 Cent, both signed to subsidiary labels of Universal Music Group, appeared together on the cover of Rolling Stone to hype the event and draw people to record stores. “It was like a get-out-the-vote campaign,” Dennehy said. The reward was increased first-week sales of both titles and a clarion call for hip-hop’s commercial clout; the risk, as 50 Cent found out, was finishing a distant second. Kelefa Sanneh, writing for The Times , called it “a low point” in 50 Cent’s career.

Nearly two decades later, competing film studios borrowed a page from that playbook and plotted the movie event known as “Barbenheimer” last summer. Both “Barbie” and “Oppenheimer” opened on July 21, and moviegoers flocked to theaters, some seeing both films in the same afternoon. “Barbie” grossed $162 million that weekend, “Oppenheimer” $82.4 million.

“Usually, movie release dates are this big game of chicken,” said Paul Dergarabedian, senior media analyst for box-office tracker Comscore. “Like, who’s going to blink first and move off their date.” In this case, the studios purposefully went head-to-head in the heat of the summer movie season. The result? “It turned into an absolute phenomenon,” Dergarabedian said. “Both movies were winners.”

For the likes of Swift and Beyoncé, pinpointing an album release date is both art and science, a calculation based on such disparate factors as proposed tour schedules, the availability of vinyl pressing plants and optimal timing for Grammy consideration. And sometimes, even the best laid plans can go awry.

Daniel recounted that last year, Cyrus’s “Endless Summer Vacation” and Lana Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd” were originally slated to be released on the same date, but Del Rey’s album ended up pushing back two weeks. “And then Morgan Wallen’s ‘One Thing at a Time’ came out the week before,” he said, “and knocked us all out of the water .”

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Beyoncé and Jay-Z bought the most expensive mansion in California history — but it's just part of their real-estate empire. Take a look at their homes.

• In 2023, Beyoncé and Jay-Z purchased a home that set a record for the priciest home in California.
• The $190 million Malibu mansion is just one of the many properties they own around the country.
• Here are the homes they're linked to, from a former church in New Orleans to a Hamptons estate.

Beyoncé and Jay-Z break music records — and real-estate records.

The couple, which Forbes reports is worth a combined $3 billion , are linked to many multimillion-dollar homes across the United States.

In 2023, they picked up a 42,000-square-foot Malibu estate with a minimalist concrete aesthetic designed by famed Japanese architect Tadao Ando . The price? $190 million — the largest sum in California history.

Beyoncé and Jay-Z's impressive portfolio of homes also includes another LA-area mansion and several properties in New York.

In New Orleans, the "Cowboy Carter" singer and rapper -turned- entrepreneur have been linked to a former Presbyterian church that has been transformed into a mansion.

Take a look at their homes across the country.

Beyoncé came from humble beginnings in Houston.

Beyoncé's rise to stardom began in a modest, middle-class neighborhood within Houston's Third Ward district.

2414 Rosedale Street has three bedrooms and three bathrooms over 8,640 square feet, according to the listing from 2019 .

According to the Associated Press , the Knowles family purchased the home in 1982, not long after Beyoncé was born, and moved out when she was about 5 years old.

In 2019, the home was listed for sale for about $500,000. Because Texas is a non-disclosure state, it's unclear how much it sold for.

Beyoncé was spotted taking photos of the home in September 2023 during the Houston stop of her Renaissance World Tour, the AP reported.

The couple is linked to a Tribeca penthouse, where they married in 2008.

In September 2004 , Jay-Z, who voiced his aspirations for success in his hit rap song 'Big Pimpin' , made one of his first big real-estate purchases.

The native New Yorker, who was about 34 at the time, spent $6.85 million on a penthouse at 195 Hudson Street in the downtown Manhattan neighborhood of Tribeca.

According to Architectural Digest , the 8,000-square-foot apartment has an additional 3,000 square feet of outdoor terrace. It's in a 27-unit building that was converted from a 1929 brick warehouse in 1999, according to real-estate listings site StreetEasy .

In 2008, he and Beyoncé held an intimate wedding ceremony at the penthouse, with only 40 people in attendance. Architectural Digest reported in 2024 that the couple is believed to still own the home.

Beyoncé and Jay-Z are also linked to a home in New Orleans that used to be a church.

Louisiana is where Beyoncé's mother — fashion designer Tina Knowles — was born and raised.

In 2015, multiple news outlets reported that the couple purchased a Spanish Baroque-style mansion in New Orleans' Garden District. The house on Harmony Street, locally known as La Casa de Castille, was listed for $2.6 million at the time of its purchase, but the exact sales purchase price remains a mystery due to Louisiana's non-disclosure policy .

NOLA.com outlined how the church became a residence : In the 1920s, Westminster Presbyterian Church built it, and 38 members of the Ku Klux Klan allegedly attended its groundbreaking ceremony. Following years of vacancy, dancer Harvey Hysell transformed it into a ballet theater in 1977. Finally, in the early 2000s, it was purchased and extensively renovated.

According to the old Zillow listing , it still has 16-foot ceilings and stained-glass windows. The 13,300-square-foot, three-story property, made up of a main residence and three separate apartments, has a total of seven bedrooms, eight bathrooms, and a rooftop garden.

In 2021, a fire affected the property, and it was listed for sale shortly after at $3.5 million, later increased to $4.45 million, TMZ reported. However, it was later taken off the market, according to Architectural Digest.

When looking on Google Maps' Street View, La Casa de Castille is blurred, suggesting that it is indeed owned by the notoriously private couple.

Beyoncé and Jay-Z own a home in the Hamptons, a historically posh vacation destination for New Yorkers.

Beyoncé and Jay-Z clearly have a New York state of mind when it comes to real estate.

In addition to the Tribeca penthouse and a midtown Manhattan condo — which Beyoncé owned prior to their marriage and sold in 2017 for $10 million — they have rented and owned several homes in the Hamptons .

In 2012, the year their daughter Blue Ivy was born, they leased a 31,000-square-foot summer-vacation home in Bridgehampton for $400,000 a month.

Beyond the standard luxuries expected in such properties, such as a bar, a pool, and a tennis court, that mansion also featured a bowling alley, rock climbing wall, and skateboard half-pipe, according to Architectural Digest.

In 2017, the couple purchased the Pond House in East Hampton for a staggering $26 million.

Located at 81 Briar Patch Road , the 12,000-square-foot mansion with seven bedrooms, seven bathrooms, and a separate cottage was designed by architect Stanford White, whose work includes the arch in Washington Square Park.

The couple's waterfront property sits across from Georgica Pond and a 17-acre meadow preserve, offering unparalleled privacy.

Beyoncé and Jay-Z purchased a 34,000-square-foot estate in Bel Air, a posh enclave of Los Angeles, in 2017.

Also in 2017, Beyoncé and Jay-Z bought an $88 million mansion in Bel Air .

(They welcomed twins Rumi and Sir that year, too.)

The ultramodern 34,000-square-foot estate has eight bedrooms, 20 bathrooms, and a 90-foot infinity pool, according to its Zillow listing .

It has more than 10,000 square feet of outdoor living space and near panoramic views of Angeles National Forest.

In 2023, Beyoncé and Jay-Z bought the most expensive home in California history.

In 2023, Beyoncé and Jay-Z purchased a 40,000-square-foot mansion in Malibu's exclusive Paradise Cove neighborhood, which some have dubbed " Billionaires' Beach ," for a staggering $190 million.

The sale set a record for the most expensive property transaction in California and was also the largest residential sale nationwide that year.

The estate's record-breaking price tag is attributed in part to its high-pedigree design and extensive array of amenities.

According to Architectural Digest, it took the previous owners, art collectors Bill Bell and his wife Maria Bell , a decade and a half to complete the building.

Spanning over 8 acres, the compound is designed in a Japanese minimalist style, which its architect Tadao Ando is known for.

According to E! News , the main residence has 8 bedrooms and 11 bathrooms, while its living room features custom-made fixtures imported from Italy. Outside, there are four separate pools, a bar, and a private helipad.

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