PHILADELPHIA – Two Beyoncés come to play on her Renaissance World Tour.
There is the understated Beyoncé of the opening segment, her creme brulee-colored hair blowing delicately as she vocalizes intently through “Dangerously in Love,” sits elegantly atop a sliver baby grand piano for “1+1” and thanks the crowd for their loyalty (“You are the reason I’m standing on this stage”).
Then there is the Beyoncé of the other five segments of the show, with themes such as “Renaissance,” “Opulence” and “Motherboard.”
This Beyoncé is an unstoppable force of precise movement and vocal dynamics, a superstar who, two months shy of turning 42 and in the where-did-the-time-go third decade of her career, has raised – and cleared – her own ambitious bar yet again.
At Philadelphia’s Lincoln Financial Field Wednesday, Beyoncé finally unveiled her colossal, eye-popping production in the U.S. She’s already played for a million-plus fans since launching the world tour in Sweden in May, allowing her time to perfect every second of this polished, 2 ½-hour spectacle that will play nearly two dozen stadiums through October.
Though a tiny, taut figure on a stage designed with ramps, staircases and catwalks, Beyoncé loomed magnificently on a video screen wall, her doe-eyed beauty and trademark snarls amplified to reach the farthest cranny of the venue.
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The dazzling concept videos that ushered in each changeover – particularly the futuristic visual feast that created a Bey-bot for the “Renaissance” segment – captivated, never feeling like costume-change filler or a glitzy stall tactic.
Of course, there is no stalling in Beyoncé’s universe. The blizzard of beats powering “I’m That Girl” and “Cozy” was complemented by rigidly snapped elbows, severe shoulder shrugs and cocked hips by Beyoncé and her cadre of 10 female dancers.
Her ode to house music, punctuated by “Cuff It” and “Break My Soul” – standout tracks from last summer’s “Renaissance” album – pulsed accordingly, with lights attacking from every angle of the stadium.
Clad in a Barbie-pink gown with more slits than material, Beyoncé radiated glam-infused confidence. When her sunglasses slid down her nose one too many times, they were brusquely tossed offstage. No errant eyewear will impede her rhythm.
A hearty rump shake at the start of “Break My Soul” sent the sold-out crowd into spasms, but it was the mid-song interpolation of Madonna’s “Vogue” that further encouraged their glee as Beyoncé name checked Lizzo, Nina Simone, Solange Knowles and Jilly From Philly in her recitation.
By now, the Beyhive knew to expect an appearance by Blue Ivy, the 11-year-old daughter of Beyoncé and husband Jay-Z (aka Shawn Carter), who started joining the team onstage in Europe. But even with advance knowledge, the crowd erupted when the pre-teen arrived during “Run the World (Girls),” leading the dance crew down a ramp while mom followed atop a glistening tank-like vehicle.
Blue Ivy ably kept pace with the fleet feet around her, ending “Black Parade” with her fist in the air. As the audience showered the young Carter with more whoops of appreciation, Beyoncé’s game face melted into a proud smile, leading to one of the most memorable snapshots of the night.
The tour setlist draws heavily from “Renaissance” as expected, but Beyoncé sprinkles in hits – though maybe not enough for some fans – from her robust catalog, including “Naughty Girl” and “Formation.”
A musical highlight landed with the double punch of classics “Love on Top” and “Crazy In Love.” With her male dancers lined up behind mic stands, Beyoncé humorously led the crowd through the escalating key changes in “Love on Top” before the delectable groove of the song dovetailed into the snaky bass line of The Jackson 5’s “I Want You Back,” complete with throwback choreography.
It was a moment of unadulterated joy that remained through the sizzle of “Crazy in Love,” which included a fabulous coda by her hardworking band.
The tempo of the show decelerated a bit as Beyoncé entered the homestretch in her already-famous Loewe bodysuit designed with strategically placed handprints. “Plastic Off the Sofa” and “Virgo’s Groove” didn’t have the audience as adrenalized as intensely as other selections from “Renaissance.” But by the time she reemerged for the encore sporting a yellow-and-black headdress and offering a powerful missive with “America Has a Problem,” attentions were rapt again.
Soaring balladeer and poetic messenger. Refined couture and sequined camouflage. Warm smiles and dramatic sneers.
Beyoncé delivers all it, with excellence.
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