Beyoncé @ Tottenham Hotspur Stadium

Beyoncé has returned to the Tottenham Hotspur Stadium with her Album of the Year and an 'act two' that has far surpassed fan’s (already) high expectations of this legend. On the 6th of June, Beyoncé opened both her London and International tour at the stadium; the Mic's Daniela Roux reports.

Beyoncé Gisele Knowles Carter has proven herself to be the world’s most enigmatic artist, with a vocal and movement range that most could not replicate. From the age of 9, she has developed her talent and skill to border on perfection. As a long time fan of hers (since the ripe age of 6) I felt utterly grateful to have witnessed the essence that is Beyoncé.

Over the course of the last year, Beyoncé’s Act II, entitled ‘Cowboy Carter’, has faced both a plethora of critical acclaim and controversy. As an artist, she has never been fearful of pushing boundaries, as evidenced by her previous album, RENAISSANCE. Following the extreme success of Act I, many were curious to see how she would not only supersede the album, but the tour itself. RENAISSANCE was the first tour of its kind. Her utilisation of stage space, fashion, and visual art introduced a way of performing that no other artist had been able to curate. As the lead director of every single show, it is clear that Beyoncé’s unique style distinguishes her from other contemporary artists.

Therefore, as I arrived at the stadium, with very little knowledge of the tour (seeing as I had avoided the influx of social media content), I stood in my cowboy hat and high-heeled boots wondering how she would be able to make better what was already deemed ‘perfect’. It was not until a few hours later, when the first chords of AMERIICAN REQUIEM struck that I was able to truly grasp what a visionary she is.

She floated onto the stage wearing a white bodysuit decorated with tassels. She wore thigh-high boots and completed her looks with rose-tinted sunglasses. Her voice sounded identical to the studio version of the song, and yet she managed to grasp the audience’s attention by adding runs and melodies that exacerbated the authentic nature of her singing. This introduction served as a powerful opener, and highlighted the overarching message to the critics that enforced the prejudice that 'the country genre has no space for a black woman', that they are wrong! She asked the crowd poignantly: “If that ain't country, tell me, what is?“ – a reminder of the historical weight that this album holds. She is “rooted in Louisiana” and “the grand baby of a moonshine man.” She reminds us that she is living proof of the American Dream – one that cannot be gatekept by outdated oppressions. This imagery is emulated as she transitions into the anthems she is best known for.

"She asked the crowd poignantly: “If that ain't country, tell me, what is?“ – a reminder of the historical weight that this album holds."

Between each set of songs, Beyoncé includes accompanying visuals to emphasise the themes of her album. We see scenes of an American flag wrapping embracing her cheek, her eyes pooled with blue contact lenses. We see scenes of right-wing media, with blurred faces, attempting to prohibit Beyoncé’s entrance into the country genre. She poignantly reminds us that, even in today’s times, there is still a perpetuation white supremacist standards within culture. Following the overtly political diatribe in her opening (with covers such as Blackbird and ‘The Star Spangled Banner’) she swiftly transitions into her crowd pleasers. YA YA, AMERICA HAS A PROBLEM, SPAGHETTII, Formation and MY HOUSE echo through the stadium and the floor vibrates with each foot stomped. These songs can easily be oversimplified as ‘fan favourites’, yet I interpret them to be as political as her openers. Each one of these songs includes themes of outsiderism, and more importantly, the theme of resistance. YA YA explores what it means to “live and die in America”, whilst SPAGHETTII opens up with a comment on the restrictive nature of genres. AMERICA HAS A PROBLEM is a self-explanatory title and Formation has, for close to a decade now, served as an anthem for black women. It can be argued that since the conception of Lemonade, Beyoncé has been effortful to emphasise her origins in the south.

Following the stark political messages, Beyonce’s next set of songs include the more vulnerable and touching lyricism that she is, in my opinion, not accredited enough for. Though, most of the world associates Beyoncé with being a household name or the leader of ‘girl bosses’ and independent women, the side of her discography which explores her humanity is often overlooked. Songs off of COWBOY CARTER such as JUST FOR FUN and FLAMENCO are incredibly introspective, touching on the difficulties of dealing with fame and losing friends. She explores what it means to be a person who seeks faith and needs hope. She has a wonderful sensitivity in songs such as these that the radio or mainstream music media never really associates with her. Beyoncé has always had an ability to balance both the political and the personal, illustrating how they are in some ways linked or centralised. Since Lemonade, she has illustrated the complexities of what it means to be a black woman in today’s time. She has also been able to create music that allows her listener to self-examine their own identities – I have certainly found healing through her music.

"She has a wonderful sensitivity in songs such as these that the radio or mainstream music media never really associates with her. Beyoncé has always had an ability to balance both the political and the personal, illustrating how they are in some ways linked or centralised."

On her previous tour, Beyoncé welcomed her eldest daughter (Blue-Ivy Carter) as one of her dancers. On this tour, she has another special guest: Rumi. Rumi is her youngest daughter, and the inspiration for the heart-tugging song PROTECTOR. This song is accompanied with beautiful choreography in which Beyoncé shows the love between her and her daughters. She reflects on what it means to nurture and grow. To have the power to create life and liberate through love. This song reminded me of my own mother and younger sister, and like many in the audience that evening, I sang along with tears in my eyes.

Beyoncé concluded the Cowboy Carter portion of the tour with more sensual songs, such as DESERT EAGLE, RIIVERDANCE, II HANDS II HEAVEN and TYRANT. These are the songs off of the album that explore the beauty of being in love. She sings about desire, attraction, and soulmates. She explores what it means to be a wife and how it feels to be loved. She is unabashed in her sexuality and proud to inhibit the role of a charmer. The themes within these songs seem to remind everyone that love is central to life. The beginning of this performance explores rebellion, revolution, grief, and family. The closing of this album explores what it means to have companionship. As an avid listener of Beyoncé, I have fallen upon every single remix and unreleased song that I could get my hands on, and I have to commend this woman’s commitment to her artistry. When she began performing TYRANT, I was in complete awe that she incorporated a remix with Haunted. Just a year ago, when the amateur remix was released on YouTube, there were merely thousands of views. Beyoncé’s ability to incorporate her fandom and evolve alongside technology is an explanation as to why this legend is still relevant after three decades in the industry. She started as an artist in a time where participatory culture didn’t exist and manages to stay relevant because of her ability to adapt. The COWBOY CARTER leg of this performance left me feeling powerful, healed, and enamoured. Perhaps it was the pseudo-baptism from the rain, but this first half was incredible and entirely different from RENAISSANCE.

Finally, for the last part of her performance, Beyoncé paid homage to the incredible success of her last tour. She swiftly transitioned from the country genre and the themes previously explored, into a beautiful taster of what the RENAISSANCE tour was. This was my first Beyoncé tour, and as one of her younger fans, I always felt left out from the decades-long career that she had. Therefore, when the lights dimmed, and her jingle for RENAISSANCE began, I felt fulfilled. In between her ‘Cowboy Carter’ songs, Beyoncé incorporated the remaining tracks off of RENAISSANCE. Her otherworldly (literally) costumes were pulled off of their racks and she found herself performing like a true alien superstar. It was songs such as COZY, HEATED, THIQUE, and ALIEN SUPERSTAR that engrossed this audience in a collectivity they would remember for life.

"Beyoncé’s ability to incorporate her fandom and evolve alongside technology is an explanation as to why this legend is still relevant after three decades in the industry."

The entire evening, I found myself dancing with people who I would have ordinarily passed on the street. There is no introduction or small talk, just a mere connection based upon the unity of art. We belted and screamed lyrics together, empowering one another. Whether it be pointing at your newfound companion when Beyoncé sings about being “comfortable in my skin” or tapping on your own chest when she proclaims that you have a “fire beneath your feet” and “music when you speak.”

Not to mention, all the while, she was floating above our heads on, you guessed it, a horse hoof. Even if we, for a second, neglect the brilliance that is her discography, the creativity within this tour is what has solidified Beyoncé as the greatest living performer. This additional mechanism was a method for her to make sure that “everyone had the best seat in the house tonight” (as she told us in between songs). Beyoncé has what many artists in today’s time lack: authenticity. Yes, it is undoubtable that she is an expert entrepreneur with an incredible ability to satisfy her target audience. However, there is no doubt in my mind that she values her artistry above all. It is the flawless choreography, the creative stage design, the impeccable and enhanced vocal ranges, the powerful lyricism, and the iconic fashion that makes her tours extraordinary.

Beyoncé closes her tour with, in my opinion, two of the most profound songs off of this album. 16 CARRIAGES and AMEN. Each song incorporates country genre elements, yet she still manages to include her individual soulfulness. 16 CARRIAGES takes us through her journey as an artist, from a young woman who leaves her parents behind to the adult woman who leaves her children behind. She describes passion, grit and failures. She sings with a solemnity that cannot be described in words. And by the end of this song, she thanks the audience for making her dreams come true. The same audience that has been thanking her for the comfort her music has provided them with throughout their lives. The closing song is AMEN a remix and development of the opening song (on both the album and the tour), AMERIICAN REQUIEM. She sings of statues being “lies”, she sings of “houses” never being settled into. She sings of “mercy”, “prayers” and “old ideas.” This final song encapsulates Beyoncé’s discography perfectly. She is a person with a great capacity for love and care. She has explored what it means to be a woman, to be black, to be a mother, to be famous, to be a daughter, to be a sister – and how they all interchange. This song explores how she views herself and how the world views her. By the end of this performance, for the rest of my life, I will never forget how she crouched down and gripped her chest. By that point, everything she could have given was on the stage, in the stadium, and in our souls.

I have been a fan of Beyoncé’s for close to thirteen years. I sang her songs before I could even conceptualise who she was. This concert was a life-changing experience for me, and I got to witness first-hand why she is a phenomenon in modern music. This concert, however, did not just confirm opinions I already held, but reminded me of the power of art. It reminded me that the love of music is about paying attention to what lyrics strike a chord in your heart. What melody brings tears to your eyes. What dance moves empowers you. Music, yes, is about understanding the world, but it is also about grieving and healing. Though Beyoncé has done an impeccable job of selling herself on being extraordinary (which she is), my experience on this tour informed my concluding perspective. As Nina Simone argued, an artist’s job is to capture their times, and Beyoncé, in her most complex form, is a human being capturing the nature of our era.

---

Edited by Bethany Coldwell

Images Courtesy of Daniela Roux