Considering there aint one atm and fellow pop stars on atrl have one http://atrl.net/forums/showthread.php?t=344339 .


Bow down to the Queen of pop Beyonce raises roof with stellar gig at Dublin’s O2



It was B Day. Beyonce Knowles arrived into Dublin on her Mrs Carter tour (named after her husband Shawn Carter, otherwise known as Jay-Z) on a wave of superstardom, her fame showing no sign of receding to the shore of pop pretenders.
This is an artist at the top of her game. By the end of this tour, her and Jay-Z will be a billion dollar couple. And at the O2 in the capital, she worked hard for her money.
The work was effortless, the professionalism natural, the celebrity well earned. Her support act Luke James, a New Orleans RnB singer, serenaded a rose and then set up Beyonce’s arrival, “if it was not for her, I wouldn’t be here… That woman, her name is Mrs. Carter… Her name is Beyonce.”
The screams shook the roof of the auditorium, but still a wait was in store. At twenty minutes past nine, after a video for Chime For Change, a campaign to promote education and justice for girls globally, followed by a Pepsi ad – both matching Beyonce’s penchant for charity and commercialism – the lights went off.
The refrain of “who run the world, GIRLS” rang out and the Texan singer was in the building. The excitement was amplified by the screams of women of all ages, and some men, all invested and in awe of Beyonce’s message of female empowerment, her phenomenal vocal ability, songwriting skills, and a spectacle that would make Madonna, Rihanna and Lady Gaga go back to the drawing board.
It’s unusual for a star not to be touring an album, but Beyonce’s latest record is still in limbo. Her recent songs have been overshadowed by multi-million H&M and Pepsi campaigns, and her cannon of hits was held back for lesser-known numbers and a misjudged arrangement of ‘If I Were A Boy’.
Above the stage, her all-female band led by guitarist Bibi McGill occasionally encroached on Knowles’ note-prefect vocal. Everything-along-with-the-kitchen-sink visuals depicted the singer as Marie Antoinette and Nefertiti. Video messages halfway between perfume ads and Oprah monologues offered spiritual embellishment.
Then the hits came - ‘Crazy In Love’, ‘Single Ladies’ and ‘Irreplaceable’ brought the gods to their feet. Glitter fell, fists were raised, Beyonce clutched the hands of those in the front row. A tribute to Whitney Houston preceded ‘Halo’. A chorus of ‘Ole Ole Ole’ was led by the woman herself holding a tricolour and appreciating the amplified cheering and stomping. When the curtain finally fell, the audience were shaking their heads at the audacity and brilliance of one woman on stage.
Her relentless choreography, embellished by the dancers Les Twins, her appreciation for the crowd, and ultimately the bombastic nature of her vocal abilities made the songs soar.
As the crowd filtered out on to the quays, the choruses and refrains rang out and were carried on the cutting wind. Who run the world? Ms Knowles.

http://www.irishtime...f-pop-1.1390357


There is no "popprinsesse" which takes the stage at the Telenor Arena, hypnotic drum beats and whips going public with the irascible "Run the World (Girls)". It is a business lady, one magnate, an icon, a legend. The 17 most powerful woman in the world, according to Forbes.

"I could not have asked for a better idol for my daughters," Barack Obama said.

And the girls in the Telenor Arena match. There are those who reigns on the floor, the few boys and men who have found their way to Fornebu is mostly with that company just for girls in glitter, neon girls, girls in hijab, girls with stars in their eyes.

And that's just to bow to the Queen.

Provides audience goosebumps
Surrounded by dancers in white and backed by a solid cast pure girl band, she gives the audience goose bumps from head to toe. After an energetic start rower she is down with "Flaws and All" and reminding everyone that despite stalling dance moves, million deals with Pepsi and H & M and one of the music industry's most powerful husbands, it is primarily the voice that has carried Beyoncé Knowles forward in the world's spotlight.

After mood clip on the video background we get a rocking mash-up of The Verve's "Bittersweet Symphony" and her own "If I Were A Boy", a variant which might gets better idea stage than in practice.

But she should have: no woman has yelled so controlled since Aretha. And never, never, forget her audience. The prelude to "Get Me Bodied" is a prelude that ends in fiery climax and glides right over the ten year old Caribbean flirt with Sean Paul. "Baby Boy" remains as good today.

Have us at your feet
In general, there is no shortage hits in the catalog for "Diva B". The audience is barely room to breathe between the high-energy sets, but Beyoncé is stable to become breathless and too powerful to be vulgar. Even stripteasehentydningene on "Naughty Girl" accompanied by the deep voice command that lists all who are in control.

It Rojale theme is constant underlying. Queen B has us all by the feet, and the band is that the infallible soldiers her. Under "Freakum Dress" guitarist delivers one pyrotechnic solo that emphasizes the potency of the women on stage - only men are Les twins, two charming dancers with afro.

On "Why do not you love me", she shows his comedic sense of an old-fashioned movie clip, before leaving with the audience enough a mood state that quivers in the walls. 1 +1 is more romantic treatment, with Beyoncé sitting atop a grand piano in sparkling evening dress, before she hoisted through half the audience like an angel and lands right in the room where she runs an interactive "Irreplaceable" and create complete chaos with "Survivor" through the crowd .

It's so great when the royalty not fail. Long Live the Queen.


RATING: 6/6

http://www.osloby.no...ml#.UaVQFUCsiSp

Can Anyone Tip Beyoncé Off The Throne?

There is no doubt about what is Beyoncé's goals in life. For that she, one of the biggest pop and R & B star, married to rapkongen Jay-Z and the mother of one year old Blue Ivy, said in an interview with the magazine "Gentle Woman" earlier this year:

"I've always had control. Since I was fifteen years old. But you see all these male artists, my husband, Puffy, who has been moguls. And then you see all these women who have become legends. Not enough people have become moguls and I think there are many ways to get there. "

So, based on yesterday's concert in Telenor Arena, we therefore present part 1 of Beyoncé mogul school.

Rule number one in the school Mogul: Allows entrance as a mogul.
In the opening video that rips across the screen puts Beyoncé standard queen immediately: Powder, wig, corset and terns in the processional, she is a powerful R & B version of Queen Elizabeth. Regal effects will prove to permeate the concert, crowns, masks, she's voodoo princess and Nefertiti. So of course it will be the battle cry ekstremrytmiske "We Run The World (Girls)" that opens the show with pyro rain, intense dance moves and more wind machine than Carola ever had in GP. Just in case anyone was in doubt about where the cabinet should stand.

Rule number two: Look like a mogul
Short skirt, long legs, high cut brief and bloody quantity glitter and diamonds. It begins with a white mini dress and continues with nine to ten scene shifts. A true mogul leaves nothing to chance, stage show is directed through pefekt with video, pyro, dancers and of course Beyoncé helkvinnelige band.

Rule number three: Place the mold and equipment in order
Beyoncé monumental vocals are rough like bbq sauce and light as lemonade.
Certainly, treating herself some breaks with change of clothes and videos, but the set is reasonably breathless and dance moves and signature bag rings her causes she stands with thigh muscles in helspenn through almost the entire concert.
Dama do not seem to sweat again.

Rule number five: Know Your Audience
Beyoncé's musical mantra has always been: Take control. Take control of your life, the economy and especially your body. Therefore it is no wonder that the audience dancing begins almost immediately with "Get me bodied". Beyoncé emerges as the all-time most motivating and teaching aerobics teacher, no doubt that she wants people to shake their ass. And speaking of ass: She dancers of all shapes and sizes. Just as the audience is now dancing on the floor of the Telenor Arena.

Rule number six: Rise above the people, and immerse yourself looking down at their level
One of damas golden chess move is precisely this, even though we all know we're going to be billionaires and pop stars, she is so damn bland and apparently available, we believe it anyway. The only thing that reminds us that this is not the case, when one of the audience are getting too close and she cries. «Donít get fresh, lady."

Rule number seven: Give people hits, and forgive them when they want more
When the concert is nearing its end, and ballads and the slightly less popular tracks from "4" is over, the hits that Swarowski diamonds on a string, "Countdown," "Crazy In Love," "Survivor" and finally, the mighty power ballad "Halo," while glitter raining from the ceiling and the girls along the rows are and do not know whether to cry or gaule. If you're a fan, you get chills. If not? Åjoda, you get it enough you too.

http://www.dagbladet...usikk/27406894/

N http://www.dn.se/kul...eyonce-i-globen


I cried for five days, when I thought that I would not get a ticket, says 18-year-old next to me.

- People ask if I'm a Belieber or Directioner, but how can I be when Beyoncé's? Bummer just that people call her a feminist, continuing my neighbor as if it was the absolute worst thing that could happen.

AD:

Few artists have fans in so many camps and ages as Beyoncé, which she illustrates by before the show pumping both Justin Bieber, Miguel and husband Jay-Z/Mr Carter himself. As long as she shows up in a charity video for two seconds erupts a Beatles hysteria that seldom bestowed female artists. Mass Psychosis is just the beginning and Beyoncé meets its many audiences by during the evening slide between as many roles as amazing glitter outfits: Marie Antoinette, ghetto-Cleopatra, smoking Rihanna-avatar, "Justify My Love" contenders. Unlike Madonna Beyoncé can dance and sing at the same time. And most of all singing. She is totally inhuman. Sway not a tone. Get through more costume changes than Grace Jones and seems sincere person super cozy.

Despite counterarguments - and my 18 year old bänkgrannes concerns - is Beyoncé as feminist as one can be that perhaps the world's greatest female artist. When did you last two buggies on stage? How often backed Superstars of helkvinnliga band? (Of the 21 musicians and dancers on stage are only two men). How many songs such as "Independent woman", "If I were a boy" and "Run the World (Girls)" on résumés t? Giving away the whole movie esting to abuse or accident sisters are ambassadors for women?

While humming a strange tinnituston during tonight's Olympic hitkavalkad. The constant wind machine gives an air of lyxschampooreklam reinforced by tonight's art filmy promotional videos. When Beyoncé recites "I salute you, I'm courageous, I'm joyful" We do not know if she advertises herself, Adidas or Nike. In the visual interface between Blue Ivy Pictures, Pepsi-consumption and a personality cult that Kim Jong-ounce arises over commercialization immediately brings to mind the IT dystopian sci-fi series, "Black Mirror".

But show wise it is absolutely magnificent and crowded Globe shows with deafening cheers to the queen bee is worshiped beyond all comprehension. Despite her solo rate was at its zenith around låtmässiga "B'Day" (2006). In the absence of new material are the classics omstajlade and gunpowder put on making the absolute best of what there is, whether it's about tribal industrial techno dance worthy of a guest appearance on House of Dance and Johan Söderberg-worthy video collages where Beyoncé both plays on and paraphrases exotiserande stereotypes .

The rib from Beyoncé's Super Bowl appearance in February included with the Globe. Flames, glitter confetti bootyskakande hovprinsessor and Kanye-ballerinas are staples. Minimum. Standard.

Everything is Liberace maximized and tailored to an adhd-time where the viewer needs to be fed with constant impression not to turn their iPhone from Beyoncé to their social media feed.

And it succeeds. For once, are all present. Disconnected Matrix and connected to Beyoncé's hive. In a crazy mashup world where "If I were a boy" omstöps in "Bittersweet symphony" goes metal costume and Whitney Houston unexpectedly hailed in a moving transition between "I will always love you" and "Halo."

The glittering purple body stocking flies Mrs. Carter via an elegant lift over to the Globe's second short side and make a success with "Irreplaceable" and "Survivor." No one seems to bother to songs like "Countdown" and "Green Light" mislaid or criminally catchy "Upgrade You" lower priority for fillers from "4".

Rihanna may have more hits, but live is Beyoncé still empress - with energy and charisma enough to replace a nuclear power plant.

Rating 4/5

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Billboard | Beyoncé Shines On U.S. Tour Launch In L.A.: Live Review

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“She brought it all and turnt it up!”
That was just one in a litany of comments buzzing up and down the aisles following Beyoncé’s bar-raising performance at L.A.’s Staples Center last night (June 28). The sold-out concert marked the launch of the U.S. leg of her Mrs. Carter Show World Tour— and capped the first day of BET’s inaugural three-day music and lifestyle festival, the BET Experience. Queen B’s two-hour musical and visual extravaganza also laid claim to something else: the multi-talented artist’s intent to join the rarefied ranks of ultimate entertainer.
The frenzy for Beyoncé’s hotly anticipated return to L.A. started early as fans swarmed around outside and inside merchandising booths to either take pictures in front of a curtain emblazoned with the singer’s visage or buy posters, T-shirts and concert booklets. At 8:40pm, raucous cheers erupted as a video wall running the length of the stage projected black and white images of an ornately dressed Beyoncé being handed a crown by several female subjects. As several of them seemingly walk off the video and onto the stage, the video wall raises and a brief pyrotechnics display ensues. Then Beyoncé suddenly appears onstage inquiring, “You all ready?”
From the first notes of “Girls Run the World,” she had the audience in her hands. Aided by her ladies—a tight all-female band, a trio of rich background female singers and a troupe of fluid and flexible female dancers (accompanied at times by the show’s two lone male dancers)—Beyoncé alternately gyrated, strutted, swaggered and belted her way through such songs as “Get Me Bodied” (prefaced by a playful call and response with the audience: “Hey, Mrs. Carter”), “Baby Boy,” “Diva,” “Freakum Dress” (wearing a deep-plunging, thigh-high split long red dress), “Party,” “Crazy in Love” and “Naughty Girl” (accented by a snippet of Donna Summer’s “Love to Love You”), “Countdown,” “Single Ladies” (integrating a snippet from the theme song to “The Jeffersons” TV show) and “Grown Woman.”
Effortlessly shifting gears to a more serious tone, she drew the audience in closer with piercing performances of “Flaws and All” (“This song is dedicated to my bee hive,” she said. “Thank you so much for all of your prayers, love, faith”), “If I Were a Boy,” “End of Time,” “I Miss You,” “Why Don’t You Love Me,” and “1 + 1.”
On the latter song, performed while kneeling and laying atop a black piano, a blue cat-suited Beyoncé (in one of several seamless costume changes) ends up on a swing. After sailing over the main floor to a circular catwalk situated in the middle of the venue, she launched into what she called her “favorite part of the show, when I get to get close with you all. I can read all the signs; feel all the energy.” That segued into a spirited audience sing-along on “Irreplaceable,” “Love on Top” and her sole musical nod of the evening to her Destiny’s Child tenure, “Survivor” (before which she gave a shout-out to Kelly Rowland and Michelle Williams in the audience).

Beyoncé brought the show to its final moments with “I Was Here” (against a video backdrop of personal highs: a shot of her with Blu Ivy, with President Obama, with Destiny’s Child). That was followed by a brief a cappella salute to Whitney Houston (also a sly take-that nod to Inauguration lip-synch naysayers) on “I Will Always Love You” before moving into a poignant rendition of “Halo.” Unfortunately, a hoped-for encore didn’t materialize. And she didn't perform "Standing on the Sun."
That said, a strong-voiced Beyoncé delivered a power-packed two hours, treating fans to a kaleidoscope of colorful imagery and on-point dancing that enhanced rather than overshadowed the music. “I’ve got so much energy,” she said before introducing her band, singers and dancers. “I just want to give it back to you guys.”
Melanie Fiona opened the evening with a well-paced set (including “Give It to Me Right,” “Fool for You,” “It Kills Me” and new free song “Cold Piece”) that perfectly warmed up the crowd.
Beyoncé performs tonight (June 29) in Las Vegas at the MGM Grand Arena with opener Luke James before returning to the Staples Center on July 1 for a second performance. James will be on board through her Aug. 5 show at Brooklyn's Barclays Center, with the exception of Dallas.


http://www.billboard...-la-live-review

Yassss

Beyoncé, Mrs Carter Show, LG Arena Birmingham, review Beyoncé was compelling to watch and vocally blistering, writes Bernadette McNulty, even if the choreography often outshone the music.

In her recently broadcast, self-made documentary Life
is But a Dream Beyoncé revealed that she used to enjoy it if
people made her angry before she went on stage because she could channel her
fury into the performance. Of late, though, it seems it is the turn of the
31-year-old singer to enrage audiences
by lip-synching at President Barack Obama’s inauguration,
feminists by giving her tour her married name, and photographers by banning
them after unflattering
portraits of her gyrations at the Super Bowl.


What is most amazing about these cultural forest fires is that they have been
sparked by a performer who, unusually for a child star and soul diva, has
very little side to her character. As a beautiful, middle class Texan girl
with a relentless work ethic and a traditional belief in marriage, children
and religion, along with swishy hair, Beyoncé is practically the Duchess of
Cambridge in a sequined leotard. But how would Queen Bey top her breathtaking
performance at Glastonbury in 2011?


The answer seemed to be by more of the same, turning up the imperial drama
with opening mission statement Who runs the World (Girls). With an
all-female band, playing to her almost entirely female audience, thanking
them for their loyalty and trying to point out her very small bingo wings,
the concert had the air of an ancient goddess worship ceremony. That didn't
also stop it at times also having the air of an expensive revue show, but
Beyoncé's brand of feminism seems to come styled by Gok 'get em out girl'
Wan.


In lieu of a new album, Beyonce appears to have been working more on video
clips with poetic empowerment narratives. To refresh the back catalogue, the
hits were frequently refashioned, sometimes to ponderous affect, sometimes
brilliantly as when she mixed in Donna Summer. There was none the less a
sense of stasis - with the choreography often outshining the music- that all
the wind machines and sharp costumes in the world couldn't disguise.


Yet Beyonce was never less than compelling to watch, and often blistering in
her vocal attack and her best hits, loaded towards the end and bolstered by
Destiny's Child numbers, are copper bottomed. Perhaps she can sustain a
career forever on being the perfect girl every other girl wants to be but
you get the feeling her creative ambitions might still have new avenues to
explore and more risk taking wouldn't go amiss. That would be really
inspirational.

http://www.telegraph.co.uk/culture/m...am-review.html




Beyoncé at the O2: Queen Bey didn't sing 'Bow Down bitches' – she didn't have to

The moment Beyoncé flew through the air in a bright purple glitter cat suit right in front of me was the moment I finally gave in and became a true fan. She had me hooked. Not only did she look A-MAZ-ING; she'd just been flaunting her stuff on top of a piano at the main stage, Queen Bey flew the trapeze to the b-stage in the middle of the crowd to sing my all-time favourite tune (along with 20,000 others, it seems) Irreplaceable. On the way back on the trapeze, she was belting out Survivor with her power fist in the air. Twenty thousand other fists punched the air. It was a golden pop moment.

The Single Ladies singer had me at "hello O2", actually. The minute she rose through the stage floor to start the show with Run The World (Girls), I realised I was a little bit in love. One look at those brilliant thighs working their magic on stage and I wondered why it had taken me so long to feel it. By the second song she had the entire arena eating out of the palm of her hands.

You see, I never really knew I was a proper Beyoncé fan until last night. You read so much about her in the press and hear her songs practically everywhere it's easy to take it for granted. I've always welcomed her superwoman-girls-can-do-anything music but never really stopped to think about it. Believe me, I've spent many a Saturday afternoon dancing out the Single Ladies track in my living room, which, as I sincerely cannot dance, involves me jiggling about rocking my left hand back and forth with a strange look on my face, but that's as far as my love affair with the singer went.

One year I even gave a brilliant friend of mine who was leaving England to go and live in Bermuda the track Irreplaceable thinking it was the perfect song to explain our friendship and our time together. I only found out years later that it actually said, "don't you ever for a second get to thinking, you're irreplaceable". Oops. You see I was a passing fan, one that sang along but didn't really listen to or care about the lyrics.

The recent furore about Beyoncé's latest track Bow Down was again, something I'd read about. Her departure from the independent woman the US President handpicks to play at his parties to someone telling her fans to bow down, bitches, was indeed fascinating. Why was this independent, sassy, powerful woman – who relied on Girl Power in its most modern form – talking down to her fans all of a sudden?

In case you missed it, in the song, Beyoncé sings to her female fans: "I know when you were little girls / You dreamed of being in my world / Don't forget it, don't forget it / Respect that, bow down, bitches", with the refrain “bow down, bitches”.

You don't want to read too much into it – it's just a song – but it was intriguing that last night at the O2 Arena, one of her first performances since the Bow Down backlash, Beyoncé did not sing Bow Down. But then again she really didn't have to. Pure and simple, 20,000 people bowed down last night the minute they clocked eyes on her. If Beyoncé is ever in any doubt about who is the Queen and who are her 'bitches' she only need remember that audience.

Only Bey didn't treat us like bitches. (I'm using 'us' cos I'm now a true fan, OK?) We were respected and loved. She told us so. She made that clear. There was this really touching moment during Irreplaceable where Beyoncé crouched down and starting singing the lyrics face-to-face with a diehard female fan. They clocked eyes, sang the words out and waved their hands in unison as if nobody else was there. Beyoncé grabbed her arm as if to say 'thank you' and then moved on down the stage, at which point the thrilled female fan screamed, leapt on her man and jumped up and down – so excited that that had just happened.

In between that and the fact that thousands of teenage girls lined the arena - each without a care in the world and loving their night - the overriding message of the Mrs Carter show was that girls really do run the world. And she's taking them with her.


http://www.telegraph...nt-have-to.html

REVIEW: MRS CARTER SHOW
The flickering lights of 80,000 people angled toward the stage perfectly illuminated the anticipation of her eager fans.
While Beyoncé Carter-Knowles seeks to control her image - fans were desperate to capture the opening moments of the Mrs Carter Show.
The Mrs Carter Show heralds Beyonce's thunderous return to the spotlight rejuvenated and hungrier than ever to stake her claim as the greatest female artist alive.
Kicking off the show with an ear-shattering performance of Run The World, dressed in an high-cut white body suit the stunningly beautiful singer showed off her trademark moves.
Anyone doubting whether she has still 'got it' following her transition to motherhood was quickly silenced as she burned up the stage and showcased her cast-iron lungs.
In comparison to the 2009 I Am... Sasha Fierce tour, the singer had splashed out not just on more designer costumes, but also on hi-tech video walls, and an additional stage - which even had seats for some lucky fans in the cavernous O2 Arena.
Her engagement with the crowd was enough to keep the cheers going, as was a succession of solo hits such as End of Time, If I Were a Boy
Get Me Bodied and Baby Boy and dip into the Destiny's Child back catalogue.
Hints of her newer works peppered the moments she ran off stage, along with contemporary dancers, solo spots from dancers Les Twins and some stunning video imagery.
Fans of the singer will have been sated in their desire to see the singer live, and there is no doubt that she is the consummate performer.
However, the inclusion of more new material would have shown that Mrs. Carter really has moved on from the Sasha Fierce days.
Donna McConnell



http://www.dailymail...icit-snaps.html



Beyoncé’s Mrs Carter World tour at the O2 Arena was nothing short of spectacular


5/5 STARS
Beyoncé’s Mrs Carter World tour has reached the O2 Arena – and it’s a showstopping affair which raises the live bar to new heights.

When a live extravaganza such as The Mrs Carter Show World Tour rolls into town, it picks up so much mass publicity along the way, you think you know what to expect: the dozen glitzy couture costume changes, the wind machines, the pyrotechnics. The astounding thing is, this blockbuster really packs unexpected punch – even if you’ve caught Beyonce in concert before.

Beyonce’s last international tour, 2009’s I Am…, was ambitious, but a lot has happened since then: a break from her manager father Mathew Knowles (who managed her girlhood ascent to fame); an increasingly high-profile marriage to hip hop entrepreneur Jay-Z (aka Mr Carter); a fourth Platinum album; motherhood; headline slots at Glastonbury and the Superbowl. As soon as the ‘B’-embossed curtain drops at tonight’s packed arena date, we’re swept onto another level of razzle-dazzle. Beyonce has upped her game – and it’s a blockbuster r’n’b-pop blend, with avant-garde embellishments.

A queenly intro sequence (rococo-a-go-go) gives way to the high-intensity live workout of Run The World (Girls), with a glamorous Bey backed by fabulous dancers (seemingly cast in her image), and an ultra-funky all-female band, whose musicianship and choreography bring Prince to mind. Bey is undoubtedly the main event, and a genuinely dazzling belter, mover and shaker, but she’s surrounded by exceptionally talented players – including the fantastically voluptuous harmonies of backing singers The Mamas, and the fluid street dance skills of Les Twins, the only male figures onstage.

Sixteen years into her showbiz career (essentially, half her lifetime), Bey has amassed a solid catalogue of smash hits, many of which are creatively rearranged tonight. There are hints of 20th-century classics blended into her 21st-century whirl: dashes of Michael Jackson or Lenny Kravitz; a flourish of The Verve’s Bittersweet Symphony (an unusual fusion of If I Were A Boy); a raunchy blast of Donna Summer’s Love To Love You Baby leading into a neon strip-lit rendition of Naughty Girl. The audience sing along adoringly, even trying to hit the high notes of 1+1 (which Bey sings while reclining on a grand piano in a glittery catsuit – of course).

The Mrs Carter Show is an assault of ultra-slick showstoppers, with a pace that impressively never flags. Bey has ‘walked on air’ before (for the I Am… tour), but she takes high-wire flight with even more finesse tonight, ascending to a more intimate stage in the round, where she tears through numbers including Irreplaceable and (to the crowd’s roaring delight) the Destiny’s Child classic Survivor.

The greatest pop icons are always cultural magpies, but Bey really works on a global scale, picking up influences from from Harlem to Havana to Harare. The amazing, head-rolling choreography owes a lot to traditional Ethiopian dance, too. And the emotional, glittery bombast which feels so overblown or schmaltzy in everyday life suddenly makes sense on this stage.

The set-pieces are served with polished audience rapport, but Bey never brings the spectacle down to earth – there are way too many booty-shaking hits to pack in: Crazy In Love and Single Ladies (Put A Ring On It); a beatific homage to Whitney Houston, leading into an encore of the hyper-ballad, Halo. And The Mrs Carter Show has a statement of intent, too – an Afro-Cuban mash-up ends with Bey’s fierce declaration: ‘I’m a grown woman, I can do what I want!’

This girl group starlet has become full-blown pop femme fatale: raising the live bar to the stratosphere, creating the headiest kind of buzz.

http://metro.co.uk/2...acular-3711707/

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ELLE reviews Beyoncé's Mrs Carter Show

By Hannah Swerling

Beyoncé, we love you


The Mrs Carter Show is a high-octane foot-stomping, fist-pumping, hair-flipping spectacle and that was just team ELLE in the crowd!
Queen B knows how to put on a show and last night, we joined thousands of screaming fans at London’s O2 arena to watch Mrs Carter, her all-female band and troop of dancers for the hottest ticket of the year.
Complete with 12 outfit changes, guitars shooting fireworks and a glittering Beyoncé gliding above the adoring crowd on a zip-wire, the show didn’t skimp on showmanship and spectacle.
Beyoncé showcased a couple of clever, new music mash-ups, mixing If I Were a Boy with The Verve’s Bitter Sweet Symphony and Halo withWhitney Houston/Dolly Parton’s I Will Always Love You.
The best bit? The second half of the show when Bey Bey performed some her best hits in quick succession - Irreplaceable, Love On Top, Survivor, Crazy In Love and Single Ladies.
We needed a long lie down in a cool, dark room after that.
That voice. That body. Those dance moves. Who runs the world? Beyoncé of course.

http://www.elleuk.co...er-show#image=1

Review: Beyoncé at the Manchester Arena

It was all hail Queen Beyonce at the first of her three nights at Manchester Arena.

Arriving on stage with a video backdrop of herself in full regalia and crown, she opened the show singing Run The World - proudly looking out over her loyal subjects squealing her every move.

This is a show so carefully choreographed that every minutest wiggle of that famous booty is in time with the music.

It makes for a night of pop perfection - with an ever-glittering succession of skimpy costumes - with our star determined to prove that nobody does this kind of show better than Queen Bee.

Even when she shakes a supposed 'bingo wing' to prove she's less than perfect it's met with screams of adulation.

She looks genuinely moved when she looks into the audience and says: "I'm so happy to be here.

"You are all incredible, thank you for your loyalty. You are the absolute best."

And certainly this arena crowd were in lusty voice and bold of hip as they shaked on mass to her pop hits like Baby Boy.

She's here as part of her ongoing Mrs Carter Tour - a controversial nod to her husband, rap star Jay-Z - but the show is certainly a celebration of strong women, for one thing her entire backing band are all female.

Naturally, the biggest crowdpleasers come at the show finale, with a mass booty pump along to Crazy In Love and Single Ladies.

And then there's the saccharine sweet conclusion of her cover of I Will Always Love You heading into her biggest ballad, Halo.

http://www.mancheste...r-arena-3420313

Bow down to the Queen of pop Beyonce raises roof with stellar gig at Dublin’s O2



It was B Day. Beyonce Knowles arrived into Dublin on her Mrs Carter tour (named after her husband Shawn Carter, otherwise known as Jay-Z) on a wave of superstardom, her fame showing no sign of receding to the shore of pop pretenders.
This is an artist at the top of her game. By the end of this tour, her and Jay-Z will be a billion dollar couple. And at the O2 in the capital, she worked hard for her money.
The work was effortless, the professionalism natural, the celebrity well earned. Her support act Luke James, a New Orleans RnB singer, serenaded a rose and then set up Beyonce’s arrival, “if it was not for her, I wouldn’t be here… That woman, her name is Mrs. Carter… Her name is Beyonce.”
The screams shook the roof of the auditorium, but still a wait was in store. At twenty minutes past nine, after a video for Chime For Change, a campaign to promote education and justice for girls globally, followed by a Pepsi ad – both matching Beyonce’s penchant for charity and commercialism – the lights went off.
The refrain of “who run the world, GIRLS” rang out and the Texan singer was in the building. The excitement was amplified by the screams of women of all ages, and some men, all invested and in awe of Beyonce’s message of female empowerment, her phenomenal vocal ability, songwriting skills, and a spectacle that would make Madonna, Rihanna and Lady Gaga go back to the drawing board.
It’s unusual for a star not to be touring an album, but Beyonce’s latest record is still in limbo. Her recent songs have been overshadowed by multi-million H&M and Pepsi campaigns, and her cannon of hits was held back for lesser-known numbers and a misjudged arrangement of ‘If I Were A Boy’.
Above the stage, her all-female band led by guitarist Bibi McGill occasionally encroached on Knowles’ note-prefect vocal. Everything-along-with-the-kitchen-sink visuals depicted the singer as Marie Antoinette and Nefertiti. Video messages halfway between perfume ads and Oprah monologues offered spiritual embellishment.
Then the hits came - ‘Crazy In Love’, ‘Single Ladies’ and ‘Irreplaceable’ brought the gods to their feet. Glitter fell, fists were raised, Beyonce clutched the hands of those in the front row. A tribute to Whitney Houston preceded ‘Halo’. A chorus of ‘Ole Ole Ole’ was led by the woman herself holding a tricolour and appreciating the amplified cheering and stomping. When the curtain finally fell, the audience were shaking their heads at the audacity and brilliance of one woman on stage.
Her relentless choreography, embellished by the dancers Les Twins, her appreciation for the crowd, and ultimately the bombastic nature of her vocal abilities made the songs soar.
As the crowd filtered out on to the quays, the choruses and refrains rang out and were carried on the cutting wind. Who run the world? Ms Knowles.

http://www.irishtime...f-pop-1.1390357


Bending for Beyonce

AMSTERDAM -
In Amsterdam it was Sunday already Queen's: Queen Beyonce ran her Mrs. Carter Show down in the Ziggo Dome.

This superstar has once again proven that she is more than worth all the fuss. The tickets for the world tour were sold out in no time, fake cards were plenty in circulation and before dozens of fans were still begging at the ticket office. The lucky ones, who in large part were already eager, from noon were waited on hand and foot.

It really felt like a royal moment when Beyonce - on time! - Appeared on stage. Even the staff of the concert hall hung as far as possible over the bar to catch the star a glimpse. In the nearly two-hour show that followed Beyonce pulled out all the stops, exciting outfits, daring choreography and most vocal violence. For live singing, which can this lady like no other.

With almost hypnotic visual projections, the frenzied audience included in the special world of this star, who by her fans tried to inspire with lyrics about love and girl power between the lines. Beyonce succeeded over. The public slurped down everything the singer voorschotelde them with her full band consisting of women.

We saw her alternately naughty, nice, funny, sexy, poignant and downright nice side. With a good balance between up tempo and ballads she had big hits (including Run The World Girls, If I were a boy, Diva, I miss you, Naughty Girl, Halo, Put a ring on it) spread come the evening. Musical, visual and dance interludes were received as enthusiastic as Beyonce itself.

When she then also as a circus artist flew across the room to sing a few songs in the VIP section of the Ziggo Dome splashed almost apart. Beyonce had the audience singing along and eagerly shared that could hand punch.

The hall, but also Beyonce itself seemed not to get enough. Just two hours with that perfect life of this superstar. For a well-oiled marketing machine she naturally. One who perfectly know every minor fold right to iron and seems to have total control over her saccharine image. That can sometimes seem a little implausible, but also handsome. The sell-out crowd put there in any case no question mark.

In her last movie this queen said among other things: I was here ... That Amsterdam has known. Only they can rightly sing: Bow down ..

Beyonce occurs again tomorrow night in Amsterdam before she flies to Paris for the rest of her world tour.

http://www.telegraaf..._Beyonce__.html

Beyonce gives concert of the year off in Ziggo Dome
Entertainment & Leisure | April 22, 2013 | comment | By Chiel van Koldenhoven , close-meeschrijver
AMSTERDAM - Beyonce came on April 21 in a sold Ziggo Dome and left there to see a strong performance piece. Singing, dancing and entertainment, everything was perfect.
That Beyonce Knowles can sing well by her seventeen Grammy Awards won more than obvious. That Beyonce has great performances is known worldwide. And that Beyoncé everything is perfect, it has already shown everywhere. Similarly, on April 21, 2013. To the Netherlands. In the Ziggo Dome. Where everything was ripe for goosebumps.

After her rousing performance at the Super Bowl XLVII Halftime Show, Beyonce revealed a new concert series: The Mrs.. Carter Show World Tour. The Ziggo Dome in Amsterdam, the fourth station of the show and within no time, all tickets sold. The American singer is still very popular. This is Beyonce in her amazing career completely self-enforced with its extraordinary performances. Through a combination of great singing, dancing and entertainment hall hangs from minute one on her lips. Thus, the hips and buttocks of the stunning Beyonce and not to follow her equally attractive dancers in include Run The World (Girls) and Baby Boy and "Sasha Fierce" as her alter ego states, very sexy as she her light brown curls wildly shakes again. As her body is also the voice of Beyonce to enjoy the memorable evening. Its iron strength powerful soul voice reaches into every corner of the Ziggo Dome, jumping during the two-hour concert at the seams and literally vibrates through a hurricane of sound. The picture is completed by the projections and lighting effects, which together form a visual spectacle. Beyoncé is also known for her sexy outfits and coming especially during The Mrs.. Carter Show World Tour discussed.Thus, the hugely popular R admire in a tight and short black dress with gold accents. & B, pop, soul and hip-hop artist at Crazy In Love Before Beyonce appears in a cobalt blue jumpsuit, which she already lying on a piano 1 + 1 sings and then set the room on its head. Via cables flying the former member of Destiny's Child on the main stage to another platform in the middle of the hall. Here let Beyonce be seen. A real entertainerShe let her 17,000 boisterous fans up close and hear her and let some elect to Irreplaceable sing the piece "to the left". Beyonce enjoys presentable and confirms with the words: "! I want to never leave" Moreover, they seemed to be her feast lumbar admirers as emotionally after a powerful swipe at Flaws And All. Towards the end of the concert, it is difficult to make yourself still improve as you've done so much. good That is what the American performance, because after every song she knows herself to surpass again. She states at the end of a flawless piece I Will Always Love You at the hearing, to close with Halo. Then smashing off "I just leave with something to remember," said Beyonce shortly before. It should have permission, because she has absolutely done.Namely, the show of the year.

http://www.dichtbij....ziggo-dome.aspx

Beyoncé Concert of noble proportions While the entire nation was in turmoil about the riot Sunday around the Royal song of John Ewbank, left r & b singer Beyoncé Knowles in the Ziggo Dome to the nobility of pop music is Beyoncé in Ziggo Dome photo series That Beyoncé Knowles has the nickname The Queen Bee for a reason, let the American superstar display in Amsterdam, during one of the most promising concerts on Dutch soil this year. The acting in the Ziggo Dome is part of her Mrs. Carter-world tour.
Beyoncé has a reputation to uphold as liveartiest and it soon becomes clear that they will redeem that promise soon. She plays during the entire show with the themes of monarchy and a world led by strong women. The hit Run The World (Girls) is thematically the perfect opener.
The former member of destiny's Child is on stage surrounded by dancers and an all-female backing band. Shrouded in white kicks Beyoncé on monumental way the show, with those danceable first single from her album 4, followed by End Of Time.
Storyline inspired by films and theatre With a stage show, you as a visitor not a moment. In addition, there is a fairly loose storyline that runs like a red thread through the concert. The message that women can stand their proverbial male, comes this very forward.
That this message is communicated in a show that best as sexy to qualify, is what debatable. Purely as entertainment is, however, recommended. Like a lioness drags you in her world, Beyoncé with creamy bedroom songs Naughty Girl and Dance For Me, in a burlesque setting.
Kneeling As vocalist is Beyoncé continuous rock-solid, although her singing qualities better in ballads like I Miss You and 1 + 1 then in the dance numbers. Nevertheless, 1 + 1 in its simplicity spectacular, with Beyoncé wrapped in a blue catsuit with glitters kneeling on top of a grand piano, while her curls playful dancing in the wind.
Immediately afterwards they flies by the Ziggo Dome, from the main stage to a smaller stage at the back of the room, where the somewhat more modest pop songs Irreplaceable and Resentment particularly well. It is the resting point for the exuberant finale of the show.
Girl power With extra money scoops as Crazy In Love, Put A Ring On It (Single Ladies) and the hit her perfect destiny's Child-Survivor connect Beyoncé the two-hour show entirely in style. Glitter, glamour and girl power; that is the action of Beyoncé in three words in summary.

Beyoncé has acquired a place in the highest ranks of pop music and put a show of noble proportions down, as in hair. Somewhere between The Queen Of Pop (Madonna) and The Queen Of Soul (Aretha Franklin) whisks her sceptre, adored by her subjects.

http://www.nu.nl/muz...proporties.html


Beyonce *****: 'Queen Bee is the queen of the current pop music'

22-04-13 10:38 PM - Source: Parool

© ANP Archive (2010)
REVIEW
It was the weekend of the flying women in the Ziggo Dome. After Friday Pink had first floated high above the audience voted last night Beyonce airspace. Part of her show took place on a stage in the back room. How to get there from the main stage there? Simply, by flying. And there she was hanging from a trapeze over the heads of her fans. Acrobatics never looked so elegant.

The Mrs.. Carter Show Beyonces hot current, fourth world tour. The real name of her husband, rapper Jay-Z, is Shawn Carter, hence. There was some criticism in advance: it was not a little submissive that the singer called herself Mrs. Carter? What nonsense, the Ziggo Dome Run the World (Girls) the appropriate opening song of a show where female independence and strength precisely the theme.

Never before seen in the Ziggo Dome: an all-female backing band. Musicians are often stashed away in this branch of pop music, where what you see is perhaps even more important than what you hear at gigs. When Beyonce are the eleven women of the band emphatically visible on a rise on the stage.

Sometimes a solo for a down (get a bitch, that guitar can literally breathe fire!), But the 'ground floor' of the stage is still mainly the domain of Beyonce and her dancers, pardon, dancers, because here women are the boss. Les Twins, a really spectacular dancing twins from France, are the only male member in the Mrs.. Carter Show.

How many dancers to join the show, is almost impossible to keep. Typically Position: Beyonce front of the stage, behind in triangle form an army of equally leggy beauties. A wind machine does the hair fluttering and all of them have a look at the face of: bring it on! Beyonces voice falters in all those swirling ballets not even a moment.

Queen Bee is Beyonce called. And certainly the first part of the show looks set royal. The court of Louis XIV must have been an important source of inspiration. The stage seems to be a digital Versailles, where Beyonce gets around a black Marie Antoinette. Enjoyed all over the top, but it is also very stylish. The role of fashion icon in the pop Beyonce has finally taken over by Madonna.

How nice that Pink concert on Friday night, this is different. There are also Lady Gaga and Madonna (no longer) at near. Beyonce is the queen of pop music today.

http://www.parool.nl...popmuziek.dhtml



Beyonce in Ziggo Dome: finally a world star who convinces in all

REVIEW The big new popfenomenen of the moment, Lady Gaga, Rihanna and Justin Bieber, all seem to have one thing in common with each other: their live presentation lags far behind their star. No new development, because Madonna should always have more than visual spectacle of her vocal arts when she enters the stage. But pop music is gradually becoming well again use a world star who dazzles on all fronts when the room lights go out.

Fortunately, there are Beyonce, who gave Sunday its first of two sold-out concerts in Amsterdam Ziggo Dome. The opening is at once all that great, with two of her best, most uplifting songs Run The World (Girls) and End Of Time, that you wonder whether they can sustain up to two hours. Yes so. She looks itself not only stunningly beautiful, with more and after a few songs yet another beautiful creation of leotard format, they know also to surround himself with equally leggy dancers and stands behind her on stage a handsome mainly consisting of women bond with choir.

Make the ladies in the show service, so much is clear. After a few songs Too bad they show her what The Mrs. submissive. Carter Show World Tour calls, because they gotta have more ambitions than to profile. Himself as wife of rap super-Jay-Z

Mighty voice
Time to catch your breath she gives her audience barely. Her appearance seems over the years only to be inescapable, and then there's her powerful voice. Because it's not just the smooth dance songs which she packs her audience, she sings equally great. With Flaws And All she impresses early in the set, while I Care Irreplaceable and other peak moments in a show that still only slowed down a bit during the completely unnecessary movies while changing.

For Irreplaceable they showed up a trapeze to a small stage in the back of the hall perform to the delight of those who could behold. Up to then only from afar

If they do during Survivor paves way through the hall back to the stage, she is suddenly much less than before leaning on the hits of Destiny's Child, which they broke through in the nineties.

Her biggest, and perhaps strongest hits stores them until the end. Crazy In Love and Single Ladies (Put A Ring On It) forming a festive climax that matched those rare perfect show. Again the smartphone in the air, for a picture. The audience not only eyes and ears too short, can applaud with such a thing in your hands even if not.

Finally, a world star who convinces in all.

http://www.volkskran...overtuigt.dhtml

Beyonce showed Sunday in Amsterdam that she is the queen of the music industry. The 31-year-old superstar gave a concert at the Ziggo Dome for her The Mrs.. Carter Show-world tour. In a show that could have come straight from Las Vegas she knew the audience effortlessly to wind her finger.


With the opening of the concert was immediately put the tone for the evening. The woman battle Who Run The World (Girls) Beyoncé began the show with her band and dance crew that consisted entirely of women. Femininity is strength and should be celebrated above all, argued the singer. Something they certainly did themselves, whether it was in a challenging dress, cool in leather or in a glitter catsuit. Beyonce is all woman and sexy and seductive with class.

The decor had little to offer. The singer explained the focus on live singing and dancing. A combination that Beyonce went off effortlessly. The audience knew they pack it with ease. The audience clapped and sang along and thousands of fanatical phones went over and over the air to the concert on photo and video capture.

The first part of the show consisted largely of uptempo songs. Halfway through the concert Beyonce gave an intimate twist to the evening. By funicular flew the singer to a smaller stage in the back room. "Hello Amsterdam, it's always nice to be closer to," said the singer. "Do you like it here? I do, I think I never want to leave." While the numbers and Irreplaceable Love On Top singer took extensive shake the public and fans to sing along with her songs. Time hands

After they brought the song from her Destiny's Child Survivor-time-stoppers, Superstar proved to have. Guts Her bodyguards paved a road that led back to the main stage. Blood Fanatical fans tried to touch the superstar. Her bodyguards had difficulty protecting unscathed and haartrekkerij. Singers

The roof went really off when Beyonce some of her big hits repel. On Crazy In Love sang the audience lustily and Single Ladies was danced exuberantly. Beyonce swept the audience and also knew the energy and focus to hold when she closed the show with quiet songs. She paid tribute to the deceased Whitney Houston in 2012 and ended the evening with her hit Halo. The crowd went wild and Beyonce found the evening a success. "You were a great audience, I'll be back soon," promised the singer.

http://www.rtl.nl/(/actueel/rtlboule...-om-vinger.xml

Beyonce shows how to do it
Much fuss she does not need to entertain a large audience but Beyonce had spared no effort during the first of her two Mrs. Carter Show-concerts at the Ziggo Dome in Amsterdam.

The 15,500 strong audience saw her in as many as eight different uniforms - mostly swimsuit-like ensembles - and put into production of beautiful light shows her best songs. With her band, which consists entirely of women, and team of top dancers left the sexy superstar's see who the real Queen of Pop is.

For a slightly more intimate interlude she flew on a rope from the main stage to a plateau around the back of the concert hall where they are close to her fans came to be. Numbers that were discussed were other Single Ladies (Put a Ring on It), Crazy in Love and Halo.

Her Destiny's Child period was discussed, with Survivor. Remarkable was a short tribute to Whitney Houston. Just before the end of the show she sang the first part of I Will Always Love You.

Rarely been at a concert where the audience so deafening for the rise of the artist railed as with Beyonce in the Ziggo Dome last night.

Those who had purchased for the concert of Beyonce in the Ziggo Dome last night, a ticket for the bleachers that had obviously only done to see. Texan star better At least not to sit, a few by their girlfriends boys rushed after, everyone was from opener 'Run The World' before or on the seats to dance.


Unless superstar Beyonce is also known as America's Sweetheart. But with The Mrs.. Carter Show World Tour does the Texan clearly an attempt to brave her image to kill off. One of her daring outfits during the show - big concerts of female pop stars are even bigger fancy dress - is a crystal with machined bodysuit breasts which are depicted. It looks so real - the depicted breasts are exactly where breasts usually are - that a large part of the audience at the kickoff of the tour, last week in the Serbian capital Belgrade, thought their idol half naked on stage stood.

The audience at the Ziggo Dome last night did not stop screaming, dancing and clapping. And with every turn pull out the cell phone to take photos and videos of Beyonce's graceful moves and suggestive winding dancers making course.
That was fine. With its mix of R & B, soul and pop, the cartload of hits and her powerful voice grabbed Mrs. Carter, as her name since her marriage to Jay-Z, even in the entrained friends. Had been stuck there also something to do. All these exciting packages on stage with.

http://www.spitsnieu...en-hoe-het-moet

Beyoncé at Bercy: "Wonderful from beginning to end"

The Mrs. Carter Show, her crazy choreography and perfect physique caused a sensation Wednesday at his concert in Paris. She won the French public.


The fans were waiting impatiently. They were not disappointed with the show. Beyoncé was "imperial" on Wednesday during his concert at Paris Bercy. "A queen in her kingdom," Judge Le Parisien . Queen B opened his Mrs. Carter Show (the name of her husband, rapper Jay-Z) with its feminist anthem Run The World (Girls) . This first piece triggered "a joyous fury in the stands," reports Paris Match, citing the passage an excited fan. "This is the happiest day of my life," exclaimed Eleanor, 27 years.

http://www.lefigaro.....t-a-la-fin.php





Beyoncé Imperial at Bercy; A Queen in Her Kingdom

http://www.leparisie....13-2757491.php

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Beyoncé makes Bercy Crazy In Love

http://www.gala.fr/l....n_love_289156#!



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Beyoncé, The Best Performer of Our Time

You were all seething with impatience at the thought of being Queen B on stage and you will understand. Beyoncé is definitely the best show girl of all time! When diva comes on stage, the walls tremble before an audience that the cheers with a bang, she is the queen of artistic prowess both in its frenzied choreography in his impressive vocal performances, is still in awe of the talent Queen B! When you can have this experience the first pictures of Beyonce's concert in Paris , which took place last night and the least we can say is that it was madness, the singer fired Bercy for 2 hours! Lighting effects, stunning decorations, technical choreography and peerless musicians singers, Beyoncé has impress its viewers, she has delivered once again a spectacular show. The American singer is ready to conquer the world and she proved last night once again at Paris Bercy in front of a packed house! The fans were conquered.

http://www.melty.fr/....r-a175282.html



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Queen B deserves her throne; No other artist gives such high quality. She's Whitney Houston & Tina Turner's successor.

Stunned. Bluffed. Ecstatic. Sounded. Admiration. I had it all at once leaving the Beyonce concert at Bercy yesterday. She gave us an amazing show of two hours non-stop, with grandiose special effects (games kaleidoscopic lights guitar on fire, release of golden confetti ...), explosive choreography (special mention electrifying movements duo Twins The Twins ) and stage costumes at the height of sexiness (transparent body indented, combination fitting neckline, thigh varnished tallons another ...). Crimea in Marie Antoinette on the poster of his tour, The Mrs. Carter Show World Tour , I said Queen B deserved his throne!

Unlike some artists who go on stage just for fun. Beyonce gives everything she has to her audience. Lying on a piano to whisper his love song 1 +1 with a heart gospel or hung in the air and shouted Survivor in the face of his critics, it does not skimp on the means to us eyeful . I enjoyed it favors an orchestra (consisting only of women, girlpower oblige!) rather than a soundtrack recorded.

Today, none other than Beyoncé could not offer us a show of such quality. Lady Gaga, Madonna and Rihanna can get dressed with their provocations. Beyoncé imposes as a worthy successor to showgirls such as Tina Turner and Whitney Houston, to whom she paid tribute dailleurs when recalling singing I Will Always Love You . The diva is simply irreplaceable.


http://blogs.lexpres....t-de-la-folie/



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Queen B ignites Paris

Last night Beyoncé literally ignited the stage in Paris for his Mrs. Carter Show World Tour . The singer gave everything and spectators were filled. I must say that Queen B knows how to create the event She offered her fans a marvelous concert. Digging in the repertoire of four albums, and linking the required flying crowd, Beyonce impressed 15000 spectators applaud. The crowd went wild. The singer was even permitted to appear in a Marie Antoinette at Versailles filmed sequence. The performances are chained during the two-hour show. She began the concert by the very rhythmic "Run the World" and then alternates romantic walks with funkier sounds. She did not hesitate to recast his songs. She mixes her "Naughty girl" with "Love to Love You Baby" by Donna Summer. It will resume with the title "If I Were a Boy" and "Bitter Sweet Syphony" of The Verve. Queen B is the queen and she hopes to defend her title.

http://www.gossy.fr/....-art47873.html



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Beyoncé concert in Paris, a breathtaking show!

http://www.meltycamp....e-a175204.html



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Beyoncé at Bercy, an incredible blockbuster!

http://www.concertli....oyable-8455023

Beyoncé - review





Birmingham LG Arena



Openings to concerts come no more bombastic than that of Beyoncé's

Mrs Carter tour. There are huge video screens offering moody footage of

gothic architecture and the singer dressed conservatively for

18th-century France, sundry pyrotechnics, the unveiling of an 11-piece

all-female band and an extended and portentous rumbling of timpani that

eventually resolves itself into her 2011 hit single Run The World

(Girls).

This is accompanied by choreography that contains not

merely the inevitable shaking of the former Destiny's Child frontwoman's

celebrated buttocks, but a lot of faux kicking of her male dancers'

heads, presumably to underline the song's message of feminine

empowerment.

It's all impressively grandiloquent stuff, but when

it ends, the singer strikes a note of humility. "I want you to know I

appreciate your loyalty," she tells the audience. On one level it's just

another example of the standard R'n'B arena show patter that liberally

decorates the show: she keeps asking if everyone has come to party, as

if some of them might have come because they took a wrong turning en

route to returning their library books.

On another, it fits with the controversy that's attended the Mrs Carter tour thus far.

No

sooner had feminist bloggers stopped kicking lumps out of each other

over whether or not the tour's title represented a capitulation to the

patriarchy than the Huffington Post published An Open Letter To Michelle Obama

from a writer so incensed by Beyoncé's current live show – or, as she

put it, "the final degradation" – that she'd decided to take matters to

the first lady herself.

She somehow managed to conflate one of the

singer's umpteen costumes, a sheer bodysuit, with child sex

trafficking; protested about Beyonce performing not merely in high heels

but with her "mouth open" – which rather suggested her disappointment

might have been rooted in the fact she thought she was going to see a

ventriloquist act – and proposed that Beyoncé's audience abandon her and

instead listen to an artist called CC White. An internet search for CC

White revealed a YouTube video of a lady performing a reggae version of the Hare Krishna mantra at a yoga festival in California.

Tragically

for the writer in question, the audience – 90% female, dressed to the

nines and including at least two hen parties going noisily doolally –

don't really look like they've given much thought to abandoning the LG

Arena in favour of a night in studying the work of a kirtankar.

They

start screaming for Beyoncé long before she takes the stage: anyone

disturbed by multinational corporations' commodification of pop music

might be disheartened to learn that a screening for her latest advert

for Pepsi gets a more vociferous response than the support act.

And

when she arrives, Beyoncé genuinely gives them something to scream

about, and not merely the grand visual spectacles of a stadium show,

although there's plenty of that, including a guitarist who solos heavy

metal-ishly while fireworks shoot from both ends of her guitar, and a

plethora of video interludes during which the singer waxes philosophical

or meaningless, depending on your level of cynicism: "You have to fight

yourself to find yourself", etc.

Even with the really big hits –

Single Ladies, Crazy in Love, Survivor – crammed towards the end,

there's something powerful and relentless about Beyoncé's show.

She

is, as has often been noted, spectacularly good at belting out uptempo

tracks with a rawness that contrasts with the staging and choreography

and seems to tap into an R'n'B tradition far older than she is. Watching

her in full flight, you're reminded more of Tina Turner than any of

Beyoncé's contemporaries: with the best will in the world, you'd have a

hard time convincing anyone that a reggae take on Hare Krisha is more

thrilling than the versions of Get Me Bodied and Freakum Dress she

performs tonight.

Even the ballads are given makeovers so that the

energy level doesn't sag: If I Were A Boy is rendered, a little

improbably, as a medley with a cover of the Verve's Bittersweet

Symphony.

Furthermore, for all the inter-song hokum, she's still a

compelling performer. It's hard to take your eyes off her, and only

partly because you hope to catch her pulling the kind of weird gurning

faces that a photographer snapped during her Super Bowl performance, the

appearance of which online apparently led her to ban press

photographers from the entire tour.

She dances up a storm, jiggles

her upper arms in an apparent demonstration that even superstars have

bingo wings, raises a hand to her mouth stagily when she sings the word

"bitch". The audience laps it up, and with good reason: whatever

controversy she's generated, while onstage Beyoncé feels weirdly

unassailable.



http://www.guardian....s-carter-review

such positive reviews!

yas sis come thru with that spanish.

Riri her impact!

Let me post one!

Its like the most acclaimed pop girl tour on the road
what kinda blond (weave) ambition tea ?

Ri has no impact on Beyonce. If u want i can post several reviews of Rihanna that mentions Bey.

yaaas

Los Angeles Times

Beyonce blows out Staples Center

In the first North American date of a world tour dubbed the Mrs. Carter Show, Beyoncé was the main attraction at Staples Center on Friday night for Day One of the BET Experience, which will also bring acts such as Snoop Dogg, R. Kelly and Kendrick Lamar to downtown’s L.A. Live complex.

And although Mrs. Carter (the tour's name refers to her husband, the rapper Jay-Z) did a number of remarkable things, including belting out a verse of “I Will Always Love You” without accompaniment and zip-lining over her fans while wearing maybe the tightest, sparkliest cat suit ever made, the singer’s most impressive feat wasn’t her vocal power or the arena-sized set pieces that suggested she was born to perform in venues the size of small communities.

What left the deepest impression was something far more elemental: Beyoncé’s ability to make self-aggrandizement feel like an expression of humility.


“I want to leave my footprints in the sands of time,” she said in a video segment near the end of the show, quoting – who else? – herself in her song “I Was Here” from her 2011 album, “4.”

Yet Beyoncé’s ambition seemed in proportion with her fans’ expectations; she came by the sense of scale honestly.

In “Run the World (Girls),” which opened the two-hour show, she grabbed her crotch as the song’s dance hall rhythms boomed so loudly, my eyeballs vibrated. In “Baby Boy,” she and a crew of female dancers did synchronized moves before a video screen flashing realistic images of even more dancers.

“Schoolin’ Life” was an ecstatic homage to chewy mid-’80s R&B, while “1+1” slowed the tempo to showcase her eruptive singing – a sign that, for Beyoncé, even ballads are cause for perpetual climax.


After that zip-line ride, she performed several songs – “Irreplaceable,” “Love on Top” and “Survivor,” the last by her former group Destiny’s Child – on a secondary stage in the middle of the arena floor, providing the kind of close-up glimpse audiences crave.

Then, before “Survivor” was over, she grabbed the zip line again and zoomed back to the main stage, vocals perfectly in key, long hair trailing luxuriantly behind her.

Backed by a band of 11 women, the singer also provided a taste of new music from the studio album she’s reportedly set to release this year. But just a taste. Though she performed “Standing on the Sun” last month at a Mrs. Carter Show stop in Belgium, Beyoncé skipped the unreleased track at Staples Center, perhaps as a result of the song having leaked online several days before the concert here. (The 31-year-old is a tireless protector of her work and her image, to the extent that media outlets including The Times were barred from photographing Friday’s concert.)


She did sing “Grown Woman,” a lively new tune in which Beyoncé insists, “I can do whatever I want,” over an African-inspired groove. Images of pyramids and lions accompanied the song, as did a portrait of the singer wearing a Nefertiti-style crown, one of several pieces of royal headgear she donned Friday.

No doubt Beyoncé is serious about doing whatever she wants. How else to explain her bewildering conversion of the lovely “If I Were a Boy” into a dreary grunge song with lines borrowed from the Verve’s “Bitter Sweet Symphony”? Later, when she got the packed house on its feet with an appealingly overdriven “Why Don’t You Love Me,” you had to wonder: Who exactly doesn’t love Beyoncé in 2013?

Yet “Grown Woman” presents the singer’s autonomy not as a function of her celebrity or her wealth. It says freedom derives from age and experience, which is partly why so much of Beyoncé’s chest-pounding Friday seemed inviting rather than alienating.

She’s hardly Everywoman, of course: Even in bits of ostensibly candid video, such as the “I Was Here” sequence, her physical beauty felt profligate, almost punishing in its extremity. The same went for the physical strength with which she moved through complicated choreography in “End of Time” and “Get Me Bodied.”


But Beyoncé carries that load lightly, especially as compared to Rihanna, for instance, who constantly (and often thrillingly) appears to be assessing the rewards and the demands of her fame. Mrs. Carter, meanwhile, is so unworried by it that she used the track “Flaws and All” to insist, with a jiggle of her upper arm, that her flawlessness is an illusion.

The result is a pop-soul superstar with a politician’s flair for bringing her fans closer even as she demonstrates precisely what distinguishes her from them.

We saw it in January at a Super Bowl press conference when, after a controversy over whether she’d lip-synced at President Obama’s inauguration, she soared through the national anthem a cappella, then asked, “Any questions?”

And Beyoncé did it Friday with “Irreplaceable,” one of her biggest songs, in which she somehow transformed a kiss-off emphasizing her desirability – “I could have another you in a minute,” she warned – into a demonstration of her essential goodwill.

If she runs the world, the people put her in power.
http://www.latimes.c...0,3534527.story