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Celeb News: Beyoncé's tour praised in New Zealand and Australia
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Member Since: 8/31/2013
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Beyonce concert review: Auckland, hear her roar
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lmfao
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Member Since: 6/4/2010
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So amazing. These reviews 
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Member Since: 5/2/2012
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Originally posted by Ascension
The most interesting effect of all is people leaving her show feeling compelled to purchase her entire discography. The slay a bitch effect.
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Member Since: 8/25/2012
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the slay a bitch effect
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Member Since: 9/19/2011
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Originally posted by Ascension
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Not all her discography in the TOP 10. 
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Member Since: 10/29/2010
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Beyoncé concert review
By Dan Lake
If there was any doubt who was running Auckland city last night, the answer is Beyonce.
Hitting the stage for the second of her four sold-out gigs at Vector Arena, the queen of pop performed hit after hit to a hyped-up audience.
There are very few Beyonce songs that a general audience wouldn't know, although she did sneak in a few that I wasn't overly familiar with.
She hit notes that would silence any critic, she danced routines that would tire most aerobics instructors.
'Single Ladies' was always going to be a crowd favourite and the place went absolutely crazy. Crazy in love.
Not since Michael Jackson have I seen such pageantry. Every song begins with what is effectively a short film featuring stories or dance sequences.
Beyonce is clearly a feminist. She proudly introduced her "all-female band" many times and the video screens were filled with messages of girl power from Hilary Clinton before the show kicked off. This added a level of politics and meaning to the night which I liked.
I went along expecting a night of cheesy pop dance classics, but I got so much more.
Beyonce's voice is simply amazing. There is no other way to say it. That's what I will take away from the night – her amazing effortless ability to send shivers down your spine with just a couple of verses.
There was a sad moment when Beyonce remembered the life of Whitney Houston, singing 'I Will Always Love You'.
The surprise of the night was that there was no encore. I'm not sure if this was planned, but either way Beyonce delivered.
If you can get tickets, go. You won't regret it.
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Congrats to Bey for slaying in P!nkland! 
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BEYONCÉ - 'MRS. CARTER SHOW WORLD TOUR', AUCKLAND'S VECTOR ARENA, OCTOBER 2013.
Of course she had a nine-piece all girl backing band and nine different costume changes. Of course, she had a trio of back-up singers - a.k.a. 'The Beautiful Mamas' - who sounded like a Motown girl-group in their own right. And of course she was backed by eleven dancers at the very top of their game; two of whom doubled as ballerinas and a different two being identical twins. SHE'S BEYONCÉ! So, of course she was bound to bring the best damn pop show that New Zealand has ever seen to Auckland's Vector Arena.
But, I'm getting ahead of myself. So let's go back to a time when I knew nothing at all about the 2013 'Mrs. Carter Show World Tour'...
As the lights went out, an introductory video set the scene of Queen B's coronation, signalling the start of her ninety minute set - which flew by without a moment to catch one's breath, let alone be bored - and ending with the 'cast' of the show walking out on-stage like a medieval portrait come to life. Whoever designed the production for the show, ought to win an award for their clever mixing of real-time people playing off 2D screens and the interesting real-life 3D effects that were demonstrated all throughout Beyoncé's set.
Majestic in an off-white 'Timothy White' embellished one-piece bodysuit paired with 'Reed Krakoff' mesh ankle boots, Beyoncé powered through her opening-number, 'Run The World (Girls)', before showcasing the best hair flicks and line-dancing I've ever seen during 'End Of Time', which concluded with a shower of sparks raining all over the stage.
In a spellbinding 'Givenchy' cat-suit, paired with an equally sparkly flat peak hat [with cute cat ears] and spangly superhero cape, Beyoncé showcased her powerful vocal talents all throughout 'If I Were A Boy' - mashed up with 'Bittersweet Symphony' - with no help at all from her back-up singers. I'd like to point out that I can't even remember the last time - if ever - that I witnessed a popstar singing a song all by themselves during an arena show. Others who shall not be named, either rely too much on a backing-track, or leave all the heavy lifting to their backing vocalists - but not Beyoncé.
"A little sweat never hurt nobody..." sung Beyoncé during 'Get Me Bodied', a line which seemed befitting of her devoted fans who were indeed sweating it out as far as the eye could see, and went even more wild for the coquettish 'Baby Boy' and the sassy 'Diva'.
The 'Mrs. Carter Show World Tour' is the most flawless mix of supremely first-class live singing, classy dancing and getting down with fans, that I've ever witnessed from a popstar - incorporated with blessed life lessons from the Queen herself, which were broadcast like Public Service Announcements during the countless video segues between songs and costume changes. Whilst smoking a cigar on-screen, Beyoncé declared to her followers that: "When you become a woman, you celebrate who you are and know that sexuality is a gift. This gift gives you power; this power can manipulate, this power can celebrate. What would you do with this power? Would you let go? Would you surrender? I can make you surrender. If you make the right selection, the passion intensifies like a drug. Are you high right now? Can you picture me? Harnessing the power of your body requires responsibility. Seduction is much more than beauty; it's generous, it is intelligent, it's mysterious, it's exclusive. So tonight, I choose you." If that isn't [unintelligible] wisdom, I don't know what is.
Also, I really admire Beyoncé and all of her female backing-dancers' abilities to dance in high heels without falling over. I cannot fathom it. Personally, I can't even walk on a level surface in heels without tripping up over my own feet. Perhaps that's a sign of true royalty. Or, maybe it's when you have your own glow-in-the-dark bright orange drink bottle that is carried around by a personal assistant whose singular purpose for the night, seems to be the very important job of keeping you hydrated throughout the show.
Asking the sold-out crowd "where are all the sexy ladies tonight?", Beyoncé launched into 'Naughty Girl', dazzling onlookers in a 'The Blonds' nude extremely sparkly long-sleeve leotard, with her back-up singers joining her down on the main level of the stage, to enact their own James Bond-esque title sequence.
Whilst holding court during 'Party', Beyoncé's dancers brought out giant feathered fans, transforming the arena into a burlesque speakeasy/casino and strutting around the stage as if working the catwalk in a Victoria's Secret runway show. Think 'Moulin Rouge!'... and then some.
Later, calling attention to her lead guitarist - whose guitar shot out a shower of flying sparks while shredding a solo! - Beyoncé wowed the crowd in a stunning floor-length red dress with a gold jewelled bodice and daring side slits, completely owning her 'rockstar moment' of the show during 'Freakum Dress'.
Before strutting her way through 'Why Don't You Love Me' in an exquisite 'Emilio Pucci' green fringed dress, Beyoncé paused for applause, standing perfectly still until sufficient enough levels of shouty adoration had been showered upon her. No-one does dramatic effect better. No-one. To reward her loyal subjects, Beyoncé jumped down into the pit and shook hands with overjoyed fans who couldn't believe their luck, as many of them had only had their ticket upgraded minutes before the show started.
Here's a tip: if you're interested in upgrading your GA tickets to the pit, you might wanna turn up in a Beyoncé costume and lurk around on the left of the stage by the barrier, keeping an eye out for a blonde woman wearing a black tour jacket. My main pre-show entertainment consisted of watching her and an associate scan the crowd for what they considered to be deserving fans. Disappointingly, I didn't see anyone dressed in a Beyoncé costume at the show - not even one. So I'd bet good money on even the simplest costume, to stand out and call attention in a packed-out floor area.
The final third of the show featured non-stop hits after hits, with Beyoncé writhing atop a baby grand piano for the entirety of '1+1' clad in a 'Vrettos Vrettakos' navy sequinned jumpsuit with a plunging neckline, once again taking sole charge of vocal duties for the slow-jam, which briefly transported the audience to an intimate club show setting.
An acoustic guitar and bongo drum backed 'Irreplaceable', and saw Beyoncé venture out onto the floor, holding out her microphone to let fans sing lines of their favourite song, as she walked past them on her way to the floor-stage. As the Queen met her people, it became clear that shaking hands, creates shaking fans. I was once unbelieving, but now I get it. I really do.
Disappointingly, 'Countdown' only featured as a video interlude between 'Love On Top' and 'Crazy In Love', during which Beyoncé changed into a gold geometric-patterned leotard with a peplum flip two-tier glittering skirt - reminiscent of the cover artwork for 'The Great Gatsby' soundtrack which Jay-Z executive produced earlier this year.
Needless to say, 'Single Ladies (Put A Ring On It)' was a crowd-pleaser, complete with a rendition of the iconic dance and a golden confetti cannon finale.
First daughter, Blue Ivy, even made a split-second cameo in the show, featuring in the final "I want to leave my footprints in the sands of time..." video segue, much to the delight of fans who cheered even louder while waiting for an encore.
Returning on-stage in a blue and white sequinned mini-dress with beautiful silver fringe detailing, Beyoncé belted out the opening lines of Dolly Parton's 1974 single 'I Will Always Love You' - yes, covered by Whitney Houston for 'The Bodyguard' movie - completely a capella, then encouraging fans to help her sing the song.
Obviously, 'Halo' was the night's finale, and it was beautiful.
"You're so cute, kawaii..." proclaimed Beyoncé, before running through thank you's addressed to all of her crew, during an extremely polite and well-mannered curtain call, of sorts. "I hope you had a beautiful night!" she said in farewell.
In conclusion, Beyoncé says it best herself: "I got beauty, I got class, I got style... and I got ass." She's Mrs. [Jay-Z / Shawn] Carter. She's Queen B. She's one of the most influential people in the world and one of the most successful popstars of all time. She's the complete package; Beyoncé has got it all.
http://www.coupdemainmagazine.com/re...a-october-2013
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Member Since: 3/31/2012
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Not since Michael Jackson have I seen such pageantry.
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Member Since: 3/31/2012
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All this GLOBAL praise.
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Member Since: 6/4/2010
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QUEEN of MUSIC
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Member Since: 3/31/2012
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Quote:
Originally posted by DG1
BEYONCÉ - 'MRS. CARTER SHOW WORLD TOUR', AUCKLAND'S VECTOR ARENA, OCTOBER 2013.
Of course she had a nine-piece all girl backing band and nine different costume changes. Of course, she had a trio of back-up singers - a.k.a. 'The Beautiful Mamas' - who sounded like a Motown girl-group in their own right. And of course she was backed by eleven dancers at the very top of their game; two of whom doubled as ballerinas and a different two being identical twins. SHE'S BEYONCÉ! So, of course she was bound to bring the best damn pop show that New Zealand has ever seen to Auckland's Vector Arena.
But, I'm getting ahead of myself. So let's go back to a time when I knew nothing at all about the 2013 'Mrs. Carter Show World Tour'...
As the lights went out, an introductory video set the scene of Queen B's coronation, signalling the start of her ninety minute set - which flew by without a moment to catch one's breath, let alone be bored - and ending with the 'cast' of the show walking out on-stage like a medieval portrait come to life. Whoever designed the production for the show, ought to win an award for their clever mixing of real-time people playing off 2D screens and the interesting real-life 3D effects that were demonstrated all throughout Beyoncé's set.
Majestic in an off-white 'Timothy White' embellished one-piece bodysuit paired with 'Reed Krakoff' mesh ankle boots, Beyoncé powered through her opening-number, 'Run The World (Girls)', before showcasing the best hair flicks and line-dancing I've ever seen during 'End Of Time', which concluded with a shower of sparks raining all over the stage.
In a spellbinding 'Givenchy' cat-suit, paired with an equally sparkly flat peak hat [with cute cat ears] and spangly superhero cape, Beyoncé showcased her powerful vocal talents all throughout 'If I Were A Boy' - mashed up with 'Bittersweet Symphony' - with no help at all from her back-up singers. I'd like to point out that I can't even remember the last time - if ever - that I witnessed a popstar singing a song all by themselves during an arena show. Others who shall not be named, either rely too much on a backing-track, or leave all the heavy lifting to their backing vocalists - but not Beyoncé.
"A little sweat never hurt nobody..." sung Beyoncé during 'Get Me Bodied', a line which seemed befitting of her devoted fans who were indeed sweating it out as far as the eye could see, and went even more wild for the coquettish 'Baby Boy' and the sassy 'Diva'.
The 'Mrs. Carter Show World Tour' is the most flawless mix of supremely first-class live singing, classy dancing and getting down with fans, that I've ever witnessed from a popstar - incorporated with blessed life lessons from the Queen herself, which were broadcast like Public Service Announcements during the countless video segues between songs and costume changes. Whilst smoking a cigar on-screen, Beyoncé declared to her followers that: "When you become a woman, you celebrate who you are and know that sexuality is a gift. This gift gives you power; this power can manipulate, this power can celebrate. What would you do with this power? Would you let go? Would you surrender? I can make you surrender. If you make the right selection, the passion intensifies like a drug. Are you high right now? Can you picture me? Harnessing the power of your body requires responsibility. Seduction is much more than beauty; it's generous, it is intelligent, it's mysterious, it's exclusive. So tonight, I choose you." If that isn't [unintelligible] wisdom, I don't know what is.
Also, I really admire Beyoncé and all of her female backing-dancers' abilities to dance in high heels without falling over. I cannot fathom it. Personally, I can't even walk on a level surface in heels without tripping up over my own feet. Perhaps that's a sign of true royalty. Or, maybe it's when you have your own glow-in-the-dark bright orange drink bottle that is carried around by a personal assistant whose singular purpose for the night, seems to be the very important job of keeping you hydrated throughout the show.
Asking the sold-out crowd "where are all the sexy ladies tonight?", Beyoncé launched into 'Naughty Girl', dazzling onlookers in a 'The Blonds' nude extremely sparkly long-sleeve leotard, with her back-up singers joining her down on the main level of the stage, to enact their own James Bond-esque title sequence.
Whilst holding court during 'Party', Beyoncé's dancers brought out giant feathered fans, transforming the arena into a burlesque speakeasy/casino and strutting around the stage as if working the catwalk in a Victoria's Secret runway show. Think 'Moulin Rouge!'... and then some.
Later, calling attention to her lead guitarist - whose guitar shot out a shower of flying sparks while shredding a solo! - Beyoncé wowed the crowd in a stunning floor-length red dress with a gold jewelled bodice and daring side slits, completely owning her 'rockstar moment' of the show during 'Freakum Dress'.
Before strutting her way through 'Why Don't You Love Me' in an exquisite 'Emilio Pucci' green fringed dress, Beyoncé paused for applause, standing perfectly still until sufficient enough levels of shouty adoration had been showered upon her. No-one does dramatic effect better. No-one. To reward her loyal subjects, Beyoncé jumped down into the pit and shook hands with overjoyed fans who couldn't believe their luck, as many of them had only had their ticket upgraded minutes before the show started.
Here's a tip: if you're interested in upgrading your GA tickets to the pit, you might wanna turn up in a Beyoncé costume and lurk around on the left of the stage by the barrier, keeping an eye out for a blonde woman wearing a black tour jacket. My main pre-show entertainment consisted of watching her and an associate scan the crowd for what they considered to be deserving fans. Disappointingly, I didn't see anyone dressed in a Beyoncé costume at the show - not even one. So I'd bet good money on even the simplest costume, to stand out and call attention in a packed-out floor area.
The final third of the show featured non-stop hits after hits, with Beyoncé writhing atop a baby grand piano for the entirety of '1+1' clad in a 'Vrettos Vrettakos' navy sequinned jumpsuit with a plunging neckline, once again taking sole charge of vocal duties for the slow-jam, which briefly transported the audience to an intimate club show setting.
An acoustic guitar and bongo drum backed 'Irreplaceable', and saw Beyoncé venture out onto the floor, holding out her microphone to let fans sing lines of their favourite song, as she walked past them on her way to the floor-stage. As the Queen met her people, it became clear that shaking hands, creates shaking fans. I was once unbelieving, but now I get it. I really do.
Disappointingly, 'Countdown' only featured as a video interlude between 'Love On Top' and 'Crazy In Love', during which Beyoncé changed into a gold geometric-patterned leotard with a peplum flip two-tier glittering skirt - reminiscent of the cover artwork for 'The Great Gatsby' soundtrack which Jay-Z executive produced earlier this year.
Needless to say, 'Single Ladies (Put A Ring On It)' was a crowd-pleaser, complete with a rendition of the iconic dance and a golden confetti cannon finale.
First daughter, Blue Ivy, even made a split-second cameo in the show, featuring in the final "I want to leave my footprints in the sands of time..." video segue, much to the delight of fans who cheered even louder while waiting for an encore.
Returning on-stage in a blue and white sequinned mini-dress with beautiful silver fringe detailing, Beyoncé belted out the opening lines of Dolly Parton's 1974 single 'I Will Always Love You' - yes, covered by Whitney Houston for 'The Bodyguard' movie - completely a capella, then encouraging fans to help her sing the song.
Obviously, 'Halo' was the night's finale, and it was beautiful.
"You're so cute, kawaii..." proclaimed Beyoncé, before running through thank you's addressed to all of her crew, during an extremely polite and well-mannered curtain call, of sorts. "I hope you had a beautiful night!" she said in farewell.
In conclusion, Beyoncé says it best herself: "I got beauty, I got class, I got style... and I got ass." She's Mrs. [Jay-Z / Shawn] Carter. She's Queen B. She's one of the most influential people in the world and one of the most successful popstars of all time. She's the complete package; Beyoncé has got it all.
http://www.coupdemainmagazine.com/re...a-october-2013
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Just a bit of shade, but all in the name of TRUTH.
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Member Since: 9/19/2011
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Reporters from Oceania are so SHADY. 
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Member Since: 8/6/2012
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King B deserves the praise.
Can't wait for next tour where she'll be performing New Music!
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Member Since: 8/19/2013
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She really deserves all the praise don't care what anyone says, all I know is that Bey is the best performer and entertainer alive.
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Member Since: 8/19/2013
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Member Since: 8/17/2013
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Member Since: 8/25/2012
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These reviews are too much. It's like they're written by Beyfans 
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Member Since: 8/19/2013
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you know you're good when Aussie critics praise you - coz otherwise they will DRAG you to pits
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Member Since: 10/29/2010
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Fierce Queen Bey rules Melbourne
Queen Bey's Mrs Carter Melbourne concert was a celebration of fierce, womanly independence by a master at the top of her game.
It was a powerful mix of newer songs from her most recent album, 4, such as Love On Top and Party, and classics like Crazy In Love.
Just when you thought the showstopper moment had happened at Melbourne's Rod Laver Arena on Tuesday night, Beyonce whipped out another.
Early on, a line of fire sprung up on stage as Beyonce sang Naughty Girl.
Then there was the ballad 1 + 1, where she lay atop a piano wearing a glittering purple jumpsuit.
Another wow moment arrived when she glided over the audience suspended in the air, landing on a smaller stage to belt out Irreplaceable and I'm A Survivor.
"Now this is not the show for you to sit down and be cool," she told the crowd after opening her performance with Run The Wold (Girls).
"I want you all to get lost in this night. I want you to sing and dance like children and I want this to be magic."
Beyonce not once let her dance moves, which she manages to make look effortless, impact her incredible voice.
Almost like a headmistress, she commanded the audience to say `Hey Mrs Carter', punch the air and chime in on favourites like Single Ladies.
Beyonce's queendom was filled almost exclusively with fellow female artists, with the exception of the unbelievable dancers, the Les Twins.
She capped off the evening with a tribute to Whitney Houston before finishing on 2008 hit, Halo.
http://au.news.yahoo.com/entertainme...les-melbourne/
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Review: Beyonce
The little girl as princess is a relic. In Beyonce's world there's only one kind of royal worth being, apparently, and that's Queen.
If we were ever in any doubt of where this church singer from Houston, who first flamed into the public's consciousness as a teenager in a '90s girl group, saw herself in pop's pecking order, it was allayed the moment the curtain emblazoned with her personal crest fell to the stage. As a powder-faced Beyonce Knowles-Carter, cinched and winched into a regal corset, moodily moved across huge video screens her crinoline-clad dancers and all-female band emerged with the bombast levels turned up and the woman herself rising from the floor in full hair-fan diva stance.
The natural progression to all this hype, of course, was her ode to female power Run the World (Girls), the bassline crunch and Diplo-styled synths providing the sonic backdrop to the first of her tightly choreographed songs and perhaps even more impressive hair flicking. The crowd, already electrified by the mere sight of the now crumpled curtain, were by this point a trilling mass of (mostly female) voices and stomping feet.
ut whereas Beyonce's onstage queen was decidedly gilt-edged, elsewhere in her two hour-long set she espoused a more humble kind of royalty. Through some quasi-philosophical video segues the packed Rod Laver Arena saw glimpses of a Beyonce in burnished tiara and tattered tutu against the mantra "remember who you are and who you were born to be" or, much later, as a mum to Blue Ivy, charity fundraiser and casual acquaintance of Barack Obama. Other times she was her old alter ego, Sasha Fierce - all crunk and attitude in the underrated Diva or commanding soul revivalist in the mega-hit Single Ladies. Indeed her chameleonic qualities were evident throughout as she gave a nod to some of pop and RnB's greatest names including Tina Turner and Michael Jackson (could that briefest of Human Nature refrains also have come from SWV?) and even channelled more Whitney than Dolly in a rendition of I Will Always Love You, morphing that song into her emotional, endearing set-closer Halo.
By the end of her first Australian show we'd seen her as a Vegas showgirl (Party), a seductress (Naughty Girl), a flying glitter bomb (Irreplaceable, Love on Top) until finally she was a playsuit-rocking riot of colour, animal print pram and all (Grown Woman). And it's in this last bit where the latest Beyonce narrative becomes clear. Her global tour may be called the Mrs Carter Show but she's grown up, definitely in charge and, while she's been many things in her decade-long solo career, for now at least, Beyonce still rules.
http://www.smh.com.au/entertainment/...#ixzz2iSy2mZH7
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Bow Down, Australia - Beyoncé Melbourne Review
Bow down Australia. Because Queen Beyonce has landed and she is about to take you on the amazing journey that is the Mrs Carter Tour.
Beyonce kicked things off on a typically rainy Melbourne night, and while it was cold outside it was absolutely sweltering inside Rod Laver Arena. The floor was packed, and everyone was ready to welcome the lady herself to the stage.
A Mexican wave signaled that the audience was ready to party with Bey. and then we were off on a ride that I hoped would never end.
The concert opened with Run The World (Girls), and gave us a taste of what we were in for. Sexy costumes, amazing vocals and lots of incredible dancing. Plus plenty of trademark poses and sultry stares at the audience, as well as a surprising amount of interaction with those lucky enough to be right in front of the stage.
There were plenty of costume changes, ranging from leotards to sparkly jumpsuits and everything in between. Beyonce lounged on a piano, flew through the air, and let some audience members sing the lines of some of her songs. Possibly a mistake, because most of them were pretty bad. All the songs you love were there: Baby Boy, Naughty Girl, Irreplaceable, Love On Top, Crazy In Love, Single Ladies and plenty of other familiar tunes.
Beyonce’s on stage crew is nearly all ladies, apart from two male dancers. The whole band is female, and they’re known as the Sugar Mamas. And they can play. And her dancers are ridic: those girls can move, and they all have great hair.
All too soon it was time for Halo, which meant that it was nearly time to say goodbye to Beyonce. I have to admit, I review a lot of concerts. I often find myself checking the setlist to see how much longer the show has to go. But not with Beyonce. It could have gone forever and I would have been happy.
http://www.thehothits.com/news/42975...urne-australia
Bey-day arrives - Beyonce starts Australian tour in Melbourne
Her first Australian concert on the new Mrs Carter Show world tour was truly something to Bey-hold.
It was filled with non-stop 'because I can' moments that Beyonce makes look effortless.
And an energy and natural talent which would embarrass most of her contemporaries.
"This is not the show for you to sit down and be cool," Beyonce warned the adoring crowd early on.
Very few seats were used.
Watching Beyonce transcend from star to artist has been fascinating. She was at the top of her game when she sacked her father as manager and officially took over creative control.
The resulting album, 2011's 4 did more than merely aim for the charts again.
Fans thought Beyonce would have a new album out in time for this 2014 world tour. Nope.
It's not right so it's not coming out yet. Then again it could be ready to release next week. Such is the mysterious, spontaneous new Beyonce.
Likewise her latest tour has a superstar budget and epic production, but with a maverick creative streak.
The show looks incredible, with state of the art visuals.
But it's the personal touches that make it special - bringing back the all girl band, mixing Bitter Sweet Symphony into If I Were a Boy and paying tribute to her heroes Whitney Houston and Donna Summer.
She's fierce street dancer one minute for Diva, Vegas disco showgirl for Party the next. And there's no holding back letting the dancers do the heavy lifting. And no letting her intense dancing stop her vocal power. Her concert is a master class in performance.
The set list is bold - there's chart toppers (Crazy in Love, Irreplaceable, Baby Boy, Naughty Girl, Survivor) but it's far from a lazy greatest hits show.
4 provides some of the best moments - from the unbridled old school funk of Love on Top to the goosebump-creating emotional vocals on 1+1, as delivered atop a grand piano.
Just after delivering the perfect pop of Crazy in Love Beyonce notes "In ten years time y'all say 'I was at Beyonce concert'." Because she can - and she's right.
With Pink and now Beyonce, we've seen two young women skyrocketing the bar for live entertainment this year.
http://www.news.com.au/entertainment...-1226744568207
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