God save Beyoncé

Mondays. Garfield hates them, the Bangles called them manic, and a Madchester duo claimed they were Happy. We all dread them on Sunday evenings. But sometimes, something can come along to rescue your Monday from the jaws of dread. It could be a trip to the cinema. Or a rare Monday social event. Or even, a trip to the Tottenham Hotspur Stadium to see pop’s premier act, Beyoncé, on her tour to promote her latest album, Cowboy Carter.

I slammed my laptop shut with gusto and rallied myself to venture to north London’s biggest (by capacity) football stadium for an evening of country and pop ditties.

Venue

This was my third visit to Spurs’ home ground, once for football (a women’s North London derby in fact) and once to see Beyoncé before. It is an incredible spectacle in fairness to Daniel Levy and co, with a good array of bars and huge toilets. Attending a Beyoncé gig has more benefits as a male fan, as the queues for the toilets are miniscule.

Our seats were on the lower tier, but at an angle so we had a great view of the stage and catwalks (or ‘ego walks’, as Royal Blood’s Mike Kerr calls them). Unfortunately, a large pylon blocked some of the stage, but this is always a risk when watching an outdoor show.

Some criticism was levelled at the Tottenham Hotspur Stadium for its perceived lack of focus on football and instead on the other entertainment it could be used for, such as baseball, American football, concerts and rugby. Having consumed both football and music there, it is brilliant for both. Not to rant, but to watch football matches I prefer the ‘old school’ four stand stadiums oppose to the modern bowls. You lose atmosphere in the bowls, in my opinion. However, the bowls are very good for watching music, as you can fit in more fans and there are great views across the board.

Apologies to any Arsenal fan readers, but the Tottenham Hotspur Stadium is a very impressive stadium. The high stand is an imposing beast and the seats are comfortable (game’s gone, woke nonsense etc). It is easy to get to, being a 25-minute walk from Seven Sisters. Getting out isn’t easy, but it never is from this kind of event.

The crowd

Has there ever been more cowboy hats and ass-less chaps in one location? I’m not sure. This crowd knew the assignment and met it with flying colours.

The vibe was strong, friendliness rife and a very diverse crowd. Everyone I spoke to was very lovely and well up for a dance and sing.

We were armed with light-up wristbands, which seem to be becoming more and more popular since Coldplay brought them to the table recently. You had to return the light, but the wristband was one to take home. Always good to have a keepsake.

Like moths to a flame

Beyoncé

This was my third time seeing the pop queen extraordinaire, a fact which often surprises my peers. I'm unsure why, as why would anyone not want to see one of the premier live acts in the world right now, hot off the back of a brilliant album? My two previous viewings were on the On the Run II Tour (OTRII) and the Renaissance tour respectively. OTRII was a joint tour with husband Jay-Z, and I caught them at the London Stadium. As a Beyoncé fan, I was fairly uninterested in seeing Jay-Z, but I was very pleasantly surprised. Big Pimpin' was a rogue highlight. My second Beyoncé viewing was at the Tottenham Stadium for Renaissance. A club night-like performance, she rattled through the vast majority of Renaissance at breakneck speed. 

Beyoncé is as much an enigma as she is a mainstream powerhouse. With an almost demigod-like status these days, Beyoncé has really developed from her humble beginnings. Somewhat relatable and approachable in the early 2000s, her image has developed into something transcending your usual popstar. Interviews are very rare nowadays, with her having only done a couple in the last decade. This, coupled with her and Jay-Z's relative withdrawal from public exposure, has only added to her mystique. It is an odd thing to suggest that an international household name has turned into something of an unknown. We all know who her husband is, her children (particularly her daughters) are in the public eye through her live shows - so why is Beyoncé now such a mystery? It is difficult to put a finger on it, but her rowing back on her public image and exposure has created a real fascination. 

Despite this, her music and image still deliver some clear and hard-hitting messages, particularly around race. Again, this is my third time seeing Beyoncé and I came away for a third time with a sense of this show being a celebration of her heritage as much as a performance of her music. Black artists from yesteryear feature heavily on the screens throughout, along with clips from films with prominent black characters. This is a showcase of African American artistry in the 20th century, soundtracked by Beyoncé's latest effort and a host of old favourites. 

The offending pylon

Opening with American Requeim, the tone is set from the off. This anthemic powerhouse is my second favourite from Cowboy Carter and was the only possible opener to this show. Launching straight into Blackbird, her brilliant cover of The Beatles classic, the whole stadium joins in for this rousing rendition. McCartney must surely approve of this version of his classic. Following Blackbird was an out-of-pocket rendition of the Star Spangled Banner, something I questioned as to whether it was laced with irony, or bruising pride. Irony was the answer, with messages adorning the screen as to the freedom, or lack thereof, of African Americans. Another stark and much-needed reminder of the issues still being suffered in America as we speak. A shortened version of Freedom followed, the motivational beast from Lemonade. Beyoncé is not one for live guest appearances outside of her own gene pool, so an appearance from the studio version's guest Kendrick Lamar was unlikely, but this version was brilliant nonetheless. A meaty refrain and the 'I can do fucking anything' attitude to its chorus, Freedom is high on many people's list of Beyoncé's top songs. 

The strong start continued with YA YA, my favourite from Cowboy Carter. This is a rip-roaring smasher from Beyoncé, with some brilliant samples and hooks throughout. The energy on the record is incredible and this translates perfectly to the live show. I am so grateful I have seen this song live, as it is a sight to behold. 

What followed is the same as Beyoncé's Renaissance tour, with the show divided into Acts. Each Act is divided by way of interlude with never seen before clips of Beyoncé in all kinds of scenarios, including portraying a 400-foot cowboy (parodying Attack of the 50 Foot Woman) and plenty of spaghetti western spoofs, including a denim-clad Beyoncé walking an alligator on a lead after a shootout. This material is now a staple of her live show, with different types of footage being shown when I saw her on OTRII and Renaissance. I often wonder how much money Beyoncé could generate if she compiled all of this footage and sold it via physical or digital release. I think the Beyhive would happily part with their hard-earned cash for the chance to consume this content on a regular basis if afforded the opportunity. The visuals are brilliant and Beyoncé's outfits are even more crazy than mental. Cynically, it is challenging to work out whether she is laughing at herself in some of these clips, or if they are viewed as high art. Some are genuinely hilarious, particularly one where we see one version of Beyoncé dancing seductively for another version of Beyoncé. She previously demonstrated that sense of humour in interviews back in the day, so hopefully that prevails today, despite her superstardom.

The leader and her pack

Speaking of outfits, these interludes are naturally the perfect chance for outfit changes for both Beyoncé and her incredible dancers. The troupe are afforded the chance to take centre stage, particularly towards the end of the show where a few get the chance to showcase their skills. Some of these dancers would make a contortionist blush if afforded such an opportunity. 

As ever, Beyoncé’s family featured in this show. Blue Ivy Carter and Rumi Carter, her two daughters, took to the stage during several songs and Protector respectively. I’m still slightly unsure about the obsession with Beyoncé and Jay-Z’s children and an unsure about the decision to have them in the public eye so much, but Blue Ivy is a good dancer now (she had previously skulked around the stage with little rhythm or dynamism). Does she add a huge amount though? The jury is out.

Beyoncé rattled through Cowboy Carter at speed, before arriving at the 5th Act, aptly named Tease. This was where the stadium absolutely erupted. I will let the set doing the talking: 

• Texas Hold 'Em (with a snippet from one of my favourites from Renaissance, Church Girl) 

• Crazy in Love

• Single Ladies (Put a Ring on It)

• Love on Top

• Irreplacable

• If I Were a Boy 

• Jolene 

• Daddy Lessons

• Bodyguard

• II Most Wanted

• Cuff It

  
  

When I say this garnered joy, tears and shock alike, I am not exaggerating. A usual setlist fiend, I managed to resist temptation before the show; and I am so glad I did. If I Were a Boy and Single Ladies were incredible surprises, especially as I have never seen either live before. Neither song had been performed live since 2014 and 2018 respectively. Incredible setlist assembly by Mrs Carter and her team. Daddy Lessons was another great surprise, perhaps not that much of a surprise due to its country connotations. Cuff It saw Beyoncé transported to our side of the stadium, meaning we were treated to an incredible showing. 

One thing I definitely noticed from this performance, particularly when compared to the other two I have seen, was the sheer joy you could feel from Beyoncé. OTRII was on a similar level, but she was naturally watered down by Jay-Z's inclusion (not a complaint, just an observation). Renaissance, however, felt much more like a club night and was very tight, professional and almost serious. Cowboy Carter seems to have brought out a joy in Beyoncé which I do not think we have seen for a while. Smiles, laughs and crowd interaction were aplenty during this performance which, again, was not the case on the Renaissance tour. This felt like much more of a show for the fans than the previous shows I had seen, particularly evidenced by the Tease act. Fan service was in full force and Beyoncé knew it. 

A Grease impression to close out proceedings

Post-Tease, the show continued with a raft of Cowboy Carter and Renaissance hits, but Break My Soul was conspicuous in its absence. A triumphant closing with Beyoncé sailing around the stadium on a suspended car (her second suspension after flying around on a horseshoe) to 16 Carriages and Amen saw us into the night in high spirits. She was truly brilliant once again, and as she conducted a lap of honour, I could not help being struck with the reality of the show I had just seen. Such a display of artistry, power and musicianship does not come along very often. The incredible staging, choreography and Beyoncé’s voice simply cannot be beaten by many other artists in the world right now. Returning home weary eyed and tired after a lengthy Lime bike home, I became excited for the future Beyoncé shows I may consume in London and beyond. She has developed into such a unique artist and I can’t wait to see and hear what is next.