The biggest blockbuster of summer 2023–Beyoncé’s Renaissance World Tour–is officially here. The international run supporting Bey’s acclaimed seventh studio album began on May 10 in Stockholm, and as her first solo tour in seven years (she toured with Jay-Z internationally in 2018), anticipation was at a fever pitch (especially considering the album is almost a year old and still has no music videos). Social media was littered with fan reporting on the setlists and videos, showcasing killer runs, wardrobe changes, and, uhh, robotic arms –all contributing to the overall impression that once again, Beyoncé delivered.
Yet another, unexpected narrative has emerged as well: Is this a farewell tour?
Some have interpreted the career-spanning nature of the set list, presently measuring in at 36 songs and well over two hours, and full of deep-cut tracks fans have begged to see live for years, as indicative of her intent to give the Beyhive everything they’ve ever asked for before she leaves touring behind for good. Others have pointed out that this is simply her first time on a solo tour in years, and it would be natural to try to cover the breadth of her discography – not to mention unthinkable for a 41-year-old with an all-time great command of the stage to walk away entirely.
Nothing she actually said on stage confirmed or denied any of the theories, but one thing’s for sure: Beyoncé, ever the completist, has gone big to reassert herself in her return to the stage. The diva listed herself as her own opener, performing deep cuts like “Dangerously in Love” and “I Care,” and even some C-Sides, like the underrated Destiny’s Child banger “Nuclear,” before segeuing into the main show showcasing the new album. Neither did it escape fans’ notice that she incorporated these songs in lieu of mainstream, ubiquitous hits like “Single Ladies” or “If I Was a Boy.” The setlist was likewise notably devoid of any heartbreak tracks like “Me Myself and I,” and omitted songs from Lemonade*—*her previous album that dealt with themes of infidelity—entirely, save “Formation.” The show instead leaned heavily into Renaissance’s themes of celebration and queer culture, with a pause for a full-on ballroom rave and a shoutout to Beyoncé’s late uncle Johnny, to whom she previously dedicated the album, dubbing him her “godmother.” She also credited Johnny for exposing her to the house, dance, and club music that inspired the LP.
Of the evening’s many wardrobe changes and setups, the early favorite is Beyoncé leaning all the way into the Hive mentality with a full bee-getup that looked like a costume out of the X-Men rogues gallery, while reporting for “KNTY News” (you can sound that one out on your own). Sharp-eared fans also caught what appeared to be a reference to Donald Glover’s not-so-thinly veiled series Swarm (the name itself a pretty undeniable reference to the “Bey-hive”), which focused on one disturbed young fan of a Houston-born pop star who (wink wink) wasn’t Beyoncé. “Swarm on these hands,” she said, in what’s being interpreted as a moderate swipe at Glover’s program.
And only at a Beyoncé show is the other people’s music that’s played over the speakers important enough to go viral. Fans made a huge deal about Bey using a portion of Britney Spears’ “Toxic” to open Renaissance’s “Thique,” and Lil Uzi Vert’s “Just Wanna Rock” as a musical blend for a dance breakdown. There were no guests, but Beyoncé did do a Mary J. Blige cover.
The European leg of the tour runs through June 28, before the North American dates pick up with Toronto on July 8. She then plays the U.S. between July 12 in Philadelphia and September 27 in New Orleans. That’s a grueling run, even for Beyoncé and her horse, Reneigh.