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Beyonce Announces 2023 Renaissance World Tour

The 41-show global outing kicks off in Stockholm in May.

By Carl Lamarre

Carl Lamarre

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The announcement photo may look familiar to fans, as she donned the same glittery attire on the cover of her seventh studio album. Bey also added “Renaissance World Tour” on her Instagram bio, further accenting the news. Last week, Beyonce performed a full concert for the first time in four years at a luxury resort in Dubai in front of influencers and journalists. The 19-song set included a collaboration with her oldest daughter Blue Ivy as the two performed “Brown Skin Girl,” which earned them a Grammy two years ago for best music video.

Crowned a triumphant win by music lovers, Renaissance stormed to No. 1 on the Billboard 200 last year and rattled off two Hot 100 top 10 hits, including her chart-topper “Break My Soul.” The dance-centric album also notched nine Grammy nominations, the most for any nominee for this year’s ceremony. Bey is looking to rack up more trophy wins, as she currently sits at a staggering 28 wins. Nominated for album of the year, song, and record of the year, Bey is facing some stout competition , especially in the former. The R&B juggernaut will tango against Adele, Harry Styles, Kendrick Lamar, Bad Bunny, and more for album of the year. A win in this category would serve as Beyonce’s first. The 65th Grammy Awards will occur Sunday night in Los Angeles at 8 pm EST.

Check out Beyonce’s Instagram post and 2023 Renaissance dates below.

View this post on Instagram A post shared by Beyoncé (@beyonce)

2023 Renaissance European dates :

May 10 — Stockholm, SE @ Friends Arena

May 14 — Brussels, BE @ King Baudouin Stadium

May 17 — Cardiff, UK @ Cardiff Principality Stadium

May 20 — Edinburgh, UK @ BT Murrayfield Stadium

May 23 — Sunderland, UK @ Stadium of Light

May 26 — Paris, FR @ Stade de France

May 29 — London, UK @ Tottenham Hotspur Stadium

May 30 — London, UK @ Tottenham Hotspur Stadium

June 8 — Barcelona, ES @ Olympic Stadium

June 11 — Marseille, FR @ Orange Velodrome

June 15 — Cologne, DE @ Rhein Energie Stadion

June 17 — Amsterdam, NL @ Johan Cruijff Arena

June 21 — Hamburg, DE @ Volksparkstadion

June 24 — Frankfurt, DE @ Deutsche Bank Park

June 27 — Warsaw, PL @ PGE Narodowy

2023 Renaissance North American dates :

July 8 — Toronto, CA @ Rogers Centre

July 12 — Philadelphia, PA @ Lincoln Financial Field

July 15 — Nashville, TN @ Nissan Stadium

July 17 — Louisville, KY @ Cardinal Stadium

July 20 — Minneapolis, MN @ Huntington Bank Stadium

July 22 — Chicago, IL @ Soldier Field

July 26 — Detroit, MI @ Ford Field

July 29 — East Rutherford, NJ @ Metlife Stadium

August 1 — Boston, MA @ Gillete Stadium

August 3 — Pittsburgh, PA @ Heinz Field

August 5 — Washington, DC @ Fedex Field

August 9 — Charlotte, NC @ Bank Of America Stadium

August 11 — Atlanta, GA @ Mercedes Benz Stadium

August 16 — Tampa, FL @ Raymond James Stadium

August 18 — Miami, FL @ Hard Rock Stadium

August 21 — St. Louis, MI @ Dome at America’s Center

August 26 — Las Vegas, NV @ Allegiant Stadium

August 30 — San Francisco, CA @ Levi’s Stadium

Sept. 2 — Inglewood, CA @ Sofi Stadium

Sept. 11 — Vancouver, BC @ BC Place

Sept. 13 — Seattle, WA @ Lumen Field

Sept. 18 — Kansas City, KS @ Arrowhead Stadium

Sept. 21 — Dallas, TX @ AT&T Stadium

Sept. 23 — Houston, TX @ NRG Stadium

Sept. 27 — New Orleans, LA @ Caesars Superdome

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Beyoncé adds extra dates for long-awaited Renaissance World Tour: See show schedule

"Please do not be alarmed, remain calm. Do not attempt to leave the dance floor."

Beyoncé announced her long-awaited tour for her seventh studio album " Renaissance " on Wednesday to kick off Black History Month . Demand for tickets skyrocketed so fast, the artist added second show dates seven cities: Toronto; Chicago; Washington D.C.; Atlanta; Houston; Inglewood, Calif. and East Rutherford, New Jersey.

The album, which debuted in July, is an ode to Black queer culture. Disco anthems, soulful ballads and sexy lyrics are packaged together in "Renaissance."

"RENAISSANCE WORLD TOUR 2023," she shared on Instagram .

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Full Renaissance World Tour dates

Beyoncé's world tour kicks off in May and ends in September and includes stops in Nashville, Louisville, Chicago, Detroit, New York, Boston, Miami, Phoenix, Las Vegas, Los Angeles and many more.

Note: Some dates have changed. For the most up-to-date information, visit  tour.beyonce.com .

• May 10: Stockholm, SE (Friends Arena)
• May 14: Brussels, BE (Baudoin Stadium)
• May 17:  Cardiff, UK (Principality Stadium)
• May 20: Edinburgh, UK (Murrayfield)
• May 23: Sunderland, UK (Stadium of Light)
• May 26:  Paris, FR (Stade de France)
• May 29: London, UK (Tottenham Hotspur Stadium)
• May 30:  London, UK (Tottenham Hotspur Stadium)
• June 6:  Lyon, FR (Groupama Stadium)
• June 8: Barcelona, SP (Olympic Stadium)
• June 11:  Marseille, FR (Orange Vélodrome)
• June 15:  Cologne, DE (Rheinenergiestadion)
• June 17:  Amsterdam, NL (JC Arena)
• June 18: Amsterdam, NL (JC Arena)
• June 21:  Hamburg, DE (Volksparkstadion)
• June 24: Frankfurt, DE (Deutsche Bank Park)
• June 27:  Warsaw, PL (Pge Nardowy)
• July 8:  Toronto, CA (Rogers Centre)
• July 9: Toronto, CA (Rogers Centre)
• July 15: Nashville, TN (Nissan Stadium)
• July 17: Louisville, KY (L&N Federal Credit Union Stadium)
• July 20: Minneapolis, MN (Huntington Bank Stadium)
• July 22: Chicago, IL (Soldier Field)
• July 23: Chicago, IL (Soldier Field)
• July 26: Detroit, MI (Ford Field)
• July 29: East Rutherford, NJ (Metlife Stadium)
• July 30: East Rutherford, NJ (Metlife Stadium)
• Aug. 1: Boston, MA (Gillette Stadium)
• Aug. 3: Pittsburgh, PA (Heinz Field)
• Aug. 5: Washington, DC (FedEx Field)
• Aug. 6: Washington, DC (FedEx Field)
• Aug. 9: Charlotte, NC (Bank of America Stadium)
• Aug. 11: Atlanta, GA (Mercedes Benz Stadium)
• Aug. 12: Atlanta, GA (Mercedes Benz Stadium)
• Aug. 16: Tampa, FL (Raymond James Stadium)
• Aug. 18: Miami, FL (Hard Rock Stadium)
• Aug. 21:  St. Louis, MI (Dome at Americas Center)
• Aug. 24: Phoenix, AZ (State Farm Stadium)
• Aug. 26: Las Vegas, NV (Allegiant Stadium)
• Aug. 30: San Francisco, CA (Levi's Stadium)
• Sept. 2:  Inglewood, CA (SoFi Stadium)
• Sept. 3:  Inglewood, CA (SoFi Stadium)
• Sept. 11: Vancouver, CA (BC Place)
• Sept. 13: Seattle, WA (Lumen Field)
• Sept. 18: Kansas City, MO (Arrowhead Stadium)
• Sept. 21: Dallas, TX (AT&T Stadium)
• Sept. 23: Houston, TX (NRG Stadium)
• Sept. 24: Houston, TX (NRG Stadium)
• Sept. 27: New Orleans, LA (Caesars Superdome)

How to purchase tickets, presale information

Ticketing begins Feb. 6, starting with an exclusive presale to BeyHive members.

There are several presale ticket options for Beyoncé fans. Verified fan registration for North American dates are available on beyonce.livenation.com  and Ticketmaster . Citi cardmembers will have access to a presale via citientertainment.com . Verizon Up members can buy presale tickets at  verizon.com/featured/verizon-up .

Visit the various websites for more on presale tickets as times vary by city.

You can also find "Register" buttons next to each date on her tour website .

Beyoncé returned to the stage for first time in four years in January

Last month, Beyoncé made her return to the stage and performed at the opening of the Atlantis The Royal hotel in Dubai. Despite the luxury experience, the singer left fans wanting more, as she did not perform any songs from "Renaissance," The Hollywood Reporter reported.

The invitation-only event marked her first concert in more than four years. She last performed at the  Global Citizen Festival: Mandela 100 event in 2018.

Beyoncé dominates Grammy nominations

The singer's tour announcement comes days ahead of the Grammys where Beyoncé leads the 2023 lineup with nine nominations, including best dance/electronic album ("Renaissance"), best R&B performance ("Virgo’s Groove") and best traditional R&B performance ("Plastic Off the Sofa"). 

With 28 wins and 88 total career nominations, Beyoncé now ties her husband, rapper Jay-Z , for the most nominations in Grammy history. If Beyoncé picks up four or more awards this year, she will surpass the late Georg Solti for the most Grammy wins of all time. (The Hungarian-born conductor holds the record with 31.) 

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Beyoncé and Jay-Z have got "to be the most intense power couple in the history of music," Recording Academy president Harvey Mason Jr. Mason said after the nominations were revealed. "That’s music and Grammy royalty – that’s the royal family."

Their combined 176 nominations are "absolutely a testament to their talent, to their level of excellence, to their work ethic, to their level of greatness over a long period of time. I don’t even know what the next (leading) couple would be, but it’s not anywhere close.”

Beyoncé's 'Break My Soul.' Taylor Swift's 'Anti-Hero.'  These are the 10 best songs of 2022, ranked.

Beyoncé noticeably was not nominated in any of the music video categories for the Grammys, having not released any album visuals for "Renaissance" since its debut.

Contributing: Patrick Ryan

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Regarding Beyoncé, Mother of the House of Renaissance

By Julianne Escobedo Shepherd

When Renaissance dropped last summer, it was perfect timing. The masses were ready to shake off that last bit of ennui wrought by pandemic isolation, and Beyoncé exhorted us to celebrate that we were alive en masse, and to do so in the face of all that was scary: crowds, evil bosses, legislators, haters, the Supreme Court. “ Break My Soul ,” the single indebted to ’90s vocal house, was a jubilant, defiant protest. Its arrival on June 20, 2022, just four days before SCOTUS overturned Roe v. Wade , meant that it soundtracked furious pro-choice rallies across the country. It also lent itself to a larger landscape: a perfect lip-sync song in the era of state-level drag bans, a song of strength devoted to Black women and LGBTQ people in the ongoing fight for justice.

Millions of people have been enthralled by Beyoncé’s live imagination of Renaissance since it hit the road this May in Stockholm. When I saw her perform for a crowd of 82,000 at New Jersey’s MetLife Stadium this summer, it was impossible not to think of this timing. Her vehement demand for joy as an intervention was on full display, on giant glittering screens projecting her every expression and accessory. The pan-African flag gleamed across the masses as she sang “Black Parade” from atop a silver tank, her eleven-year-old daughter Blue Ivy raising a Black Power fist at her flank. The sound of ballroom artist Kevin JZ Prodigy commentated “cunt to the feminine what, ow” in staccato cracks as she hand-twirled into the quiet ferocity of “Cozy.” The rejuvenating tribute to her idol, the icon and queen of rock Tina Turner, with a transcendent rendition of “River Deep, Mountain High.” The retrofitting of the famous Italian painting The Birth of Venus , in which she emerged like a pearl on the half shell via Flora Purim singing “Plastic Off the Sofa.” The visibility she gave her inclusive, euphoric array of dancers and performers, including those who were nonbinary, transgender, plus-size, and, in the case of one trumpeter in her famous all-woman band, pregnant. The space she gave voguers from the ballroom scene, including Darius Hickman , Carlos Basquiat , and Honey Balenciaga , to express the beauty of their art.

That concert was one day after one of her fans, a 28-year-old Black dancer named O’Shae Sibley , was murdered in a racist and homophobic hate crime at a gas station in Brooklyn, simply for voguing to Renaissance . (The chant that followed at a memorial in Los Angeles, one of several across the country, went: “O-O-O-Shae. He was voguing to Beyoncé.”) Balenciaga took time off to join mourners in Brooklyn, and Beyoncé paid her respects . O’Shae Sibley’s death underscored the importance of her speaking directly to her queer fans, using her massive power as a place for others to reflect themselves back and, one hopes, teach everyone else respect and tolerance. The devil is working hard , but Beyoncé works harder.

And in a disquieting climate in which a young Black man can be targeted simply for expressing his joy, it’s a massive relief to experience something that feels like an unencumbered blast of good, even amidst the very real fact that inclusion and catharsis is not protection . In that way, Renaissance has been the year’s defining, galvanizing cultural event, a release in which the catharsis of the club has been replicated on a massive scale. Fashion alone has been altered irrevocably: Beyoncé’s custom looks for each concert are chronicled in all their intricate splendor on her Instagram , and her label Parkwood has been posting the fans in kind, showcasing their gorgeous outfit photos from each tour stop. (In late August, Beyoncé requested attendees “wear your most fabulous silver fashions” in honor of her birthday and Virgo season.)

The way attendees have been showing out reflects their widespread intent to be active participants in one of the most inclusive pop tours ever staged. They’ve spent massive amounts of money to travel overseas for early stops of the tour, to buy outfits that represent both the flashiest church and sophisticated club afters, and to be a member of the Renaissance. I saw these things span across age, race, gender identity, sexual orientation, even class differences, as evidenced by the high-low range of the style and ingenious amount of DIY fashion. While the active, enthusiastic participation has been delicious for fans to watch online, it felt even better to be cocooned in it in person—throngs of showgoers clad in glimmering sequins, silvery cowboy boots, iridescent hats, and LED accessories, taking a cue from the Renaissance cover art and Beyoncé's equine partner, the mirrorball-clad Reneigh. (Everyone, it seems, is a horse girl now.) Fans have been instrumental in the actualization of the tour and the crucial key to its ambience and sense of communal activity. When I was there, even the security was hype. In my row in the stands, an exceedingly jovial guard—over-50 and white, with a Jersey accent—took outfit photos for showgoers with their phones. When he saw my friend and I laughing happily at his enthusiasm, he admitted with a grin, “I turn into a bad bitch for Mrs. Carter!”

That fandom and connection goes beyond the camaraderie and aesthetics of such a show. In the realm of performance, there is simply no one better than Beyoncé, who is living proof that women don’t wither and die in middle age, they flourish. For the duration of her career, she has delivered pristine vocals alongside punishing athleticism, all while holding her facial expressions at exactly the correct angle and leading a gargantuan stage with tens of dancers and musicians. It’s the level of greatness that solicits respect from the greats themselves. On the Renaissance tour stop that fell on her birthday in September, Diana Ross—79 and still going strong—came onstage to support Beyoncé, leading a muva-to-muva singalong of “Happy Birthday” that ended with a heartfelt hug. “I’m thankful for every flaw, every stretch mark, every FUPA… I’m thankful that I’m here, at fuckin’ 42,” Beyoncé said before the going into the song “Flaws and All.” She held court in a black lace gown custom-made by Dolce & Gabbana, looking every bit the regal diva, making a promise that she’s nowhere near half-done. There is strength in seeing adult women command such massive audiences, and a reminder that our own wrinkles, or stretch marks, or crow’s feet don’t define us, but rather showcase our experiences and wisdom.

Beyoncé opens the Renaissance shows with a run of four ballads, including a majestically felt rendition of “Dangerously in Love” and Mary J. Blige’s “I’m Goin’ Down”—itself a cover of ’70s soul group Rose Royce—that grounds her as a brolic purveyor of blues. Through the rhythmic three hours that follow, she interpolates—live remixes, really—her own discography into itself as well as intergenerational cuts from other artists (“Love on Top” with the Jackson 5’s “I Want You Back,” to cite one ). Three-quarters of the way through the concert, she performs her transcendent cover of Frankie Beverly and Maze’s “Before I Let Go,” a nod to her Homecoming album and another link from her own music to Black pop hits past. She improvised deep cuts, too: upon seeing Tia Mowry in the Los Angeles crowd, she interpolated a bit of “ Yeah, Yeah, Yeah ,” a song Mowry released with her girl group Voices in 1992, when Bey was a tween. Throughout, she deploys the sorts of extravagance and camp that ballroom values, Mothering outlandishly through her “Heated” commentating , inspiring Beyoncslay memes across social media, and making an interactive game out of which city shushes most thoroughly when she sings “look around, everybody on mute” in “Energy.” (Houston seems to have won.)

No one else at this level possesses the same combination of historical gravitas and trenchant work ethic, or uses their platform to link their work to the roots of American Black music and beyond. Take, for instance, the segment in the Renaissance tour when she uses a costume change break to edify the audience about the history of house, with videos about its importance set to soundtracks like “ Percolator ” and “ Hot Music ,” the unofficial theme songs of New York City block parties for three decades. She not only grounds Renaissance in a long lineage, she reminds audiences that house music is Black music, and important to understanding its presence. To that end, she has enlisted a slate of young, queer, Black, and regional DJs to provide opening music—and vibes—for Club Renaissance, including Arca, Ariel Zetina, Mike Q, and Uniiqu3, both cosigning them and giving them the rare opportunity of playing music for stadiums. She’s also blessed regional stars at certain chosen stops—Kendrick in L.A., Megan Thee Stallion performing the “Savage Remix” for the first time ever in Houston, and a solid rumor that Big Freedia will join her on “Break My Soul” for her stop in New Orleans this week.

It’s hard to think of a massive pop tour that speaks so clearly and perfectly to its sociopolitical moment as the Renaissance tour. Beychella , to be sure, Beyoncé's 2018 culture-shifter devoted to Black feminism, HBCUs, and the nuances of various Black artforms. Before that, perhaps Madonna's 1990 Blond Ambition tour, when she performed “Vogue” in an earlier era of heightened homophobia and transphobia, flaunting her sexuality and power in a time when silence equaled death . As it happened, Madonna was in the audience in New Jersey , witnessing Beyoncé perform her Black woman-elevating remix of “Vogue,” as a sort of passing of the torch between Queens of Pop.

Maybe some of that freedom was simply Beyoncé living her house diva dreams, a significant statement in itself. So many pop house divas of the past were erased from the popular record of the time, a record that is only beginning to be corrected . The iconic Martha Wash, of the Weather Girls, spent the fatphobic ’80s and ’90s suing for her own credits , after being replaced with younger and thinner women lip-syncing her vocals in the videos for Black Box’s “Everybody Everybody” and C+C Music Factory's “Gonna Make You Sweat.” Those lawsuits were perhaps the best known, but similar stories of erasure have played out with Loleatta Holloway , Jocelyn Brown , Kelli-Leigh , and more, where Black women vocalists transformed scores of songs into indelible classics, but are viewed by their male producers and record labels as throwaway, mere clips to sample, or tertiary to the real genius.

Beyoncé placing herself in front of this history won’t right those wrongs, and it is easy to ascribe dreams and aspirations onto her. As with many pop stars, her moves don’t always square with the values she performs . But she does have the cultural power to reorient the narrative even just a little, whether centering house divas or paying homage to LGBTQ Black and Latine ballroom originators. (Plus vocalists are infinitely more interesting to watch than DJs, particularly in a climate when staring has supplanted dancing.) It is not uncommon to get hyperbolic about Beyoncé. She has, like many pop stars, been deified to the point of Veladoras hawked by candle companies, her beatific visage and unfailingly sick fits replacing the benevolent gaze and gently draped robe of La Virgen. During her tour she assumed the role of the conduit and protector; she is the “Mother of the House of Renaissance ,” as a voice-over goes in the tour as she fans herself in the style of the ball. A house mother is the keeper of her children, and her children are genuflected. But the Renaissance tour’s most important act was bringing Beyoncé’s fans together in massive numbers, creating a space in which joy can build and attendees can experience sweet release. That’s what dance music, at its beating heart, is about.

By Paul A. Thompson

By Jazz Monroe

By Nina Corcoran

Why Beyoncé’s ‘Renaissance’ Tour Is a Stadium-Shaking Triumph

• By Brian Hiatt

Brian Hiatt

Beyoncé ‘s Renaissance tour , a stadium-shaking dance party built around last year’s album of the same name , won’t begin its U.S. run until a July 12 show in Philadelphia, but thanks to TikTok and YouTube, stateside fans already have a decent sense of the show. It begins with Beyoncé essentially serving as her own opening act via a mini set of ballads before exploding into a show built around the Renaissance album, with songs from her previous albums worked in among the new hits (or in some cases, as with a taste of “Sweet Dreams” in “Alien Superstar,” during them).

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In the episode, Brittany Spanos joins host Brian Hiatt to discuss the discourse around and experience of the tour on TikTok and elsewhere, while Daily Telegraph music critic Neil McCormick — who just gave five stars to Beyoncé’s performance in the Welsh capital of Cardiff — offers a firsthand look at the tour. “Beyoncé has spent 25 years doing what she does at an incredibly high level and always trying to up up the ante,” says McCormick. “This is Beyoncé showing who’s the queen, and it’s at the top level of where a show has ever, ever been.”

Download and subscribe to Rolling Stone’ s weekly podcast, Rolling Stone Music Now, hosted by Brian Hiatt, on Apple Podcasts or Spotify (or wherever you get your podcasts). Check out six years’ worth of episodes in the archive, including in-depth, career-spanning interviews with Bruce Springsteen, Mariah Carey, Halsey, Neil Young, Snoop Dogg, Brandi Carlile, Phoebe Bridgers, Rick Ross, Alicia Keys, the National, Ice Cube, Taylor Hawkins, Willow, Keith Richards, Robert Plant, Dua Lipa, Questlove, Killer Mike, Julian Casablancas, Sheryl Crow, Johnny Marr, Scott Weiland, Liam Gallagher, Alice Cooper, Fleetwood Mac, Elvis Costello, John Legend, Donald Fagen, Charlie Puth, Phil Collins, Justin Townes Earle, Stephen Malkmus, Sebastian Bach, Tom Petty, Eddie Van Halen, Kelly Clarkson, Pete Townshend, Bob Seger, the Zombies, Gary Clark Jr., and many others. Plus, there are dozens of episodes featuring genre-spanning discussions, debates, and explainers with Rolling Stone’ s critics and reporters.

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• Entertainment

Everything We Learned from Night One of Beyoncé’s Renaissance World Tour

I t’s the moment everyone’s been waiting for: Beyoncé finally kicked off her Renaissance World Tour in Stockholm, Sweden , Wednesday night. This comes close to a year after the release of her seventh album, RENAISSANCE , a period during which she has rarely acknowledged the album with interviews or public performances of the new music, nor put out any music videos to accompany the songs. Nonetheless, the BeyHive was still buzzing with excitement on social media as they shared clips of the stage, the merchandise, the view from different VIP sections, and, most importantly, the artist performing the songs live for the first time.

Beyoncé is gearing up for a second night at the Friends Arena in Stockholm. As she gets ready to hit the stage, let’s take a look at what was revealed in the first show that might offer an indication of what could happen on the rest of the highly anticipated tour. A lot has already happened—from Bey herself addressing the lack of visuals to her celebration of the LGBTQ+ community, in keeping with the themes of the album.

Here’s everything we learned from night one of the Renaissance World Tour.

Beyoncé said not to rush a queen for music videos

omg not beyoncé addressing the visuals i’m crying 😭 #RenaissanceWorldTour pic.twitter.com/xQ9AkBCp3p — rasmus (@rasmusbravado) May 10, 2023

If we haven’t learned by now, Beyoncé releases things when she is good and ready . This is her first solo album since 2016’s Lemonade , so we can’t act surprised that she told her fans to be patient and stop asking about the music videos. Her last solo albums, Lemonade , Beyoncé , and The Gift (a concept album for The Lion King ), all had visual components that included music videos for each song. This built up the expectation that RENAISSANCE would get the same treatment.

Beyoncé is online and knows her fans have been hounding her, and she has finally responded. During a break on the first night, a disembodied voice addressed the crowd as the words it spoke were displayed on stage: “Aww, you mad? Well, there’s no remedy for that, bitches… I know you’ve asked for the visuals. You’ve called for the Queen. But a Queen moves at her own pace, bitch. Decides when she wants to give you a f-cking taste. So get your fork and your spoon if you got one.”

She is cutting out some of her biggest hits to make room for the new album and deep cuts

Attendees at the concert in Stockholm filmed every moment for the world to see on social media, and many of Beyoncé’s fans were quite surprised by some of the songs she decided to perform. She opened the show with “Dangerously In Love” from her debut album of the same name and ran through a string of popular songs, both mainstream hits and fan favorites. At the opening night show, she also performed songs like “Rather Die Young,” “Flaws and All,” and “Black Parade,” which have not gotten much attention from Beyoncé in recent memory.

Beyonce - Rather Die Young 🎤 SINGGGGGG!!!! #RenaissanceWorldTour pic.twitter.com/MEZwAVYNWk — ram (@oyyram) May 10, 2023

Some of Beyoncé’s most popular songs, many of which she has made a point to perform on past tours, are notably missing from the set list. “Run The World” fans, do not worry: she still performs the song. But those who are fans of “If I Were a Boy,” “Single Ladies,” and “Halo,” a notorious closer for Beyoncé—as evidenced by the Homecoming concert film and her Formation World Tour— may be disappointed.

Beyoncé did NOT perform her hit songs “Single Ladies”, ”If I Were a Boy” and “Halo” at the opening night of her #RENAISSANCEtour show in Sweden. pic.twitter.com/ejXi5b7fXf — Buzzing Pop (@BuzzingPop) May 10, 2023

Beyoncé brought back the Les Twins, who have accompanied her on multiple tours and performances

The Les Twins, Laurent and Larry, were approached by Beyoncé years ago after a video of them dancing went viral and they appeared on The Ellen DeGeneres Show . They were invited to perform with Beyoncé at the Billboard Music Awards in 2011, and she took them on the road with her for the Mrs. Carter World Tour, her joint On The Run Tour with Jay-Z, and her Coachella performance in 2018 . Her fans were excited to see the Les Twins back on stage with her for this new tour.

Beyoncé performing Thique and Les Twins are officially back 😭 #RenaissanceWorldTour pic.twitter.com/zPKiGAPCjG — J (@wenttojarrett) May 10, 2023

It was gay as hell: An unabashed celebration of the LGBTQ+ community

In the lead-up to the album, Beyoncé dedicated the project to her Uncle Johnny, who battled HIV when she was young. He is referenced in the song “HEATED,” and in the outro of the song, Beyoncé takes on the role of MC at a ball (a queer dance party) where she starts “reading.” All of these influences took center stage at the Renaissance World Tour and will make a strong statement when it comes stateside in July, given the wave of anti-LGBTQ+ legislation being introduced across the country.

BEYONCÉ IS HEATED😭😭😭 #RENAISSANCEtour pic.twitter.com/ddL9s1ByUA — 𝗱𝗮𝗻𝗻𝘆🫧💚 (@beyoncegarden) May 10, 2023

One of the biggest displays of affection for her queer fans came even before the concert started. As concertgoers poured into the stadium, they were greeted with a fake TV error screen, but if you look closely, some of the colors are different. This error screen has the colors of the progress pride flag, which includes colors from the transgender pride flag, as well as brown and black to indicate the greater discrimination experienced by those members of the community. Twitter users joked, “Nashville is gonna be ready to arrest Beyoncé for this, lord Jesus,” referencing the state’s attempt to ban drag shows and broader attempts across the US to infringe on trans people’s rights.

Nashville is gonna be ready to arrest Beyoncé for this lord Jesus pic.twitter.com/jAz6ObNSEQ — 💫 (@heyjaeee) May 10, 2023

There is also a ball that happens in the show. Beyoncé makes space for her dancers to vogue and dance to her song, “PURE/HONEY.”

BEYONCÉ HOSTING A BALL IS SO WILD TO ME OMG pic.twitter.com/1JwnRMX8TR — Pocket (@islandthembo) May 10, 2023

Some people might recognize Honey Balenciaga from The House of Balenciaga, which appeared in season two of HBO Max’s Legendary . She was seen voguing on stage with the rest of Beyoncé’s dancers.

@legendaryvoguex HONEY BALENCIAGA @Honey. YOU WILL ALWAYS BE THE IT GIRL #RENAISSANCE ♬ original sound - Legendary Vogue X

As we’ve seen with other tours from major artists like Harry Styles, Taylor Swift, and the 1975, their fervent fan base will keep everyone up to date on all the song changes, new outfits, and surprises that these artists pull out of their bag of tricks on the road. As we’ve seen with Swift’s notoriously sold-out Eras Tour, her fans made sure to give people who couldn’t get tickets a chance to see the tour play out online. Based on how night one played out, it seems like Beyoncé’s fans will be doing the same for those of us stuck at home.

Correction, May 11: The original version of this story misgendered Honey Balenciaga. She uses she/her pronouns.

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Beyoncé: Renaissance World Tour review – a dizzying three-hour spectacular

Friends Arena, Stockholm Queen Bey’s first solo headline tour in seven years is a lavish leap forward for live entertainment, dripping with sci-fi disco decadence, sex and Black pride

E ven without Taylor Swift’s Ticketmaster-melting Eras Tour nipping at her heels, it wouldn’t do for a star as compulsively ambitious as Beyoncé to merely protect her status as the greatest pop show on Earth. Not when her first solo headline tour since 2016 could instead push 21st-century live entertainment another lavish leap forward.

Titled after the Texan’s disco glitter bomb post-pandemic party album of the same name , Renaissance is a monster blockbuster concert experience on a different plane. Fifty-seven stadium dates globally, starting in Stockholm, are projected to gross as much as £1.9bn ($2.4bn) by the time the tour ends in New Orleans late September. Dripping with sci-fi disco decadence, sex, body positivity and feminine Black pride, the near three-hour spectacular plays out in front, behind and, at times, inside a football-pitch-wide high-definition video screen designed to assault the senses at dizzying scale.

The BeyHive, as Beyoncé’s fans collectively style themselves, are buzzing pre-show as they flood into the venue from around the world for their first chance proper to see their queen live since 2018’s On the Run II co-headliner with Mr B, Jay-Z. Dressed head to toe in official tour merch, including a cap and hoodie both emblazoned with the word “THIQUE”, Mykwain Gainey has been to 20 Beyoncé shows over the past two decades and has spent nearly £2,000 to fly here from New York. “To see her transcend, and become what she has become, especially as a Black woman, is exciting,” he enthuses.

Brazilian Yhes Bezerra wears a spangly cowboy hat like the one sported by Beyoncé in the tour poster, except theirs is homemade; sticking on the thousands of tiny mirror panels took nine hours. They were determined to come to the opening night to avoid social media spoilers about what to expect. “I want everything to be a surprise,” Bezerra smiles.

Beyoncé appears first in a video cut scene, laid out luxuriously across the giant screen semi-naked in dimensions big enough to be visible from space. And yet, once she emerges in the flesh – all sequins, shoulder pads and that megawatt smile, drinking in the crowd’s screams – she begins disarmingly with a slew of her rawest soul songs. By the second, Flaws and All, she already appears to be fighting back tears, whether of release or gratitude or both. It’s an opening that seems designed to strip away artifice, if only to provide some sharp contrast for the heavily technologically augmented spectacle about to follow.

Harking back to early house and techno and the ecstatic utopia of the dancefloor, a segment dedicated to the Renaissance album ensues with Beyoncé done up something akin to the Maschinenmensch in Metropolis. She grinds with a dozen backing dancers to the jittery reggaeton of her boss bitch mission statement I’m That Girl, then dances with some actual robots (a pair of mechanical arms) during Cosy. Were all that not semi-hallucinogenic enough, Alien Superstar interpolates narcissistic anthem I’m Too Sexy by 90s dance-pop twosome Right Said Fred.

With many of the setlist’s whopping 36 songs abridged, the tempo is relentless. Blink and you’ll miss dancers popping out of the stage like champagne corks, or Beyoncé’s powerhouse band getting wheeled into occasional view on a tall stepped riser (shades of Beychella), such as during Chic-style feelgood funk workout Cuff It. “Y’all having a good time, Stockholm?” our host inquires, wiping an imperceptible bead of sweat from her brow. “Me too.”

Black Parade finds Beyoncé cruising the stage atop what looks like a kind of lunar rover. Somewhat comically, it exits up the gusset of a pair of massive splayed legs. Later she sings Plastic Off the Sofa stretched out in a clamshell. Come Crazy in Love, the show finally gets the enormous disco ball it seems to have long craved, dangled from the rafters for only a bit longer than the time it takes for the crew to get it up there and back down.

Bass-quaking, envelope-pushing Black power anthem Formation is a powerful political statement in any setting. Performed in a kind of virtual cathedral, horny southern rap and gospel cocktail Church Girl (sample lyric: “drop it like a thottie, drop it like a thottie”) might just be intended to provoke. But by Beyoncé’s own standards, it’s hard not to read Renaissance as a show much lighter on overt socio-political messaging than it is sheer, unfettered, mildly chaotic indulgence. And who could blame her?

In a final, unsubtle, retro-futuristic fanfare, Bey summons Bianca Jagger’s iconic Studio 54 moment by gliding through the air on a glitter-encrusted white horse while Summer Renaissance – which samples Donna Summer’s I Feel Love – blares. The disco history references may or may not be landing with the mostly young BeyHive, but that’s not really the point. By rewiring dance music past in a sensory overload of truly stunning ambition and stamina, Beyoncé is writing some history of her own.

The Renaissance World Tour continues until 27 September, see https://tour.beyonce.com/ for dates

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Break my soul, break these records: Beyoncé's Renaissance World Tour by the numbers

Meanwhile, it's been 15 months since Renaissance dropped and we're still listening to it. No skips.

Lester Fabian Brathwaite is a staff writer at Entertainment Weekly , where he covers breaking news, all things Real Housewives , and a rich cornucopia of popular culture. Formerly a senior editor at Out magazine, his work has appeared on NewNowNext , Queerty , Rolling Stone , and The New Yorker . He was also the first author signed to Phoebe Robinson's Tiny Reparations imprint. He met Oprah once.

The Renaissance World Tour has come to a close, leaving a trail of snatched wigs, discarded silver lamé, and depleted checkbooks in its wake.

All in all, Beyoncé 's ninth concert tour pulled in $579 million, making it the highest-grossing tour by a female artist in history, and the seventh-highest-grossing tour overall.

But if you look at it based on number of shows, Queen Bey maintains her crown. The Renaissance Tour had 56 shows that ran the course of the summer versus, say, the No. 6 highest-grossing tour, Guns N' Roses three-year, 158-show Never In This Lifetime... Tour.

And then there's the average gross per show: Bey made $10.3 million per show, compared to the highest-grossing tour of all-time, Elton John 's Farewell Yellow Brick Road, which averaged $2.8 million per show (it ran for five years and 330 shows, grossing $939.1 million).

The Renaissance Tour also broke Billboard's record for biggest one-month gross with $127.6 million.

All that money helped boost the American economy, with The New York Times estimating that the Bey bump generated about $4.5 billion, comparable to what the 2008 Olympics did for Beijing.

Across 10 countries and 39 cities, the Renaissance Tour machine employed 304 people, as Beyoncé gagged 2.7 million fans in 148 different looks from over 35 fashion houses, while singing 34 songs per night.

And for those who missed out on the live o-p-u-l-e-n-c-e, there's a Renaissance concert film coming to theaters Dec. 1, fulfilling the promise of those long-awaited visuals.

And we only had to wait 490 days. But who's counting?

Related content:

• Beyoncé flies out a fan after he was denied a flight because of the size of his wheelchair
• On Beyoncé's Renaissance : To be queer, gifted, and Black…oh what a lovely, precious dream
• Beyoncé pays tribute to fan fatally stabbed after voguing to her music: 'Rest in Power O'Shae Sibley'
• Hairspray actress Sarah Francis Jones goes into labor at Beyoncé's bday concert, avoids obvious name choice

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Beyonce's Renaissance World Tour: See all the epic photos and fashions

See all the dazzling photos from the "Cuff It" singer's tour.

Beyoncé is currently making her way through the North American leg of her Renaissance World Tour and captivating concertgoers with her dazzling performances and fashion moments.

The Grammy-winning singer most recently performed at Gillette Stadium in Foxborough, Massachusetts, Tuesday night and will perform next at FedExField in Summerfield, Maryland, Aug. 5-6.

MORE: Beyonce's daughter Blue Ivy appears onstage during Paris show

Here are some of Beyoncé's most stunning looks from her shows so far:

Beyoncé first kicked off her world tour in Europe in May, wowing audiences with her vocals, theatrics and style choices in major cities including, Paris, London and Barcelona.

One standout look came during her first show in London, when she stepped out onstage in a red bespoke Off-White bodysuit, which was covered in 40,000 red hotfix crystals , according to the label.

She also wore a custom bee-inspired look from Mugler.

The singer's 11-year-old daughter Blue Ivy Carter has also appeared on the Renaissance World Tour stage. Blue Ivy made her tour debut during her mom's show in Paris . She also took the stage during Beyoncé's concert tour stop in East Rutherford, New Jersey, at MetLife Stadium.

See more of Beyoncé's showstopping looks below:

MORE: Beyonce announces 'Renaissance' world tour for 2023

Read on for everything you need to know about Beyoncé's world tour.

When did Beyoncé announce the world tour?

Seven months after the release of her seventh studio album, "Renaissance," the "Cuff It" singer took to Instagram to announce her Renaissance World Tour .

The tour is her first solo tour in more than six years.

When did the Renaissance tour start?

The Renaissance World Tour kicked off Wednesday, May 10, at the Friends Arena in Stockholm, Sweden.

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According to the Friends Arena website , the show was slated to run for three hours.

MORE: Beyonce teases new release 'Break My Soul,' dropping at midnight

When does the tour run until.

In addition to Stockholm, Paris, London and Barcelona, the European leg of her tour made stops in Belgium, the United Kingdom, and Denmark. Beyoncé's final European show was in Warsaw, Poland, on June 28.

The North American leg of the world kicked off in Toronto at Rogers Centre on July 8. Following her show at FedExField -- which is located just outside Washington, D.C. -- the singer will head to Charlotte, North Carolina; Atlanta; and Tampa, Florida.

Beyoncé's final scheduled performance of the tour will be held Oct. 1 at GEHA Field at Arrowhead Stadium in Kansas City, Missouri.

When was the last time Beyoncé toured?

Beyoncé's last solo tour was the Formation World Tour in 2016, which followed the release of her sixth studio album, "Lemonade."

In 2018, she toured with her husband Jay-Z, for the On The Run Tour.

What is the Renaissance World Tour setlist?

During her tour, Beyoncé has performed songs off her latest album, including "Cuff It," "Heated" and "Virgo's Groove."

At her first tour stop in Stockholm on May 10, she sang a number of fan favorites, including "1+1," "Run the World (Girls)," "Get Me Bodied," and "America Has a Problem," among others.

Beyoncé's "Renaissance" album was released on July 29, 2022, after it was leaked two days prior. The album is the first part of a three-act project and features a total of 16 tracks with collaborations from artists such as Drake, Tems and Pharrell Williams.

MORE: Beyonce officially drops 'Renaissance' album, thanks fans for 'unwavering support'

In an Instagram post, the singer said that "Renaissance" was recorded over three years during the COVID-19 pandemic.

"Creating this album allowed me a place to dream and to find escape during a scary time for the world," she said. "It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgment. ... It was a beautiful journey of exploration."

How to get Beyonce 2023 tour tickets

While tickets to see the singer on tour sold out quickly in many cities around the world when sales began in February, fans can still purchase tickets on Ticketmaster.

This article was originally published on May 10, 2023.

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A Silvery, Shimmering Summer of Beyoncé

The Renaissance tour is a blueprint for how to cultivate pleasure and hold onto it at all costs.

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By Jenna Wortham

In late August, Beyoncé shared a story on Instagram: She asked those attending upcoming Renaissance World Tour dates to come dressed in silver. It was her birthday wish. “We’ll surround ourselves in a shimmering human disco ball each night,” she wrote. “Everybody mirroring each other’s joy.” It was a rare request from a woman who, in the last 10 years, has pulled back almost entirely from media interactions, preferring to speak only through her art.

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Three nights later, in Las Vegas, the town glimmered with anticipation. Everyone understood the assignment: Gleaming chrome thigh-high boots, glittering purses, shiny Telfar bags and rhinestone cowboy hats caught and bounced back the light from the stark desert sun, sending Morse signals to the rest of us who were in town for the same reason. There were strings of discarded rhinestones piled on slot machines, sequined bras abandoned in bathrooms and errant pieces left in the back seat of nearly every cab, Lyft and Uber I got into. In a city where there are dozens of large-scale events occurring simultaneously, the Beyoncé effect rolled through like an earthquake. Or maybe an eclipse.

Silver is the most powerful conductor on the planet; it moves electricity faster and more efficiently than any other material. On that night, tens of thousands of people draped in that lustrous color formed a circuit of pure energy. The stadium glowed. The human disco ball of Beyoncé’s dreams was also a renewable energy source. Charging up people. Charging up ideas. Charging up momentum. The stadium twinkled, each flash of silver a reminder of the constellation of moments that we move through, that sustain us. That even if they are few and far between, they are enough.

Renaissance, which kicked off in Stockholm in May, was Beyoncé’s first tour in nearly seven years, with 56 shows worldwide, tied to her 2022 album of the same name. In recent years, her musical projects have become more declarative of her personal values. “Homecoming” celebrated historically Black universities; “Lemonade” charted the arc of her husband’s infidelity into their redemption. (She is married to the rapper Shawn Carter, a.k.a. Jay-Z.) And now “Renaissance”: an ode to Black queer and trans history, told through a dreamscape of house music that could easily double as a soundtrack for a druggy Brooklyn sex party. Live, the production of “Renaissance” was maximalist, even operatic. Pyrotechnics punctuated beat drops, and there were at least six outfit changes per show (with new looks each show), nearly two dozen dancers, a full band, acrobatics and a finale in which Beyoncé rides a crystal horse, deity-like, through a blizzard of silver confetti.

Anything Beyoncé does becomes a cultural event, but the Renaissance World Tour has become a cultural movement. People are crossing the globe to see her, comparing set lists and fashion choices, attending multiple shows. Silver and rhinestones have become Renaissance signals, as recognizable as any brand logo. Products that she used on tour are selling out, and chrome is appearing in fall look books. Video and photos from the tour have blanketed social media for months, documenting the challenges she issues to the crowd — including one tied to her song “Energy,” during which, after she sings the line “look around everybody on mute,” she pauses, waiting to see if the crowd can calm down enough to follow suit. Fans are also charting the budding confidence of Blue Ivy Carter, Beyoncé’s eldest child, who made her stage debut this year. There are Reddit threads dedicated to post-show comedowns. And the tour has surpassed the previous record for highest-grossing by a solo female artist, which was previously held by Madonna in 2009. By its close, Beyoncé will have generated an estimated $4.5 billion for the American economy, about as much as the 2008 Olympics did for Beijing.

The path of totality has changed nearly everyone who stepped into it. Oprah shared a video of her reaction to Beyoncé’s performance on her Instagram. Standing in a nondescript room, hands crossed, she was uncharacteristically speechless. “I couldn’t scream,” she says, her voice hoarse with emotion. “I was in awe. ... That is like the most extraordinary thing I’ve ever seen.” Oprah’s best friend, Gayle King, has made the pilgrimage too, of course. So have Lenny Kravitz, Pharrell Williams, Kelly Rowland, Jeff Bezos, Paul McCartney, Prince Harry and Meghan Markle, LeBron James, Dua Lipa, Vice President Kamala Harris, Shakira, Madonna, Angela Bassett, Natalie Portman, Megan Thee Stallion, Zendaya and Tom Holland and many others.

Across several shows, I’ve watched people process the sensory overload of the performance. Some danced for hours straight; others stood still, hands clasped to chests, reverential, tears streaming down their faces. Folks who couldn’t be there were FaceTimed in. Strangers fanned one another, hugged, encouraged one another to dance when they sat down to rest. The closer my seats were to Beyoncé, however, the less people seemed to move. Instead, they absorbed the full force of her with their entire bodies, not unlike opening the oven to check on a roast and feeling your eyebrows singe a little.

She opened that night in Vegas, as she does every show of the tour, with “Dangerously in Love,” a song from the earliest days of her solo career, about devotion tinged with obsession. It’s an oath, the musical equivalent of pressing two bloody thumbs together. She started singing the song at 19, when she was first falling for Jay-Z. More than 20 years later, time and maturity have decanted the song into something richer.

Beyoncé has always been able to utilize her voice with the precision of a lab technician, inspecting riffs and pulling syllables apart, pipetting out sounds and testing the resonance of melodies. Now that she was onstage in front of stadiums of rapt fans, the fruits of years of experimentation were on full display.

Beyoncé, 42, has figured out how to adjust her voice (her characteristic growl floats in falsetto) and adjust her body language (more benevolent, like a gilded patroness) to abstract the object and subject of the song. The fluttery “I love you”s at the beginning no longer feel like a confessional. They feel like a pledge. By the time she slides into the line “I can’t do this thing called life without you here with me,” it feels as if she has left the recklessness of young love behind. Now she is singing about her legacy, her career, her fans, this world she built for herself. There’s a vocal run toward the end of the song that rises out of Beyoncé’s throat and finds its way into your chest, unclenching any stuck emotions that might be lodged in there.

As a singer and a songwriter, Beyoncé — like all pop stars — is a scholar of love. As she says on the album, it is her weakness. She has been drunk on it, driven crazy by it, trying to get over it, craving it. Historically, it seemed elusive to her. Yet now it seems that she has found a surplus of it to radiate back out. If love is a feeling in the heart, pleasure is its embodied action. And finding that pleasure is not only a hedonistic pursuit, as Audre Lorde wrote in her landmark essay “Uses of the Erotic: The Erotic as Power,” it is a question of how much “we can feel in the doing.”

The feeling in the doing is at the center of the Renaissance World Tour. It is made material in the shape of a giant hole cut into the center of the stage, where Beyoncé’s band performs. It’s like the inside of a disco ball. The album “Renaissance” opens with a sample of a verse from the Memphis rapper Princess Loko that intones, “Please, [expletive] ain’t stopping me.” During the concert, Beyoncé lets the sample loop again and again, for longer than it does on the track. The effect is exhilarating. “Renaissance” as an album is a blueprint for how to cultivate pleasure and hold onto it at all costs; the tour is a chance to practice the vision for the world we hope to live in, and simultaneously release grief for the one that we do live in.

There are two very different revivals being proposed in this country right now. In Las Vegas, the distinction could not have been clearer. Beyoncé performed at the south end of the famous glitzy strip, while the Trump International hotel, a beacon for so much disappointment and so many deferred desires, loomed at the northern end. Beyoncé has said that she spent the grim days of the pandemic making the “Renaissance” album, which is the first of a three-part series. A renaissance, after all, is another way of bringing something back. And what does Beyoncé think is worthy of resurrection? Love, freedom, safety. It’s another type of insurrection. And what she is inciting is the will to fully inhabit your body.

One of the most striking moments of the show comes during the secular club anthem “Church Girl,” when Beyoncé sings — well, not so much sings as howls in a way that the words blur together and become a keyhole through which to slip — “Soon as I get it in this party, I’m gon’ let go of this body, I’m gonna love on me.” In concert, she blends this song with an earlier iteration of a similar invocation, her 2006 track “Get Me Bodied,” a raucous 1.0 version of “Church Girl.” Each song is a meditation on the deliciousness of releasing the body through movement and how that can awaken the senses further. Only now, she has figured out how to do that for herself, without any external validation. From there, the song fades into Beyoncé’s cover of “Before I Let Go,” the classic summer anthem by Maze featuring Frankie Beverly. Her dancers break into a familiar and familial dance — the Electric Slide. Communal dance has the uncanny ability to reunite the body and spirit; many of the tools of embodiment are already located in Black social rituals. If that release seems unsafe or scary, Beyoncé and her dancers seem to say, a few different ways, let us show you how. Multiple times during the show, visuals of spread legs appeared arranged around the perimeter of the stage’s glory hole, with the perspective zooming ahead, inviting us in. Get inside your body, or if you can’t, come inside mine.

A common criticism of the Knowles-Carters is that their efforts to accumulate assets, power and liberties have felt all-consuming. Yet, during “Pure/Honey,” there’s a moment when the stage transforms into a soul-train line and ballroom stage. And then Beyoncé does something extraordinary: She switches bodies with her dancers. Which is to say, she trades places with them, turning her back on the main stage (a full-body mic drop), and lets her tremendous team of dancers inherit her place. The dancers, emboldened by the spotlight, take turns vogueing and cat-walking down the stages. It is one of the most triumphant moments of the tour.

Now that she was onstage in front of stadiums of rapt fans, the fruits of years of experimentation were on full display.

We live in extremely unfeeling times. Reckoning with compounding climate crises, escalating economic pressures and broader global turns toward bigotry and fascism can have an anesthetizing effect on the body and mind. The Renaissance tour has become something of an antidote to that. The show feels like a three-hour somatic workshop on remembering how to feel any feelings that you can access, whether they be elation or sorrow. Beyoncé herself is modeling it. On “Cuff It,” she asks, Have you ever had fun like this? She delivers the answer in her performance. Her sense of humor is on full display, from outfit choices to exaggerated facial expressions. For all the versions of Beyoncé we’ve seen in her career — beauty queen, vixen, scorned women — stand-up comedian might be her most uninhibited. But as much as the Renaissance World Tour is limned with the beauty of aliveness and vitality, it is also preoccupied with mortality. She is deeply aware of the precarity of Black, queer and trans life. On “Heated,” she sings, “Liberated, livin’ like we ain’t got time.” Pleasure at the world’s end feels nearly impossible. And yet Beyoncé shows us that it is our birthright. Back when the original track list for “Renaissance” was released, fans saw the title “America Has a Problem” and assumed it would be a rallying anthem honoring Breonna Taylor and George Floyd. Instead, the song takes an oppositional tactic. America’s problem, she posits, is our having too much freedom.

The first time I saw her, at the New York-area show, it was the same night that a young Black gay man named O’Shae Sibley was stabbed to death for vogueing to her lyrics at a gas station in Brooklyn. There was an awful collision that night between the optimism of resilience — more than 50,000 people screaming “you won’t break my soul” into the night felt like a defiant incantation — and the unchecked violence that threatens trans and queer people relentlessly. On one of the days I saw her in Las Vegas, a white man opened fire in a Dollar General in Jacksonville, Fla., intentionally targeting and killing three Black people. The shift between the ecstasy of the concert and the reality of the world was so disconcerting it was almost physically painful. The concert inserted me back into my body so fully that I couldn’t avoid the broader questions it raised: about the inverse relationship between queer and trans visibility and violence; the price to access this transformative space, prohibitive to most; and how to square some of Beyoncé’s more radical ideas with the gospel of Black capitalism (as she sings, “this kind of love, big business”). And yet, despite grappling with all that, I was reduced to tears listening to the rhapsodic synthesizers that score the speech of Dr. Barbara Ann Teer, founder of the National Black Theater, which soars out of the end of “Alien Superstar,” about the beauty in Black expression. Internal conflicts aside, I was moved by the power inherent in the scale of her message, on loving yourself in a world that would rather see you dead. In many ways, “Renaissance,” like the ballads at the top of the show, is also an elegy. But Beyoncé isn’t the undertaker; she is directing the second-line band at the funeral procession.

“Deep time” is a term that refers to the geological history of Earth. It requires the brain to reorient its scale, to think about time in billion-year chronologies, rather than days or months. It can cause some wrestling with the twinned significance and insignificance of our lives. At one point during the show, a quotation from Albert Einstein flashes on the screen: “Imagination is more important than knowledge.” What we know is limited. What we can imagine — especially for ourselves — is limitless. The concert is punctuated with visuals that offer a sense of Beyoncé’s cosmology: graphics of her soaring through expansive galaxies, including a winged robotic version of the singer astride a rocket navigating outer space. The imagery is suggestive of other ways of being, outside of Earth, known and unknown.

In her lifelong career, Beyoncé has not stopped to wait for anyone else to anoint her (if she did, she would probably still be waiting). And one way to view “Renaissance” is akin to a personal retrospective. Most pop projects (and much of our cultural fixation on self-improvement) revolve around reinvention, discarding past selves to make way for the new. Beyoncé exhumes all her eras and updates them as needed. During her song “Run the World,” “GWORLS,” a colloquial word for trans femmes, flashed on the video screens every time the call-and-repeat stomp of the chorus called out “girls.”

But Beyoncé is also an archivist. The show functions as an altar to her influences: A celestial giggle pays homage to Janet Jackson, and a metallic chest piece nods to Whitney Houston in “The Bodyguard.” The velocity of a hair flip recalls Tina Turner. Quick hips resurrect Josephine Baker’s banana skirt. Beyoncé’s musical production, headed by her, involves tethering parts of “Renaissance” to her earlier catalog, showcasing an evolution of narrative and musical priorities. Live, she braids “Virgo’s Groove” with earlier love songs, “Rocket” and “Say My Name,” diagraming the arrival of a woman confident in her sexuality and partnership. Much of the show’s sartorial catalog is also self-referential. A bee costume designed by Casey Cadwallader for the Mugler brand nods to Beyoncé’s collaborations with Thierry Mugler over the years. A pair of oversize flip-phone earrings recalls her song “Video Phone.” As much as she is taking us through a tour of her music, she is reminding us of the ways that notions about Black femininity have always defined it. She seems to be on a personal mission to rewire how Blackness is understood to be integral and core to America and the world.

A particularly emotional moment arrives when Blue Ivy takes the stage during “MY POWER,” a song from Beyoncé’s 2020 visual album, “Black Is King.” From the time she was born, Blue Ivy has been bullied online for her facial features and hair texture. Here, Beyoncé gestures to her, during the song’s lyric “this that kinfolk, this that skinfolk, this that war, this that bloodline,” as they begin a mother-and-daughter choreography. Her power, which she seems to be passing along to Blue Ivy in that moment, is a fortification against the outside world. It is another kind of legacy, the ability to author her own story, in the ways she will see fit. In one of the most dramatic set changes, Beyoncé appears in a large shimmering clamshell, Botticelliesque and supine, in a bejeweled bodysuit with coyly placed fabric handprints, signaling satirical modesty and also suggestive of self-pleasuring. Beyoncé has emulated a Black Venus for years, including in a lavish photo shoot by Awol Erizku in 2017, when she was pregnant with her twins, Rumi and Sir. The phrase “Black Venus” has also been used to describe Saartjie Baartman, a South African woman who was forcibly exhibited in the early 1800s, nearly naked, for Europeans to gawk at. It seems that as much as Beyoncé is authoring her own image, she is also invoking those who could not.

At one of the shows I saw, Beyoncé closed the show by telling her audience — while flying around the stadium in a dazzling sequined cape — that she hoped they felt loved. That they felt safe. She implored everyone to remember where they were. Before we all left, she encouraged everyone to take a mental picture of the way they felt, whose arms they were holding, the fullness of their heart. “You can return to it anytime.”

An earlier version of this article referred incorrectly to the designer of Beyoncé’s bee costume. It was inspired by Thierry Mugler’s earlier work and designed by Casey Cadwallader for the Mugler brand. It was not designed by Thierry Mugler.

How we handle corrections

J Wortham is a staff writer for the magazine, co-host of the podcast “Still Processing” and co-editor of the anthology “Black Futures,” with Kimberly Drew. She is currently working on a book of essays, "Work of Body." More about Jenna Wortham

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All the Celebrities, From Selena Gomez To Kylie Jenner, Spotted at Beyoncé's Renaissance Tour So Far

On Friday, it seems like the stars decided to align in Paris for Beyoncé's Renaissance World Tour stop. The stands were filled with celebrities in the VIP section and Alien Superstar risers, which are a popular choice for an unobstructed view of all the action. It was a good choice, because it was the night that Beyoncé's 11-year-old daughter Blue Ivy joined her on stage for a little singing and some sweet choreo, documented here by the musical icon's mom, Tina Knowles-Lawson.

The tour continues across Europe before heading to North America in July. Here are all the celebrities who have attended her concert series so far.

Kylie Jenner and Kris Jenner

Megan thee stallion.

The rap star was dancing in the audience in tight blue jeans and cute pink crop top, filmed by fans and looking like she was having an amazing time. Beyoncé's husband, Jay-Z, was standing next to her.

Selena Gomez

The Only Murders In the Building Star rolled up to the show in a black leather jacket with friend Edgar Ramirez.

Pharrell Williams

The “Happy” singer seemed to be attempting an incognito arrival in a black baseball cap and sunglasses.

Natalie Portman

The actress was accompanied by husband Benjamin Millepied.

Lenny Kravitz

The musician was filmed arriving by fans on Friday in Paris.

Tyler Perry

A stand out, the director was there for the tour's opening night in Stockholm instead of Paris.

“Just landed in Stockholm, Sweden!” he wrote on his Instagram Stories. “Here to stand with, applaud, and hold up Mrs. Carter for the first night of the ‘Renaissance [World] Tour!’ I’m proud of you, B. Let’s go!”

Chris Rock in the VIP section in Paris.

The rock star was also reportedly in Paris on Friday and shared a clip of herself singing along to “Cuff It” on Instagram Stories.

Olivier Rousteing

Balmain designer Olivier Rousteing attended in Paris.

Vivica A. Fox

Vivica A. Fox was seen in the VIP section next to Knowles-Lawson.

Priyanka Chopra and Daniel Kaluuya

A fan spotted Priyanka Chopra and Daniel Kaluuya dancing away to “Love On Top” in London.

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Tina Knowles borrows one of daughter Beyoncé’s Renaissance Tour outfits for red carpet event

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Tina Knowles seems to be taking a page out of Beyoncé’s book — or, rather, taking an outfit out of her closet.

The mother of the “Levii’s Jeans” singer recently stepped out at an event in Las Vegas, decked out a trompe l’oiel denim jumpsuit that looks identical to one Bey wore on her “Renaissance Tour” last summer.

Taking to Instagram , Knowles, 70, showed off the gray, acid-washed one-piece, giving a shoutout to “Love & Laughter,” a new show that features Cedric The Entertainer and Toni Braxton which opened on April 27.

Beyoncé’s jumpsuit — which she wore in Louisville, Kentucky — was a custom creation from Diesel that originally included a matching pair of gloves, though Knowles decided to skip that detail. The look also featured attached shoes and a zipper down the front.

Of course, the bold look was instantly recognizable to members of the Beyhive, who took to Knowles’ comments section with tons of compliments.

“Ate that bee lady up in her own outfit 🔥” one person joked while another said, “You in Beyoncés closet” and a third said, “SLAY! 🔥❤️ Waiting for The Miss Tina World Tour🔥🔥🔥.”

Actress Laverne Cox also joined in. “Let em know Miss Tina!!!” she wrote.

Of course, Knowles’ fashion-forward look should come as no surprise to Beyoncé’s most dedicated fans. The singer’s mom was responsible for designing some of Destiny’s Child’s most recognizable looks back in the day, including a number of coordinated ensembles they wore on the red carpet.

Back in January, Knowles also revealed that the Grammy-winning group, which also includes members Kelly Rowland and Michelle Williams, sang to her in honor of her milestone 70th birthday.

“I even got serenaded by Destiny’s Child. How amazing is that?” she confessed in a video she shared on social media.

Earlier this year, Beyoncé officially launched her own haircare Cécred , which was partially inspired by her mom, who owned a popular hair salon in Houston, Texas in the ’90s.

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Blue Ivy joins mom Beyoncé in 'Lion King' prequel 'Mufasa.' Can you feel the love?

After performing with her mom onstage during the Renaissance tour, Blue Ivy Carter will join Beyoncé on the big screen.

The mother-daughter duo both voice characters in the upcoming prequel to 2019 live-action hit “The Lion King.” “Mufasa: The Lion King,” directed by Barry Jenkins and hitting theaters in December, tells the story of Mufasa’s life and his childhood with brother Scar.

Carter will voice Simba and Nala's daughter, Kiara, while Beyoncé will reprise her role as Nala and Donald Glover will return as Simba. Billy Eichner and Seth Rogen also are back as Timon and Pumbaa.

While the film marks Carter’s first acting gig in a movie, the 12-year-old already has an impressive résumé. In addition to dancing backup on her mother's record-smashing Renaissance world tour, she is a Grammy winner thanks to her feature in Beyoncé’s "Brown Skin Girl" music video, which took home the music video trophy at the 2021 Grammys. Although she won that award at age 9, Carter has been setting records and making headlines since birth. Two days after she was born in 2012, her father, Jay-Z, released the song “Glory,” which featured her cries and coos. Since she was individually credited on the track, she became (and remains) the youngest person to appear on a Billboard chart.

Beyoncé also recently enlisted the help of her younger daughter, Rumi, as she recorded her new album, “Cowboy Carter.” The track “Protector,” a touching tribute to her children and motherhood, starts with Beyoncé’s 6-year-old asking her to sing a lullaby.

The “Mufasa” teaser trailer , which Disney debuted on Monday morning, does not reveal whether audiences can expect to hear Carter sing, but given Beyoncé’s musical contributions to the 2019 film, it is likely that her daughter will follow suit.

While the original 1994 animated film and the 2019 live-action remake featured familiar tunes composed by Elton John and lyricist Tim Rice, along with one original song by Beyoncé, the prequel will include new music by “Hamilton” mastermind Lin-Manuel Miranda. Miranda has become a frequent Disney collaborator, working on the music for “Moana,” “Encanto” and the 2023 live-action remake of “The Little Mermaid.”

Jenkins, the filmmaker behind the Oscar-winning “Moonlight” and “If Beale Street Could Talk,” said Carter and Beyoncé did not have to pretend too much during the voice acting process and that it was “really special” to watch them work together.

"Beyoncé is this larger-than-life figure, but when she's working with her daughter, when she's in the room with her daughter, she's a mom first," he said Monday on “Good Morning America” after dropping the trailer. "So much of that energy bled into the film."

This story originally appeared in Los Angeles Times .

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Tina Knowles stuns in Beyoncé ‘Renaissance Tour’ outfit

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Beyoncé and her mom, Tina Knowles , are so close that they share the same designer looks.

Tina Knowles recently attended a Las Vegas event where all eyes were on her because the entrepreneur arrived wearing an outfit that members of the BeyHive immediately recognized.

At the opening of “Love & Laughter” at The Cosmopolitan casino April 27 — a new show featuring Cedric The Entertainer and Toni Braxton — Tina Knowles wowed on the red carpet in a jumpsuit that resembled denim. The luxurious one-piece also included matching, attached boots.

She shared photos from the event on her Instagram and complimented the comedian and Braxton's collaboration in the caption.

View this post on Instagram A post shared by Tina Knowles (@mstinaknowles)

“The show was soo great!!!!!!” she wrote, in part, and added three red hearts.

Fans in the comments quickly pointed out that Tina Knowles appeared to wear the same look that Beyoncé donned on stage during her Louisville, Kentucky “Renaissance World Tour” show on July 17, 2023. The “Texas Hold ‘Em” singer posted photos from her performance at the time on Instagram . She also sported matching gloves with her look.

Eagle-eyed Beyoncé fans were impressed that Tina Knowles appeared to borrow her daughter's outfit.

“Okay mama tina i see with beyoncé tour outfit on,” one commented.

“You in Beyoncés closet,” a fan asked.

Another joked, “Ate that bee lady up in her own outfit” and added a fire emoji.

According to W Magazine , the bodysuit the mother and daughter wore is a custom Diesel look featuring gray crystals and a print that mirrors denim.

Their mother-daughter relationship was highlighted in concert movie “Renaissance: A Film By Beyoncé,” as was Mathew Knowles , Beyoncé’s father and Tina Knowles’ former husband.

In behind the scenes footage and documentary-style interviews, Tina Knowles sits in the background, subtly supporting her daughter. She became more vocal on social media after the movie premiered, celebrating Beyoncé's wins and defending her against criticism.

Read on to learn more about the parents of one of the most iconic performers of all time.

Beyoncé's parents were married from 1980 to 2011

Tina and Mathew Knowles tied the knot in 1980 and were married for nearly 30 years. Tina Knowles filed for divorce in 2009, and the couple issued a joint statement to the Associated Press.

“The decision to end our marriage is an amicable one. We remain friends, parents and business partners,” they said at the time. “If anyone is expecting an ugly messy fight, they will be sadly disappointed. We ask for your respect of our privacy as we handle this matter.”

The former couple finalized their divorce in 2011.

Both remarried following their divorce

Tina Knowles tied the knot with the actor Richard Lawson in 2015. She filed for divorce in July 2023, citing "irreconcilable differences" as the reason for the split.

Meanwhile, Mathew Knowles said “I do” to model Gena Avery Knowles in 2013.

They share two children and four grandchildren

Tina and Mathew Knowles welcomed their first daughter, Beyoncé, on Sept. 4, 1981 ( yes, she's a Virgo ). Their second daughter, Solange, was born June 24, 1986. Both went on to have successful careers in the music industry.

Tina and Mathew Knowles also have four grandchildren: Solange's son with ex-husband Daniel Smith, Daniel Julez, 19, and Beyoncé's children with husband Jay-Z: Blue Ivy, 11, and twins Sir and Rumi, 6.

Kelly Rowland was an honorary daughter

Beyoncé's father was the manager of Destiny's Child, the girl group that helped catapult her and bandmates to fame.

When Destiny's Child bandmate Kelly Rowland was 11 years old, she moved in with the Knowles family, Tina Knowles  said in a 2015 essay for TIME.

"You came to live with us when you were only 11 years old. You were the sweetest, most kind person I had ever met and you still are. You are also a true survivor. You never give up. Your discipline and drive always inspires me," Tina Knowles wrote.

Beyoncé got her name from Tina

When it came time to name her first born child, Tina Knowles took inspiration from her own maiden name, as reported by ET.

“A lot of people don’t know that Beyoncé is my last name. It’s my maiden name,” she said in 2020 while appearing on the  "In My Heart With Heather Thomson " podcast.

“My name was Celestine Beyoncé, which at that time was not a cool thing to have that weird name. I wanted my name to be Linda Smith because those were the cool names,” she said.

Mathew Knowles managed his daughter's career until 2011

Mathew Knowles played an active role in building Beyoncé’s successful career and served as her manager until 2011. In a 2011 statement, the singer announced that they were parting ways professionally.

“I am grateful for everything he has taught me,” she said at the time. “I grew up watching both he and my mother manage and own their own businesses. They were hardworking entrepreneurs and I will continue to follow in their footsteps.”

In his own statement, Mathew Knowles called the decision "mutual," as reported by Billboard.

"We did great things together, and I know that she will continue to conquer new territories in music and entertainment," he said.

“Business is business and family is family,” he continued. “I love my daughter and am very proud of who she is and all that she has achieved. I look forward to her continued great success.”

Mathew Knowles managed Destiny's Child and would love to see them reunite one day

Knowles told ET in 2023 that he'd love it if Beyoncé, Rowland and Michelle Williams reunited. “It’s a decision that the ladies would have to make,” he said. "And I would certainly, certainly support that decision as I still manage Destiny’s Child. I would love to see that as well."

Knowles' time as a manager was criticized. Former band members LaTavia Roberson and LeToya Luckett both brought multiple lawsuits against Beyoncé, Rowland and their manager and Knowles’ father, Mathew Knowles, as well as the group’s label, Sony Music, all of which were  settled out of court .

Tina Knowles helped create her daughter's ‘Austin Powers’ character

Beyoncé made her screen debut in 2002 playing Foxxy Cleopatra in "Goldmember."

Producer John Lyons told Vulture in 2022 that Knowles-Lawson was present for her audition.

“It was clear that (Beyoncé) was so nervous at that audition, and Tina came with her, both as moral support and, I’m sure, to size us up and see if we were going to be respectful of her daughter and if we deserved her,” producer John Lyons told the publication.

Once on set, Knowles-Lawson helped the character come to life.

“Her mom was very much into blaxploitation movies,” director Jay Roach told Vulture. “She could tell that was the DNA for Foxxy. Her mom was so cool and so helpful and instantly had ideas for us.”

Beyoncé gets her sense of style from her mom

Tina Knowles' fashion prowess, which was shouted out in "Renaissance," has been part of Beyoncé's entire career.

She was Destiny's Child's official stylist and handmade some of their costumes. She reflected on that time in her career in an interview with The Washington Post .

Their wardrobe was inspired by Motown groups — which, she said, became a "problem" for other people connected to the group, who pressured her to make the band members look more like Christina Aguilera or Britney Spears.

"(The costumes) were just a little too flashy, a little too Motown, but what they really meant was that they were a little too Black,” she recalled.

Mathew Knowles survived breast cancer

Mathew Knowles announced that he had been diagnosed with breast cancer in 2019. In a statement to TODAY.com , he explained why he shared the private news publicly.

“We need men to speak out! Men want to keep it hidden, because we feel embarrassed — and there’s no reason for that. I want to continue the dialogue on awareness and early detection — male or female. The key to this is early detection,” he said.

Tina Knowles is not afraid to stand up for herself

In January 2024, Tina Knowles said she learned an important lesson after she was criticized for liking a post that took issue with Janet Jackson’s upcoming tour prices.

“I am saddened by this,” she wrote on Instagram Jan. 24, captioning her video addressing the backlash of the perceived Jackson diss .

“Janet Jackson is an icon and I would never question another artist. I took Destiny’s Child to see Janet when they were 15 years old,” she explained, noting the pop star’s influence on her daughter and the group.

“They always looked up to her and she opened doors for Beyoncé,” her captioned continued. “Why would I hate on her?”

In the video, Knowles said she received a phone call that she’s “trending for liking a post about ticket prices of an artist.”

“Being on the other side of it, I know better than anyone what a great production cost and that it’s expensive,” she said. “And I would never criticize another artist, let alone Janet Jackson who is the queen of production and her family. They’re the first family of music. Always have been and always will be and I love and respect them.”

Reflecting on her experience, Knowles said she learned a valuable lesson: “Stay way from negativity.”

“If you follow me, then you know that I am not involved in mess,” she said. “What I am guilty of is liking post, going through when I’m in a big hurry and I don’t have time to really and liking things because I trust that these are people that I follow. That was a big mistake. I will never do it again.”

Tina Knowles is her daughter's biggest fan

Don't mess with Mama Tina! Knowles regularly comes to Beyoncé's defense when necessary. Most recently, she slammed critics who suggested that Beyoncé bleached her skin for the premiere of her concert film, "Renaissance."

“How sad is it that some of her own people continue the stupid narrative with hate and jealousy. Duh, she wore silver hair to match her silver dress as a fashion statement...” she wrote on Instagram.

“Every time she does something that she works her a-- off for and is a statement of her work ethic, talent and resilience,” she continued. “Here you sad little haters come out the woodwork. Jealousy and racism, sexism, double standards, you perpetuate those things. Instead of celebrating a sister or just ignoring if you don’t like her.”

“I am sick of you losers,” she finished. “I know that she is going to be pissed at me for doing this, but I am fed up! This girl minds her own business. She helps people whenever she can. She lifts up & promotes black women and underdogs at all times.”

Knowles also defended her daughter when critics slammed Beyoncé for wanting to do country music for her new album.

In response to the naysayers, Knowles posted a photo montage on Instagram , which included many throwback photos of her daughter in cowboy attire.

“I just came across this video on my IG feed! We have always celebrated Cowboy Culture growing up in Texas,” Knowles wrote.

“When people ask why is Beyonce wearing cowboy hats? It’s really funny, I actually laugh because it’s been there since she was a kid ,we went to rodeos every year and my whole family dressed in western fashion,” she added. “Solange did a whole brilliant Album and Project based on Black Cowboy Culture. . It definitely was a part of our culture growing up."

This article was originally published on TODAY.com

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AMC Theatres Building Distribution Team With New VP Hire After ‘Eras Tour,’ ‘Renaissance’ Box Office Success

By Rebecca Rubin

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AMC Theatres , the world’s largest cinema chain, is leaning into distribution.

The company is expanding its distribution team with a key hire and promotion, underscoring its commitment to releasing its own movies in addition to showcasing titles from traditional and independent studios. AMC Theatres launched its distribution team with the premieres of last year’s concert films, “Taylor Swift: The Eras Tour” and “Renaissance: A Film by Beyoncé.” 

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AMC is bolstering the team by promoting Kevin Arnold to VP of programming promotions and partnerships, effective immediately. Arnold, who joined AMC in 2011, has risen through the ranks in the film programming department. Now, he will oversees promotional strategies that aim to drive moviegoer engagement and increase ticket sales.

“The remarkable success of AMC Theatres Distribution last fall opened an exciting new business for AMC, and we are thrilled to have Stephanie Terifay’s expertise and enthusiasm build upon the brilliant leadership of Nikkole Denson-Randolph,” said Elizabeth Frank, AMC’s chief content officer. “Through the addition of Stephanie and the much-deserved elevation of Kevin Arnold, AMC Theatres Distribution is well positioned to continue to deliver exciting and compelling content to moviegoers at AMC and across the industry domestically and internationally.”

AMC seems to be heeding the advice of its unofficial box office queen: “Shake it off.”

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17 Top Tourist Attractions in Moscow

By Alex Schultz · Last updated on May 4, 2024

The capital of Russia is an incredible place to explore. Visitors to Moscow come away spellbound at all the amazing sights, impressed at the sheer size and grandeur of the city. Lying at the heart of Moscow, the Red Square and the Kremlin are just two of the must-see tourist attractions; they are the historical, political and spiritual heart of the city – and indeed Russia itself.

A fascinating city to wander around, stunning cathedrals, churches, and palaces lie side-by-side with bleak grey monuments and remains from the Soviet state. In addition to its plethora of historical and cultural tourist attractions, Moscow is home to world-class museums, theaters and art galleries.

Renowned for its performing arts, fantastic ballets and amazing circus acts, catching a show while in Moscow is a must. The wealth of brilliant restaurants, trendy bars, and lively nightlife means there is something for everyone to enjoy.

See also: Where to Stay in Moscow

17. Tsaritsyno Palace

Once the summer residence of Catherine the Great, the stunning Tsaritsyno Palace is now a museum-reserve. The architecture is magnificent and there is a lovely park surrounding it for visitors to explore.

Located in the south of Moscow, the palace was commissioned in 1775 and recent renovations mean its lavish interior looks better than ever before with its elegant halls and beautiful staircases.

The exhibits on display look at the life of the empress as well as the history of Tsaritsyno itself. The huge palace grounds are also home to some other delightful buildings with the elegant opera house and wonderful brickwork of the Small Palace being particularly impressive to gaze upon.

Starting out in 1935 as the ‘All-Union Agricultural Exhibition’, VDNKh has slowly morphed over the years into the fascinating open-air museum of today. Remarkably, over 400 buildings can now be found within its confines.

The huge park complex has numerous pavilions representing former Soviet republics on show, such as those of Armenia and Turkmenistan and the distinctive architecture of each of the buildings is always interesting to gaze upon. In addition to this there is the fascinating Memorial Museum of Cosmonautics which is dedicated to space exploration and the fun Moskvarium aquarium even offers you the chance to swim with dolphins.

With lots of eateries scattered about and numerous entertainment options such as horse-riding and zip-lining, there is something for everyone to enjoy; the Friendship of Nations fountain truly is wonderful.

15. Kremlin Armoury

One of the oldest museums in the city, the Kremlin Armoury has a wealth of treasures; highlights include the ornate Grand Siberian Railway egg, the historic Cap of Monomakh and the stunning Imperial Crown of Russia which often has a crowd of tourists around it, jostling to take a photo.

Once the royal armory, there are loads of fascinating objects on display. Perusing the many sabers, jewelry, armor and more is as interesting as it is educational and entertaining and the swords are so finely crafted that you’ll almost wish you could pick up one and wield if yourself.

Established in 1851, the museum is situated in the Moscow Kremlin.

14. GUM Department Store

Standing for ‘Main Universal Store’ in Russian, GUM is stunning. Its wonderful skylights and beautiful facades mean it doesn’t look out of place alongside its illustrious neighbors on Red Square.

With over 200 shops, boutiques and upmarket eateries inside, it is a shopaholic’s heaven and concerned partners will be glad to find more affordable options alongside luxury brands such as Dior and Prada.

The main department store in the city, GUM was opened in 1893. The stunning architecture makes it well worth a visit even if shopping isn’t your thing.

13. Moscow Metro

It’s not often that public transport looks like a work of art. So many stops on the Moscow Metro will astound visitors with their beauty and elegance.

Decked in marble and with frescoes covering the walls, the stations are amazing to gaze upon and are part of one of the longest metro systems in the world, with the first stations opened in 1935.

Using the metro is the quickest and easiest way to get around Moscow and braving the crowds of commuters is well worth it for the beauty all around you.

12. Arbat Street

An elegant yet lively street, Arbat is full of impressive architecture and was once a popular place to live for aristocrats, artists, and academics.

A historic place, it is down Arbat Street that Napoleon’s troops are said to have headed on their way to capture the Kremlin.

Nowadays, there are many cafes, restaurants, and shops, as well as various monuments and statues to former residents such as Alexander Pushkin who was reputed to be a lover of the Russian Empress due to his massive influence in court.

11. Novodevichy Convent

Drenched in history, the Novodevichy Convent is located in a striking building that was once a fortress. This captivating place is well worth visiting when in Moscow.

Founded in 1524, the convent houses four cathedrals; Smolensk Cathedral is the undoubted highlight due to its delightful 16th-century frescoes.

Wandering around the grounds is like stepping back in time. The Novodevichy Cemetery is where many famous leaders of the Soviet Union are buried, such as Yeltsin and Khrushchev.

10. Pushkin Museum

Despite its name, the Pushkin Museum of Fine Arts actually has no connection at all to the famous poet other than that it was named in his honor after his death. A delight to visit, its extensive collection focuses on European art with masterpieces by Botticelli, Rembrandt, and van Gogh all featuring.

Sculptures, graphic art, paintings and more can be found in its beautiful galleries; various sections look at themes and epochs such as the Renaissance, the Dutch Golden Age, and Byzantine art.

Among the many highlights are the clownish characters which can be found in Cezanne’s Fastnacht (Mardi Gras) and the twirling ballerinas who look so elegant in Degas’ Blue Dancers. Picasso’s Young acrobat on a Ball is also well worth checking out for its interesting use of shapes and colors.

9. Christ The Savior Cathedral

This gorgeous Russian Orthodox cathedral is located on the banks of the Moskva River, just a stone’s throw away from the Kremlin.

The church as it stands today was consecrated in 2000, as the original church that stood here was destroyed on the command of Josef Stalin in 1931 due to the anti-religious campaign.

With its delightful golden dome, spires and dazzling white facades, the Christ the Savior Cathedral is stunning. The interior is just as captivating to wander around, with its beautifully tiled floors and impressive altar.

8. Lenin Mausoleum

Opened to the public in 1924, Lenin’s Mausoleum is one of the most popular tourist attractions in Moscow. The red granite structure is located at the heart of the city in Red Square.

Lenin’s embalmed body lies in a glass sarcophagus; it is a somewhat eerie experience walking past the former leader of the Soviet Union but is well worth doing as you understandably can’t do it anywhere else in the world.

After visiting the mausoleum, head to the Kremlin wall right next to it for more graves of important communist figures such as Stalin and Brezhnev.

7. Tretyakov Gallery

Home to the most extensive and impressive collection of Russian fine art in the world, the State Tretyakov Gallery is definitely worth visiting when in Moscow for the wealth of amazing art pieces that it has on display.

Having started out as the private art collection of the Tretyakov brothers, there are now over 130,000 exhibits. Highlights include the iconic Theotokos of Vladimir which you will almost certainly recognise despite probably not knowing the name and Rublev’s Trinity which is considered to be one of highest achievements in Russian art.

An absolute must for art lovers, the State Tretyakov Gallery will delight visitors with all that is has to offer.

6. Kolomenskoye

Once a royal estate, Kolomenskoye is now a museum-reserve and lies a few kilometers outside of the city center. A captivating place to visit, there is a plethora of history on show and the site overlooks the Moskva River.

Consisting of four historical sites, there are extensive gardens for visitors to explore, as well as loads of interesting old buildings, the former village of Kolomenskoye itself and the impressive Palace of the Tsar Alexey Mikhailovich – once considered the Eighth Wonder of the World by contemporaries.

Among the many stunning sights, it is the brilliantly white Ascension Church that is the undoubted highlight – dating back to 1532.

5. Gorky Park

Lying alongside the Moskva River, the huge Gorky Park is a lovely place to visit. Its extensive gardens are home to numerous cultural institutions and visitors should definitely check out the Garage Museum of Contemporary Art and while the eclectic exhibits may not always feature such incredible sights as a balloon-covered rider on a zebra; they certainly always succeed in pushing back the boundaries of art.

Pop-up exhibitions and festivals can be found from time to time in the park itself and there is an open-air theatre and numerous eateries alongside a plethora of leisure activities.

Whether it’s cycling, table tennis or yoga that you are after or beach volleyball and rowing, Gorky Park certainly has it. In winter, there is a huge ice rink for visitors to enjoy.

4. Bolshoi Theatre

The Bolshoi Theatre is the main theater in the country. The amazing opera and ballet performances it has put on over the centuries go a long way in explaining Russia’s rich history of performing arts.

While the Bolshoi Ballet Company was established in 1776, the theater itself was opened in 1825. The glittering, six-tier auditorium is lavishly and decadently decorated; it is a fitting setting for the world-class performances that take place on its stage.

Spending a night watching a performance of such classics as The Nutcracker or Swan Lake at the Bolshoi Theatre is sure to be a memorable experience and the beauty all around you only adds to the sense of occasion.

3. Moscow Kremlin

This famously fortified complex is remarkably home to five palaces and four cathedrals and is the historic, political and spiritual center of the city. The Kremlin serves as the residence for the country’s president. It has been used as a fort, and this fact is made clear by its sheer size. The Kremlin’s outer walls were built in the late 1400s.

Under Ivan III, better known as Ivan the Great, the Kremlin became the center of a unified Russian state, and was extensively remodeled. Three of the Kremlin’s cathedrals date to his reign that lasted from 1462-1505. The Deposition Church and the Palace of Facets were also constructed during this time. The Ivan the Great Bell Tower was built in 1508. It is the tallest tower at the Kremlin with a height of 266 feet (81 meters).

Joseph Stalin removed many of the relics from the tsarist regimes. However, the Tsar Bell, the world’s largest bell, and the Tsar Cannon, the largest bombard by caliber in the world, are among the remaining items from that era. The Kremlin Armory is one of Moscow’s oldest museums as it was established more than 200 years ago. Its diamond collection is impressive.

The Kremlin’s gardens – Taynitsky, Grand Kremlin Public and Alexander – are beautiful. The Kremlin has also served as the religious center of the country, and there is a tremendous number of preserved churches and cathedrals here. The collections contained within the museums include more than 60,000 historical, cultural and artistic monuments. Those who enjoy the performing arts will want to consider attending a ballet or concert at the State Kremlin Palace. Completed in 1961, it is the only modern building in the Kremlin.

2. Red Square

Lying at the heart of Moscow, Red Square is the most important and impressive square in the city. It is one of the most popular tourist attractions due to its wealth of historical sights and cultural landmarks.

Drenched in history, the huge square is home to incredible sights such as the Kremlin, St. Basil’s Cathedral and Lenin’s Mausoleum, among others. Consequently, it is not to be missed when in Moscow as it really is home to the city’s most stunning monuments.

It is here that many important moments in Russian history took place; the former marketplace has hosted everything from Tsar’s coronations and public ceremonies to rock concerts and Soviet military parades. Wandering around the massive square is a humbling experience and undoubtedly one of the highlights the city has to offer.

1. Saint Basil’s Cathedral

Located in the impressive Red Square, St. Basil’s Cathedral is gorgeous; its delightful spires appear as if out of a fairytale. The most recognizable building in the country, the cathedral is very much a symbol of Russia. No visit to Moscow is complete without having taken in its unique and distinctive features.

Ivan the Terrible ordered the cathedral’s construction in the mid-16th century, and legend holds that Ivan put out the architect’s eyes so that he would be unable to build another cathedral more glorious than St. Basil’s. Designed to resemble the shape of a bonfire in full flame, the architecture is not only unique to the period in which it was built but to any subsequent period. For various reasons, both Napoleon and Stalin wanted to destroy the cathedral but fortunately did not succeed.

Known for its various colors, shapes and geometric patterns, St. Basil’s Cathedral houses nine different chapels that are all connected by a winding labyrinth of corridors and stairways. On the lower floor, St. Basil’s Chapel contains a silver casket bearing the body of St. Basil the Blessed.

Throughout the cathedral are many beautiful murals, frescoes, wooden icons and other art works and artifacts. Outside the cathedral is a lovely garden with the bronze Monument to Minin and Pozharsky, who rallied an all-volunteer Russian army against Polish invaders during a period of the late 16th century known as the Times of Troubles.

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Prepare thyself: The Southern Indiana Renaissance Faire continues through May

What ho, noble adventurers! Feast thine eyes upon this fantasy weekend of fun and jest.

There shalt be peasants and pirates, faeries and minstrels! Yon milkmaids bring all the squires to the yard. Venture forth to Seymour and lay claim on a quest you won't sooneth forget.

What is Southern Indiana Renaissance Faire?

According to its website, "Southern Indiana Renaissance Faire, a guild of charitable nature under the decree of 501c3, doth dedicate its efforts to the enlightenment of youth." Organizers and volunteers host events through the end of May this year, highlighting history and fantasy.

More information about performers at the upcoming fair weekends is available on their Facebook page .

When is the Southern Indiana Renaissance Faire in 2024?

This year's events kicked off April 27 and 28. The fair is open from 10 a.m. to 6 p.m. on the days listed below. Upcoming weekend themes are:

• May 4 & 5: Fantasy Weekend 🦄
• May 11 & 12: Cirque De Faire Weekend 🎪
• May 17, 18 & 19: Pirate weekend 🏴‍☠️

Where is the Southern Indiana Renaissance Faire?

The fair is at Swifty Farms , 351 S. Old U.S. 31 in Seymour. It's about an hour and a half by car from downtown Indianapolis.

How much are tickets to Southern Indiana Renaissance Faire?

Single day admission ranges from $15-$25; and two-day passes for weekends are $25-$40. Advance tickets are available at etix.com/ticket/v/33132/swifty-farms .

May 17 is Student Day; students accompanied by an adult have discounted ticket fees at the gate only. Seniors and military personnel also qualify for discounted tickets at the gate.

Are dogs allowed at Southern Indiana Renaissance Faire?

According to the website, no pets are allowed; trained service animals only. This is a safety precautions due to horses and other animals on site, according to event organizers.

A new walking map of Moscow highlights the city’s early Soviet architecture.

• ALL OVER THE MAP

Tour the Decaying Beauty of Soviet Moscow With This New Map

A new walking map highlights the endangered structures built for a socialist utopia in the 1920s.

Some remarkable buildings were built in the early years of the Soviet Union, guided by dreams of a socialist utopia. These structures were inspired by cubism and other modern art movements, and they featured steel, glass, and other modern materials.

This construction began in the early 20th century, when the nation was emerging from centuries of tsarist rule.“If you can attempt to imagine this era, Russia had no money whatsoever, but it’s full of hope and aspiration and talented people who weren’t able to achieve anything before,” says Derek Lamberton, the founder of Blue Crow Media , an independent publisher based in London that has just released a map of Moscow’s architectural highlights from this period.

The new map highlights more than 50 examples of so-called constructivist architecture , which thrived in Russia during the 1920s and early 1930s. A short description in English and Russian accompanies a photo of each building.

The NKPS building, built in 1934, housed the Ministry of Railroads.

Many of the buildings served socialist purposes, hosting workers clubs or communal kitchens, for example. But in contrast to the dreary brutalist concrete-block buildings of the later Soviet era, the constructivist buildings were bold and futuristic. “They were pretty outrageous,” Lamberton says. (Lamberton worked at National Geographic for two years in the mid-2000s).

The constructivist map of Moscow is the third architecture map from Blue Crow. The first two highlighted the concrete-dominated brutalist architecture and graceful art deco buildings of London, respectively. When those maps found a niche audience, Lamberton says he knew he wanted to do Moscow next. He studied Russian in college and has a masters degree in Russian art and literature. “This was finally the opportunity to do something with my degree,” he says.

To make the maps, Lamberton he teamed up with two muscovites working to preserve the city’s architectural heritage: Natalia Melikova of The Constructivist Project and Nikolai Vassiliev of Docomomo Russia . Melikova also took the photos for the map.

Photos and descriptions of more than 50 constructivist buildings appear on the back of the map.

Hundreds of constructivist buildings remain in Moscow today, but many of them are in danger of demolition or deterioration through neglect. “The city is not interested in the preservation of these buildings,” Lamberton says. “It doesn’t fit in with how Moscow sees itself right now.” Lamberton and his collaborators hope the new map will help draw attention to the issue, but it will have to pass review with the state cartographic agency before it can be distributed in Russia.

Meanwhile, Blue Crow has more architecture maps in the works, including a brutalist map of Washington, D.C., due out in October, and a map of 20th-century architecture in Berlin, due in November.

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