It wasn’t a typical evening in London as Beyoncé came back for her first show in the city in 7 years. At a crisp, sunny 17 degrees, the half-hour trek to the venue from the nearest tube station (Wembley, where she might have played, prioritised the football), was comfortable enough without having to “fan yourself off”. It was the perfect temperature for Queen Bey to “f*** up the night.

Beyoncé teases ‘RENAISSANCE’ film, coming soon to cinemas: ‘Be careful what you ask for, ‘cause I might comply’ – watch

Renaissance, her thumping, soul-gripping love letter to the queer community and oded to her late gay “godmother”, Uncle Jonny (as mentioned in 'Heated'), rallied  the LGBTQ+ folx among her Beyhive. Among a 62,000-strong crowd, it felt like they knew this night, this music, this tour, belonged to them. As we waited for the concert to begin, the gigantic screen behind the stage displayed the colours of the Progress Pride flag; an indisputable tribute to queer people of colour – who have long counted her among its icons and who she has wholeheartedly embraced – and a nod to the community’s central role in the history of dance music. 

Before the time came to “dance all night”, she had a solo moment with her hive. Appearing alone on that massive stage,her unmistakable voice resounding throughout the stadium with 'Dangerously In Love’ (from the first album of her solo career), it felt as though she was trying to take in every single one of the thousands of faces before her. Her expression, magnified on the giant backdrop that would be the canvas for some indescribable out-of-this-world visuals for the rest of the evening, was resplendent and elated –her smile, genuine and earnest. 

Her “renaissance” seemed less of a new beginning than a joyous celebration of her artistic journey thus far, of her influences and mentors, of her evolution, empowerment and growth, of her motherhood, and of her most cherished relationships.

When the party – which is really what the Renaissance album is – got into full swing with 'I’m That Girl,' 'Cosy,' and 'Alien Superstar' back-to-back, she gave her all to the music,  a nod to queer dance culture and everything pioneered by the community: house music, Detroit techno, Ballroom culture, and more. When the mid-act visuals were not projecting visions of Beyoncé as if a cyborg on overdrive, they were displaying footage of the unabashedly queer disco and early house music scenes. Onstage, as exemplified in ‘Pure/Honey,’ her dance squad vogued and slayed, as they’d say “the house down boots,” each dancer getting the spotlight. 

There are already numerous reviews about the setlist of the show and its theatrics. Creating an impeccable flow is an art, and on top of the outfit changes, the staging, the colossal props and visuals – each one more opulent and futuristic than the last. The omission of older chart-topping hits somehow felt right. Beyoncé knew this was probably not the moment for that. 

But above the grandeur of the production, what felt more profound was how exuberant it all felt, how free Beyoncé seemed onstage, and how that inspired her entire crew. It looked like everyone was having the time of their lives. When the crowd took over her scale-defying 'Love On Top' runs, she looked content. When they roared for her daughter, Blue Ivy, after she made a much-anticipated appearance during 'Black Parade,' her proud mama’s face beamed.

To say that Beyoncé has arrived is superfluous; she only ever needs to top herself and she does it anyway, every single time. But there is an assuredness to her now that is even more pronounced since Beychella (her 2018 Coachella headlining performance, immortalized in the Netflix film Homecoming), and a greater sense of purpose that comes with that. With her calibre and influence, she knows that mammoth stage is a powerful platform to champion everyone: her band, her singers, her dancers, her fanbase, and – as heard in her remix of ‘Break My Soul,’  ”all of the pioneers who originate culture, to all of the fallen angels whose contribution have gone unrecognised for far too long,” in her own words. At the same time, she is also claiming her own space next to these pioneers as an untouchable pop sensation who not only dominates the stage, but does it without missing a note.

She flew into the crowd on her shiny horse (known to fans as Reneigh) for her final song 'Summer Renaissance,' only to be levitated up sans steed in her gleaming, majestic cape and flown back to the stage. As she says herself, even as you take all that spectacle away, and she’s still that girl. And she deserves to be. And we all celebrate that she knows it.

Gig report by Michaela Therese

Edited by Paolo Abad