"The Beyonce Experience" reviews [Archive]

Nadia

Jun 4th, 2007, 01:55 PM

Beyoncé
David Sinclair at NEC, Birmingham

4 out of 5 stars

Birmingham became the first British city to undergo “The Beyoncé Experience” when the former Destiny’s Child opened the UK leg of her current world tour at the National Exhibition Centre. Rising from beneath the stage, wreathed in smoke and white light, while a curtain of fireworks cascaded from the roof behind her, she stood for a moment like an Amazon warrior, arms held above her head. “Ladies and gentlemen, are you ready to be entertained?” she yelled, as if throwing down a gauntlet. If not, tough luck.

The 25-year-old superstar and ten-times Grammy-winner from Houston, Texas, stamped her mark on the 2½hour extravaganza which followed with such authority and vigour that it seemed at times as if the audience were not quite able to keep up. “You’re a little quiet for me,” she told the crowd on more than one occasion. This may have been, in part, because most of them were busy trying to lift their jaws from the floor. It may also have been a measure of just how loud this new queen of R’n’B likes to play it.

Combining the dance moves and dress sense of the young Tina Turner with the vocal firepower of Patti LaBelle, Beyoncé surged through Freakum Dress and Green Light, both from her multimillion-selling second album B’Day. Her 13-piece backing band, including horn and vocal sections, was staffed entirely by women. In addition six lithe female dancers disported themselves in a variety of costumes, loosely based around an unfinished negligée theme. Four male dancers also made an appearance and soon ripped off their shirts to reveal rippling torsos.

Beyoncé returned from the first of many costume changes kitted out in a bellydancer’s outfit. With her tummy undulating like a slab of brown marble placed under water, she sang Baby Boy and her recent No 1 hit Beautiful Liar with pulverising intensity while her thick tresses swirled around her head as if caught in a high desert wind.

The entire history of Destiny’s Child flashed before our eyes, courtesy of a swift medley of hits, which found the dancers stretched out in a line behind a dancing bar. Stomping, shaking, snorting and shrieking, Beyoncé hammered into the climactic verse of Survivor, her delivery a cross between a show pony and a raging lioness.

Her attempt at an introspective ballad, Flaws and All, was less convincing. She certainly gave it her best shot, even mustering an impressive crocodile tear which rolled down her glittering cheek bang on cue during the last verse, but Beyoncé hasn’t quite got the hang of doing sensitive, let alone vulnerable.

Faced with such an overwhelming and sustained display of show-womanship, it seems faintly churlish to mention other occasional shortcomings such as the use of taped raps from a ghostly Jay-Z on Upgrade U and the encore of Déjà Vu. However, it had become obvious long before then that resistance to The Experience was futile. You know when you’ve been Beyoncéed.

—Tour continues on June 5 at Cardiff International Arena

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/live_reviews/article1878431.ece

Nadia

Jun 4th, 2007, 01:57 PM

What an experience... a night with bold Beyoncé

By John Aizlewood, Evening Standard 04.06.07

Billed as The Beyoncé Experience rather than a mere concert by Beyoncé Knowles, last night's second of two Wembley dates proved the point in majestic fashion.

Backed by a 13-piece, all-female band, including a heavily tattooed guitarist, a drummer who ate a banana during her solo and three unashamedly tubby backing singers, Knowles offered a high-energy spectacle from the moment she ascended on stage in a puff of white smoke to belt her way through Crazy In Love (which briefly morphed into Gnarls Barkley's Crazy) to a head-spinning Deja Vu, two hours later.

Big, brave and bold, the Beyoncé Experience is how pop music would work if it were choreographed by Busby Berkeley.

Knowles was at the centre of everything, bar a few brief costume changes and whatever her four male and four female dancers did, she did better and for longer.

Hair extensions billowing in what appeared to be a permanent onstage gale, she was a superfit force of nature whose energy level remained never dipped whether she was throwing herself around stage to Ring The Alarm or wrapping her vocals around the ballad Flaws And All, during which she began to cry seemingly real tears, although when it ended with a sheepish dancer dressed as a giant, pantomime angel, enveloping her in his wings as if taking part in some misguided school nativity play, the audience's tears were somewhat more laughter-based.

The angel, though, was a brief and rare misstep. For all her astounding work-rate, Knowles kept her distance, bar a few thank yous and, oh dear, a mystique-shattering competition where someone won a T-shirt for knowing that the Beyoncé Experience began in Tokyo. As the Queen Mother understood so well, silence breeds mystique. There will, you suspect, be no tacky competitions next time.

The hits of Knowles's group, Destiny's Child, were dismissed in a medley. However, as medleys go, it was a treat, with each song granted separate, stunning choreography (especially Bills, Bills, Bills) until the finale, a gripping, fists-clenched Survivor. Celebrating her past, yet consigning it to history was cynical but brave: it worked marvellously.

If anyone had the temerity to doubt Beyoncé's star quality and her place in the diva pantheon, they would doubt no more after last night. She's the real deal and there is surely much more to come from one who is not 26 until September. An Experience to savour.

http://www.thisislondon.co.uk/music/gig-23363846-details/Beyonce/gigReview.do?reviewId=23399248

Nadia

Jun 4th, 2007, 02:26 PM

I confess that before seeing her perform live, I was pretty indifferent to her work.

Sure, her songs Crazy in Love and Bootylicious (with Destiny's Child) are first-class dance-floor fillers, but there also seemed to be a lot of indifferent R'n'B featuring interchangeable rappers and that insufferable trilling that Idol contestants aspire to.

There were also plenty of crossed messages, politically speaking. Was she really an Independent Woman, or did she just want a man to pay her Bills? Her videos, heavy on skimpy outfits and trademark booty-shaking, seemed to suggest the latter.

I take it (almost) all back. On stage, she's a force of nature.

Rarely has an artist been so suited to the image-obsessed video age of pop. But unlike almost every other pop starlet, Beyonce doesn't need the airbrushing or the prerecording. Underlining that, she swapped the high-sheen digital production of her records for a raw, sweaty 13-piece band: three drummers, a three-piece horn section, two keyboardists, a guitarist, bass player and three backing singers. That was great and unexpected, but even more fabulously, all the band members - arranged on a lit-up stepped stage - were women.

They had plenty of opportunity to show off their virtuosity, too, during Beyonce's several costume changes - from one glittering ballgown to another, from crystal-laden satin leotard to champagne-coloured baby-doll dress and gold shorts. Note-perfect all the while, Beyonce dropped effortlessly into formation with her 10 dancers, strutting in sparkling heels. Talk about working hard for your money.

After the opening-set high of Crazy in Love, the pace proved unsustainable for the almost two-hour show. The costume-change shifts were disjointed (and occasionally just bad - as in an

E! news-style video montage of her red-carpet appearances). There was a surfeit of showy, belter-style ballads, but such is her voice that they weren't totally unbearable. Set highlights such as a 10-minute Destiny's Child medley and the Middle Eastern-feel version of Naughty Girl made it all worthwhile.

It was a show reminiscent of Prince at his peak: a consummate entertainment professional who knows every trick in the book to push an audience's buttons, but makes it look natural and easy.

By Kelsey Munro,
The Sydney Morning Herald

Nadia

Jun 4th, 2007, 02:30 PM

She came on stage in a shimming silver outfit and stood on stage alone in dry ice and lights, posed and let the Acer Arena crowd of teenage girls scream (and I mean scream) their little lungs out in rapturous delight and adoration. Beyonce is in the house complete with pyrotechnics, flashy video backgrounds and a tight, all female, ten piece band.

The girl can sing. The girl can dance. She’s taken some good advice about theatrics. The simple staging, in stark contrast to Australia’s own Diva, Ms. Minogue’s huge set, worked a treat. This was all about Beyonce’s voice, front and centre and that takes some talent. A tiered, stepped stage where the band held court, showcased some awesome video wizardry and lighting. The stairs became a video screen and lit up to superb effect.

Miss Knowles went through most of her hits including a great Destiny’s Child medley including Survivor, Bills Bills Bills and the very fabulous Independent Woman. Of course, the pre-pubescent crowd was here to hear the songs from BDay, her latest album and she didn’t let the audience down, the highlight being an awesome high energy rendition of Ring The Alarm.

She knows how to hold her audience. During an extended version of Dangerously In Love, she showed off her vocal gymnastics and swanned around the stage teasing the crowd with long acapella notes and the crowd went wild. The biggest reaction of the night was for Irreplaceable – you know, “to the left to the left”. The audience ate it up.

As I said, the girl can dance and she can dance and sing at the same time, and she really looks like she enjoys it rather than going through the motions.

There were a number of costume changes where she went offstage and we saw the band and the dancers do their thang but that did slow things down. She only arrived in Australia that morning so maybe she needed rest breaks? At the end of the day the crowd were there to see her and the musical breaks were just too long. She kinda lost the crowd at times when she sung some less familiar songs but that is standard when everyone wants to hear all the big hits. And big hits we got, Beautiful Liar, complete with Shakira accompanying on video screens, Crazy In Love, Naughty Girl, Check On It, but where was Deja Vu?

Towards the end of the concert she seemed to get a bit tired and the show ended suddenly. No encore. No encore! I think she was over it. My friends said they saw her action to the band that that was it. No more. And there we have it.

She came, she performed, she gave herself. She’s loves the people in the back of the arena, and up at the top and at the sides. She knows how to work it but personally, I came away wanting more.

She is the #1 pop diva of the moment after all.

By acidjasmine,
samesame.com.au

Nadia

Jun 4th, 2007, 02:33 PM

Looking every inch the diva she is, Beyonce opened her first Australian show last night wearing a stunning, glittery silver floor-length gown and belted out one of her biggest hits, Crazy In Love.

In a showstopping move, she waited until halfway through the song before she ripped the long skirt off the costume and turned it into a sexy minidress, showing her impressive and world-famous curves, much to the delight of the crowd at Acer Arena. Her all-female band included three voluptuous backup singers and there were three separate drum kits.

She worked the stage, dancing and waving her hands and playing up to the audience.

Fellow recording superstar and boyfriend Jay-Z, who features in some of her songs, was not there to join her on stage.

His vocals were prerecorded and played through the sound system instead.

She teased her fans by singing only snippets of her hits Baby Boy and Love To Love You, preferring to spend more time showing off her carefully choreographed dance moves.

It was left to her backup singers to make up for her lack of vocals.

It might have been the jetlag, as the star flew into Sydney Airport from Japan only yesterday morning, but she took long and frequent breaks between songs.

Fan Katie Agnew, 24, said: "She's been my favourite singer since her Destiny's Child days. She is one of the hottest stars for sure."

By Louise Hall,
The Sun-Herald

Nadia

Jun 4th, 2007, 02:35 PM

The stunning 25-year-old American R&B star has the class and grace of a true professional. Considering she's been in the entertainment game for a decade, this comes as no surprise.

Knowles performed to an adoring capacity crowd at the Entertainment Centre last night. She hasn't performed here in two years, but it's easy to see the dream girl hasn't been taking a nap.

Not only has Knowles firmly established a singing career releasing two high charting albums in the last four years, but she's burst on to the Hollywood film scene and become a trendsetter in the fashion arena, releasing her own label with mum Tina, House of Dereon.

Opening the show in a dazzling silver frock, performing Crazy In Love, a hit off her debut album Dangerously In Love, Knowles demonstrated to her fans she's come a long way - on her own - since her last Adelaide appearance in 2005 with Destiny's Child.

Her repertoire of chart-topping hits had everyone singing and busting a move. Highlights included early hit Naughty Girl, and recent radio regulars Irreplaceable, and sole encore track Deja Vu.

Highlighting the strength and depth of her voice, Knowles enjoyed a sweet ballad set with little else on stage but herself and a huge pair of lips - not her own, but a seductively shaped seat.

However, it was during her high energy tracks such as Baby Boy and Bonnie and Clyde 03, when the reigning queen of R&B, a mere shadow of her former curvaceous self, performed at her best.

In stunning gowns and risque outfits, Knowles belted out hit after hit. Most interesting was the number of Destiny's Child tracks she performed, from Independent Woman to Bills Bills Bills.

The show-stopping numbers of the evening weren't necessarily of the musical variety - her awe inspiring and always risque outfits were as much a part of the show as Knowles' three back up dancers, or Knowles herself for that matter. Completely couture, her costumes were beautifully crafted and left just enough to the imagination to send tingles down any guy, or girls, spine.

Most in the arena envied the mocha skinned beauty - for her sass, her talent and of course, her booty.

Support act Chris Brown, renowned for his first single Run It, was another testament to stars making it big at a very young age. At only 17, Brown was able to captivate the audience with his super slick styling.

His set was more about his moves than actual singing, not that anyone minded, with his cheeky routines reminiscent of Michael Jackson - with an R&B edge of course. However there was no evidence he could shake his booty better than the professional who followed the young stud.

It was a well rehearsed, well executed flurry of excitement, sparkle and soprano sounds.

By Candice Keller,
Adelaide Now

Nadia

Jun 4th, 2007, 02:38 PM

When media were informed Beyonce Knowles would allow television crews and print media to photograph her on stage just for one solitary minute at her first Melbourne show, alarm bells rang.

Most bands open their show to media for the first three songs; Beyonce wanted photographers in and out of Rod Laver Arena before she even started her first.

The last Australian tour by the now dormant Destiny's Child had a cheap stage set that wouldn't have looked out of place at a rock eisteddfod. But last night Melbourne finally got a Beyonce show with a budget.

More importantly Beyonce is fast transcending being a mere R&B performer and reaching the level of a female Prince.

Using the same kind of effortless sexuality and stage presence, Beyonce is an old-fashioned, all- round entertainer.

And while many female pop stars spout off about girl-power, Beyonce has got herself an all-girl band, including two drummers and a horn section.

Their energy boosted some of her patchier solo material, as well as revving up hits like Naughty Girl, Deja vu and the excellent Crazy in love, which included a burst of Crazy by Gnarls Barkley.

The tour is not called the Beyonce experience for nothing.

The mainly female audience are treated to songs from her movie Dream Girls, as well as a Destiny Child's medley, arguably featuring some of her best songs.

And in Irreplacable, she's got herself a genuine classic ballad.

The music world is full of celebrities, but Beyonce is a star.

By Cameron Adam,
Melbourne Herald Sun

Nadia

Jun 4th, 2007, 02:45 PM

http://i3.photobucket.com/albums/y86/AnastaciaInspirated/scan0002-1.jpg

Nadia

Jun 4th, 2007, 02:48 PM

http://i3.photobucket.com/albums/y86/AnastaciaInspirated/scan0003.jpg

Nadia

Jun 6th, 2007, 05:12 AM

4/5 stars

Beyonce Knowles, Wembley Arena London
By Jo Ellison
Published: 05 June 2007

Some might say that opening your show with your most popular - and arguably one of the most recognisable songs written in the last five years - would be a high-stakes move. That to use the strongest artillery in your arsenal in the opening breaths of a two-hour performance would be an act of over-confidence. But when Beyoncé Knowles bounced into Wembley Arena on Sunday night, sheathed in the barest of sequined dresses to the strains of "Crazy in Love", that's exactly what she did.

Kicking off Arts Council England's season of R&B concerts, celebrating 60 years of the genre, The Beyoncé Experience was exceptional. In a venue capable of sucking oxygen out of big stars, Knowles's energy, stamina and sheer vocal strength filled the arena with the same warmth and intimacy she found performing in her mother's hair salon as a child. Never mind the numerous costume changes, the visual pyrotechnics, the backing dancers, the almighty all-female band or the giant video screens, Knowles' charisma carried the day.

That, and her hair: luxuriant extensions, which whipped around the stage with such force they should have received special billing. Or her thighs, of such girth and magnificence, I half expected her to crack walnuts off them in her breaks - not that her wardrobe-changing schedule allowed time for snacks. Or her legendary derrière, which my companion suggested be cast for posterity alongside the handprints of George Michael and Dolly Parton outside the arena.

Of the show's highlights, Destiny's Child fans were grateful for a whistle-stop tour of the back catalogue - "Independent Women", "Bills, Bills, Bills" and "Survivor" included. Elsewhere, a vigorous rendition of "Green Light" surpassed the pale interpretation on B'Day (possibly the worst album title ever) and the empowering "Irreplaceable" sent 'em home singing. The emotional "Flaws and All" featured real tears, blown up for full effect on screen, and a pair of giant angel wings into which Knowles was transported - a moment of unparalleled high camp.

Considering the field - the tortured vocal gymnastics of Aguilera, the kooky girl-next-doorism of Stefani; the accomplished roboticism of Madonna - Beyoncé stands tall. But despite her skill as a performer, her greatest act of theatrical generosity on Sunday was to look as though she was genuinely enjoying herself, as though she truly loves to be on stage and truly loves to sing. Any time Knowles. Any time.

Nadia

Jun 6th, 2007, 12:31 PM

Beyoncé dazzles WalesJun 6 2007

by Karen Price, Western Mail

SUPERSTAR Beyoncé Knowles made her Welsh debut last night in true diva style.

In a puff of white smoke, the glamorous American singer ascended on to the stage of Cardiff International Arena to perform a string of hits for her adoring fans.

Dressed in a long, silver gown, with her hair billowing out behind her, she opened the show with her massive hit Crazy In Love.

Although the concert may not have been a sellout, the mainly young female audience loved every minute.

And Beyoncé proved once and for all that although she may still be only 25, she is well on her way to becoming one of the great female singing legends.

The Cardiff appearance was just one of a handful of gigs Beyoncé is performing in the UK.

The former Destiny’s Child singer, renowned for such upbeat tracks as Crazy In Love, Deja Vu and the recent chart-topper Beautiful Liar, kicked off the mini tour in Birmingham.

And after two further gigs at Wembley Arena, she brought her show, billed as The Beyoncé Experience, to Wales – which was a late addition to the bill.

Backed by a 13-piece, all-female band, Beyoncé offered a high-energy spectacle from the moment she arrived on stage.

Even as part of the Destiny’s Child trio, Beyoncé – recently engaged to rapper Jay-Z – stood out from the others.

And as a solo artist, she has the tracks, the vocals and the moves to put her peers to shame.

Although Beyoncé certainly knows how to put on a spectacle – with costume changes and dancers galore – she doesn’t need any gimmicks. Her amazing voice is the only tool she really needs.

The star gave a nod to her former band – and the Destiny’s Child fans in the crowd – by including a medley of their hits, including Bills, Bills, Bills. But last night the real reason they were at the CIA was to see her – and her alone.

Nadia

Jun 8th, 2007, 05:51 AM

Beyoncé @ M.E.N. Arena
Chris Osuh
8/06/2007

4 out of 5 stars

07/06/07

BEYONCÉ is bigger and better than any other solo female artist in the game right now.

Latin belter Shakira may have hips that don't lie, but her charms haven't caught the eyes of the beauty companies that pay Beyoncé millions to promote products black girls don't even use.

Big-voiced Christina may well be a fighter, but she hasn't had a world No.1 single since 2002.

A few years back the young ladies of Tokyo's most fashionable shopping section took to over-tanning their faces and dying their hair to look like Beyoncé.

Somehow it seems unlikely the girls of 'Shibuya 109' would risk their parents' wrath to ape Britney's K-Mart meets Betty Ford look.

The Beyoncé Experience tour is the B-Word's opportunity to show the world the considerable talents that have seen her outshine the biggest names in pop. On Thursday night at the M.E.N. Arena, she grabbed it with both hands, before dancing all over it on powerful legs.

The show opened with a shower of sparks and the brassy wall of sound that is Crazy In Love. Beyoncé, resplendent in silver, stepped, strutted and writhed across the luminous stage like Ike Turner was lurking in the wings.

Innovative

The song featured an excerpt of Gnarls Barkley's Crazy, setting a precedent for a night of innovative arrangements and displays of rock showmanship from the all-female, all-talent band.

After 15 minutes on stage Beyoncé left it, returning in a bellydancer's get-up to segue Chaka Demus and Pliers' Murder She Wrote into Beautiful Liar, her hip-twisting duet with Shakira.

The Arabic thread in Liar's backing track wove neatly into Naughty Girl, which ended with raucous, call-and-response scatting and showcased Beyoncé's incredible dancing skills.

Shimmering

One costume change later, this time a shimmering debutante-style dress, and Beyoncé powered out big ballad Dangerously in Love.

The song was a little tainted by an excess of warbling, but nicely followed by a Jill Scott sample, and a pure-voiced, dewy-eyed version of Flaws and All, which in slightly overwrought fashion, ended with an 'angel' descending from the rafters.

A Destiny's Child medley of sex-charged, materialistic 'girl power' anthems was lapped up whole by the overwhelmingly young and female crowd, as was Upgrade U and numbers from the film Dreamgirls.

Finally, chart-topper Irreplaceable was given an acoustic makeover before a playful bassist led into the encore, De Ja Vu. At the very end of the night Beyoncé sang 'Happy B-Day' to fans and pointed out faces in the crowd, which she claimed were the best in the UK.

The r'n'b beauty had sung and danced for a good two hours, and very well she did too.

http://www.manchestereveningnews.co.uk/entertainment/music/live_reviews/s/1008/1008675_beyonc__men_arena.html

Nadia

Jun 8th, 2007, 05:51 AM

Nadia

Jun 11th, 2007, 07:21 AM

Queen of pop: brilliant Beyonce is brash but fun

By Beyoncé
Monday June 11 2007

BEYONCE Giselle Knowles isn't just content with being a member of the world's best-selling girl group of all time. After successful stints as a fashion designer, producer, actress and model, now the Texan is launching her bid to put on the best pop show on the planet.

The tour is subtitled 'The Beyonce Experience' and it does exactly what it says on the tin. Beyonce makes her entrance from underneath the stage, immediately bursting into the all-singing and dancing superstar that has sold out two nights with ease.

Her best ever single and perhaps the greatest R'n'B track ever recorded, 'Crazy in Love', announces her arrival, but Knowles takes a trick out of Kylie Minogue's book and segues a short cover of Gnarls Barkley's 'Crazy' into her calling card anthem. As curtain openings go, they don't get better than this.

The all-female 10-piece backing band are also fantastic.

Of course, there has to be several costume changes to facilitate Miss Knowles' array of sparkling outfits.

Sometimes, the interval music works perfectly, such as when they drop the Pink Panther theme tune, but two excruciating drum solos are absolutely unnecessary.

It almost goes without saying that Miss Knowles looks absolutely stunning. I have to confess that the sight of Beyoncé ripping off a short cocktail dress to reveal a barely there bodysuit will linger in my memory for years to come.

While a few more hit tunes wouldn't go amiss, Knowles is still only 25. I wouldn't be too surprised that if over time she accumulates a catalogue of hits to rival Kylie or Madonna.
EAMON SWEENEY

- Beyoncé

http://www.independent.ie/national-news/qu...fun-695627.html (http://www.independent.ie/national-news/queen-of-pop-brilliant-beyonce-is-brash-but-fun-695627.html)

bluepurple

Jun 12th, 2007, 11:35 AM

dayumn thats a lot to read

Nadia

Jul 7th, 2007, 04:51 PM

Beyonce electrifies at revived Essence
Posted by By Keith Spera July 07, 2007 2:19PM
Categories: Breaking News

All those people who didn't turn out for the Essence Music Festival's sparsely attended opening night? They showed up Friday.

Harvey seemed even more on edge than usual, which may or may not be related to his status as a newly married man. He locked in on the woman, even dropping an f-bomb in anger. He demanded to know what she did for a living. A writer, she said. "A writer? You don't have a damn dollar to your name."

Ouch, Steve. That one hit a little too close to home.

Tyler Perry briefly joined Harvey onstage. The New Orleans native is an entertainment industry powerhouse thanks to his hit "Madea" movies, a bestselling book and a recent deal to produce 100 episodes of his "House of Payne" sit-com for TBS. Perry urged visitors to "go see the real people" who are still struggling to rebuild from Hurricane Katrina, both black and white. "Pray for our people," he said.

Harvey then riffed on Perry's burgeoning wealth. "You know how much money Tyler Perry has? I'm surprised you women are still in your seats. I'd have my top off." Harvey also encouraged the younger people in the audience to check out Frankie Beverly and Maze on Saturday "so you can hear what instruments sound like."

He could have said the same thing about Beyonce.

During her opening overture, giant video screens announced the arrival of "The Beyonce Experience." That it was. The curtain rose on a spectacle and a sound that was, from where I sat in section B of the floor, overwhelming. It was almost too much to take in. The standard Essence stage props had been moved aside in favor of Beyonce's custom set, a broad, stepped platform that functioned as an enormous strobe. Thirteen musicians and singers - all of them women, including two drummers and a percussionist - attacked "Crazy in Love" with the aggression and intensity of a rock band.

At the center of this audio and visual extravaganza stood Beyonce in a sparkling silver dress. For the next 90 minutes, she presided over the most entertaining and impressive pop show I've seen in recent memory.

She is, simply, a force of nature. In three inch heels, she was in constant motion. She fell in step with her six female backing dancers for crisp choreographed sequences. In floor-length red cloaks that looked like something out of "The Matrix," they bent over backwards and "ratcheted" themselves ever lower, a move worthy of "Rhythm Nation 1814"-era Janet Jackson.

She wailed, but never over-sang. And she knows not to take herself too seriously. While holding and modulating one extended note, she glanced at her wrist as if consulting a watch, then shrugged and grinned like, "Hey! That wasn't half bad!"

To flawlessly execute the choreography, cues and singing in such an airtight production is an accomplishment worthy of praise. Yet she did not seek to elevate herself beyond the status of the empowered and self-reliant woman celebrated in the likes of "Me, Myself and I." She came across as warm, engaging and sweet-tempered. At one point, she noticed a small girl with glasses waving meekly from the fifth row. Beyonce paused, locked eyes with the girl, smiled and waved back - a small moment that that young girl will remember for years.

I cannot recall another star of Beyonce's level surrounding herself with a band made up entirely of women (not counting such self-contained all-girl bands as The Go-Go's and The Donnas). This was, of course, by design, in keeping with the girl-power theme inherent in much of Beyonce's music. (cont...)

Nadia

Jul 7th, 2007, 04:52 PM

Motivated and well-rehearsed, these players understood that, both individually and collectively, they were an integral part of the show. During Beyonce's frequent costume changes - there were at least six - they took over. One drummer pounded a fill with one hand while chugging a bottle of water with the other; the second drummer soloed while blindfolded. The striking Divinity hoisted her five-string bass behind her head while soloing, then ran her tongue down the side of the instrument for good measure.

If pressed to find fault, I'd trade a couple of costume changes for another vocal showcase or two. Beyonce is fully capable of holding a room as vast as the Dome rapt with the unflinching power and beauty of her voice; she absolutely tore up "Listen," one of her contributions to the "Dreamgirls" soundtrack. The various midriff- and thigh-baring costumes were not without their charms, but her radiant voice reigns supreme.

The first Essence in the Superdome since Katrina's miseries warrants some kind of comment, even if the event's purpose is to party. Unlike most performers so far, Beyonce managed to seamlessly acknowledge the setting within the context of her show. She introduced "Survivors" with "this song is so appropriate"; later, she encouraged audience participation with "I know this place is filled with survivors!" Earlier, she stated "I'm so proud of this city" without further elaboration. None was needed; everyone understood the reference.

She also acknowledged that the stuttering "Get Me Bodied" borrowed heavily from New Orleans street rhythms and dances, and reminded everyone that her video for "Dejà Vu" was filmed in the city.

For the final "Irreplaceable," she let the crowd sing the opening "to the left, to the left" refrain, accompanied by an acoustic guitar. We - caught up in the unexpected camaraderie of the show, I was certainly among them -- obliged. She and her fantastic band then finished it off.

Kelly Rowland, Mary J. Blige, Lionel Richie, Ne-Yo, Maze and the rest of the closing night Essence acts now know what they must live up to: The Beyonce Experience

http://blog.nola.com/living/2007/07/beyonce_electrifies_at_revived.html

Nadia

Jul 7th, 2007, 11:06 PM

ESSENCE MUSIC FESTIVAL 2007: About Last Night: Chris Brown/Beyonce
Posted Jul 7th 2007 9:09AM by Karu F. Daniels
Filed under: Entertainment Newswire

By Karu F. Daniels, AOL Black Voices

The 13th Annual Essence Music Festival got into full swing during its second night of performances at the Louisiana Superdome.

Out of the four performances (which also included blue-eyed soul crooner Robin Thicke, and multimedia funnyman Steve Harvey), I caught an up, close and personal glimpse of R&B hottie Chris Brown, and literally had gotten chills up my spine from Beyoncé Knowles.

Brown previewed some songs from his upcoming sophomore opus -- two of which included collaborations with his label-mate T-Pain -- along with what seemed like an endless stream of his own radio hits from his multi-platinum selling debut.

The 6'2 tall 18-year-old crooner seemed to bring the audience much delight with his new remix of Rihanna's chart-topping single 'Umbrella' -- which substitutes the repetitive refrain from umbrella to Cinderalla.

Brown was later joined by his partner-in-rhyme Bow Wow, the former pubescent rapper named Lil' Bow Wow who isn't so little any more with his husky voice. The two youngins performed their hit song 'Shorty Like Mine' and Bow Wow did a solo of his song 'Outta My System.'

One of the most memorable moments from Chris Brown's set included his musical homage to King of Pop Michael Jackson, which included his renditions of 'Rock With You,' 'Billie Jean' and 'Wanna Be Startin' Somethin''). See the exclusive clip below ...

And then it was time for the main event: Beyonce, who the swelling audience waited for with what seemed like bated breath.

The Bootylicious beauty stormed the stage like a lightning rod, opening with an electrifying version of her hit song 'Crazy in Love' -- which she blended with Gnarls Barkley's chart-topper 'Crazy' -- and moving into a hot and heavy version of new tracks 'Freakum Dress' and 'Green Light.' The former Destiny's Child front-woman did not only change outfits several times, she also changed musical styles: from the reggae-tinged 'Baby Boy' mixed in with the dancehall classic 'Murder She Wrote' to the Broadway musical-themed introduction of 'Ring the Alarm' -- which sent the audience into a frenzy.

People can say what they want to about Beyonce, but the girl is a lightning rod on the stage.

She's a force of nature, unlike anything I've seen her generation, as is evidence with this clip below (courtesy of AOL Black Voices' celebrity columnist Jawn Murray). Check on it ...

http://blackvoices.aol.com/blogs/2007/07/07/essence-music-festival-2007-about-last-night-chris-brown-beyon/

Essence Festival video:
Listen:
http://www.youtube.com/watch?v=yP243CsI3wU

Me, Myself and I:
http://www.youtube.com/watch?v=5eqMR5aMXzk

Dangerously In Love:
http://www.youtube.com/watch?v=ZxJZswDFGvU

Deja Vu
http://www.youtube.com/watch?v=DtI6ShED5ak

Get Me Bodied
http://www.youtube.com/watch?v=OB9Ae92lSyE

Nadia

Jul 9th, 2007, 07:44 AM

"This was Beyoncé night, marking the first show of the singer's North American tour — a high-production spectacle that showcases her supple voice with complex choreography, dramatic lighting and numerous costume changes. Touching on material from her Destiny's Child days to latest album B'Day, Beyoncé also took time to present numerous solos by members of her expert all-female band."- USATODAY

Nadia

Jul 9th, 2007, 07:45 AM

Memphis review:

http://www.commercialappeal.com/mca/live_music/article/0,1426,MCA_508_5620460,00.html

Super diva Beyoncé officially kicked off her new U.S. tour in Memphis Saturday night before a crowd of 12,000at the FedEx Forum.

Beyoncé was visually stunning in high-octane show
By Mark Jordan
Special to The Commercial Appeal
July 8, 2007

Fresh off winning R&B artist of the year at last week’s BET Awards, super diva Beyoncé officially kicked off her new U.S. tour in Memphis Saturday night before a crowd of 12,000 at the FedEx Forum.

Between the awards show wins, the heavy radio rotation, music videos, and film roles, Beyoncé seems in danger of being overexposed these days. And she laid it on even thicker this night. Three giant video screens flashed her perfect face and body constantly, including one sequence that alternated glamour shots of the singer with footage of her crying fans with the inferred message being: I am gorgeous and adored.

But as much as you might want to hate her, at the end of the night Beyoncé delivered, presenting a lavish, visually stunning, high-octane show that proved she is not just beautiful but talented and hard working as well.

The glitter was in full effect from the start as the singer descended to the tiered stage in a shimmering silver dress and launched into "Crazy In Love," quickly revealing her secret weapon, a 13-piece all-female backing band. Though all lovely, these ladies were not mere eye candy; they could play, a fact Beyoncé showcased throughout the night by giving the stage over to them when she stepped off for her frequent "freakum dress" changes. In the middle of an extended "Green Light," for instance, the trumpet player stepped up for a solo followed soon by turns from both drummers, with one laying down lightning fills with one hand while taking a drink and the other delivering a precise pounding blindfolded.

Later Beyoncé, notable for being one of the least vocally flashy divas on the scene today, took a melisima-ladened solo turn herself. But mostly she stuck to straight-ahead interpretations of her hit-heavy catalog, including material by her trio Destiny’s Child like "Survivor" and selections from her films like "Listen" from the Oscar-nominated musical Dreamgirls. The biggest applause were reserved for her current hits, however, including a set-closing "Irreplaceable," sung as much by the audience as the singer, and an encore of "Déjà Vu," both from her current album B’Day.

Ultimately thought the concert was as much a triumph of staging and choreography as music. Utilizing lights, video, set pieces, and costumes the star and her crew gave each song its own distinctive, memorable look. And the singer and her 10 backup dancers remained in constant motion. At times there were two dozen performers on stage at once, and it was difficult to know where to even look. Given the contributions of so many, it’s all together fitting then that this was the first concert this reviewer has ever seen that ended with a credits roll.

Nadia

Jul 9th, 2007, 01:46 PM

St. Louis Review:

Beyonce
By
Kevin Johnson
POST-DISPATCH POP MUSIC CRITIC
07/09/2007

Sometimes you really have to sit back and just give it up to Beyonce.

Just when you thought you’d had all you’re going to take of the big-haired dynamo and her omnipresence, she comes along and gives a show like the one she unleashed Sunday night at the Scottrade Center.

Beyonce’s near two-hour show is a well-oiled machine that further confirmed no other young pop diva is doing it like her in concert, mixing equal amounts of flash and frills, costumes and choreography, and a library of songs stretching into next week. It’d be nothing without actual talent to pull it all together, and she has that to spare, though her strong performance fails to allow actual personality to come through.

Her show, which drew a medium-sized crowd of about 7,800, is just shy of reaching Madonna/Janet Jackson levels of spectacle, but she and her crew worked tirelessly in giving fans what they came for.

After walking up from beneath the stage amid smoke and pyro (more on the out-of-control pyro in a bit), Beyonce unveiled a generous heaping of songs from her two solo CDs "B’Day" and "Dangerously in Love." Those included "Crazy in Love," "Déjà vu," "Listen," "Get Me Bodied," and of course female anthem "Irreplaceable."

An appropriately-lengthy Destiny’s Child medley brought on "Bootylicious," "Soldier," "Say My Name," "Survivor," "Independent Women," and more, and left us missing her former group mates Kelly Rowland and Michelle Williams. But she fared just fine without them.

Nearly each song during the quickly-paced show came with its own distinct production. "Baby Boy" oozed with dancehall flair. "Beautiful Liar" featured a Middle Eastern twist. "Naughty Girl" harked back to ‘70s disco, complete with an array of mirrored disco balls. "Ring the Alarm," all sirens and rage, featured a homage to "Chicago," as well as a series of robotic dance moves not unlike Jackson.

The ballad "Dangerously in Love," always one of Beyonce’s big vocal show-off pieces, cast the singer inside of a faux picture frame while her vintage-dressed dancers struck perfect poses. The song segued into Jill Scott’s "He Loves Me." Another well-conceived segue was her "Crazy in Love" moving into Gnarls Barkley’s "Crazy." "Flaws and All" was another strong vocal showcase, and wrapped with tears streaming down the singer’s face.

As far as near-opening nights go – this was only the third U.S. date on her tour -- hers went smoothly after a rough start. Just before opening song "Crazy in Love," some of the streaming pyro malfunctioned and concert-goers in the front rows were accidentally showered with sparks that shot straight at them. A couple of concert-goers were seen escorted off the floor by staff, and were reportedly treated for minor injuries.

Near show’s end, Beyonce turned to that section of the crowd and asked if they were OK. She also reportedly went to Barnes-Jewish after the show to check on fans.

Special shout outs go to several performers who originally hail from St. Louis who are touring with Beyonce – drummer Kim Thompson, dancer Clyph McGhee, and singer Montina Cooper (Bethany Strong assisted with choreography) did their city proud. Beyonce gave plenty of extra room for her large all-female band and her dancers to shine expertly.

Opening for Beyonce was Robin Thicke, the musically-inclined son of Alan Thicke. Thicke, with his often disarming falsetto, delivered a cool set of songs from his "The Evolution of Robin Thicke" CD including "Lost Without U." The set also included the salsa-soaked "Everything I Can’t Have" and smooth ballads "Teach U a Lesson" and "Can U Believe."

What Thicke might want to lose, quickly, are the corny ways he skipped, scooted, and moonwalked his way around the stage.

Nadia

Jul 14th, 2007, 10:33 AM

http://www.ew.com/ew/article/0,,20046320,00.html

http://i87.photobucket.com/albums/k130/julietn528/beyonce_l.jpg

TOUR DE FORCE Beyoncé's rousing stage show is a true display of (Dream)girl power

By Chris Willman Chris Willman
Chris Willman is a senior music writer for Entertainment Weekly

If you like women, you'll love Beyoncé's new live show. There's a veritable cast of thousands of 'em in The Beyoncé Experience, which bowed July 7 in Memphis (the tour continues throughout the summer; see the full schedule at Beyoncé's website: a trio of curvy backup singers, a half-dozen dancers, and, not to be neglected, a 10-piece band. (The only dudes allowed on stage were four additional hoofers.) It's as if Cecil B. DeMille lived long enough to direct a rock & roll go-go epic about Amazons, a revue spectacular enough in its colossal divadom to put off proclamations of — it's all right, we've all felt it — Beyoncé fatigue. At least for a couple of months, till her tour has safely passed through town.

Though you'd figure she's as mass-appeal as it gets, at least two-thirds of Beyoncé's opening-night crowd fit into a fairly specific demographic — women over 25 — thus making the sing-along of ''Irreplaceable'' a glorious sound to behold. When the tour hits cities with larger -male turnouts, medics should be on hand: The true defibrillator moment, all freakum dress changes aside, is ''Flaws and All,'' during which Beyoncé weeps real tears (nightly, according to reports from earlier overseas shows) while apologizing for being such a . That's a rare campy, melodramatic performance in an otherwise energized two hours, wherein the star jubilantly puts the kibosh on lesser divas' claims that it's impossible to dance and croon live simultaneously. And God created woman, indeed. Rating: A-

Nadia

Jul 14th, 2007, 10:39 AM

Dallas Review:

Destined to dazzle

POP REVIEW: Beyoncé seals her diva-licious fate at AAC

12:00 AM CDT on Saturday, July 14, 2007

By LORRIE IRBY JACKSON / Special Contributor to The Dallas Morning News

Glittering, glamorous, goddess-inspired girl power: Championed by her female band and nearly 15,000 frenzied followers, the sultry supernova known simply as Beyoncé tossed the haters' lowered expectations "to the left, to the left" and gave Dallas a superbad concert experience when she performed at American Airlines Center on Friday night.

From the moment her sequined silhouette materialized beneath a shower of sparks and smoke, one could tell that Ms. Knowles had every intention of giving her fans all that they expected from her larger-than-life persona. The stage was dominated by a ginormous glowing staircase, occupied by her three Dreamgirls-styled background singers and her tight 10-piece band, Suga Mama. The evening's deadline only permitted viewing an hour of her set, but it was one jam-packed with couture costuming, crisp choreography and, of course, the Houston native's amazingly empowered vocals.

Everything about Beyoncé was ethereal and out of this world – including her diamond-covered lashes, voluminous cloud of hair and masterfully made-up face – but her stage patter was warm and sincere. "It feels so good to be home in Texas," she gushed to an already intoxicated crowd, which was mostly – surprise! – of the female persuasion. "I've been waiting the whole tour just for tonight!"

And fans who caught her debut world tour certainly noticed improvement from the first go-round. The band played invigorating solos and made the set changes seamless as Beyoncé changed costumes and sashayed the stage with her dancers while singing hit after hit, often blended with another artist's song simultaneously, proving confidence in her own catalog.

Gnarls Barkley's "Crazy" was woven into her opening number, "Crazy in Love" (complete with her patented booty bounce), and the operatic "Dangerously in Love" included an interpolation of Jill Scott's "He Loves Me (Lyzel in E Flat)" and was easily one of the evening's most hypnotic moments as her soprano dipped and soared with the expected gymnastics, but also with heartbreaking depth and clarity. She also took it back to her Destiny's Child years, at times simply holding out the mike with a knowing grin as fans parroted every verse to "Jumpin' Jumpin'," "Bills Bills Bills" and "Cater to U."

Robin Thicke also earned a healthy supply of screams and swooning. Whether he was tickling the ivories or dancing around in his ivory kicks (memo to Mrs. Thicke: He's going to need a style "evolution" soon; the customary skinny slacks and button-down shirt are getting a bit old), the handsome blue-eyed crooner maintained his hold on fans with the slithery funk of "Shooter," bared his heart with "Complicated" and earned instant shrieks of approval as the chorus of "Lost Without U" floated through the air, accompanied by a naughty swivel of hips to keep the ballad from becoming too mired in melancholy.

Nadia

Jul 14th, 2007, 10:53 AM

Over the top is just right for Beyonce
By PRESTON JONES
Star-Telegram staff writer

Special to the S-T/Richard W. Rodriguez

Beyonce gave an energetic show in Dallas on Friday. DALLAS -- The ticket promised "The Beyonce Experience," and that's exactly what was delivered at a packed American Airlines Center on Friday night.

The Houston native touched all the bases -- pop star, movie star, choir girl, fashion plate, diva -- in an extravaganza that wouldn't be out of place in a Vegas casino. From the fiery opening moments through myriad costume changes, Beyonce never missed a step in the elaborate, precisely choreographed pageantry.

The plan seemed to be to cram the stage full of as much as possible, as often as possible. The 10-piece backing band, enough backup dancers to form a starting lineup for the Texas Rangers and video screens capturing every well-lighted angle dominated the music, overpowering rather than enhancing it. It was just too much.

But that was the point. Every moment was designed for maximum impact; there were no subtle, solemn or soft segments. A deadline prevented me from seeing the entire show, but the energy hadn't dipped as I left, and I can't imagine it did.

Speaking of dips, there's also the matter of her look-at-me vocal runs near the conclusion of Jill Scott's He Loves Me (Lyzel in E Flat). Beyonce has never met a sustained note she doesn't like and it did nothing to advance the song emotionally. For that matter, I'm not buying the crocodile tears at the end of Flaws and All, either. It was startling, but that's called acting class, not connecting with your material.

Opening act Robin Thicke, who has to be glowing from the heaps of adulation piled upon his third album The Evolution of Robin Thicke, sweated through an intense, soulful set. His passionate grunts and suggestive gyrations -- not to mention that feather-light falsetto -- raised the temperature in the room by a few dozen degrees.

pjones@star-telegram.com
Preston Jones is the Star-Telegram pop music critic. 817-390-7713

Nadia

Jul 15th, 2007, 03:48 AM

Beyoncé reigns supreme at homecoming concert

Billy Smith II: Chronicle
Beyoncé brings the goddess drama Saturday in Houston.

In name alone, the Beyoncé Experience Tour evokes a multi-sensory mission. It's no surprise, then, that the Saturday night stop inside Toyota Center featured generous helpings of glitter, glamour and gyrating.

But for a few moments, early in the two hours-plus of performance, Beyoncé beamed like a high school homecoming queen.

"It feels so good to say Houston!" she shouted to the packed arena.

"I'm a H-town girl. I grew up on the Southside. I went to Welch Middle School. I went to the High school for the Performing (and Visual) Arts.

"I love Frenchy's Chicken."

It sent the crowd into rapturous roars, but the same would've likely happened without the hometown shout-outs. Simply put, Beyoncé is one of contemporary music's most thrilling live entertainers.

Yes, all the hits--and then some--were there, including almost every track from 2006's feverish, sometimes fantastic B'Day. But what elevated the Beyoncé Experience above standard diva fare were the inspired song alterations, setlist surprises and relaxed musical arrangements.

Her appearance earlier this year at the Houston Livestock Show & Rodeo was billed as a sneak preview of the current tour. But there were few moments of deja vu (aside from the hit song, of course).

The seductive Baby Boy morphed into dancehall ditty Murder (S)he Wrote. Naughty Girl ran the gamut from disco steamer to full-on band jam. And aggressive cheating anthem Ring the Alarm was preceded by a clever take on Chicago showtune the Cell Block Tango.

Even the requisite onstage fan bit, during soul sizzler Speechless, worked effectively. It was largely thanks to a beaming male participant, who could only utter "I love you, B" when the singer asked his name.

The blaring strains of Crazy in Love proved a perfect kickoff, Beyoncé ascending from under the stage amid a cloud of smoke and lights. It was pure pop-goddess drama: flowy silver gown, windswept hair and a downpour of pyrotechnics.

Staging was impeccable, a manic display of (mostly) girl power. Dancers jumped in and out of sight, and the 13-member female band (three from Houston) offered tight riffs under a blaze of disco balls and Vegas lighting.

The frenetic calls of Freakum Dress were acompanied by a barrage of runway poses and fierce attitude. And Beyoncé sported a beaded bellydancing getup during Beautiful Liar, her recent duet with Shakira. (The Colombian superstar appeared via video.)

Ballads Me, Myself and I and Dangerously in Love 2 showcased a strong vocal range. But Beyoncé was at her best during Flaws And All, an artful, soaring ballad from the reissued B'Day disc. She played out the lyrics via animated facial expressions, even bursting into tears at the song's end.

Calculated sentiment? Perhaps. But it made for great drama. (cont...)

Nadia

Jul 15th, 2007, 03:49 AM

Simpler fun came during a generous medley of Destiny's Child hits, which ran from debut hit No, No, No through Independent Women, Bootylicious, Survivor, Soldier and slow jam Cater 2 U. It was a show in itself, highlighted in part by Beyoncé's Wonder Woman-meets-Barbarella costume.

Workout groove Get Me Bodied, already a winning tune, made for a moment of pure, unpretentious joy. It had the walls quivering with its calls to "Do an old-school dance" and "Walk across the room like Naomi Campbell." The crowd gladly obliged, and even a few security guards seemed to be swaying to the beat.

Dreamgirls hit Listen was another powerful showcase, and nearing the end of her show, Beyoncé was ready for a break.

"I've been on this stage for almost two hours," she told the crowd. "Now, y,all gonna sang for me."

With that, the arena launched into lilting megahit Irreplaceable, crooning the entire first verse, chorus and--of course--the ubiquitous "To the left, to the left" command.

It was a spectacular exchange of energy and a perfect close to the show. But Beyoncé wasn't done. She returned in an orange minidress to vamp through hit Deja Vu before delivering thank yous and shout-outs to family members in the audience.

Southern girls--even those with multi-platinum careers--always remember their manners.

http://blogs.chron.com/handstamp/archives/2007/07/beyonce_reigns.html

Nadia

Jul 16th, 2007, 11:07 AM

San Antonio review:

Hector Saldaña
Express-News Staff Writer

The Beyoncé Experience?

It's so much more than simply Bootylicious these days. Though it certainly is that, too.

Her new, all-female band concept is ambitious — as hard charging, rocking and sexy as Prince, Lenny Kravitz, Sly Stone or Madonna, pointing to a new direction for the R&B side of the hip-hop nation.

Put it this way: divas Janet Jackson and Cher never staged anything as soulful and musically satisfying as this. This was beyond flashy costume changes and lip-sync tracks.

Beyoncé stepped up through the floor at AT&T Center on Sunday at 8:28 p.m. in a silver dress and with pyrotechnics firing off like giant sparklers overhead for the irresistible "Crazy in Love," which included a generous taste of Gnarls Barkley's monster hit "Crazy" amid its "Hold On I'm Coming" synth-horn bounce.

Two drummers, three-piece horn section, two keyboardists, percussion, three back-up singers, guitar and bass and several male and female dancers created an effect and wallop that can only be described as ooh baby.

Especially delicious was Beyoncé's "Freakum Dress," a female empowerment anthem of the supercharged sexual nature variety that's fun, too.

Later, in a sheer harem skirt, her dance moves successfully conjured Shakira on "Beautiful Liar."

Her sheer youth, beauty and likeability factor is light years beyond most performers. This lucky audience found itself in the presence of something truly special, without a doubt.

It was evident when Beyoncé directed the saxophones with her voice.

It was evident when a tearful performance of "Flaws and All" brimmed with real emotion, easily visible on the three giant video screens.

Then there was the fun of "The Pink Panther" moment. Fan ate it up, cheering wildly.

A short tribute to Destiny Child's was tastefully broached. "Bug A Boo" sounded as fun and danceable as ever. "Bills, Bills, Bills" was another guilty, tongue twisting pleasure. As was "Say My Name," with its dramatic synth stops and lush harmonies. "Survivor" worked as motivational testimonial onstage.

The beautifully illuminated stage set, at times, looked like the New York skyline, disco and strip clubs, the Solid Gold dance floor and "Dreamgirls" soundstage.

Synchronized dance moves would put Britney Spears to shame. And Beyoncé's stripper's pole moment was more bravado than action.

The night's highlights included Beyoncé's moving treadmill moves during "Déja Vu," her killer Diana Ross vocals on "B'Day" and the gorgeous and bouncy kiss-off, "Irreplaceable," that tells take-you-for-granted types where to get off.

hsaldana@express-news.net

http://blogs.mysanantonio.com/weblogs/happens/2007/07/concert_review_beyonc_beyond_b.html

Nadia

Jul 19th, 2007, 12:14 PM

Nashville Review:

Review: Beyoncé and her all-female band inspire, uplift

By BILL FRISKICS-WARREN
Staff Writer

There was no shortage of costume changes or fan-blown hair, but Beyoncé's enthralling show at the Sommet Center last night was anything but frivolous or superficial. Backed by a large, all-"girl" band and a trio of gospel-steeped singers, the Houston native captivated her predominately female audience with a two-hour celebration of womanly uplift and solidarity.

Had it all been about Beyoncé, as her show's billing as The Beyoncé Experience reasonably would have led one to expect, things could easily have become mired in self-congratulation and grandiosity. With each member of her funky ensemble taking a turn in the spotlight, though, as well as with songs that persistently elevated her sisters in the audience, the star of the movie Dreamgirls transformed what might have been just an entertaining evening into a stirring communal event.

"Me, Myself and I," a paean to female empowerment from her 2003 solo debut Dangerously in Love, had the crowd on their feet singing along with every chorus and verse. Interpolating the salacious moaning from Donna Summer's "Love to Love You Baby," the vamping funk workout "Naughty Girl" had the women in the audience sighing for an entirely different reason.

"Check on It," a wry call-and-response, modeled ways that women can take control in the bedroom. Beyoncé dedicated her abbreviated take of Destiny's Child's "Survivor," itself a part of a melody of hits from her former trio, to those in the audience who had endured sexism and racism.

It wasn't like Beyoncé's club jams weren't a focal point of her show. If anything, the juking "Suga Mama" was even sexier and more gutbucket than on record, while on her fevered take of "Get Me Bodied," the singer whipped her audience into a libidinous lather.

The show featured more up-tempo numbers than ballads, but at least three or four of the latter proved vehicles for Beyoncé's deceptively voluptuous vocals, even if a couple of her melisma-rich, a cappella codas might have overdone things a bit. "Upgrade U," meanwhile, testified to her perhaps underutilized gifts as a rapper.

Maybe the evening's biggest surprise came when, in lieu of her beau Jay-Z's rhymes on "Dangerously in Love," Beyoncé sang Cee-Lo Green's freaky part from the chorus of Gnarls Barkley's "Crazy."

We might have done without a few of her other gestures, such as the pole-dancing during "Suga Mama" and the lip-shaped sofa she suggestively used a set piece for "Speechless," but employing an all-female band was inspired. The horn section evoked the heyday of George Clinton's Parliament-Funkadelic, the guitarist played an Eddie Hazel-meets-Eddie Van Halen interlude at one point and the bass player made like Bootsy Collins on a break that included everything from OutKast's "So Fresh, So Clean" to the schoolhouse ditty "Pop Goes the Weasel."

It's no wonder, in any event, that Beyoncé chose to run images of each of her musicians above the stage during her set-closer "Irreplaceable." They were.

http://www.dicksonherald.com/apps/pbcs.dll/article?AID=/20070719/ENTERTAINMENT0106/707190414

Nadia

Jul 28th, 2007, 06:15 PM

Palm Beach:

Blue-eyed soulster Robin Thicke was just finishing up his set when I walked into the BankAtlantic Center. So like any good girl on a Sunday night, I head straight to the bar for a little Jesus Juice. Unfortunately, that umpteenth toll en route to the BankAtlantic Center had left my wallet cashless so I settled for a bottled water and hopped on the escalator to my seat high in the rafters. A little irked by my sobriety and even more annoyed by the loong ride out to Sunrise, I sat back and waited for the Beyonce Experience.

First things first, I am a Beyonce fan. Not a rabid groupie, but I do love her music and I admit to being just a little excited to be at the show. Okay, okay. I was very excited. And from the time she rose from underneath the stage in an explosion of lights and glitter to the time she exited stage left two hours later, I was completely entranced. In the nosebleeds, we had to rely on the Jumbotrons but even on screen, the energy of the show was staggering.

Backed by a ten-piece all-female band, B performed like her life depended on it; fresh to death choreography, flawless vocals, crazysexy wardrobe and her trademark lioness mane all in A+ form. She ran through all of her hits, from the Destiny’s Child era to her critically acclaimed debut solo project to Dreamgirls to her latest B’Day. Beyonce gave the crowd all that they expected, and multiplied that by 1000. The creative risks that she took proved that musically Beyonce is the real deal, or at least someone on her team is. Her hit “Crazy In Love” morphed into a cover of Gnarls Barkley’s “Crazy,” she scatted call-and-response style with her horn section, and transformed her uptempo hits into flirty, coquettish ballads.

At some points I felt like I was at a Vegas show, with all the elaborate costumes, sets, and over-the-topness of the whole thing. But that’s what made the show so much fun. Beyonce was acting, dancing, and singing her ass off. When the younger R&B/Pop chicks like Ciara and Rihanna hit the scene, people thought that Beyonce should be threatened. But after being a witness to the “Experience” that is Beyonce, I now know exactly who she was talking to when she sang “You must not know bout me…” Translation: Sit down, bytches.

Nadia

Jul 28th, 2007, 06:20 PM

Orlando:

Beyonce falls, but Orlando concert an awesome spectacle
posted by JimAbbott on Jul 25, 2007 2:13:53 AM

"If you've got it, flaunt it!"

That's what Beyoncé exclaimed near the end of a generous, high energy show Tuesday at Amway Arena.

That's what she did all night, too, tearing through two hours' worth of songs from her solo career and days with Destiny's Child.

As spectacles go, this was a dazzling one: A fun, sexy, exuberant romp that administered a massive (and welcome) jolt of charisma into material that's often nothing more than overblown ballads and predictable bump-and-grind workouts.

CoIt was unreasonable to expect that Tuesday's show could morph that raw material into something fiery and fantastic, no matter how frequent the costume changes and fireworks. After all, I'd seen Destiny's Child twice in recent years, walking away unimpressed after witnessing noisy messes both times.

Not so this time. Anyone with a pulse would've been impressed.

Compared with previous shows, the "Beyoncé Experience" was a vivid transformation, like the explosion of colors when Dorothy lands in Oz.

Yes, there were plenty of special effects, starting with Beyoncé's arrival. Rising out of the massive stage accompanied by a regal fanfare and a cloud of smoke, she launched into "Crazy in Love" beneath a shower of fireworks.

Positioned on the massive staircase was a cast of thousands, or so it seemed. Actually, it was a stylishly dressed 10-piece band, augmented by three backup singers and a half dozen dancers — all women. Even with the presence of four additional male dancers, the scene looked like one of those old Robert Palmer videos.

It didn't take Beyoncé long to lose her glittery gown, making the first of roughly half a dozen costume changes before getting funky on B'Day's "Freakum Dress." With the big band behind her, the song was more muscular in concert, offering plenty of opportunities for hair tossing and air-guitar.

Beyoncé was a kinetic presence all night, often looking like a new-era Tina Turner with her long legs and flowing hair. Many songs were presented with elaborate choreography that sometimes involved a moving walkway that stretched across the stage.

One move obviously wasn't planned, when the singer executed an unceremonious face-plant at the bottom of the stairs in "Ring the Alarm." She picked herself up, however, and waited until after the song to admit: "That hurt so bad!"

It was perhaps the only misstep in an evening that skillfully emphasized Beyoncé's strengths, such as they are. An excellent sound mix, a rarity in the arena, didn't hurt either.

Oh, she still loves the big finish on those melodramatic ballads, extending gratuitous vocal flourishes well past the point of interest. And a long medley of Destiny's Child songs didn't unearth any hidden charms, despite her gospelly fervor on "Survivor."

Less impressive was opening act Robin Thicke, doing generic sounding pop songs off The Evolution of Robin Thicke.

The son of TV star Alan Thicke, he looks a lot like his dad. Alas, his "evolution" seems to have become mired in Justin Timberlake's DNA somewhere along the way.

Beyoncé, on the other hand, looks to be adapting just fine.

http://blogs.orlandosentinel.com/entertainment_music_blog/2007/07/beyonce-an-awes.html#more

Nadia

Jul 28th, 2007, 06:27 PM

Palm Beach:

By LESLIE GRAY STREETER

Monday, July 23, 2007

The ticket read, "The Beyoncé Experience," a grand, bold declarative statement that says, "This is more than a mere concert where Beyoncé Knowles will sing and dance for you. This is a happening."

(It also sounds disturbingly like the title of a show made up of drag queens or tribute artists, where it's not really Beyoncé but the experience of what it would have almost have been like if you were, indeed, seeing Beyoncé and not some chick in a Beyoncé wig.)

Thankfully, it was indeed Miss Beyoncé - former Destiny's Child lead singer, Golden Globe-nominated actress and neo-diva - up there on the BankAtlantic Center stage Sunday night. And it was, indeed, more than just "I'm singing this song now" - there was a full all-female rock band, backing singers dressed like the '60s chanteuses in her recent Dreamgirls movie, several criminally good-looking dancers, several costume changes and a wind machine.

Wind machines, in case you're wondering, automatically equal "a happening." Look it up.

With a theatricality that rivals the Vegas heyday of Ann-Margret or all 87 stops of Cher's farewell tour, the power-stomping of Tina Turner and the all-encompassing divahood of '80s-era Diana Ross, Knowles commanded the very large room from the moment she rose from a hole in the stage to sing Crazy in Love. That's a heck of a show-stopping first number - it throws down the concert gauntlet and says, "I'm so fly, I can start with one of my signatures because I've got more where that came from. Recognize!"

The dancing, stomping and costume changing continued with the naughty Freak'em Dress, the excellently sassy Greenlight, Beautiful Liar, which in its recorded version is a duet with the equally diva-tastic Shakira, and Baby Boy, during which she shimmied in a green sparkly bra top and probably knocked out half the dudes (and a few of the ladies) in the audience.

It's not just that Knowles is ridiculously beautiful or that her blond hair blows so luxuriously in the fake wind or that she's got a great, distinctive voice. It's that she can combine all that stuff into a good performance - during Greenlight, she ran from one end of the stage to the other, singing "Green means go," moving steadily on crazy high heels at a speed most runners in fancy track shoes can't manage.

If there was any criticism, it would be that there were occasionally too many people onstage, what with the band situated in tiers and all the singers and dancers and disco balls.

Then again, it's all about the experience, and sometimes an experience has to risk being overwhelming to slam its theatrical point home.

http://www.palmbeachpost.com/state/content/state/epaper/2007/07/23/s3b_Beyonce_0723.html

Nadia

Jul 28th, 2007, 06:32 PM

Hampton:

The good news is that Beyoncé Knowles did not tumble down any stairs at Hampton Coliseum on Friday night.

On stage, she pranced up and down them several times rather gracefully -- in high heels, thank you very much.

The singer even made a joke about her triumph. After successfully descending during "Ring the Alarm" -- the same tune during which she did a face plant in Orlando, Fla., Tuesday -- Knowles sat down for a breather and a bit of self congratulation.

"I'm so happy I didn't fall down those stairs," she told the crowd of about 7,000. "I'm going to have myself a sip of Kool-Aid."

The bad news about Friday's show was that Knowles got a bigger ovation for walking down stairs than she did for most of the songs she performed in the first half of her set.

Maybe it was because the Friday crowd was still a bit weary after a week of work. Or maybe the hour-long wait between the end of opener Katy Shotter's set and the beginning of Beyoncé's show sucked the wind out of some sails.

But for whatever reason, the audience at Hampton Coliseum took a little while to fully get behind the night's main attraction.

To her credit, Knowles worked hard on stage and won over the crowd by the end of a dazzling, carefully choreographed 2-hour show. You've got to hand it to her; Beyoncé certainly has endurance.

Vocally, there was hardly a note out of place. Knowles excelled on ballads early in her concert. She showed off her vocal range in "Me, Myself and I" and "Dangerously In Love." And, yes, there were tears streaming down her face near the end of "Flaws and All," a song about love and gratitude.

The pace -- and the crowd's interest -- picked up after a medley of Destiny's Child songs that included pieces of "Bootylicious," "Bills, Bills, Bills" and "Soldier" among other hits from Knowles' previous act.

"Get Me Bodied" and the show-ending "Irreplaceable" had the crowd cheering and singing along.

For younger performers, there was a lesson in Friday's show. Persistence pays off.

So does being careful on those stairs.

http://www.dailypress.com/entertainment/music/dp-now-music-beyonce-review,0,92513.story?coll=dp-news-columnists

Nadia

Jul 28th, 2007, 06:37 PM

Hampton
HAMPTON -- There's just no other way to put it: Beyonce gives a flawless performance.

The entertainer rendered a superb show to a packed house at the Hampton Coliseum on Friday night, proving why her stature as a new icon has been well-earned. Sure, one could find tiny criticisms of the set, but frankly, they'd be be nit-picky and unkind. Though she is woefully overexposed -- her name appearing in print, it seems, just as often as "President Bush" -- the truth of the matter is that Beyonce is a stellar performer, probably the best of her generation, and the throng of united, googly-eyed fans at the Coliseum would certainly agree.

It's hard to believe, but Beyonce Knowles' solo career is still in the infant stages; she's been a solo act since just 2003. But she works a stage like a veteran, and when she opened the show by rising to the stage from a lift to a shower of firework, her tough stance suggested she's rightfully on top of the world.

Beyonce, who had no opening act, wore a shimmery sequin silver gown and jumped right into "Crazy in Love." Soon after, the train of the gown broke away to make the dress a mini, a smart move since she then proceeded to hammer guests over the head with a two-plus-hour show packed with dance, stunning visuals and terrific vocal skill. Beyonce has been called an amalgamation of several other icons -- Tina Turner, Micheal and Janet Jackson, etc. -- and the mini-skirt clad ladies in her all-female band wearing synthesizers over their shoulders suggested vintage Prince.

Indeed, the Beyonce show crams an encyclopedia of pop history imagery and high art into a short time. A jazzy sax solo against a cityscape background preceded "Baby Boy." An expert ballet routine with a male and female dancer came before "Dangerously in Love." Short dramatic scenes between songs paid homage to "The Pink Panther," "Chicago" and "Sweet Charity." Lulls in the show, mostly during her weepy ballads, were few but never long, because scenes changed quickly, like a film.

To her credit, Beyonce made the experience seem easy. Through "Upgrade U," "Deja Vu," "Get Me Bodied" and then hits from her group Destiny's Child, Beyonce really never missed a note, never a step. Her determined, intense face said she takes the show quite seriously but not herself; after she stomped down the steps to perform "Ring the Alarm," she poked fun at herself, saying, "I'm so glad I didn't fall down those steps, y'all."

In the real world, Beyonce's endless TV appearances, magazine spreads, songs, movie roles and so on are overwhelming. In concert, however, the singer's "more, more, more!" mantra works. She is the hardest working woman in shobiz, for sure, and likely the hardest working woman on a stage we'll see anytime soon. Watching the beauty shimmy and sing, her domination makes perfect sense. Nobody can do it like she can. This was one of those shows you just had to see to believe.

http://content.hamptonroads.com/story.cfm?story=129314&ran=45831&tref=y

Nadia

Jul 31st, 2007, 09:52 PM

Charlotte:
Beyonce's U.S. tour was looking like it might be cursed after stray pyrotechnics injured fans in St. Louis and -- last week -- the star's much-YouTubed face plant at a concert in Orlando. So all eyes (and video phones) were on the diva as she took the stage Sunday at Charlotte Bobcats Arena.
Everyone seemed to be holding their breath as she descended the stairs during the opening of "Ring the Alarm" (during which she'd fallen in Orlando). The place erupted in screams as she completed her walk.

The only inclination she gave of a rough week were a few tears sliding down her face during "Flaws and All" as she sang the lyrics "you catch me when I fall."

Thicke and voluptuous

White soul singer Robin Thicke opened, performing an hour of tracks from his recent album "The Evolution of" The crowd exhibited the best sing-along skills this side of U2's "I Still Haven't Found What I'm Looking For" during Thicke's "Lost Without U" and continued the booming choruses for Beyonce's set.Fans ran to their seats as the lights went down shortly after 9 p.m. Beyonce and her 13-piece all-female band hit the stage to "Crazy In Love." The crowd delighted in the singer's voluptuous backup dancers shaking it at the front of the stage along with their boss. It was the night's most empowering moment for plus-size ladies.

The catwalk-ready "Freakum Dress" followed. The fashion maven's eight different costumes, ranging from garish to glitzy, took a cue from Barbie, going from evening gown to micro-mini in a snap. A vision of blonde hair and body glitter, she emerged in a sequined green-and-black bra top and skirt for the Latin and island-flavored "Baby Boy,{quot} "Beautiful Liar,{quot} and "Naughty Girl."

Vegas-style gyrations

The rest of the show was a Vegas-style spectacle, especially the female dancer's revenge-themed intro to "Ring the Alarm." Beyonce and her ten dancers gyrated through a lengthy medley of Destiny's Child hits. The sing-along heavy "Soldier" and "Independent Women Part 1" stood out from the mix. Because of her near-perpetual state of movement, Beyonce didn't sing every word of every song, of course. She saved her vocal theatrics, which sometimes appeared to border on an out-of-body experience, for slower numbers but certainly proved she's every inch a singer.

The final segment of the show saw her breaking out of a space-age bee-pod wearing a black-and-yellow fringed bikini for "Get Me Bodied." Following "Listen" she ended the show with the kiss-off anthem "Irreplaceable."The dynamite crowd sang the entire first verse and chorus alone.

The show was without an encore. Instead the celebrity actress/singer stood at the front of the stage humbly taking in the applause before handing a sweaty towel to the man up front that she recognized had known all the words and moves during the show. She then sang "Happy Birthday" to a few fans before exiting the stage.

As the crowd filed out of the arena, credits rolled as if we'd just witnessed a movie. The comparison wasn't a far stretch considering the special effects were just as spectacular as a summer blockbuster.

By Courtney Devores,
The Charlotte Observer

tharealdeal

Aug 1st, 2007, 12:25 PM

Yo she is recieving GRAND reviews for this tour!! I cant wait to see her in September!!

Nadia

Aug 2nd, 2007, 05:23 AM

Uncasville:
Beyonce balances pop and pomp

01:00 AM EDT on Thursday, August 2, 2007

BY RICK MASSIMO

Journal Pop Music Writer

UNCASVILLE, Conn. — Beyonce’s show at the Mohegan Sun Casino’s arena was billed as “The Beyonce Experience.” That makes the singer sound a bit like an amusement park, and at times the show took on that kind of air, particularly when she appeared from a column of smoke and set off fireworks with a wave of her hand. And as the two-hour show went on, there was a flurry of costume changes, video backing and backup dancers providing a different stage picture for nearly every song.

Fortunately, there was enough musical muscle to raise last night’s show above spectacle status.

The set list came from Beyonce’s two solo albums, 2003’s Dangerously in Love and last year’s B’Day, as well as a smattering of one-off singles, a couple songs from the soundtrack of Dreamgirls and a medley of songs from her former group, Destiny’s Child.

On all of it, Beyonce’s voice, often seemingly liposuctioned on record, had a lot more guts than on even some of her biggest hit singles. This was made most clear on “Suga Mama,” from B’Day, when the choreography required that the first verse be canned. When Beyonce came in with live vocals, the effect was like going from 2-D to 3-D.

About as importantly, Beyonce put her money where her feminine-empowerment mouth is and hired a full 10-piece all-female band, a crack outfit that gave new dimension to songs such as the opener, “Crazy In Love,” where the real horns gave a punch that the recorded sample lacked, and the ’70s funk of “DéjÀ Vu” and “Get Me Bodied.” And metallic guitar solos nicely complemented the slightly psychotic of both “Freakum Dress” and the atonally shouted chorus of “Ring the Alarm.”

Similarly, “Green Light” was more sinuous and behind-the-beat than the recorded version (produced by The Neptunes), and “Naughty Girl,” with its jagged guitar hook, keyboard bleats and “Love to Love You Baby” hook, couldn’t lose.

But the band really made its presence felt on the ballads, breathing human life into songs which are too often wan and synthetic on record, particularly “Speechless” and “Me, Myself and I.”

With so many visual changes and so little besides run-of-the-mill patter from the star, it’s hard to say what anyone exactly experienced during The Beyonce Experience, other than a ton of unforgettable pop songs expertly played and sung. But that was plenty.

I missed the first few songs by opening act Robin Thicke, but the smooth-voiced singer’s neo-soul went over better in previous shows. His falsetto worked well on “How Does It Feel?,” but the lilt of “Can You Believe?” suffered from too-heavy bass drum.

Concert

Review

Nadia

Aug 6th, 2007, 02:25 AM

Madison Square Garden/Hollywood Reporter Review:

Beyonce dazzles Garden audience with pop-diva goods

NEW YORK (Hollywood Reporter) - It's not for nothing that they call this show "The Beyonce Experience." Like the summer blockbuster movies crowding theater screens, this tour by the pop/R&B icon resembles not so much a concert as a series of thrillingly staged set pieces. It's safe to say that her fans will not be disappointed by the two-hour extravaganza.
From the diva-style opening, when she rises from beneath the stage amidst a blinding sparkler display, to the final audience sing-along on the female-empowering hit "Irreplaceable," the star delivers a crowd-pleasing spectacle that offers as much visual as musical stimulation.

Regarding the former, to say that Beyonce looks terrific is probably redundant. Her fashion parade of form-fitting, eye-catching costumes -- most notably a belly dancer's get-up in which she demonstrated some hip-shaking moves that indicated Shakira better watch her back -- provided ample opportunities for shameless leering.

Fortunately, the star has much more to offer than just eye candy. Even in the midst of her strenuous dance numbers she sounded amazing, only occasionally lapsing into vocal histrionics on a few of the ballads. It was a brilliant stroke to employ an all-female band, dubbed Suga Mama after the "B-Day" cut. They were given plenty of chances to shine on lengthy solos delivered during the star's numerous costume changes.

The stage picture was completed by a plus-size female backup trio, some male dancers providing the necessary testosterone, and a large dance corps delivering routines inspired by "Chicago" and "Sweet Charity," among other things.

The largely uptempo show featured some surprising arrangements that gave the material freshness, such as the singer's interpolation of Gnarls Barkley's "Crazy" into her smash "Crazy in Love" and an injection of "Love to Love You Baby" into "Naughty Girl." The evening's highlights included a fast-paced medley of Destiny's Child hits, a pulse-raising version of "Get Me Bodied" and a "Dreamgirls" segment that included the title song and her Oscar-nominated hit "Listen."

The show included a generous opening set by blue-eyed soul crooner Robin Thicke, whose falsetto voice and suggestive dance moves clearly struck a romantic chord with the largely female crowd.

Reuters/Hollywood Reporter

http://nz.entertainment.yahoo.com/070805/5/14in.html

Nadia

Aug 6th, 2007, 02:26 AM

Madison Square Garden/ NY DailyNews

Beyoncé besieges Garden

BY JIM FARBER
DAILY NEWS MUSIC CRITIC

Sunday, August 5th 2007, 4:00 AM

Beyoncé on stage at Madison Square Garden.

Beyoncé mounted the stage at Madison Square Garden last night like a warrior eager for battle. With her triumphant gait, statuesque figure and steely stare, the singer seemed primed not just to perform but to vanquish.

From the opening number, the valiant "Crazy in Love," Beyoncé sang with a fiery determination, stressing cries and shouts that had no use for subtlety and even less for vulnerability. She danced at an equally mad clip (and didn't repeat her YouTube tumble), hitting every mark with a vengeance.

A Beyoncé show (or rather, a "Beyoncé Experience," as the event advertises itself) has everything to do with power and nothing to do with nuance. It's the kind of thing meant to inspire awe, not intimacy. So is it any surprise that for all the show's dazzle and dash, one left the building feeling at least a bit pummeled?

That's hardly a new approach for this hyperkinetic star. From her start in Destiny's Child, Beyoncé's trademark has been to toughen the backbone of R&B with the strutting ego and unforgiving rhythms of hip hop. She sang her songs last night with the force of a rapper, stressing pieces from her two solo albums in a way that made every sound seem percussive.

For a twist, Beyoncé hired females exclusively for her 10-member band. While that made a fetching visual, the women's chops proved their gender to be more than a gimmick. Beyoncé also made clever use of candy-colored lighting and a kick line of limber backup dancers.

Unfortunately, she has an unsure repertoire of songs to call on. Many of her tunes prove too skittish to sink in, and some of her rhythms are too robotic to find a groove.

The best songs plowed through the din, including a metallic "Freakum Dress" and a funky "Suga Mama."

But the pervasive tone of overstatement even bled into some of the ballads. Beyoncé sang "Me, Myself and I" like it was "The Star-Spangled Banner."

There's no denying the burliness of Beyoncé's voice, or the lure of her charisma. But in her relentless quest for the "wow factor," she often wound up seeming less like a flesh-and-blood singer and more like pop's bionic woman.

jfarber@nydailynews.com

Nadia

Aug 6th, 2007, 02:29 AM

Madison Square Garden/ Variety Review:

Beyonce Knowles

(Madison Square Garden; 19,400 seats; $150.75 top)

By DAVID SPRAGUEPresented by Live Nation. Opened and reviewed Aug. 4, 2007. Closed Aug. 5, 2007.

Band: Beyonce Knowles, Bibi McGill, Divinity Walker Roxx, Marcella Chappa, Crystal J. Torres, Tia Fuller, Carmalita Glaspie, Kimberly I. Thompson, Rie Trhui, Brittani Washington, Montina Cooper, Crystal A. Collins, Tiffany Riddick.

She's arguably the most popular R&B singer in the world at the moment, so it's easy to understand why Beyonce Knowles would have the hubris to dub her current concert extravaganza "The Beyonce Experience." The multimedia presentation, replete with video screens, intricately choreographed dance routines and showers of both sparks and confetti, certainly had plenty of sound and fury -- but unlike many similarly structured presentations, there was something significant lurking beneath.
That "something" is Beyonce's distinctive, decidedly personal spin on topics orbiting female empowerment. Yes, she's modeled herself on fierce divas of bygone days, but her personality -- with a veneer of Southern-belle charm that's sheer enough to allow the steeliness beneath to show through -- isn't a carbon copy of any of her predecessors.

That persona drove "The Beyonce Experience" for the better part of two hours, flowing through the sexually charged "Freakum Dress" (an apt description for the skin-tight number she was sporting while singing the tune) as well as the jazzier "Naughty Girl." It also got in the way from time to time, imbuing Knowles with a pushiness that turned back-to-back renditions of "Soldier" and "Survivor" into athletic events rather than artistic expressions.

Lack of subtlety also proved to be the undoing of a passel of melisma-laden ballads -- particularly "Dangerously in Love" -- that emphasized lung power over litheness. Ms. Knowles did manage to balance those elements beautifully elsewhere in the perf, notably in a medley of Destiny's Child hits and a version of "Baby Boy" that showcased some Shakira-worthy belly dance moves.

Knowles' uniformed, all-female backing band -- assembled via a series of well-publicized nationwide casting calls -- initially conjured up images of the simulated combo depicted in Robert Palmer's "Simply Irresistible" video, but the women (particularly lead guitarist Bibi McGill) demonstrated more than enough sharpness to put accusations of gimmickry in their rear-view mirror.

Although she occasionally had to work a bit to make herself seen and heard amid the sensory overload, Beyonce ultimately did an impressive job of tying together its elements -- and proving it's worthwhile to pay attention to the woman behind the curtain.

"The Beyonce Experience" lands at the Staples Center in Los Angeles on Sept. 2.

Nadia

Aug 6th, 2007, 02:33 AM

Madison Square Garden/ NY Times Review:

Beyoncé in concert: the voice, the moves, the clothes.

By JON PARELES
Published: August 6, 2007

Beyoncé walked onstage at Madison Square Garden on Saturday night, made a quick commanding gesture, and sparks rained down. Her band kicked into the funk beat of “Crazy in Love,” and she started to sing and dance, alternating stop-motion angular poses and serpentine shimmies, switching between robot and seductress. Her face was angry and exultant; she belted the song with bright swoops and vehement rasps. Like many of Beyoncé’s songs, “Crazy in Love” treats romance as a power struggle, and it’s hard to imagine her not winning in the end.

She can coo, she can rage: Beyoncé at Madison Square Garden.

She’s the woman with everything: the voice, the moves, the songs, the ideas and the clothes. Her two-hour set was a brilliant pop extravaganza that kept the songs at its center.

Beyoncé needs no distractions from her singing, which can be airy or brassy, tearful or vicious, rapid-fire with staccato syllables or sustained in curlicued melismas.But she was in constant motion, strutting in costumes (most of them silvery), from miniskirts to formal dresses, flesh-toned bodysuit to bikini to negligee.

The wardrobe entices men, but it’s also a means of self-assertion. “Stop, I ain’t ready yet — wait, let me my hair,” she chanted to the beat in the introduction to “Freakum Dress,” a hard-rock song about every woman’s most seductive outfit. Desire is her ally, yet also, in some songs, her undoing; men inexplicably will mess up a good thing. And while Beyoncé can coo when she wants to, what makes her songs memorable is a streak of rage that’s perfectly groomed but unmistakable. Her second solo album, “B’Day” (Columbia), grows downright furious in songs like “Ring the Alarm” and “Green Light.”

As the leader of Destiny’s Child and now on her own, Beyoncé presents herself as a hard-working, self-guided, amorous woman amid men who can be undependable but irresistible. Destiny’s Child sometimes aimed for songs of female solidarity like “Independent Woman” and “Survivor” — part of a Destiny’s Child medley during the set — while Beyoncé on her own usually keeps things one to one, addressing her man with passion or anger. Onstage she had an all-woman band, and the show used men only as dancers: decorative beefcake for her primarily female audience.

The set was full of minithemes: bee references (as in B for Beyoncé), homages to predecessors like James Brown and Donna Summer, reminders about Beyoncé’s celebrity and her fashion tie-ins. It revolved around her star presence. When she wasn’t thanking her fans, she was demanding louder sing-alongs. Along the way the concert was a showcase for her consistently expanding music, from the kinetic dance beats of songs like “Get Me Bodied” to dramatic ballads like “Flaws and All,” which Beyoncé sang wide-eyed in a video close-up.

As the concert ended, Beyoncé had the audience sing while she became a gracious celebrity, strolling the stage and pointing to individual fans. “I see you!” she said, describing their clothes or the signs they held; the performer became the spectator. Then she picked up the song herself. It was “Irreplaceable,” a gentle guitar ballad with an edge; it tells a man in no uncertain terms to move out because he’s being replaced. Capping her moment of communion with the fans, she reminded them that desire can be fleeting.

Nadia

Aug 6th, 2007, 02:16 PM

Madison Square Garden/NY post Review:

BEYONCÉ BELLY UP
By DAN AQUILANTE

Beyoncé shows off her finely crafted carriage by prancing and dancing instead of singing at Saturday's MSG concert. August 6, 2007 -- BEYONCÉ'S on top of the world. That's why when she toppled down the stairs that serve as her concert set a couple of weeks back, the humbling spill became an instant YouTube classic.

At Madison Square Garden for the first of her two-show series that concluded last night, Miss B made it down the steps without incident and managed to put on a two-hour concert of singing 'n' posing. While the predominantly female audience will hail the show as a triumph, it was one of the weakest Garden outings she's ever had.

Her all-girl band - four brass blowers, a trio of backup singers, three drummers, a pair of keyboard players and guitars and bass - didn't sound bigger than a typical four-piece rock outfit.

The band was for show, not sound.

That could also be said for a lot of this performance, where Beyoncé showed off her finely crafted carriage by prancing and dancing instead of concentrating on the croon.

The result was that she screeched her way through the faster tunes with a nails-on-slate quality. They say Beyoncé never lip-synchs, although that might have been helpful, especially during her cringe-inducing version of "Ring the Alarm" played late in the concert.

On the ballads, she hit all the notes and kept the time, but without the big production she was a snooze. Up front (you know, in the topple zone), the crowd stayed on its feet from start to finish. But in the back of the Garden, the fans nearby would plop back into their seats whenever the pop piffled to a slow tempo.

It may have seemed that Beyoncé was having moments of dementia by repeatedly asking, "Where am I? Am I in New York?" But what she was saying was she expected the crowd to be more vocal in its appreciation. I never heard Mary J. Blige or Mariah Carey say they couldn't hear the cheers.

There were some memorable moments at this show - good and bad.

Beyoncé in her Arabian nights belly dancing routine - a total Shakira rip-off - was great, although I don't really remember if she sang.

Her between-song interludes, like the "The Pink Panther" tribute and the ballet sketch, were as cheesy as her late show nod to the film "Dreamgirls."

Musically, she hit her stride in the late show when the songs of her "B'Day" album, such as "Upgrade U," "Deja Vu," and "Get Me Bodied," were laid down. Unfortunately, the too-little, too-late equation equals too bad here.

Did I mention the belly dancing?

dan.aquilante@nypost.com

Nadia

Aug 6th, 2007, 02:20 PM

Madison Square Garden/ MTV.com review:

Beyonce Puts On Flawless — And Fall-Less — NYC Show With Robin Thicke

After her tumble heard 'round the Web, B is on point for high-energy two-night stand at Madison Square Garden.
By Shaheem Reid

NEW YORK — If God made a badder chick than Beyoncé, she must be behind the Pearly Gates entertaining Biggie and 'Pac, because right now there isn't one walking the Earth.

B took over the city this past weekend for a two-date conquest of Madison Square Garden. As the hook of the new hit record by Def Jam recording artists Dream goes, "Shawty is a 10." There are few (very few) chicks out there who can really sing, a lot who can dance, a lot more who look good, but really no other lady who can combine all three and add iconic star power like Miss Knowles, arguably the best all-around stage performer in the game right now.

Sunday night's show started with the lights going out, the screams turning on and a small square of the stage opening up. From below the stage, Beyoncé emerged in a sparkly silver dress with a long train. She walked to the front of the stage, did a couple of snaps of her neck and started "Crazy in Love."

While singing, she walked up a huge staircase where her all-female band and three backup singers were positioned. The staircase moved forward in two places, with the top part moving just a little while the bottom poked out more. At the very top of her staircase/mini-stage, she tore off her train to reveal a better view of her glorious legs and walked back down to the main stage. Her three backup singers came down as well and did the famous "uh-oh" dance with her.

"Crazy in Love" transitioned into a short rendition of Gnarls Barkley's "Crazy," with Beyonce singing, "Who do you, who do you think you are?/ Ha, ha, ha, bless your soul."

When the song was over, she asked one question: "Are you ready to be entertained?" Wait, what? You just left 20,000 people (both MSG shows were sold out) breathless, and there's more?

Later, during "Green Light," Beyoncé brought out her squad of six female dancers. All the women moved with the precision of a Navy Seal strike force, slaying the crowd with their synchronized dances.

The singer also gave her band time in the spotlight during various breaks in her show. There was the drummer, who played with one arm while drinking a bottle of water with the other; another drummer played blindfolded; and one of the bass players actually walked down to the main stage and riffed freestyles of a couple of records, including Jay-Z's "Ain't No N---a."

Beyonce returned wearing a belly-dancer-type outfit for "Baby Boy." She descended the staircase holding an umbrella and was met by three guys wearing fatigues. A short section of the reggae classic "Murder She Wrote" was incorporated into "Baby Boy." A microphone then came from the ceiling, Michael Buffer-style, for "Beautiful Liar," during which the Houston native paid homage to the song's co-star, Shakira, by shaking her hips rapidly. "Naughty Girl" closed out that brief section.

Beyonce also did snippets of Destiny's Child hits, such as "Bills, Bills, Bills" and "No, No, No."

For all the dancing she did, Beyoncé got an equally big — if not more resounding — response for displaying her undeniable vocal ability on the ballads "Me, Myself and I" (she sang a slower version than the two-step-friendly pace we all know) and "Dangerously in Love." Once again, she worked another singer's song into her act, this time it was Jill Scott's "He Loves Me." (cont...)

Nadia

Aug 6th, 2007, 02:22 PM

A few minutes later was the moment: "Ring the Alarm." Not that anybody expected a misstep on the record, but the vision of her falling down the steps in Orlando, Florida, while performing the very same record a few weeks ago is still fresh in everyone's mind (see "YouTube Yanks Videos Of Beyonce's Tumble, Citing Copyright Infringement"). It made national headlines. But like Jay-Z joked on the radio the other day, it showed that while she's a great performer who's on point 99 percent of the time, she's still human.

So on Sunday she came out, same long red overcoat we saw her in that infamous footage. Not only was she able to walk down to the main stage, but she in fact jumped down a few stairs on her way down. No flaws. There were also no guest appearances from Jay-Z on records such as " '03 Bonnie & Clyde" and "Upgrade U."

"Get Me Bodied" was another roof-burner, with Beyoncé starting off in the robot outfit like she did at the BET Awards. This time, though, she was dressed in yellow and black like a bumblebee. She declared that she was the queen bee — or Queen B.

"Irreplaceable" ended the night, but before the main attraction crooned one note, she told the audience that she sang two hours for them and it was time they sang for her. So the whole Garden sang the first verse of the record; "To the left, to the left/ Everything you own in a box to the left/ In the closet, that's my stuff/ Yes, if I bought it, please don't touch."

Beyoncé herself officially closed out singing her own song though.

"She's just amazing, phenomenal," the tour's opening act, Robin Thicke, said on Monday (August 6). "Me and my whole crew, we're all blown away with what she can do. How she can sing, dance, it's ridiculous. She's a superstar, born and bred."

Thicke, who's developed a very strong following the past year with his critically acclaimed The Evolution of Robin Thicke, is one opening act that you won't miss, if you're smart. The crowd at the Garden filed in early because no one was going to get cheated from seeing one of the most soulful singers out now.

"That's what a lot of New Yorkers are telling me," Thicke said about the fans not treating him like the regular opening act. "It made me feel real strong."

Thicke recently had his own headlining tour of smaller facilities and says he definitely has to bring more to the table for the arenas.

"In the smaller places, you have the chance to see and feel people's energy," Thicke said. "People get to share in it, it's a little more intimate. When you're in the arenas, you want to make sure it is as special as it is for the people in the back as it is for the people in the front. So you have to find a way to reach the people in the back with your energy. And when you're opening up for Beyoncé, you better not f--- up. You're in the big time now.

"It's a dream come true," he added. "You dream big, and some of your dreams come true. And you don't realize how big you were dreaming until it comes true. I'm just trying to take it serious enough to create magic. One day I'm going to be old and I want to tell my grandkids, 'I was hot. Look at your granddad when I was hot.' "

Thicke's stint at the Garden went over well. His album cuts got major help from the crowd as did his singles, such as "Lost Without U" and the finisher, "Wanna Love U Girl." He surprised people with some of his own dance moves.

"I try to include all the different sides of my personality into my music," he laughed.

The Beyoncé Experience runs through September.

For more sights and stories from concerts- mtv.com
.......................

Nadia

Aug 6th, 2007, 02:26 PM

Madison Square Garden/ Newsday Review:

Why, during a slow, sultry version of her come-hither song "Check On It," was Beyonce Knowles bouncing violently up and down while slapping herself on the head as if she'd made a terrible mistake? For a moment, it was hard to imagine anyone checking up on this woman, except in a concerned, clinical fashion. In a two-hour concert full of strangely memorable moments, this was a standout.

It was also, somehow, wonderfully representative of Beyonce, a superstar who seems appealingly human. She's pretty but not perfect, elegant but sometimes awkward, and never too cool to make a fool of herself. Those are endearing qualities, and they probably served her well after taking that now-famous, head-first spill on an Orlando stage recently. There was no outpouring of sadistic glee as there would have been for a Britney or Paris. Those women are merely desirable; Beyonce is likeable.

Friday night, Beyonce delivered a wildly entertaining if massively overstuffed two-hour concert, cramming in nearly every apsect of her personality and career. Accompanied by an all-female band, she turned cartwheels with her voice (impressive), tried to pop-lock (no dice), strutted around in glittery short-shorts (yowza), enacted some silly dance steps on "Get Me Bodied" (fun) and openly wept on stage (whoa). By the end, there was nary a hit left unsung or an emotion left unexpressed.

Beyonce kicked off with "Crazy in Love," from her 2003 solo debut "Dangerously in Love." She wore a floor-length gown, but half of it disappeared for "Freakum Dress," from her follow-up album "B'day" (Sony Urban), released last year. Beyonce allowed a blast of air to raise her skirt, Monroe-style, blended a version of the club track "Baby Boy" with the reggae standard "Murder She Wrote."

In other words, coherence and organization were not Beyonce's strong suits. But why complain when she was trying so hard to please? During "Flaws and All" she sang, "I'm a host of imperfections," then patted the flab of her lower left arm to prove it. By the final verse actual tears were streaming down her cheeks -- but there was little time to marvel, because out of the shadows emerged an angel with six-pack abs who embraced her in his white wings.

Moving on: A medley of Destiny's Child hits, including "Bootyliciouis" and "Bug-A-Boo," was followed by a rowdy version of "Ring The Alarm" and a perfunctory nod to the "Dreamgirls" soundtrack. Finally came her hit single "Irreplacable." It's a breakup song whose lyrics perfectly suit Beyonce's quirky style: "To the left, to the left," she sang, as if that made perfect sense. "Everything you own in a box to the left."

BEYONCE. One of pop's nuttier stars reveals herself, flaws and all. With Robin Thicke. Friday at Continental Airlines Arena, East Rutherford, NJ, and Saturday and Sunday at Madison Square Garden. Seen Friday.

Nadia

Aug 7th, 2007, 11:49 AM

Philly:
Beyonce

The superstar's mostly female 'Experience' tour is a paean to empowering women

A talent for all FOR ONE SO young, still just 25, Beyonce is surely wrapping up a lot of show-business knowledge and history in her current tour, billed as "The Beyonce Experience."

One reviewer has described this all-singing, all-dancing event - stopping at the Wachovia Center and Atlantic City's Trump Taj Mahal this week - as a pop extravaganza to rival the best of Busby Berkeley, that most fanciful movie musical director/choreographer of Hollywood's 1930s Golden Age.

Another has pointed out "Experience's" bold allusions to the Broadway shows "Chicago" and "Sweet Charity."

Beyonce - no need anymore to add her surname, Knowles - has been hailed as "a force of nature," "a female Prince" and "the hardest working woman in show business." She's got "the dance moves and dress sense of a young Tina Turner" and the "vocal firepower of a Patti LaBelle," drooled another writer.

Boundlessly energetic, the performer is center stage and in motion for more than two hours, tearing through tunes from her two solo albums, the "Dreamgirls" film and a medley of smashes from the Destiny's Child catalog.

She's on fire, literally, from her bathed-in-fireworks opener, "Crazy In Love" (also nodding musically to Gnarls Barkley's "Crazy"), to her show-capping "Deja Vu." The glamour girl disappears only for the occasional costume change (or six).

Also like the troupers of yore, Beyonce really is belting the tunes, even during her most strenuous dance routines. You'll never catch her lip-synching like so many other modern divas, though the pre-recorded voice of her absentee boyfriend Jay-Z is summoned up for duet purposes.

And Beyonce wiggles live, in stereo, with an on-screen, video-recorded Shakira for their hit collaboration "Beautiful Liar."

Beyonce also uncorks the instant emotional karma of a Judy Garland. During the confessional ballad "Flaws and All," the singer manages to break down and shed a real tear or two (magnified on huge video screens) almost every night.

But most interesting, from a historical perspective, is that all nine tour band members, three backup singers and most of the 10 dancers in "The Beyonce Experience" are women.

Here, in her own subtle way, Beyonce is paying tribute to a once-famous, all-female jazz band of the 1940s called the International Sweethearts of Rhythm, clued Crystal Torres, the Philadelphia-based trumpet player who's taking part in the "Experience."

"The Sweethearts were put together in a time when all the male jazz players were off at war," Torres shared in a recent phone chat. They added "International" to their name because the ensemble featured a mix of races and national origins - pretty daring back then in largely segregated America.

"We're kind of a re-creation of that. African-Americans, Latinos, Asians - all kinds of people," said the trumpeter, who agrees that the band was "probably" cast for diversity and youth (she's 24), as well their ability to wail in a variety of genres.

"Some are jazz-, funk- and Latin [music]- oriented players like me, others are into rock or hip-hop, R&B - all kinds," said the young trumpeter who, likewise experienced well beyond her years, has past credits that include stints with Clark Terry's big band, Terry's Young Titans of Jazz; Dr. Billy Taylor's Jazz and the New Generation II; and Roy Hargrove's fusion group, RH Factor.

And when she's got the time, Torres fronts her own Philly-based, straight-ahead-jazz quartet and a Latin-fusion band, Cosa Rica - with plans to record both.(cont...)

Nadia

Aug 7th, 2007, 11:50 AM

(Cont...)

"We're definitely the most publicized all-female band since the Sweethearts," Torres added with certainty about her current gig, which "almost all" of her jazz-purist buds encouraged her to take. And it wouldn't be wrong to call this troupe the "International Beyonce Experience."

"We've already been to Japan, Australia, Portugal, Spain, Italy, Ireland, England, Holland, Norway and France, playing to huge, responsive crowds everywhere," Torres ticked off. "It's been a great way to see the world."

Beyonce, as we all know from her anthem, is very much the stomping, storming "Survivor." Surrounding herself with this flock of female talents widens the circle, embraces and encourages all womankind, said her backup musician.

"It shows that successful, strong women can support one another and create more success working together," appraised Torres, who helped create some of the horn arrangements that she plays with her alto and tenor sax mates. The musician also gets to solo every night, and we hear there's some special scat riffing going down between Beyonce and the horn section.

"Of course, this band also demonstrates that women are talented on instruments not normally associated with females, like the trumpet," Torres said. "Beyonce gives everyone a chance to be featured. So it's a great thing she's doing."

Torres also can testify that Beyonce really is that driven, detail-oriented person she's perceived to be. The tour has been significantly tweaked along the way: songs coming in and others going out; the elimination of a third percussionist after the European run, and a change of costumes for the cast "from outfits in black, red and white to different ones in gold, black and purple or lavender that are more individualistic, created to fit our personalities and the instruments we play."

Explained Torres, "Beyonce notices everything. She studies videos of the show. She gives us notes after performances, but she's always nice about it.

"She's always up. I've never seen her depressed, never heard her say afterwards that she gave a bad show. That's because she never has."

http://www.philly.com/dailynews/features/20070807_Beyonce.html

Nadia

Aug 9th, 2007, 10:30 AM

Baltimore:
www.baltimoresun.com/entertainment/music/bal-beyoncereview0809,0,389030.story

Music review

Beyonce's charismatic presence is focus of concert
Splashy tour, which stopped at 1st Mariner Arena

Wednesday, features costume changes, all-female band
By Rashod D. Ollison

Sun pop music critic

10:59 AM EDT, August 9, 2007

At this point, it may seem premature for Beyonce to launch a summer tour in which she extravagantly celebrates her career. She's only 26.

But in the past decade, the pop diva (and the Houston native has definitely earned that title) has accomplished more than most performers ever do with multiplatinum sales, multiple Grammys and multiple endorsements.

During the two-hour Beyonce Experience, the artist's splashy tour that stopped at 1st Mariner Arena on Wednesday night, she exulted in her star power. The show revolved around her charismatic presence. There were about seven costume changes -- most of them sparkly silver get-ups, from flowing gowns to flesh-toned body suits.

And there were plenty of video close-ups of Beyonce's lovely face as her long, honey-colored hair extensions were blown around by fans. Oh, the drama. Oh, the self-indulgence. And Beyonce pulled it off brilliantly.

But her music -- consistent, infectious and always energetic -- grounded the show. Flanked by a troupe of great dancers (four limber, sexy women and four lithe, muscled men) Beyonce was in constant motion. Her moves were a mix of snake-like shimmies, robotic jerks and seductive struts. And she managed to do it all while singing full-throttle, her voice at times brassy and edgy or soft and buttery.

The packed arena was filled mostly with young women, which makes sense. Beyonce's catalog alternates between vinegary songs in which love is a battlefield and tender tunes driven by wide-eyed passion.

But in all of her songs, Beyonce is the unscathed survivor. The men may be irresistible, but ultimately they are replaceable.

To further underscore the girl-power of her show, Beyonce was backed by a powerful, 13-piece all-female band, including two drummers and a three-piece horn section. Between costume changes, the musicians performed entertaining solos.

From the moment Beyonce opened with a shower of sparks and "Crazy in Love," her 2003 go-go smash, the show was unrelenting but well-paced. She pulled evenly from her two solo albums, "Dangerously In Love" and "B'Day." She also devoted the middle of the show to a long medley of hits by Destiny's Child, the urban-pop group that launched her in 1997.

But being the melismatic diva she is, Beyonce couldn't resist a moment or two of vocal self-indulgence. The ballad "Dangerously in Love," for instance, was packed with trills upon trills that seemed to go on forever. Toward the end of "Flaws and All," a ballad that presents Beyonce in a rare state of vulnerability, the video close-up showed tears trailing down the singer's face.

The drama would have been affecting had a dancer not come up behind Beyonce, wrapping her with huge angel wings, as a "heavenly" spotlight shone down on the two of them. That surely put a stake in the momentum.

The star soon morphed into super club queen, turning the arena into a sweaty dance floor as she called out dance moves during "Get Me Bodied." "Do an old-school dance, do an old-school dance," she chanted.

At the end of the show, Beyonce was the gracious diva, commanding the house to sing "Irreplaceable" as she strolled the stage in a gauzy silver gown, smiling and pointing out fans. "I see you," she said, waving, blowing kisses and seeming to love being where she was.

rashod.ollison@baltsun.com

Nadia

Aug 11th, 2007, 04:32 AM

Washington DC:

http://www.washingtonpost.com/wp-dyn/content/article/2007/08/10/AR2007081002360.html

A Blast of Beyoncé
At Verizon Center, the Electric Superstar Put On a High-Voltage Performance

By J. Freedom du Lac
Washington Post Staff Writer
Saturday, August 11, 2007; Page C01

Beyoncé posed triumphantly at the front of the Verizon Center stage on Thursday, her body dripping with silver spangles. Smoke swirled around her. Sparks fell behind her. The music swelled. The audience shrieked.

It had the look and sound of an exultant encore. But Beyoncé was just getting started by making the sort of dramatic, over-the-top entrance about which every aspiring diva dreams.

Beyoncé strutted and shimmied -- and sang -- at Verizon Center, backed by an all-female band and in front of an audience of mostly women. (By Marvin Joseph -- The Washington Post)

Her fabulous presence sufficiently acknowledged, the singer got down to the business of singing -- and, yes, dancing. (What, you expected the star of a tour that's being billed as "The Beyoncé Experience" to sit on a stool?) As her band ripped into "Crazy in Love," the brassy song's go-go beat sent Beyoncé twitching and stomping across the stage in stilettos as she belted the love-crossed lyrics with fury. This as no fewer than 15 disco balls twirled overhead and eight dancers swept across the stage and lights flashed -- and so, too, did Beyoncé: Midway through the song, she tore away the bottom of her dress to reveal her inner-most thighs. "The Beyoncé Experience," indeed!

It was pure pop spectacle. And it was brilliant, as was most of the fiery two-hour show that followed.

Almost everything about Beyoncé is explosive: She has an explosive voice, explosive hair, explosive hips and explosive relationship songs with explosive choruses. She's something like Tina Turner without that dangerous edge. (Beyoncé is a little too scripted and polished to be considered a real live wire.)

She's also among the last of the mass-appeal pop stars: Though just 25, Beyoncé has been a superstar for a full decade -- first as the magnetic centerpiece of the soul-pop girl group Destiny's Child, and now as a solo singer and actress. Her résumé is highlighted by eight No. 1 singles and another eight that landed in the Top 10. Who does that anymore?

Befitting Beyoncé's larger-than-life status, the concert here was an exercise in excess: It featured a half-dozen spangly costume changes; 24 musicians, singers and dancers; and a set list that spanned more than three dozen songs. The pacing was relentless, even punishing. Because Beyoncé specializes in mid- and up-tempo material, there wasn't much downshifting -- just a handful of ballads, including the powerhouse "Dangerously in Love," a "Dreamgirls" medley and the melodramatic "Flaws and All," in which Beyoncé offered a litany of her own "imperfections" that her lover embraces unconditionally. (She attempted to illustrate her flaws by flicking the underside of her left arm -- as if having, like, 12 percent body fat is a bad thing.)

Mostly, the songs were fast and faster, powered by a hard-driving rhythm section that featured dueling drummers. But Beyoncé didn't exactly struggle to keep up -- never mind that she was in perpetual motion throughout the set. She pole-danced during "Suga Mama," skulked around the stage during the raging "Ring the Alarm," slinked through the sexualized "Freakum Dress" and belly-danced to the sultry "Baby Boy." A Destiny's Child medley that encompassed 10 of the group's hits -- from the anthemic "Independent Women" to the stuttering kiss-off "No, No, No" -- became a high-impact aerobics workout. On "Get Me Bodied," Beyoncé even got interactive, leading the crowd in a dance routine. (cont...)

Nadia

Aug 11th, 2007, 04:34 AM

.....
(Cont...)Though Beyoncé owned the spotlight, this being her "Experience" and all, her band co-starred in the show, playing hard and tight behind the singer and vamping expertly for sustained periods whenever Beyoncé left the stage to change. No surprise that a high-grossing arena tour features a talented group of professional musicians; but this one was at least a little bit noteworthy, as all 10 of the musicians were women. "I wanted an all-female band," Beyoncé said. "I'm all about my women. I know the type of songs we need to hear."

Those included affirmative anthems about womanly strength and independence and revenge and romantic ideals, but there were also songs about sex (as in "Naughty Girl," with its musical Donna Summerisms) and supplication ("Cater 2 U"). Not surprisingly, the audience was dominated by women.

At the end of the night, Beyoncé reached for one of her most recent hits, "Irreplaceable," which is about sending the dead weight in a relationship "to the left, to the left." But she allowed the crowd to carry too many of the lyrics and frequently interrupted herself to point out random faces in the crowd. "I see you in the pink shirt," she said. "I see you in the orange shirt with your arms up. I see you holding up the sign that says, 'I love you Beyoncé.' " Given the excitement surrounding her entrance, it wasn't much of an exit.

Nadia

Aug 12th, 2007, 09:02 AM

Philadelphia:

Beyonce impresses
By Dan DeLuca - Inquirer Staff Writer

Beyonce Knowles never actually wore a crown on her head at her sold-out show at the Wachovia Center on Friday.

But along with a glittering silver gown, flesh colored body suit and emerald belly dancer outfit, the diva made one fashion choice during her tireless performance that was meant to answer the essential question of the evening: Just who is the empress of pop and R & B?
Hint: The answer starts with the letter B. Thus, for “Get Me Bodied,” the alpha female emerged from a robot suit dressed in black and yellow, looking for all the world like a scantily clad bumblebee. That would be the Queen B, of course. But also, the worker B. Because in the cutthroat pop music world, somebody’s always trying to take your crown. (That umbrella she held, and casually tossed away before singing the reggae dancehall flavored “Baby Boy,” might even have been a reference to that pretender to her throne, Rihanna.)

So Beyonce, despite her abundant vocal and physical attributes, takes nothing for granted. “The Beyonce Experience” as her two hour, relentlessly entertaining show is branded, works hard for the money and overloads on substance as well as style. Between her years with Destiny’s Child – the focus of a 10-song medley on Friday, the highlight of which was “Bugaboo” – and her solo albums Dangerously in Love and B-Day, Beyonce has more than enough hits to fill up her set list. And from the fabulously hiccoughing opener “Crazy In Love,” to the closing acoustic guitar-powered “Irreplaceable” (in which the four-fifths female crowd sang along to bid a no good man good riddance), she played them all. But with the aid of an impressively versatile 10 piece all girl band that included three drummers and three horn players, plus a trio of back up singers and six female dancers (and oh yeah, three beefcake dude dancers, too), she didn’t stop there.

This was an evening in which all eyes and ears were on Beyonce – “Say my name! Say my name!” she commanded in one DC hit, and the crowd complied – but attention was paid to every detail as well.
She worked a chorus of Gnarls Barkley’s “Crazy” into “Crazy In Love,” and ran Donna Summer’s “Love To Love You Baby” into her own “Naughty Girl.” Elements of Jill Scott’s “He Loves Me” were suavely inserted into a jazzy arrangement of “Dangerously in Love.” Unlike Patti LaBelle, Tyra Banks and Philadelphia rapper Freeway, all of whom were name checked but not brought on stage, Jilly from Philly was apparently not in the house.
Band members strut their stuff during costume changes, stretching out on a John Coltrane sax interlude or Michael Jackson bass line. And when Beyonce sat down to sing “Speechless,” the piece of furniture she plopped herself down on was a Salvador Dali couch meant to look like a pair of women’s lips.

Through all phases of this extravaganza, Beyonce delivered her fiercely emotive songs of passion, self-assertion and retribution with power and precision. She’s willing to appear vulnerable, but, in song after song, leaves no doubt who’s ultimately in charge.
Occasionally, she oversang, and her choice of Dreamgirls’ “Listen” as penultimate showstopper was unfortunate. Her own unpredictably twisting and turning R & B songs have much more going for them than that overblown dose of show tune bombast. But along with a heavy-handed Hollywood glamour video screen montage that was just too much Beyonce to bear, that was the show’s only really misstep. (And no, she didn’t trip and fall on her face in “Ring the Alarm” as she did in Orlando last month.) Instead, she stood tall and got down to the business of leading the audience to a conclusion that was obvious the moment she took the stage: that in the pop music kingdom right now, there’s only one Queen B.

Nadia

Aug 12th, 2007, 09:11 AM

Atlantic City

Beyonce delivers flawless experience at the Taj
By REGINA SCHAFFER Staff Writer, (609) 272-7211
Published: Sunday, August 12, 2007

ATLANTIC CITY — It's pretty hard to argue with a diva.
Perhaps that is why Beyonce, like other divas before her, is everywhere. In the movies, on the radio, in the magazines (and have you checked the label on the back of your jeans?).

So when Beyonce takes to the stage to sing, the scene is what one has come to expect: smoke, glitter, a little fire and one over-the-top performer, who seems to be channeling the likes of Diana Ross and the Supremes combined.

The singer brought her tour, aptly titled “The Beyonce Experience,” to the Trump Taj Mahal arena Saturday night, delivering a flawless performance to the sold-out crowd.

Beyonce took to the stage exactly two minutes before her scheduled start time, appearing from the bottom of the stage in a cloud of smoke to her breakout solo hit “Crazy in Love.” Wearing a silver sequin dress, Beyonce stood before the screaming crowd, moving only to change poses to the drum beats, then defiantly marching up the stairs

It was a nice change of pace for the singer, who had two recent shows marred by mishaps. Two fans suffered minor burns in early July after faulty pyrotechnics shot into the crowd. Just two weeks later, Beyonce took an embarrassing tumble down a flight of stairs during her show — quickly making the rounds of YouTube.
On Saturday, it's safe to say Beyonce appeared a bit more cautious, taking quick trips up the steps, but still brought her message of empowerment. Backed by a fantastic all-female live band, Suga Mama, and female dancers, Beyonce seemed determined to show her fans what girls can do.

Beyonce has had a great deal of commercial success since stepping away from the hit-making trio Destiny's Child to release two solo albums. While some may say her songs are a bit formulaic and commercial, they have all been bankable hits. Beyonce is touring to promote her album, “B’Day,” which was re-released in the spring.

Beyonce the mogul was on display well before the singer even took the stage. Commercials for her clothing line, House of Dereon, seemed to be on repeat, along with ads for L'Oreal Cosmetics (she is currently hawking their new lipstick line).

In the back of the arena, sexy female models gave out samples of the new fragrance Emporio Armani Diamonds, which Beyonce is also the face for.

In a play on her current single, “Upgrade U,” a promo flashed from the screen offering fans a chance to “upgrade” their seats (get it?) if they text “BDAY” to a number on the screen. Cost — $1.

Among the flood of texts: “thanks dad u r the best luv u!” Yeah, there were a few teens in the crowd.

Opening the show was British singer/songwriter Katy Shotter. A talented pianist, Shotter brought to mind singers like Tori Amos and Alicia Keyes, who she also covered during her set. Shotter too brought a message of empowerment to the stage as she sang her new single “Complicated Woman.”

Throughout the night, it seemed Beyonce was trying to send a message — one that stressed she is here, and she isn't going anywhere any time soon. It’s safe to say her fans are happy about that.

RSchaffer@pressofac.com
http://www.pressofatlanticcity.com/top_three/story/7495867p-7392050c.html

Nadia

Aug 13th, 2007, 11:45 AM

Boston:

http://theedge.bostonherald.com/musicNews/view.bg?articleid=1016929

Above and Beyonce: Sultry, sassy songstress soars in Hub Garden gig
By Lauren Carter
Monday, August 13, 2007 - Updated: 04:47 AM EST

The Beyonce Experience it was.

Sunday night at the TD Banknorth Garden, the solo songstress now two albums deep in her post-Destiny’s Child career left no doubt about her abilities as a performer, with a two-hour set that made it seem borderline criminal for one person to have so much talent.

Whether wowing the audience with vocal acrobatics as on “Dangerously in Love,” displaying Shakira-style hip-shaking on “Beautiful Liar” (originally a duet with Shakira) or oozing sass as on “Me, Myself and I,” the singer put on a virtually flawless show.

It was also hard not to notice her remarkable beauty, accented by a mane of brown hair, which was kept afloat by wind machines, and a number of form-fitting outfits ranging from gowns to sequined bodices.

The singer recently fell during a performance of “Ring the Alarm” at a concert in Orlando, but proved she’s no worse for the wear last night, repeatedly leaping, scampering wildly around the stage (as on the funky “Green Light”), running up and down stairs and performing foot-pounding dance sets, all while in high heels.

Booty-shaking was also in full effect, while the signature pump-pump-hair whip move revealed itself on “Baby Boy,” which also found the singer surrounded by hard bodies in camouflage gear.

The Houston, Texas, native seemed comfortable in a number of formats, from the emotionally revealing “Flaws and All,” which left tears streaming down her face, to the hip-hop-flavored “Upgrade U,” show opener “Crazy in Love” and a brief “Check on It.”

Ballads were kept afloat by the sheer intensity of Beyonce’s voice, while uptempo numbers including “Ring the Alarm” and a hard-hitting “Get Me Bodied” slammed without compromising her vocals.

As much as the night was about Beyonce, it wasn’t. Wardrobe change time became an opportunity for members of the singer’s all-female band to shine with instrument solos. There were also several dance skits with theatrics thrown in for fun, and somehow, despite frequent song breaks, things managed not to get boring.

The night wouldn’t have been complete without at least a nod to Destiny’s Child, which got its own segment with a medley of hits including “Bootylicious,” “Independent Women Part I,” “Soldier” and “Survivor.”

The night’s final song was “Irreplacable,” which Beyonce named as her favorite song to sing live, and nearly every fan in the house sang along with her. There just weren’t quite as many fans as one might expect for an artist of Beyonce’s caliber, with attendance checking in at just over 7,000, leaving the venue nearly half-empty.

Opening act Robin Thicke’s soulful vocals, Neptunes name-checking and street sophistication called up Justin Timberlake more than once during his set. Some of his dance moves, however, still have a ways to go, as his knee raises looked like a throwback to a Denise Austin workout video.

Nadia

Aug 14th, 2007, 02:29 AM

Boston #2:
http://www.boston.com/ae/music/articles/2007/08/13/beyonce_lights_up_the_garden/

Beyonce lights up the Garden

By Sarah Rodman, Globe Staff | August 13, 2007

Beyonce Knowles made gestures small and large to celebrate and entertain the many women in the TD Banknorth Garden last night.

Start with the smoking-hot all-girl band of varying shapes, sizes, and colors. Throw in four appreciably fit male dancers, and six female ones, too. Add some funny and frank girl talk. Singalong hits about trifling, expendable men and self-sufficient women were in the mix as well. But if none of the above clinched the endearment of the female part of the audience of 7,213, then the moment she grabbed her underarm flab did.

Yes, Beyonce has a little tricep jelly, and during "Flaws and All" she seized it without shame.

Jay-Z's boo may have been rocking extensions that went on for days as she opened with "Crazy in Love." The Texas native may have been wriggling in harem pants that exposed the rock hard abs of fantasy as she writhed to "Beautiful Liar." And the former Destiny's Child leader may have spent the whole two-hour affair singing with a voice enviously kissed by the gods of both soul and control, but Beyonce is also smart enough to occasionally knock down the wall between star and fan with humor and heart.

"The Beyonce Experience" -- as it is so dubbed like some kind of a concert theme park ride -- was an elaborate affair. It was part Vegas review, part hard-edged rock concert, part sweaty funk and soul revival, part diva concert hall performance, and almost all fun to watch as the singer threw herself into the various settings and costumes. (Loved the floor-length gown, not so much the tinfoil mini).

The songs off her second solo album "B'Day" got plenty of attention, but a lengthy mid-set Destiny's Child medley got the most love. The crowd bounced to an expertly choreographed and arranged string of nine songs from "Independent Women" to "Bills, Bills, Bills" to "Soldier."

The singer also indulged her cinematic side, nicking the cellblock tango conceit from "Chicago" as an intro to her fierce lament "Ring the Alarm."

She shed some real tears during "Flaws," no less impressive for their calculation, and copped some moves from Marilyn Monroe for a jaunt through "Dreamgirls."

Nadia

Aug 17th, 2007, 01:24 AM

Montreal:

Beyoncé big time

R&B superstar gives Bell Centre audience a musical experience to remember
T'CHA DUNLEVY, The Gazette

There is no such thing as over-the-top when your name is Beyoncé. The R&B superstar brought her two-hour show - aptly named the Beyoncé Experience tour - to the Bell Centre last night, performing to 8,700 and setting a new standard for bells 'n' whistles pop concerts.

Let's begin with her 13-piece, all-female band (including two drummers and a percussionist), which swelled to which swelled to 23 with her dancers. Not a one out of place, out of step or out of tune..

This is big league, folks. A full-on Technicolor Beyoncé video come to life. From costume changes (count 'em, six) to the wind machine blowing her hair, to her vocal gymnastics, to her sass, attitude and style.

Pop star Beyoncé brought her elaborate, immaculate, over-the-top solo show - aptly named the Beyoncé Experience tour - to the Bell Centre last night, where she performed to a crowd of 8,700 fans. Neo-soul singer Robin Thicke opened.

Font: ****Her entrance? She rose from below stage, lit in silhouette, striking her best diva pose. The crowd roared, the orchestra swelled, and sparks rained down.

"Ladies and gentlemen," she called, as the light hit her face. "Are you ready - to be entertained?"

Heck, yeah. First song? Perhaps her biggest hit ever, Crazy in Love (with an interpolation of Gnarls Barkley's Crazy thrown in).

No punches pulled, no saving the best for encore. Disco balls spun overhead. Unleash the horns, the dancers and get this party started.

Staging was simple. Her band was spread on both sides of a staircase, with the middle for the leading lady to saunter up and down.

Freakum Dress was all dancing girls, electric colour scheme and razzle-dazzle choreography; her male dancers got close and personal for Baby Boy, catching her when she dipped and writhing around as she dropped in snippets of the reggae classics Murder She Wrote and Ring the Alarm.

She wore a dinner dress for a mid-show ballad interlude - letting her powerhouse vocals take the spotlight for Dangerously In Love; and hamming it up (shrugging, winking,smirking) as she listed her faults ("I'm a train wreck in the morning / I'm a in the afternoon") on Flaws and All.

We saw all sides of Beyoncé - even a flashback to her Destiny's Child days, as she worked through a medley of the group's hits (Independent Women, Bootylicious, Say My Name, Survivor, etc.), and a two-song nod to her movie Dreamgirls.

Every meticulous detail was designed to highlight her central role. Did she carry that weight? Like nobody else in showbiz.

Neo-soul crooner Robin (son of Alan) Thicke opened, his smooth falsetto impressing with dexterity, but his songs lacking oomph. He's no Justin Timberlake, yet.

tdunlevy@thegazette.canwest.com

Nadia

Aug 17th, 2007, 01:34 AM

Toronto:

Crazy In Love
A Diva Dose of hair, legs and booty made Beyonce's a show to remember

If there's one thing R&B-pop superdiva Beyonce has proven, it's that she can take a major fall and keep on ticking.

And while there was no tumbling down 12 steps, spontaneously breaking into a cartwheel and then fully recovering like nothing ever happened -- like she did spectacularly at a concert in Orlando last month as anyone who's watched it on YouTube can tell you -- the 26-year-old singer still thoroughly entertained the masses last night at the Air Canada Centre.

Beyonce, who played a free hour-long concert at Dundas Square last September, returned 11 months later to put on a mega-production version of her so called B'Day tour with an all-female ten-piece band.

Talk about girl power.

There were two drummers, two keyboardists, a percussionist, a three- woman horn section, a bass player and a guitarist, not to mention three back-up singers and a bevy of scantily clad, well-toned female and male dancers.

It was booty for days and then some.

"Ladies and gentlemen are you ready to be entertained?" said the impossibly beautiful and glamorous Beyonce as she dramatically appeared from beneath the stage with smoke underneath her, fireworks behind her and hidden fans blowing her long, flowing hair and chandelier earrings.

Kicking things off with her uber-hit Crazy in Love, which included a snippet of Gnarls Barkley's Crazy, Beyonce was initially dressed in a sparkly silver evening gown whose bottom eventually tore away to reveal the mini-version.

All long legs, big, blond-streaked hair and voluptuous body, the girl knows how to work a big room with the help of a large stage, slick looking video screen, enormous sound system, a conveyer belt and confetti.

"How y'all feeling Toronto? I want to thank you guys for coming out to the Beyonce experience," she said.

She wasn't kidding. It was an experience.

For the next two hours, the action never really let up as Beyonce performed material from her two solo albums -- 2006's B'Day and 2003's Dangerously in Love -- not to mention a much-welcome medley of Destiny's Child hits (including Independent Women Part I, Bootylicious, Say My Name, Jumpin', Jumpin', Soldier, Survivor) in a nod to her former fantastic and fabulous girl group.

Sure there were a few pacing problems given the number of times Beyonce left the stage to change outfits -- my faves were the eye-catching, green belly-dancing number that showed off a jewel in her belly-button, the silver and nude body suit that made it appear like she had lost the front part of her costume and "the queen bee" yellow and black fringe bikini -- but her band or dancers rarely let her down in their various solos.

Song highlights were mostly of the super sexy upbeat variety -- Crazy in Love, Beautiful Liar, Naughty Girl, Suga Mama (complete with pole dancing), Deja Vu, and Irreplacable (bolstered by a major crowd singalong) -- although the big notes ballad Dangerously in Love was also impressive, particularly as she segued into Jill Scott's He Loves Me.

Opening last night was blue-eyed R&B-pop singer Robin Thicke, son of Canadian Alan Thicke, who's gained some late-career solo success with his breakthrough album, The Evolution of Robin Thicke.

While his "baby-making music," as he called it, has made the younger Thicke a star in some quarters -- he recently appeared on Oprah to sing his big hit Lost Without U -- his appeal was lost on me as I watched him caress his microphone stand, grab his crotch and slide across the floor.

Call him Justin or Usher-lite.

http://torontosun.com/Entertainment/Music/2007/08/16/4422082-sun.html

Nadia

Aug 17th, 2007, 01:40 AM

Toronto #2

http://www.thestar.com/entertainment/article/246909

Toronto gets the Beyoncé experience

VINCE TALOTTA / TORONTO STAR
Beyonce in concert at the Air Canada Centre, August 15

Aug 16, 2007 04:30 AM

The Mighty Beyoncé.

That's how R&B singer Robin Thicke referred to the pop songstress recently. And after catching the Texas native's show at the Air Canada Centre last night, I concur.

As Beyoncé's opening act, Thicke has a nightly view of the tireless wonder. He's no slouch himself having overcome a tepid 2003 debut to become Soul Brother No. 1 on the strength of an acclaimed sophomore disc of dreamy love songs. Though an adequate party starter, he could use a more inspired backdrop than his album cover and it's time to change up the black-and-white and Adidas uniform.

But I digress. Back to Herself.

In the 10 years since Destiny's Child released its first single, Beyoncé has become a multi-media conglomerate: solo artist, actor, product hawk, fashion designer.

And that ubiquity has engendered a dismissive "Oh, not her again" attitude that credits the machinations of her manager-father.

That's a shame, because the two- hour extravaganza billed as "The Beyoncé Experience" is a testament to this 10-time Grammy winner's talent and willpower.

From a cloud of smoke, the 25-year-old singer rose out of a stage floor trapdoor in a long silver gown and posed before a curtain of pyrotechnics before launching into "Crazy In Love." She twisted and stretched the tune – at one point neatly segueing into Gnarls Barkley's "Crazy" with a display of vocal gymnastics that yielded the startling realization that her tinny, overpolished recordings don't do her justice.

Live, with novel arrangements and a sizzling band, Beyoncé is a vocal marvel.

Her village was comprised of two drummers, three horn players, two keyboardists, two guitarists, three backup singers and 10 dancers (four of whom were the only men on stage).

There were the requisite half-dozen costume changes and a dazzling set which included stairs, chairs, and a moving walkway. With stellar sound and lighting, the whole package showcased the healthily proportioned, big-haired beauty at her finest.

The all-female band and plus-sized vocalists (reminiscent of comedian Mo' Nique) were a nod to the feminist bent that defines Beyoncé's lyrics, in conjunction with a materialistic outlook that also finds her name-dropping luxury brands like a rapper.

The singer drew from both solo albums for tunes like "Baby Boy," "Ring The Alarm" and "Upgrade U," but it was the nine-song Destiny's Child medley that drew the biggest cheers from the full, but surprisingly not sold-out arena.

As she shook and shimmied her way through the set in the highest of heels and with the biggest of smiles, the comparisons that came to mind were Prince (for versatility and musicianship) and Tina Turner (for sass and sheer power).

She utilizes more props than those artists, and I can't imagine either crying on cue as she did at end of "Flaws and All" (and has done throughout the tour), but what she does, she does well.

Nadia

Aug 18th, 2007, 05:49 AM

Detriot:

Beyonce brings energy, grace to Palace show

Adam Graham / Detroit News Pop Music Writer

The momentum sometimes slowed as Beyonce changed costumes, but when she was on stage, the audience was entranced.

Beyonce
When: Friday
Where: Palace of Auburn Hills
Grade: B

First things first: She didn't fall.

Beyonce stayed on her feet throughout her two-hour concert Friday at the Palace of Auburn Hills, foiling anyone who thought they might catch a YouTube-worthy repeat of her stumble last month in Orlando, Fla.

It wasn't as though she wasn't moving. Beyonce jiggled, shook, headbanged, pole-danced and strutted the entire show -- all the while in high heels. A tumble was, at some point in the tour, inevitable.

But with that incident behind her, Beyonce put on an assured, confident concert, offering up a healthy dose of girl power for her exuberant, mostly female fans.

The Spice Girls had nothing on B and her 13-piece, all-female backing band, which included three backup singers, three drummers, a brass section and two keyboardists. The only Y-chromosomers on stage were backup dancers, who were forced to quickly shed their shirts or risk getting booed off stage. How's that for role reversal?

Beyonce got things jumping quickly, opening with "Crazy in Love," her still-radiant debut solo single. It was a bold move, opening with a potential show closer, but it sent a message to the audience that the party was starting early.

Unfortunately, it was an energy she couldn't always sustain, as much of the evening was dedicated to filler -- drum solos, sax solos, interpretive dance numbers -- while our heroine changed wardrobes.

But when Beyonce was on stage, all eyes were on her, and she held the audience captive.

Beyonce is a seasoned stage veteran due to her years in Destiny's Child, and since she more or less was Destiny's Child, her mid-show medley of DC hits -- "Bootylicious," "Solider," "Survivor," etc. -- was welcome.

Yet in spite of the sizzle of her stage arrangements, she was at her best when simply letting her voice and her emotions do the talking. A mid-show breakdown found Beyonce performing the ballads "Dangerously in Love 2" and "Flaws and All," singing them while standing still at center stage. (OK, she had a wind machine on her, but that's it.) She connected with the songs in ways elaborate dance numbers cannot, while allowing herself and her audience a chance to take a breather and listen.

Most of the material from her two solo albums -- "Dangerously in Love" and 2006's excellent "B'Day" -- made it into the show, and Beyonce's "Dreamgirls" work was touched on before a show-closing audience sing-along of "Irreplaceable." That song found Beyonce reaching out to various fans in the crowd ("I see you in the pink shirt! I see you taking the picture!"), and while it may have been canned -- surely, there's always someone in a pink shirt and someone taking a picture, right? -- the individualism was a nice touch.

Most striking throughout the evening was her self-assuredness. Though she was outfitted in a number of flesh-baring wardrobes that could look cheap on those of a lesser ilk (Britney, that means you), she carried herself with dignity and never showed any hint that she's anything but in total control of her sexuality.

Nu-school soul singer Robin Thicke opened the show, proving himself to be more than a Justin Timberlake knock-off. He got the crowd on its feet for his hit "Lost Without U" and showed his lightly funky side on the sharp "Shooter."

http://www.detnews.com/apps/pbcs.dll/article?AID=2007708180394

Nadia

Aug 18th, 2007, 08:19 AM

Detroit #2
Beyonce bedazzles with sexy vocals

August 18, 2007

KELLEY L. CARTER

FREE PRESS STAFF WRITER

She emerged from the center of the stage, a golden goddess with curly hair cascading over her shoulders. The smoke rose up from her feet, and, with a boom, fiery sparklers fell from the sky.

Beyonce had arrived.

The Houston-born entertainer led the sold-out Palace of Auburn Hills through the hits that make her famous, including "Crazy in Love," "Freakum Dress," "Baby Boy" and "Naughty Girl" and also dazzled the crowd with a medley of Destiny's Child hits.

She performed like a new-age Tina Turner, captivating the diverse audience with aggressive, sexy vocal attacks. And she did it all in stilettos and with five dress changes.

It's almost scary how good the twenty-something is. And she does something that almost none of her contemporaries can even begin to do: perform live what she does so well on wax. Rating: 4/4

http://www.freep.com/apps/pbcs.dll/article?AID=2007708180378

Nadia

Aug 19th, 2007, 10:36 AM

New Jersey:

Beyonce bedazzles
Posted by STAR-LEDGER ENTERTAINMENT STAFF

Pop diva leaves no doubt about her all-around talent

ARISTIDE ECONOMOPOULOS/THE STAR LEDGER
Backed by a 10-piece all-female band, Beyonce affirmed the theme of female empowerment Friday night in East Rutherford.

In the history of pop music, there have been countless shows where the only women onstage were the dancers. Friday night at the Continental Airlines Arena in East Rutherford, Beyonce flipped the script. Women did all the singing and the playing, and the men were only there for visual reasons.

On her current tour, which is also coming to the Trump Taj Mahal in Atlantic City on Saturday, Beyonce is using an all-female, 10-piece band, along with three women singers and 10 dancers (six women, four men). It's a clever move: a simple, effective way to underscore the theme of female empowerment that has been in her music since her days in the trio, Destiny's Child.

As notable as the supporting cast was, it rarely drew attention away from the star. The show is called "The Beyonce Experience," and it lived up to its name, with Beyonce leaving no doubt of her all-around talent. She can sing with the power of a Tina Turner, dance with the military precision of a Janet Jackson, and dress with the over-the-top flair of a Cher. More than just a concert, it's a state-of-the-art arena spectacle -- the best that 2007 has offered, so far.

Friday's show began with one of its most impressive sights: Beyonce rising through dry-ice fog, with a wall of sparks falling behind her. Fifteen mirrored balls hung from the ceiling, complementing the silver sequins on her dress.

She opened with one of her most aggressive numbers, "Crazy in Love," adding a bit of Gnarls Barkley's "Crazy" in place of the Jay-Z rap that helped make the song a hit. Later, she similarly added some of Jill Scott's "He Loves Me" to "Dangerously in Love 2."

Destiny's Child was always a frustrating concert act, overly choreographed and excessively concerned with model-like posing. On her own, Beyonce seems more down to earth, and sings with more abandon. She delivered ballads like "Listen" and "Speechless" with simmering emotion, and boiled over in songs like "Ring the Alarm" and "Freakum Dress." A medley, late in the show, included portions of 10 Destiny's Child hits, from the innocuous "Cater 2 U" to the anthemic "Survivor."

Beyonce followed her dancers, step by step, through even their most energetic routines. She showcased some belly-dancing moves during "Baby Boy" and, during "Get Me Bodied," called out a series of movements ("Do the scissor leg .¤.¤. do the Naomi Campbell walk"), then gracefully executed every one.

The musicians played flawlessly, whether backing the diva or soloing to fill time while she undertook one of her many costume changes. They also proved they could show off just as much as men: After one drummer soloed while drinking from a water bottle, the other topped her by playing blindfolded.

There were some questionable artistic decisions. During "Flaws and All," a song about true love, a video camera stayed focused on Beyonce's face, capturing every expression, close up. At the end of the song, tears were clearly visible, and a dancer wearing huge angel wings walked up and hugged her. It was a silly touch, but only slightly undermined what came before. (cont...)

Nadia

Aug 19th, 2007, 10:38 AM

(cont...)
During one of the costume changes, the dancers -- offering their own take on the "Chicago" number, "Cell Block Tango" -- slithered around the stage as voices, heard on tape, told sarcasm-laced stories about wronged women evening the score, with violence. That kind of black humor might be okay for "Chicago," but it was jarring in the middle of a pop concert.

Beyonce closed with one of her biggest recent hits, "Irreplaceable," a song about letting a lover know he can be replaced, more easily than he thinks. And, as if that's not bad enough, "I won't shed a tear for you/I won't lose a wink of sleep," Beyonce sang.

She invited the audience to sing portions of the song, and they did, loudly. Meanwhile, video clips of the backing musicians showed them making the "to the left" motion that's a key part of the song. ("Everything you own's in the box to the left"). Confetti fell.

The moment didn't feel anti-male. It felt pro-human and life-affirming. Everything, in short, that "The Beyonce Experience" aspired to be.

Jay Lustig may be reached at jlustig@starledger.com or (973) 392-5850.

http://blog.nj.com/ledgerentertainment/2007/08/beyonce_bedazzles.html

Nadia

Aug 20th, 2007, 07:32 AM

Chicago #2:
Concert Review: Beyonce in supurb vocal form at United Center

August 20, 2007
By Eloise Marie Valadez Staff writer

Chicago's United Center was buzzing with excitement Saturday evening as The Beyonce Experience landed with a glamorous bang.

Fans stood and screamed as young diva Beyonce Knowles took the stage for a two-hour show filled with flashy theatrics, swift costume changes, Las Vegas-styled sets and highly charged dance numbers.

Beyonce, who came into the public eye 10 years ago as the lead singer of the girl group Destiny's Child, proved to be in superb vocal form during the entire show. She delivered equally strong performances on revved-up R&B selections and ballads.

Her show opened with the hit "Crazy in Love," in which Beyonce immediately launched into her signature shimmies and gyrations.

"Hello Chi-Town. I want to thank you for coming out to the Beyonce Experience," she shouted, greeting her fans early in the show.

Beyonce had no problem keeping the audience's attention. The show moved along quickly with the singer making nearly a dozen costume changes and switching gears easily from romantic ballads to upbeat pop hits.

The singer's fashions ran the gamut from long silvery gowns to genie-like outfits and swingy mini skirts paired with bikini tops.

Her all-female band also gave an energetic performance and was the perfect backdrop to a concert that celebrated womanhood.

Beyonce explained she specifically wanted a strong female band for this show and she got them.

The whining guitars, pounding drums and sultry saxophones were highlights.

In addition to performing her hit solo songs, Beyonce entertained the crowd with selections from Destiny's Child's catalog, including "Bills, Bills, Bills," "Survivor," "Say My Name," and "Bootylicious."

She gave engaging performances of solo songs "Baby Boy," "Naughty Girl," "Me, Myself and I" and "Deja Vu."

Beyonce's vocals shone flawlessly on "Listen" from the movie "DreamGirls."

She wowed the audience with flashy choreography on many of the numbers, including the song "Green Light" from her second solo album "B-Day."

Beyonce encouraged the crowd to serenade her with the hit "Irreplaceable" prior to her performance of it. And while she sang, fans joined along with the familiar chant "To the left, to the left."

Before she left the stage, Beyonce asked if there were any birthdays being celebrated and launched into a chorus of "Happy Birthday," occasionally switching the lyrics to "Happy B-Day."

Opening for Beyonce was rhythm and blues singer Robin Thicke, son of actor Alan Thicke and actress Gloria Loring.

Thicke performed a selection of tunes from his latest album "The Evolution of Robin Thicke," including the jazzy soulful hit "Lost Without U."

http://www.dailysouthtown.com/news/517186,202NWS6.article

Nadia

Aug 20th, 2007, 07:41 AM

Chicago #3:

All hail the queen
CONCERT REVIEW | In United Center extravaganza, Beyonce reigns as America's diva

The queen bee reigned in a manner that was regal and bootylicious. Staring out at the capacity crowd filling the United Center on Saturday night, Beyonce sang, "In your eyes I'm a queen.'' The singer was addressing a devoted lover in a terrific rendition of "Flaws and All," but the lyric could also refer to the way fans worship Beyonce.

Bold, beautiful and born to be onstage, Beyonce presented a high-wattage spectacle that did not skimp on the production values. The event's pricey tickets (ranging from about $50 to $200) helped pay for the parade of costume changes, the troupe of 24 performers, the fireworks, the smoke machine and the rail and poles used during dance routines.

This tour, dubbed "The Beyonce Experience,'' also featured 15 mirror balls that descended from the ceiling, dozens of theatrical props (like the giant magnifying glasses that dancers carried while dressed as detectives) and a moving sidewalk that transported her highness across the stage during a scorching version of "Deja Vu," which also included recorded vocals from Beyonce's boyfriend, Jay-Z.

The two-hour show lost momentum a few times, mainly due to costume changes that required the star to leave the stage, but overall it was a dazzling showcase for Beyonce's impressive skills as a full-throated singer, athletic dancer and convincing actress.

During "Flaws and All," fans looking at the giant video screens could see tears rolling down Beyonce's cheeks. As she has done on previous nights of the tour, she cried at this song's conclusion. But instead of having a case of runny mascara (as a normal person might), the diva was enveloped by an enormous pair of feathery, angelic wings that were maneuvered by a dancer standing behind her.

Beyonce undoubtedly has studied the careers of the divas who preceded her. From Cher and Madonna, she learned not only the audacious technique of using a single name, but also the importance of wowing fans with elaborate outfits (a la Cher) and remarkable choreography (a hallmark of Madonna's shows).

Like '70s diva Donna Summer, whose cooing vocals were sampled during a shimmying version of "Naughty Girl," Beyonce didn't let the enormity of the sparkling stage spectacle overwhelm the musicality. For this tour, she has employed a top-notch band of 10 musicians, three backing vocalists and 10 dancers. With the exception of the four male dancers, all the performers onstage were women, which reinforced Beyonce's recurrent theme of female empowerment.

The set list touched upon all phases of Beyonce's career, from her days in Destiny's Child to her two hit solo albums -- "Dangerously in Love" (2003) and "B'Day" (2006) -- to her role in the Hollywood musical "Dreamgirls."

A medley of Destiny's Child hits was a reminder of how far Beyonce, 25, has come in the pop culture universe, from a teenage singer in Houston to a multifaceted star with Grammy awards, endorsement deals, film roles and the fame that accompanies being a Sports Illustrated swimsuit edition cover model. (cont...)

Nadia

Aug 20th, 2007, 07:42 AM

(cont...)

The DC medley incorporated a thumping section of "Bootylicious" and concluded with a rousing version of "Survivor" in which Beyonce passionately encouraged her fans to persevere, no matter what the obstacle: "If you've survived racism, if you've survived sexism, if you've survived a breakup, or if you've survived a bunch of haters, we're all survivors."

The singer demonstrated an engaging ferocity all night, but it reached a peak here.

Another highlight was the clubby "Get Me Bodied," during which Beyonce wore a space-age robot costume and then a yellow-and-black, bumblebee-themed shorts and bikini-top outfit that was accented with fringe.

During the song's introduction, Beyonce told the crowd, "The queen bee's about to sting.''

Sting she did. Another diva eventually will come along to dethrone Beyonce, but for now, all hail the queen.
http://www.suntimes.com/entertainment/516798,CST-FTR-beyonce20.article

Nadia

Aug 21st, 2007, 04:05 PM

Cleveland:

Versatile Beyonce shines in Cleveland concert John Soeder
Tuesday, August 21, 2007
John SoederPlain Dealer Pop Music Critic

If she doesn't want to become the Gerald Ford of contemporary R&B, Beyonce had better watch her step. Literally.

In the middle of a gig last month in Or lando, Fla., the Grammy- winning singer tripped and plunged headfirst down a staircase. A real trouper, she quickly picked up her micro- phone and got on with the show.

Fortunately, Beyonce didn't take any tumbles Sunday night at The Q. "Ladies and gentlemen, are you ready to be entertained?" she said, while sparks rained from the rafters.

Ready or not, an off-the-hook "Crazy in Love" got the party started, followed by "Freakum Dress" and "Green Light."

Beyonce, 25, flaunted some of the finest pipes in the business, as powerful as they were versatile. She revealed a knack for sister-to-sister soul via the self-empowerment ballad "Me, Myself and I," punctuated "Dangerously in Love" with a high note in Mariah Carey territory, and wailed a teary-eyed "Flaws and All."

Beyonce acknowledged her formative years in Destiny's Child with an extended medley of hits, including "Independent Women Part I," "Bootylicious" and "Survivor." Her emotional delivery of the "Dreamgirls" showstopper "Listen" was a highlight, too.

Our heroine didn't skimp on booty-shaking choreography or costume changes, either. High-powered wind machines below the stage kept her luxurious mane flowing and her skirts billowing.The only disappointment was the turnout. The arena was less than two-thirds full, with the top level curtained off completely. Beyonce deserved better.

Her tight band was staffed entirely by women, including two drummers and a three-piece horn section.

Beyonce was showing off by the time she got to "Deja Vu," executing flawless dance moves on a conveyor belt, with a neon sunrise for a backdrop.

She brought her two-hour concert to a close with "Irreplaceable," twirling like a ballerina in a blizzard of confetti. It was the perfect ending to a perfectly Beyoncelicious performance. A bit too perfect, maybe.

On second thought, the occasional pratfall could be a wise career move for Beyonce. Otherwise, the rest of us might be inclined to stop believing this young superstar is only human.

To reach this Plain Dealer reporter:

jsoeder@plaind.com, 216-999-4562
http://www.cleveland.com/entertainment/plaindealer/index.ssf?/base/entertainment-0/1187686841149890.xml&coll=2

Nadia

Aug 24th, 2007, 02:56 PM

Denver

There's such a unique duality to Beyoncé's music — spanning from her early days fronting Destiny's Child to her current R&B- diva-gone-solo career — that she owns an entire hotly polarized segment of the R&B spectrum.

Just as Beyoncé is the bold individual, the "Independent Woman Part 1" who is "Irreplaceable," she's also her own generation's queen of self-objectification, always ready to get "Bootylicious" in her "Freakum Dress."

Beyoncé's hardly an enigma — she goes where the money is— but she is a living, breathing juxtaposition of independence and reliance. And that's also the part she played Wednesday night at the Pepsi Center when her headlining tour — awesomely titled "The Beyoncé Experience" — played to a house that was anything but packed.

She was the bold pop star, starting her set bravely with the biggest hit of her solo career, "Crazy in Love." Looking dashing in a disco ball of a minidress, Beyoncé sang minimally in front of a sizable, all-female band — including three horn players and as many percussionists.

She has foolishly kept the song's played-out transition into Gnarls Barkley's tired hit "Crazy," but regardless, she was strong, desirable and confident as she slinked her way through a sexually charged "Freakum Dress," a dynamic "Green Light" and an unfortunately shortened "Baby Boy."

The concert hit a dull stretch starting with "Baby Boy," which should have been fully utilized in its entirety, as it's one of Beyoncé's most musically vibrant songs. "Beautiful Liar" and "Me, Myself and I" weren't worthy of the space they occupied on the records in the first place, and they had no place in the live show.

Things picked up with a lively but sometimes-sloppy medley of Beyoncé's work in Destiny's Child, starting with "Independent Woman Part 1" and weaving, sometimes manically, through a quick and dirty "Bootylicious," a chopped "Bug a Boo," a radio-perfect "Bills, Bills, Bills," an oddly self-referential "Say My Name," a dance-heavy "Soldier" and a bizarrely militant "Survivor."

The songs no doubt sounded dated, but you couldn't deny the instant recognizability of each song's ridiculous lyrics and over-the-top production.

The show was leading up to the inevitable moments, including " '03 Bonnie & Clyde," "Irreplaceable" and the overblown "Dreamgirls" moment, which was thankfully more entertaining than the sad "Pink Panther" moment.

One last thought: Typically when an artist changes costumes five or more times in a pop show, I'd be inclined to take that easy dig. But with Beyoncé's show, the clothing changes were integral to the show. They were silly, sure. But it wouldn't have been a Beyoncé show without them.

http://www.denverpost.com/entertainment/ci_6694050

Nadia

Aug 24th, 2007, 02:57 PM

Denver #2:

http://dailycamera.com/news/2007/aug/23/concert-review-beyonce-shines-pepsi-center/

By Mark Brown, Rocky Mountain News

When I last saw Beyoncé Knowles perform, it was as one-third of Destiny's Child. It was perfectly fine, but seemingly routine and unremarkable.

Since that time she has learned to hold her own onstage with the likes of Prince in an electrifying Grammy Awards performance several years ago.

She learned more from Prince than just how to hold a stage. At the Pepsi Center on Wednesday night, Beyoncé surrounded herself with a virtuoso big-band revue – all female musicians at that – that pushed her brilliant vocal performance with plenty of mean licks of their own, be it the three percussionists, the three-piece horn section or whatever.

In one sense it was practical; the band could vamp and thrill the crowd during Beyoncé's many costume changes (the blindfolded drum solo was particularly entertaining). She also learned to deal with her past much the way Prince has; this tour features a medley of Destiny's Child hits that give the fans what they want without distracting from the current hits.

Her public image is still a bit scattershot – the photo on her Web site of Beyoncé dressed in a bikini and stilettos while walking two leashed alligators sends more messages than one can absorb. Onstage, however, the image is strong and sure – this is a woman who can sing with the best of them. Plenty of artists lately have covered Gnarles Barkley's hit "Crazy," but few with the full-lunged power Beyoncé put into it.

She was generous with her musicians, including giving guitarist/Denver resident Bibi McGill a spotlight solo that had her friends and family in the audience shrieking with joy. Fellow Denver native and music industry heavyweight Big Jon Platt, who hand-picked McGill for Beyoncé's band, was in the crowd as well.

Those subtleties went past most of the crowd, which was just thrilled to have big hit after big hit delivered with authority and panache by one of the best female singers to come out of the unfortunate musical events of the past decade.

The Pepsi Center wasn't close to sold out, which is a shame. Sure, Beyoncé (and fiancée Jay-Z) get plenty of tabloid attention, but nowhere near the level of certain train-wreck "singers" whose name we don't need to print again. Apparently talent that grows by leaps and bounds and a burgeoning career isn't as interesting as shaving your head.

Robin Thicke, the Canadian version of Justin Timberlake, opened the show with a long set where headliner Beyoncé let him use full lights, effects and big-screen shots – definitely very un-diva-like behavior. He worked his way through sultry R&B such as "Teach You a Lesson" and higher-energy numbers that left him gasping for breath at times.

Nadia

Aug 25th, 2007, 03:10 PM

Pheonix:

The bootylicious Beyonce experience
Beyonce

August 24- US Airways Center

Nicki Escudero

It was all about Beyonce at US Airways Center as the Beyonce Experience came into town.

The audience was treated to a montage of the R&B singer's career highlights, and she led fans in chanting her name several times throughout the show and singing "Happy B'Day" (not "Birthday.")

It was hard not to keep your eyes on Ms. Knowles, considering she looked the most gorgeous she ever has. Her dramatic, turquoise glittery eye shadow was a great contrast to her nude lips, and her long, wavy hair became a great accessory when paired with the breeze provided by the fans on stage. She was glamorous yet relatable--her rock hard body was thick and muscular, showing you can be in shape yet not look skeletal.

While she got her start in the girl group Destiny's Child, Beyonce showed she's always been a star capable of commanding her own stage. For this tour, she made it clear she wanted to empower women, as she enlisted an all-female, 10-piece band that was extremely talented. Each player got a solo during the show where they could show off their musical chops, while B changed into yet another outfit.

There were many duds she transitioned into throughout the night. She started off with a silver sparkly dress, then put on a black bikini top with see-through skirt, moving into a long, gold gown. All the clothes were stylish and versatile, and the trendy ensembles added to the glamor of the show.

Besides Beyonce's clothes, other visual stimuli came in the form of her team of backup dancers, including eight females and four males. There were also three powerhouse backup singers, and the huge cast of performers running around meant there was never a dull moment on-stage.

Things weren't all flash and no substance, though. There was no doubt of Beyonce's amazing vocal ability as she improvised throughout the night, ad libbing on her various hits and keeping her voice strong while she danced.

Beyonce performed tracks from both her solo albums, Dangerously in Love and B'Day, but she also kept fans happy by singing a medley of Destiny's Child hits, including No, No, No and Survivor.

While she played many non-singles from her solo career, it was notable she omitted Destiny Child's Lose My Breath and Emotion (originally by the Bee Gees) and her song Work It Out.

Still, she managed to cram in a hugely diverse set into the two-hour time frame. She added a lot of runs to the end of Dangerously in Love 2, showing off her incredible vocal range and focus on her singing, and another highlight of the night came before she sang her single Ring the Alarm. Her dancers re-enacted a scene from the musical Chicago, where women confess how they killed their lovers, then Beyonce and her dancers pranced around in shiny red trenchcoats while performing.

Despite the eye-catcthing outfits, the stage was kept relatively simple. A huge staircase held the band, and various images flashed in the background to go along with the songs. There was also a moving walkway across the stage, and unlike a previous performance this year, Beyonce managed to stay sturdy and had no tripping mishaps.

Though the venue had many empty seats in the upper and back sections, the arena seemed like an appropriate place for Beyonce's big voice. When she asked the audience to sing her show closer Irreplacable back to her, the fans took over lyric for lyric before Beyonce launched into the version herself. Confetti fluttered down, and she proved that in today's musical world, it's undeniable there's no substitution for Beyonce.

http://www.azcentral.com/members/Blog/ConcertReview/5882

Nadia

Aug 28th, 2007, 05:22 PM

Vegas:

http://www.lvrj.com/news/9390891.html

CONCERT REVIEW: Girls' night out all the way

Beyoncé takes no prisoners

By JASON BRACELIN
REVIEW-JOURNAL

Beyoncé performs at the MGM Grand Garden Saturday. Her catalog is a mix of defiance and devotion: If she's not telling her man that he'd better come up with some cash for the phone bill, she's pulling off his shoes and running him a warm bath. When she spoke to the crowd, Beyoncé exclusively addressed the ladies, and her mammoth, 13-piece backing band consisted solely of females.

It was a battle of the sexes, and Beyoncé came armed to the teeth. Her arsenal: a voice that crackles and pops like small arms fire, a libido hardwired with explosives, a volunteer army, 10,000 strong, of glittery comrades in high heels and low hemlines and a take-no-prisoners repertoire of oh-no-he-didn't kiss offs that view romance like MacArthur did Japan: something to be conquered, a combatant to be bested. Seriously, if love is blind, it's only because Beyoncé scratched its eyes out and sent it screaming to the emergency room for stitches.

At the MGM Grand on Saturday, this lusty commander in chief of you-go-girl bravura wielded a bayonet of feminine assertiveness.

It was girls' night out all the way, with throngs of dressed-to-the-nines twentysomethings grading one another's hairdos (and hair-don'ts) while moms clutched their preteen daughters by the hand as they took in their first concert.

When she spoke to the crowd, Beyoncé exclusively addressed the ladies, and her mammoth, 13-piece backing band consisted solely of females.

The only dudes on stage were the topless dancers who writhed at Beyoncé's feet, crawled on their knees and treated the gals in the house to a strip tease at one point.

Needy men and two-timers were fitted with concrete boots and plunged into a sea of estrogen in songs that were largely defined by a matriarchal self-assuredness.

"Ain't no need to cry," Beyoncé sang on dusky break-up ballad "Me, Myself and I." "I took a vow from now on that I'm gonna be my best friend."

Still, Beyoncé did shed a few tears on this night, dabbing at her damp cheeks during the self-effacing slow burn of "Flaws and All," a song where she dramatically catalogs her shortcomings.

It's on this glittery axis of steely strength and purring vulnerability that Beyoncé's career ultimately pivots.

Her catalog is a mix of defiance and devotion: If she's not telling her man that he'd better come up with some cash for the phone bill, she's pulling off his shoes and running him a warm bath.

"Baby what you want me to buy? My accountant's on the phone," she cooed during the martial, treat-your-man-right funk of "Suga Mama," flinging herself around a stripper's pole as she sang.

Beyoncé strives to be the complete woman, and her performance spoke to as much.

Whereas many of her pop peers lip synch through their shows nowadays, Beyoncé wielded her voice like a broadsword, singing from her knees on "Baby Boy," scatting heatedly with the horn section on "Naughty Girl," her voice bouncing up and down, up and down, like a kid on a trampoline.

And she did it all while headbanging like a Metallica groupie, busting out some air guitar licks, dancing violently in stiletto heels, straddling a loveseat fashioned after a pair of hot pink lips and racing through half-a-dozen costume changes (our favorite was when she dressed up like a giant bee, complete with plastic yellow helmet and fake wings). (cont...)

Nadia

Aug 28th, 2007, 05:23 PM

(Cont...)

It was all about as elaborate as pop shows get, musically and aesthetically, almost self-consciously so at times: nearly every single member of her band took a solo turn at one point, and after dueling drum battles, guitar acrobatics, a trumpet interlude and more, a keyboardist jamming on "Flight of the Bumblebee" felt like a bit much.

But then again, what would a queen be without her court? And Beyoncé's entourage extends far beyond the stage.

Perhaps it was only fitting then, that the climax of the evening came with her recent hit "Irreplaceable," a song of feminine comeuppance where no-good men get sent packing, which the crowd belted out in deafening fashion while Beyoncé beamed from the stage.

"A little sweat never hurt nobody," Beyoncé had sung a bit earlier.

Yeah, tell that to the fellas.

Nadia

Aug 28th, 2007, 05:27 PM

San Diego:

CONCERT REVIEW: 'To infinity ... and Beyon-cé'
Concert at Cox Arena on Sunday exemplifies the 'total performance'
Philip Flores, Tempo Editor

Pop diva Beyoncé rocks out for concertgoers on Sunday night at Cox Arena on her nationwide tour promoting her 2006 album, "B'day."

There was one thing on my mind while walking down the 20 flights of stairs at the Cox Arena: Watch your step and try not to reenact the infamous stair accident Beyoncé experienced in one of her shows last month. Anyone who has watched it on YouTube knows that only a true performer can tumble down 12 steps, break into a cartwheel and then continue on like nothing happened.

After being plagued with accidents and wardrobe malfunctions, R&B-pop diva Beyoncé graced San Diego concertgoers with a two-hour flawless and entertaining concert at Cox Arena.

Accompanied by an all-female ten piece band, Beyoncé dramatically emerged from beneath the stage with smoke underneath, wearing a silver-sequined dress and donning a gigantic chandelier earring asking, "Ladies and gentlemen, are you ready to be entertained?" A roar of screams emerges from the stands of the nearly half-filled arena as she kicks off with "Crazy in Love," her first single as a solo artist, which included a weird snippet of Gnarls Barkley's "Crazy." Giving it all in her dancing, she eventually tore away the bottom half of her sequined dress to reveal the mini-version which showcased her long, lean dancer legs.

For the next two hours, Beyoncé gave the audience an experience to remember by performing smash hits from her two solo albums - "Dangerously in Love" and "B'day." She also took a moment to perform a medley of hits from the all-time girl group Destiny's Child. Songs such as "Soldier," "Say My Name," "Bills, Bills, Bills" and "Bootylicious" were performed by the diva as a salute to her former bandmates.

Most of the time songs were cut short because of the numerous times that Beyoncé had to leave the stage for an outfit change. Her costumes were OK, nothing exciting except for the half-nude and half-rhinestone body suit she revealed during the performances of "Upgrade U" and "Check on It."

The body suit was made so that it appeared as though Beyoncé had lost the front part of the costume, clearly making me do a double take before realizing what had happened.

A favorite part of the concert was the sexy number for "Get Me Bodied." She emerged onstage in a robotic, out-of-this world yellow body suit while singing "Nine, four, eight, one, B'day," and soon revealed a yellow and black fringe-bikini costume.

While most of her performances showcased her capabilities as an entertainer, she also stepped away for a moment to sing big-note ballads such as "Dangerously in Love," which easily segued into a cover of Jill Scott's "He Loves Me," leaving Beyoncé in tears. She finished off the show by asking audience to help her sing the hit song, "Irreplaceable," which she describes as a song about empowerment and independence.

The opening act last night was R&B-pop singer Robin Thicke, who is the son of Canadian entertainer Alan Thicke. The blue-eyed singer is currently riding the wave of his latest career solo album, "The Evolution of Robin Thicke." He graciously attempted to rock the stage with his amateur dancing and out-of-the ordinary squeals.

Long after the hour-long set, I remained unimpressed with the way he tried to grab his crotch, while caressing the microphone stand and performing his hit song, "Lost Without U." Believe me, he is no Justin Timberlake, but I'll give him an "F" for effort.

Joking aside, the Beyoncé experience was quite the experience.

http://media.www.thedailyaztec.com/media/storage/paper741/news/2007/08/28/Tempo/Concert.Review.to.Infinity.And.BeyonC-2939774.shtml

Nadia

Aug 29th, 2007, 11:43 AM

Fresno:
Review: Beyonce fires up Fresno, heads to Oakland
By Jim Harrington
STAFF WRITER

Article Launched: 08/29/2007 09:07:02 AM PDT

These days, one half expects each new Beyonce gig to come with a YouTube video.
Untold millions have logged onto that popular Internet site over the last few months to watch two clips of the soulful diva in concert. Neither of which, we should add, is anything that Ms. Knowles would want publicized.

The first is a video of the normally graceful and sure-footed Beyonce tumbling down a flight of stairs during a July 24 concert in Orlando (she was not hurt and got up to finish the song).

The second is reminiscent of Janet Jackson's infamous Super Bowl outing -- one of those pesky "wardrobe malfunctions'' where you'd better not blink or you'll miss what all the fuss is about. Viewers with superior vision can allegedly see Beyonce's breast, exposed while dancing at an Aug. 15 date in Toronto.

No malfunctions

Those who might have sneaked video cameras into Beyonce's concert on Tuesday night at the SaveMart Center in Fresno, hoping to capture the next YouTube sensation, definitely didn't come away with anything that will set the Internet on fire. The 25-year-old star didn't tumble down any stairs, accidentally expose herself or do anything even remotely embarrassing.

What those pirates would have caught on film, however, was a show that may wind up being the best pure pop music spectacle of 2007. After a few close tries -- both on her own and with her old band, Destiny's Child -- Beyonce has finally managed to live up to her vast potential as a live act.

You can see for yourself when the Queen B buzzes into the Oracle Arena in Oakland on Aug. 31.
Following an opening set by slick R&B crooner Robin Thicke, who didn't do much better setting the table for Beyonce than he did during his own headlining show earlier this year at the Warfield in San Francisco, the main attraction took the stage and asked a simple question:

"Ladies and gentlemen, are you ready to be entertained?''

The answer, as screamed forth by thousands of fans, was a resounding "yes.'' And, more importantly, Beyonce quickly showed that she was ready to do the entertaining.

Opening with a deliriously good take on the party anthem "Crazy in Love,'' the chart-topping single from Beyonce's 2003 effort "Dangerously in Love,'' the diva proceeded to put on a thoroughly exciting and expertly paced dance-pop extravaganza that equaled the best of what we've seen from Britney Spears and even Madonna.

For more than two hours, Beyonce held the crowd's complete attention as she boogied through the full length of her catalog, from her Destiny's Child days to selections from her two solo recordings to her acclaimed work for the film "Dreamgirls.'' It might not have been a flawless pop concert, but it was as close as we've seen in a long time.

Beyonce was backed by a 12-member, all-female band, which included a three-piece horn section and a trio of backing vocalists; and that unit provided plenty of punch to such selections as "Baby Boy'' (from "Dangerously in Love'') and "Beautiful Liar'' (from 2006's "B'Day,'' which, yes, was released on Beyonce's birthday).

Delivers the goods

Beyonce was in such strong voice that she could've thrilled the crowd in a stripped-down setting, one where she just sat on a stool and belted out the goods. But that wouldn't be playing the game by the pop-music-spectacle rules, nor would it live up to the tour's name -- the Beyonce Experience. (Cont...)

Nadia

Aug 29th, 2007, 11:46 AM

(Cont...)
Thus, she delivered a full-on experience, one that included video segments, 10 accompanying dancers and seven wardrobe changes (again, to the chagrin of YouTube hopefuls, none of them malfunctioned). The thing that separated this show from that of other pop icons -- Justin Timberlake immediately comes to mind -- is that all these frills added to the overall experience and made sense in conjunction with the music.

One of the most exciting segments of the night came when Beyonce revisited her Destiny's Child material, which remains the strongest in her catalog. She had the crowd jumping for joy -- literally -- as she belted out terrific takes of "Bills, Bills, Bills,'' "Say My Name,'' "Independent Women Part 1'' and, best of all, "Survivor.'' It was also nice to see her take some chances with this older material, and even nicer to see those risks pay off handsomely, such as when she cranked up the tempo during the finale of "Survivor.''

Beyonce shifted gears and personas repeatedly throughout the night. She was impressively convincing in each role, be it the sex kitten purring through "Beautiful Liar,'' the disco queen shaking up "Naughty Girl'' or the Diana Ross-like retro crooner handling "Dreamgirls'' material with class.

One of the songs that really stood out for this critic in the show's second half was the "B'Day'' smash "Déjà vu.'' The reason was simple -- this was a concert I'd like to see all over again.

Fortunately, the chance awaits Aug. 31 in Oakland.

Reach Jim Harrington at jharrington@bayareanewsgroup.com.

http://www.mercurynews.com/breakingnews/ci_6749910

ÄLAJYN

Aug 30th, 2007, 04:38 PM

get it bitch

Nadia

Sep 1st, 2007, 10:42 AM

Lake Tahoe:

http://news.rgj.com/apps/pbcs.dll/article?AID=/20070831/ENT/70831020&oaso=news.rgj.com/breakingnews

Review: Beyonce owned stage at Harveys
MARAN MASCARO AND LAURA LONGERO

Bombastic displays of vocal work. Intricate lighting and sets. Sparkling costumes. Sultry choreography. Sly movie homages.…Product endorsements?

Beyoncé’s show at Harvey’s Lake Tahoe was everything one would expect from a modern-day multifaceted superstar. And we do mean everything, including samples of Armani Diamonds, her latest starring turn in an ad campaign. She
left no stone unturned as her 10-year tenure in the public eye masterfully unfolded in the span of a mere two hours.

Of course, the main focus, as always, is on Beyoncé, the musician. She opened with one of her biggest hits, “Crazy in Love” and kept the energy up with more favorites from her first solo album such as “Baby Boy” and
“Naughty Girl.”

After a few flawlessly delivered ballads, Beyoncé reached back into her past with an inspired medley of several hits that she originally performed as part of “Destiny’s Child.” Although there were no cameos from the other members of the group (or any of her other collaborators, for that matter) she proved that she truly is an “Independent Woman” when it comes to her vocal talents. Alone, Beyoncé owned the stage.

As if to drive the point home, she launched into performances of her passel of hits from her latest release, “B'day.” She and her dancers gave new
meaning to the phrase “red hot” as they performed a seductive sequence to “Ring the Alarm” and “Upgrade U” decked in scarlet trench coats as they moved in front of a curtain of crimson lights.

However, as impressive as Beyoncé is as a singer and a songwriter, one could not forget that she is a jack of all trades.

After all, we can’t forget Beyoncé, the fashionista. Beginning the show in a bejeweled silver number, Beyoncé breezed through her clothing as quickly as she breezed through her set with an impressive eight costume changes to
follow. The fans won’t deny her beauty, as one male attendee was overheard telling his girlfriend before the show: “Now baby, if Beyoncé runs off the
stage and attacks me, don’t trip. I got it.”

But, looks aren’t everything. Beyoncé’s set seamlessly incorporated elements of her skills as a performance artist in general. Sexy, slithering choreography was omnipresent throughout the show, as the woman has turned
booty-shaking into a whole new art form.

Tidbits of Beyoncé, the movie star, also were present as she treated the audience to a “Pink Panther”-themed routine and performed two numbers from her recent box office smash, “Dreamgirls.” The performances were so
enthralling, they inspired Loretta Wilson of Washoe Valley to remark: “Fergie needs to take a lesson from Beyoncé on showmanship.”

With a meticulously selected all-female band, Beyoncé explained to the crowd that songs for women, by women is a cause she is devoted to.

“I like to write songs I think women need to hear,” Beyoncé said before a performance of “Me, Myself and I,” a song she wrote about a friend who was going through a rough time.

At the end of the show, Beyoncé got up close and personal with the crowd, inviting her fans to sing along with her recent ballad, “Irreplaceable,” as she greeted individual members of the audience from the stage. The thundering applause that endured as she exited leaves no doubt that the audience found her to be so … irreplaceable, that is. Perhaps the most fitting title for her is Beyoncé, the all-star.

Nadia

Sep 2nd, 2007, 02:26 PM

Oakland:
Beyonce at Oracle Arena 9/1
By Shay Quillen
Saturday, September 1st, 2007 at 4:01 am in Music, Shay Quillen, Concerts, General.

(I’ll have a more fleshed-out review in the paper Monday, but here are my initial thoughts …)

“Ladies and gentlemen, are you ready to be entertained?'’

Those were the first words out of Beyonce’s mouth Friday night at Oakland’s Oracle Arena, and the R&B diva delivered on that offer. With the help of two squadrons of dancers, a talented all-female band and a couple of tractor-trailers’ worth of costumes, there was scarcely a dull moment in the two-hour show.

And even when there was no visual spectacle, Beyonce delivered fireworks with just her voice, like late in the show when she belted out “Listen'’ from “Dreamgirls'’ in front of a plain white curtain and
had the crowd riveted.

Talented, beautiful and, yes, bootylicious, Beyonce proved beyond a doubt Friday that she is a true star. But she never got so caught up in being sexy or cool that she forgot to have fun. Like her old Grammys buddy Prince, she knows when to cut through the glitz with a knowing smirk or a disarming grin, and like the movie star she is, she knows how to work the camera so the gesture connects with the back row watching on the video screens.

The show began with Beyonce rising alone on a platform from beneath the front of the stage. But then showers of sparks fell from the sky and the band kicked into “Crazy in Love'’ — which briefly incorporated Gnarls Barkley’s “Crazy.'’

It took a song or two just to take in everything on stage: two drummers, two keyboards, percussion, guitar, bass, three horns, three “Dreamgirls'’-style backup singers, six sexy female dancers, four sexy male ones and, of course, Ms. Knowles herself.

It was a party early on, with rhythmic numbers such as “Freakum Dress'’ and “Baby Boy'’ featuring exuberant, sexy choreography. But the love songs “Dangerously in Love 2′’ and “Flaws and All'’ relied solely on Beyonce’s voice, and it soared through the entire arena. Beyonce’s eyes glistened with tears as the latter song ended.

Next came a quick romp through the hits of Destiny’s Child, the group that brought Beyonce to the world, including “Bootylicious,'’ “Say My Name'’ and “Survivor,'’ delivered by Beyonce in a flesh-colored leotard with glitter up front and down back.

Then it was back to the present with “Speechless,'’ “Ring the Alarm,'’ “Upgrade U'’ — with a quick detour into Prince’s “If I Was Your Girlfriend'’ — and “Deja Vu.'’

What seemed at first like a gimmick out of a Robert Palmer video, the attractive all-female band, proved to be a valuable asset. Each of the 10 instrumentalists got a chance in the spotlight during the show, and none failed to impress.

Lots of costume changes means lots of waiting around with the star offstage, but dance numbers both elegant and gritty kept the transitions interesting for the most part.

But a version of “Cell Block Tango'’ from “Chicago'’ with recitations from the female dancers easily could have been skipped, and what was in essence a commercial for Beyonce featuring glamorous shots of the star was utterly unnecessary after 90 minutes of the real thing.

For the closing “Irreplaceable'’ — performed in English – Knowles let the crowd sing the “to the left'’ refrain and the first verse, then spent quite a while pointing out individuals in the crowd. She even sang a quick “Happy Birthday'’ for someone on the crew and the birthday folks in the audience. Then she ascended into the heavens at the back of the stage as the curtains closed. No encore, but there was really nothing left to prove.

http://blogs.mercurynews.com/aei/2007/09/beyonce_at_oracle_arena_91.html

Nadia

Sep 2nd, 2007, 02:32 PM

Anahiem:
Beyoncé in complete control in Anaheim
Review: Visually and vocally arresting, the seasoned star delivered a powerhouse performance.
By BEN WENER
The Orange County Register

http://www.ocregister.com/entertainment/beyonc-christina-set-1837552-songs-sort

She calls this full-length globe-trotting production The Beyoncé Experience. It's a stretch of a boast no matter how you look at it.

Beyoncé's often dazzling production – which played Saturday at Honda Center in Anaheim and concludes its U.S. run tonight (Sept. 2) at Staples Center in Los Angeles – is neither an explosive introduction nor, I suspect, the greatest concert Ms. Knowles will ever stage.

At times it is deeply impressive, conceptually and (much more so) vocally. There are undeniably very few people in pop music who measure up to both Beyoncé's widespread appeal and range – forceful singing, ridiculously catchy hooks, red-hot dancing, burgeoning acting chops. Then there's the matter of her legs, her often bare midriff, her alluring eyes and smile, that gigantic mane of hair.

She is a natural diva, yet it's her estimable talent that merits that silly crown more than stunning looks. Better still, she's a most human diva, and not because of that nasty tumble she took at her show in Orlando. I mean she's approachable. Mariah Carey has warmed to her crowds much more in recent years, too, but Beyoncé just has a way about her.

You should have seen her near the end of this two-hour extravaganza, her face finally showing signs of perspiration from so much strutting. For the umpteenth time she shimmied from one end of the stage to the other, though now she wore only heels and a deceptive flesh-colored unitard, with gobs of rhinestones placed across her neck, chest and rump – and nowhere else.

All the while she sang "Irreplaceable," one of her breeziest bits of female empowerment, yet routinely interrupted herself to single out idolizers in the first few rows, with a sincerity that suggested she'd love to have 'em all 'round over for a barbecue next time they're in town.

I'd like to see Mariah – or Whitney Houston or Diana Ross – do that. The latter two would have trouble with the unitard. Madonna could do the 'tard, but she'd never be so cordial.

So it's easy to be seduced by Beyoncé's considerable charms. Whether alone in the spotlight belting "Listen" or giving Shakira a run for her belly dancer money in an emerald green get-up for "Baby Boy," she remains in complete control. Her moves may not be as tricky as Janet Jackson's, but she's fully locked-in and fluid. And her voice is simply a powerhouse. Easily taken for granted in party-starters like "Crazy in Love" and "Check on It," her superb pipes are nonetheless capable of soaring highs that rarely veer into histrionics – and roaring lows that could probably gun down Christina Aguilera's similar abilities in a duel.

Seasoned from a decade of shaping and reshaping, she is flourishing like few of her peers. Only Christina and Alicia Keys (a different sort altogether) show as much promise to remain dynamo forces in the music industry.

But let's not forget that Beyoncé is just 25. Only has two albums to her name, you realize.

Oh, right – and enough primo Destiny's Child material to fill a double-disc best-of.

That may be why we expect so much from her at this point – perhaps unfairly, but we expected a lot of Janet at 25, too. Beyoncé has been building to this sort of showcase for quite a while – and up until the final half-hour, when overkill set in, I was rooting for her, prepared to report that this show very nearly lives up to its billing. Instead, it's mostly a knockout, when some judicious trims might have made it a tour de force.(Cont...)

Nadia

Sep 2nd, 2007, 02:33 PM

(Cont...)
We should all be familiar with the live format by now – three songs, costume change, three songs, costume change. In comparison, Christina's razzle-dazzle handling of such a routine was superior in terms of stylish set pieces, but Beyoncé's got most everyone beat on integrating visual tricks and choreography into a seamlessly flowing set where the songs never feel like excuses to dance some more.

Much of that has to do with her cast, which is almost exclusively female. Her remarkable band – two keyboardists, two drummers, a percussionist, a full horn section, a first-rate guitarist and bassist, and three backing vocalists – were entirely female, in fact. Only four of her 10 dancers are male – and, as my wife pointed out, they're employed in the same exploitative way women often are by male stars.

Such a display of femme power alone was arresting. I can only imagine just how profound an effect this sight had on impressionable young girls in the audience. What would have made for an even more potent production, then, is for some balance to have been maintained via that band.

Certainly people don't come to see Beyoncé for her supporting players – all eyes are on her, and in her realm style is supposed to trump substance to some degree. But two hours offers more than enough time to present a cavalcade of costumes and restaged videos while allowing Beyoncé room to ditch all of that and just jam and wail along with her gaggle of gal pals.

Her Destiny's Child medley, for instance – we've seen that sort of thing plenty. Why not have taken this opportunity to show us what else she could do with songs like "Say My Name" and "Survivor"? As it was, only "Bug a Boo" got overhauled (slowed to a sensual grind), while "Bootylicious" was passed over as fast as you can utter the word.

Now that she's diversified her portfolio, Beyoncé would do well to shake up her approach to performing. What Christina and Mariah have over her is a willingness to break it down, as they say, and just amaze vocally. Had Beyoncé traded another 15 minutes of her gawk-inducing titillation for more of the traditionalism of "Listen" (where singing has to be riveting, not curves), this might have been a supremely executed entertainment.

But there's little doubt Beyoncé will achieve such mastery. Maybe even with her next tour.

Robin Thicke opened – and what else is there to say of the sleeper heartthrob now that he's crashed into the Top 10? He's a likable fellow with a fine feel for modern R&B and a falsetto any blue-eyed soulster would kill for. And when he grooves ("2 the Sky" and "Shooter," which opened his 50-minute set promisingly) instead of ruminates ("Ask Myself" and "Can U Believe," which dragged things down when he meant to inspire), I can see why the ladies dig him.

But when this Jordan Knight-ish son of Alan Thicke tries to "Teach U a Lesson" in role-playing hanky-panky – then starts rocking his body like R. Kelly sexing up your baby sitter – that's when I remember why I can't stop thinking of him as the poor girl's Justin Timberlake.

Nadia

Sep 3rd, 2007, 12:39 PM

Oakland #2:

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/09/03/DDB0RU555.DTL

Beyoncé takes over the Oracle Arena
Lee Hildebrand, Special to The Chronicle

Monday, September 3, 2007

Beyoncé Knowles may have tripped and tumbled down a flight of stairs onstage a month and a half back in Orlando and had a "wardrobe malfunction" two weeks ago in Toronto, but there were no slipups Friday night in Oakland - just two fast-paced hours of terrific singing, solid musicianship, spectacular staging and some of the most imaginative choreography ever to have graced the stage of Oracle Arena.

With only one more week to go in her current 41-city North American tour, the 25-year-old Texan had the show, billed as "The Beyoncé Experience," down pat. Every twitch, turn, slide and hip shake was in perfect sync with the accents of her 13-member, all-female backup band, which provided periodic instrumental interludes that permitted the star to exit the stage for quick changes of costume. There were seven altogether, every one fabulously glamorous, most of them tailored to highlight the singer's ample cleavage and a pair of legs to rival Tina Turner's. At one point, when the legs were concealed by a long scarlet gown, wind blew from underneath to expose them.

Beyoncé may have borrowed a trick or two from Marilyn Monroe, but unlike the late actress, this girl can really sing.

She rendered 32 songs Friday, including many of the tunes from her two solo CDs, abbreviated versions of 10 of her Destiny's Child hits and "Listen," her showstopper from "Dreamgirls." On that song and several other ballads, she added occasional bits of rasp to her ringing mezzo tones to emphasize key lines. She was particularly powerful on "Speechless," a masterpiece of lyrical minimalism that she delivered while sitting on a couch that resembled a giant set of glossy red lips.

Beyoncé was in motion most of the time, however, yet never appeared to be out of breath. The cadenza of "Dangerously in Love" served as a showcase for her awesome vocal chops, as she ended a long sustain with microtonal Arabic melismas, followed by a string of descending blue notes that drew on both gospel music and the late soul singer Billy Stewart.

Beyoncé, her 10 instrumentalists, three harmony vocalists (whose voluptuous figures cut a striking contrast to Beyoncé's svelte frame) and 10 dancers performed much of the concert on a set of stairs that stretched most of the width of the stage. The stairs changed colors often; they were green when Beyoncé sang "Green Light" and pink when the band played "The Pink Panther Theme." (She co-starred with Steve Martin in the 2006 version of the film.)

Each musician was given a solo in the spotlight, including bandleader Bibi McGill, with her Jimi Hendrix-inspired guitar flight, and alto saxophonist Tia Fuller, with her cascading bop-tinged lines and striking command of the instrument's upper register.

Rie Tsuji and Britanni Washington played dueling pianos, mixing Beethoven and Bill Evans with some Liberace-like flash thrown in for entertainment's sake. Carmalita Glaspie, during a thundering drum solo, picked up a bottle of water with her left hand and took a swig while continuing to play with her right. Kimberly Thompson, the band's other drummer, began her solo blindfolded.(Cont...)

Nadia

Sep 3rd, 2007, 12:40 PM

(Cont...)

The dancers complemented Beyoncé throughout. Men in camouflage fatigues slithered on the floor at one point as she sang. One did a twirling break dance. Two ripped off their sweat-soaked T-shirts and flung them into the audience. Women flanked Beyoncé at times, their synchronized moves with the singer suggesting the Ikettes.

During a costume-change interlude, a man and a woman performed a graceful ballet, embracing as they spun together, then kissed. But none of the supporting dancers upstaged the star, whose movements included a hip-gyrating belly dance during "Naughty Girl" (which interpolated Donna Summer's "Love to Love You Baby") and a Naomi Campbell runway walk on the infectiously syncopated "Get Me Bodied."

"I've been singing my heart out for over two hours," Beyoncé said toward the close of the show. "Now it's time for you to sing for me."

Smiling as she stood silently, her long auburn hair flapping in a breeze, Beyoncé wove her microphone in the air while the fans sang the final selection, "Irreplaceable," as a mass choir. They had come to witness "The Beyoncé Experience" and left having been made a part of it.

This article appeared on page E - 1 of the San Francisco Chronicle

Nadia

Sep 8th, 2007, 12:32 AM

Anaheim #2:
Beyoncé brings talent, spectacle to SoCal
By Marjorie Hernandez (Contact)
Thursday, September 6, 2007

She emerged underground surrounded by white, billowy smoke, revealing a magnificent silver gown that clung to her body.

She paused for a few seconds as if to take a deep breath before launching into a nonstop two-hour exhibition with fast-paced choreographed moves, endless costume changes and ballads about love, loss and female empowerment.

It was a pure spectacle as "The Beyoncé Experience" rolled through the Honda Center in Anaheim on Saturday, on the U.S. leg of the 26-year-old R&B diva's summer world tour.

She is scheduled to appear next on Friday in Canada, at Vancouver's General Motors Place. The tour wraps Sept. 15 in Winnipeg.

There were plenty of high points during the Anaheim show, including Beyoncé's almost superhuman ability to belt through her hits while executing complicated dance moves in heels and keeping up with her athletic male and female dancers.

And the girl can sing, which she proved mostly during ballads like "Me, Myself and I," "Flawless and All" and the Oscar-nominated "Listen."

And, to the amazement and joy of her fans, apparently the pop princess can yodel too.

Beyoncé got the crowd on their feet with her duet hits "Baby Boy" (with reggae artist Sean Paul), "Beautiful Liar" (with Shakira) and "Déjà Vu" (with her boyfriend, rap mogul Jay-Z) — all of which she performed solo at the show.

She worked the stage with her male dancers, who performed risqué moves around her.

There were no wardrobe malfunctions or other mishaps during the Anaheim performance, although some in the audience were probably keeping a close eye as Beyoncé strutted down the stairs in very high heels during her "Ring the Alarm" routine; it was during that now infamous routine that the singer took a hard dive down the same flight of stairs at a performance in Florida.

The show also paid tribute to her former Destiny's Child bandmates, Kelly Rowland and Michelle Williams, when Beyoncé performed the group's hits "Survivor," "Bills, Bills, Bills" and "Independent Woman," sending the mostly female audience into a frenzy, while their boyfriends couldn't help but sing along.

Although it would have been a treat if Rowland and Williams magically appeared on stage, Beyoncé was aptly backed by three female singers who also challenged the diva's own vocal prowess.

Also key to the show's success was Beyoncé's talented 11-piece all-female band, which took solo turns on stage, from a scintillating saxophone tune to a playful piano rendition of "Flight of the Bumblebee."

Beyoncé's diva factor was also amped with several costume changes, from a short and slinky silver number to a robotlike contraption that opened up to reveal a tight yellow and black "Queen B" outfit.

There were some awkward moments in the show, including the appearance of a winged male angel who enveloped Beyoncé with his white wings during her ballad "Flaws and All."

Audience members walked away from "The Beyoncé Experience" with sensory overload and an even greater sense that this young woman has solidified her status as a superstar.

http://www.venturacountystar.com/news/2007/sep/06/beyonc233-brings-talent-spectacle-to-socal/

Nadia

Sep 8th, 2007, 12:54 PM

Vancouver:

Review: Beyonce makes B.C. fans `Crazy in Love' for her
Amy O'Brian, Vancouver Sun
Published: Saturday, September 08, 2007

Being the top diva that she is, it was no surprise that Beyonce kept her fans waiting Friday night until they verged on agitation before she chose to grace them with her presence at GM Place.

But when she finally did come out - a full hour later than her scheduled set time - her entrance was so over-the-top and downright fabulous that everybody seemed to forget about the long wait.

She emerged from a hidden staircase in the stage floor, wrapped in a white glowing light that bounced off her sequined dress, and wearing an expression that gave the audience no choice but to take her seriously. Even when an industrial fan started blowing her long wavy tresses and a curtain of fireworks erupted behind her, that unwavering sexy stare stifled my immediate urge to find the whole spectacle ridiculous.

She launched into Crazy in Love - a standout from her substantial catalogue of chart-topping pop and R&B hits - after asking the audience if they were "ready to be entertained."

The 26-year-old clearly does not take her diva status lightly. She appeared hyper-confident in everything she did during the two-plus hours she was on stage. From her vocal gymnastics to her undulating dance moves to her eight or so costume changes, the woman did not show an ounce of self-consciousness or self-doubt at any point during the show.

She even paraded around in a flesh-coloured leotard with some strategically-placed sequins for a lengthy medley of hits from her days in the girl group, Destiny's Child. Wearing that kind of costume takes courage - particularly when your figure is not as svelte as those of your six back-up dancers.

But that is part of Beyonce's allure - and perhaps the secret to the allure of all true divas. The revealing costumes, the extreme melodrama of the vocals, the convulsive dance moves and the extreme self-importance would all seem absurd without the confidence to back it all up.

Beyonce, however, seems to be a natural born performer who is far more awe-inspiring than absurd. Her voice is strong and clear, and she can hit long high notes to rival the soul divas before her. The Jumbotrons flanking the stage magnified her expressive eyes and face, and her dance moves - which at times made her look like a possessed soul being exorcised - were next to impossible not to watch.

With only a very few ballads in her repertoire, Beyonce smartly paced the show with long breaks during which the talents of her all-female 10-piece band, three back-up singers and 10 dancers were showcased while she disappeared to catch her breath and change costumes.

The female dominated audience - which was, surprisingly, not a soldout crowd - shrieked with delight at a relatively raunchy routine by the four male dancers, who ripped off their shirts and did suggestive things with their tongues while their Queen Bee changed backstage into a new costume for Independent Women.(Cont...)

Nadia

Sep 8th, 2007, 12:55 PM

(Cont...)

The show's volume suddenly exploded to an almost intolerable level with the angry rant of a song, Ring the Alarm, off Beyonce's most recent album, B'Day.

But even as the volume rose and her performance got increasingly revved up, the star of the night managed to avoid any of the minor accidents that were given such attention by YouTube viewers earlier this summer.

Between a face-first tumble down the stage stairs in Orlando in July and a wardrobe malfunction in Toronto in August - both of which were caught by attentive camera phone owners - Beyonc might have briefly garnered more online views for a period this summer than Paris Hilton or Britney Spears.

But she bounced back from both incidents almost as if they'd never happened, which only reinforced her diva status.

By the time she got to her final song of the night, Beyonce seemed relaxed and utterly pleased with herself. She had the audience sing the first bit of her infectious - if poorly worded - hit Irreplacable while basking in the joy of listening to thousands of people singing her song.

She gave a grand, drawn out farewell to her audience before ascending the stairs to a platform that elevated her above the stage as she waved goodnight. It was completely fabulous.

aobrian@png.canwest.com
http://www.canada.com/vancouversun/news/story.html?id=c40c822f-13ac-4545-b7fd-2bb04d42fd1b&k=54929

Nadia

Sep 10th, 2007, 04:14 PM

Portland:

Beyonce and Justin Timberlake: Compare and contrast
Posted by Luciana Lopez September 10, 2007 01:08AM

Now that a whole day has passed since Beyonce's show at the Rose Garden and two days for Justin Timberlake's show at the same venue, I wanted to take a bit of a step back from the weekend. Frankly, I had expected JT to blow Beyonce out of the water. For one thing, his solo albums have been better than hers (especially their 2006 offerings -- "FutureSex/LoveSounds" was way better than "B'Day"), and he's less spread out than she is, as her acting career, fashion line and endorsements all keep her quite busy.

I was wrong.

Beyonce out-worked and out-performed Timberlake (JT fans, this is not a diss -- he worked hard, but she did everything he did in four inch heels and sequins). But the biggest difference was simply that Beyonce understood more clearly than he what their brand of pop show is all about: Theater and fantasy.

Take, for example, the Chicago-style monologues four of her female dancers gave before she launched into the angry "Ring the Alarm." Or the ballet pas de deux before she sang "Dangerously in Love"; the male and female dancer looked lovely, their kiss was frankly hot, and the whole interlude gave the song an added urgency and passion it wouldn't have had just from Beyonce's voice. Her frequent costume changes have the show a constant sense of renewal, as well.

Different kinds of shows and venues have different purposes. No one would put together the same performance for the Rose Garden as for, say, Holocene, or a basement house party, or Jimmy Mak's. And Beyonce grasped quite well what the advantages and disadvantages of a big arena show are. On the plus side, the massive energy from so many people at once; the theatrical possibilities of a huge stage; the communal experience from speaking to so many people at once. On the minus side: the difficulties in making something so large also feel personal; the need to put on a big show or get lost in the distance; the dangers in letting the audience's enthusiasm flag.

Justin understood a good bit of that, but not in quite the same way. The intermission between halves of his show ground things to a halt for awhile, and the slower songs he performed lost some of their impact in the hugeness of the venue.

It also doesn't hurt that Beyonce had better choreography -- more fluid and better suited to the songs -- and had a better stage design; because JT's stage had different sides, he was sometimes lost or obscured to half the audience. Beyonce's stage wasn't as futuristic looking, but it was more practical.

Both were excellent, professional performers, bringing a slicker, more mainstream pop sound to Portland than the city's used to. But it's interesting that the one who's lately been less of a studio force was the one whose live show had the most impact.

http://blog.oregonlive.com/popmusic/2007/09/beyonce_and_justin_timberlake.html

Nadia

Sep 13th, 2007, 01:59 PM

Vancouver #2

Beyoncé all eye candy
Concert Reviews By Alexander Varty
Publish Date: September 13, 2007

The only thing that would have made Beyoncé more entertaining would have been a full-on header down the stairs.

Few new words trip so fetchingly off the tongue as the one forever linked to singer Beyoncé Knowles. You know the one I mean, don't you? Yeah, you do, so go on. Say it.

Bootylicious. Mmmm.

The Dreamgirls star and former Destiny's Child could easily ride her own celebrated rump into the sunset, having already earned, at the tender age of 26, the net worth of a small oil sheikdom. She could follow the Paris Hilton road and turn self-absorbed and spoiled, or spin her relationship with Jay-Z into the kind of tabloid fodder that would eclipse all the Lindsay Lohans and Britney Spearses of the world.

But her ambitions are bigger than that. Instead, she's decided to assemble a really killer band.

This wasn't the first thing listeners noticed when the African-American superstar arrived, an hour late, at her GM Place show. No, pride of place went to Beyoncé herself, rising from a fuming vent in the stage and looking like a silver-spangled Venus. Only then did the curtains rise, accompanied by a blast of syncopated noise as big as Parliament and Funkadelic combined, audibly serving notice that Beyoncé wants to be taken seriously as more than a mere singer/actor/dancer/model/couturier/zillionaire. Three drummers! Three horns! Three backup singers! Two keyboardists, a truly freaky-looking guitarist, and a short, dreadlocked bass player! All brilliant, by the way and all women.

It's hard to think of someone who spends a good part of her day strutting around in nude-look hot pants as an icon of female empowerment, but you can't argue with Beyoncé's affirmative-action hiring policies. Or their result just as well, given that her songs are machine-tooled assemblages of hooks and catch phrases. For someone who's strutted on top of the pop and R&B charts since she was a teen, Beyoncé is linked to few truly memorable melodies.

People were there for spectacle even more than for hits like "Irreplaceable" or "Beautiful Liar", though, and Beyoncé delivered big time. Carp all you want that the aesthetics of Las Vegas have supplanted those of rock, but Ms. Knowles's show was compulsively watchable, with plenty of eye-candy in the form of six female and four male dancers, frequent costume changes, and a Mayan-pyramid stage that lit up and slid back and forth. And Beyoncé can sing: there was no evidence of lip-synching on Friday night, and she's almost unique among pop divas in allowing a little Aretha Franklin style grit to emerge from her flawlessly trained pipes.
http://www.straight.com/article-109547/beyonc-eacute-all-eye-candy

Nadia

Sep 16th, 2007, 07:35 AM

Saskatoon:

Beyonce wows CUC audience
Cassandra Kyle, The StarPhoenix
Published: Saturday, September 15, 2007

Beyonce became Saskatoon's Suga Mama Friday night as she set the stage on fire at Credit Union Centre for nearly two hours.

As the silver-clad siren rose from beneath the stage, starting the show with her No. 1 single Crazy in Love, it was clear this was truly the Beyonce Experience.

"Ladies and gentlemen, are you ready to be entertained?" she asked the crowd near the start of her set.

The near-capacity audience was ready for a show, but no one expected the spectacle the diva, her 13-piece all-woman band, 10-member dance troupe and moving staircase had in store for the lucky Saskatonians in attendance.

Alternating between songs from her latest album, B'Day, and her first solo release, Dangerously in Love, Beyonce ensured all eyes were on her while on stage.

With an outfit change every three or four songs, it was almost surreal to see the woman who frequents the covers of fashion magazines in the same room, never mind performing at the calibre usually reserved for big-city audiences used to having their socks knocked off on a regular basis.

Aside from her style, Beyonce is famous for her voice -- an honest, God-given talent she's not afraid to share. Her songs, ranging from sultry to soulful were performed with all her heart.

When a musician, any musician, visibly sheds tears while singing a love song, there's no doubt that the emotions weren't left backstage, and Beyonce did just that.

There were a few musical surprises during the event, such as the addition of Beautiful Liar to the set list. The song, a hit duet performed with latin singer Shakira, was done without the Colombian's vocals, instead being performed as a solo piece.

During the middle of the show, the perfectly pitched Beyonce performed a medley of hits from her Destiny's Child years. The montage, which included Jumpin' Jumpin', Survivor and Bootylicious, was an appropriate tribute to the group that started her career.

When the spotlight wasn't on the star of the show, her entourage of tremendously talented musicians, singers and dancers had no trouble entertaining the crowd. A toned-down ballet performance was the perfect juxtaposition to the shiny, loud event. A group of what can only be described as 17A (meaning they kept their pants on) gangsta Chippendale dancers kept the audience hollering.

One person who could have benefitted from the ensemble's unending energy was opening act, Sean Kingston. The 15-minute set, which was interrupted by Kingston leaving the stage halfway through, was lacklustre and unenthusiastic, though the crowd seemed happy to hear his hit, Beautiful Girls.

With a clear passion for showmanship and a voice not easily matched, Beyonce simply bypassed the mediocrity of most concerts and took her performance to another level.

If she ever chooses to come back to the city, there's no doubt each and every seat at Credit Union Centre will be filled.

ckyle@sp.canwest.com

http://www.canada.com/saskatoonstarphoenix/news/local/story.html?id=ae968334-dc37-4e88-be99-055a88b011a0

Nadia

Sep 16th, 2007, 07:45 AM

Edmonton:

Beyonce's poptastic show missed by too many
Sandra Sperounes, The Edmonton Journal

EDMONTON - She may be one of People's best-dressed celebrities, but she's not one of the top concert draws in Edmonton.

Only 7,800 fans wanted to experience Beyonce's astounding and landmark show at Rexall Place -- each and every one of her 13 musicians and backup singers was a woman.

It's nice to know girl power is still alive and well -- only four of her dancers were of the XY chromosonal variety -- yet Thursday's measly crowd was a damning statement on the industry and society in general.

Millions of viewers will tune in to watch a no-talent half-wit such as Britney Spears try to lip-synch her way through an average song, but not even 10,000 local fans will pay to see one of the most vibrant and talented women in show business.

Shame on them.

Beyonce's glitzy pop, R&B and soul show was one of the best concerts of the year -- more touching, faster paced and acoustically smoother than even Justin Timberlake's sold-out concert in August.

Her acrobatic voice was spot on, cooing during Crazy In Love, growling for Beautiful Liar, mimicking a trumpet during Naughty Girl.

The former star of Destiny's Child held notes for what felt like minutes and she didn't let her bootylicious dance moves get in the way of her pipes -- she seemed to juggle both with ease.

Even Beyonce's costume changes were effortless, and didn't create any awkward lulls in the show.

As she ran backstage to don a new sparkly outfit, her backup dancers and musicians were given a few brief minutes to shine -- playing sax solos, performing elasticized modern-dance numbers or pneumatic hip-hop steps.

Beyonce's most powerful and unforgettable moment came during Flaws and All, a gorgeous ballad about her imperfections and the man who loves her for who she is.

As she belted out the lyrics -- "I'm a train wreck in the morning / "I'm a in the afternoon" -- tears started to stream down her smiling face.

You could tell she was feeling every word of it, as if she was singing it directly to the man in the song.

Spectacular.

Her medley of Destiny's Child songs was almost as entrancing -- featuring hit after hit such as Independent Women, Bootylicious, No No No, Bills, Say My Name, Jumpin' Jumpin', and Survivor.

With such a catalogue of poptastic songs, Beyonce deserves more respect -- and more fans at her shows.

Her only questionable move of the night was her choice of opening act -- Sean Kingston.

If she's one of music's best performers, the 17-year-old reggae-pop sensation is easily the worst. His set, which mercifully only clocked in at 20 minutes, was worse than a pack of drunks at a karaoke bar.

Kingston and his MC sidekick tried to rap and sing to pre-recorded versions of his songs, including Me Love and Beautiful Girls, but they ended up sounding like two dudes rolling around in a souped-up Honda, shouting along to their blaring radio.

Kingston left the higher octaves to his pal, who also boasted more energy and charisma.

If Kingston doesn't work on his stagecraft -- and soon -- his sidekick might end up becoming a star.

ssperounes@thejournal.canwest.com
http://www.canada.com/edmontonjournal/news/whatson/story.html?id=66acf0d0-af8c-4700-afca-b87dc5021aa9&k=80278

Nadia

Sep 16th, 2007, 07:52 AM

Edmonton #2:

Rexall Place, Edmonton - September 13, 2007

By MIKE ROSS -- Sun Media

EDMONTON -- We must thank Beyonce for introducing the word "Bootylicious" to the English language.

Far more than its literal meaning - "adj: as delicious as buttocks" - the word which comes from the title of the 2001 Destiny's Child anthem conveys a message of strength in womanhood, via an unstoppable sexual/spiritual/marketing dynamo capable of anything her heart and mind desires and meant to fulfil her destiny as popular music's goddess/icon of female liberation and empowerment.

Who just happens to have a great ass.

At the Beyonce show at Rexall last night, we were once again witness to the strange phenomenon of a female performer flaunting her sexuality for a core audience consisting of heterosexual young women.

Decked out in one booty-enhancing mini-skirt after another, Beyonce blasted high-production girl power into the audience from the first note of Crazy in Love.

The 26-year-old queen of all media emerged from a foggy pit to issue the familiar admonishment: "uh, oh, uh, oh" etc. etc. etc. and commenced to shake her money-maker, an apt use of the term. The crowd of 8,000, mostly women, went wild.

Boyfriends in tow caught unawares might've thought they were in the middle of some Oprahistic rite of womanhood. Aside from the brutal (as in bad) opening rapper Sean Kingston - a machismo counterpoint to the headliner - the only guys on stage were four male dancers who cavorted submissively around Beyonce as she bid them.

While Justin Timberlake took pains to make sure his band was entirely black - which actually made him look more white by contrast - Beyonce has made sure that her band is all women.

She also made sure the audience knew at regular intervals that these chicks could play circles around most other touring pop acts out there - with a trumpet solo, a drum solo in the fourth song, quoting John Coltrane's A Love Supreme, classical piano demonstration and so on.

Yes, they're all beautiful and talented. Plus it buys time for another costume change.

What does all this mean? It's back to the state of bootyliciousness once again. This is not a man's world. We can only look - and gawk.

Well, anyway, for all the talk that Beyonce has somehow become the female Prince in her solo glory, this show was a diva spectacle through and through.

Like those before it - Mariah, Gwen, Cher - the Beyonce and Her All-Girl Orchestra Experience was chock full of grand entrances, costume changes galore, spectacular dance numbers, amazing lighting effects and through it all the sense that the performer is saying "listen to me sing! Look at me dance! Check out my booty!" instead of "Listen to my song."

There were exceptions. She did all the expected hits from her two solo albums, even dipping back to Destiny's Child, but the star and her stylistic touches were what made the show memorable, not necessarily the songs themselves. This is a hallmark of a diva concert.(Cont...)

Nadia

Sep 16th, 2007, 07:53 AM

(Cont...)
Anyway, she'll have to write better songs if she wants to be the female Prince.

Am I saying that Beyonce's ego is larger than her music? Yes I am. But at least the music can grow. She's only 26

One telling moment came during her wailing performance in a ballad called Me Myself and I. Well, who else? It was a terrific performance.

There is nothing wrong with a diva concert if you know that's what you're getting - especially when said diva has as much going on as Beyonce.

First of all, that was really her singing. There was no lip-syncing apparent. That we even have to praise a performer for that is a sad comment indeed.

But again, Beyonce did all her own heavy lifting. She evoked the R&B divas of yore, Aretha, the Supremes, stood on the shoulders of giants, as it were, added a few or her own wrinkles, got back to the "street" from time to time and occasionally ventured completely into left field.

She obviously thinks she can do it all, and then she comes close.

Beyonce's been doing this tour for a while and still comes off as fresh and brightly energetic.

She stumbled down a flight of stairs at a show in July - and didn't miss a note. (By press time, there were no wardrobe malfunctions or stage mishaps last night.)

This reminds me of Celine Dion several years ago, whose rising platform malfunctioned during the intro of My Heart Will Go On, and similarly didn't blow a note while hoisting herself out of the hole onto the fake deck of the Titanic in a full ball gown.

Two entirely different performers, same basic attitude.

Bootyliciousness takes many forms
http://www.edmontonsun.com/Entertainment/Music/2007/09/14/4495357-sun.html

Nadia

Sep 16th, 2007, 07:59 AM

Winnipeg:

http://i146.photobucket.com/albums/r274/bworldnet/bworld2/wincover.jpg

Crazy in LoveSplashy Beyonce 'experience' gives a lesson in diva-hood for pop princesses everywhere

By DAVID SCHMEICHEL

Eat your heart out, Britney Spears.

Less than a week after the beleaguered pop princess crashed and burned in front of millions at the MTV Video Music Awards, along comes R&B diva Beyonce to show her how it's really done.

While it may be unfair to compare the two -- given Beyonce's MTS Centre gig last night was scheduled to run two hours, while Britney's zombified lip-syncing routine lasted (mercifully) for just one song -- the two performances still serve as an interesting study in contrasts.

The condensed version? The MTV debacle proved once and for all that Britney has lost it (though some would argue she never had it to begin with), while Beyonce's show left little doubt the buxom 26-year-old has got it goin' on -- even if parts of her big-budget spectacle favoured style over substance.

The statuesque Texan treated herself to an entrance befitting a goddess, rising from an opening in the stage amidst much fanfare, applause, and even a prolonged shower of sparks.

Seconds later, she was off -- stalking around in an ankle-length silver gown as the opening notes of her insanely infectious dance-floor anthem, Crazy In Love.

Beyonce's legs, of course, are almost as beloved as her powerhouse pipes, so we're not surprised she found time to tear the bottom half of her dress off -- revealing a much showier mini-version underneath -- before the song was even over. Actually, there wasn't a lot of room left for surprises.

The Beyonce "experience" is as tightly scripted as her film forays, right down to the tears that have fallen on cue during Flaws and All at each and every stop on the tour so far.

But unlike Britney, the lady can sing, whether nailing the eerie high notes on a snippet of Gnarls Barkley's Crazy, tearing through a ballsy version of Freakum Dress.

Sadly, our deadline only allowed us to catch the first half of the show -- but even by the mid-point, it was clear Beyonce's got what it takes to leave the diva wannabes choking on her dust.

Now if only the same could be said for her opening acts.

U.K. songstress Katy Shotter did what she could with a truncated 10-minute set, but Jamaican sensation Sean Kingston -- the 17-year-old behind the annoyance known as Beautiful Girls -- couldn't even be bothered to sing along to his own biggest hit, opting instead to shout hype-man cliches over a canned backing track.

Come to think of it, he'd have made a perfect opener for Britney.

Sun Rating: 5 out of 5

http://winnipegsun.com/Entertainment/Music/2007/09/16/4500384-sun.html

Nadia

Oct 21st, 2007, 12:45 PM

Ethiopia:
World Updates
Sunday October 21, 2007
MYT 9:12:09 PM

Beyonce begins world tour in Ethiopia

ADDIS ABABA, Ethiopia (AP): American R&B diva Beyonce Knowles began her world tour in front of an audience of 5,000 adoring and hysterical fans in Ethiopia, a country usually unimpressed by Western music.

The 26-year-old Texan singer gave a spirited two-hour performance in the Ethiopian capital Saturday evening, to the delight of her fans, as part of the country's yearlong celebration of its 2,000th year according to its archaic calendar.

In September, when the country celebrated the beginning of the year 2000, Addis Ababa hosted L.A.-based hip-hop group the Black Eyed Peas in a new, multimillion dollar but temporary concert hall. The reception for the internationally popular group was tepid, if respectful.

That reaction was repeated for Beyonce's opening act, multi-platinum-selling rapper Ludacris, whose lukewarm reception portended a dull night.

But something about Beyonce seems to have struck a chord in Ethiopia, where even young Ethiopians are steadfast fans of tunes sung in the national language, Amharic, and the reception was hysterical when she came onstage to deliver a two-hour musical variety show.

In a country where many women wear simple white dresses with colored stripes at the hemline and sleeves, all made from local cotton, Beyonce's outfits were covered in sequins or shiny, space-age material -- from a modern interpretation of a hula girl with shiny black tendrils replacing the grass skirt to a high-necked Victorian-style top set off with a sequined diaper.

Despite -- or perhaps because of -- her outfits, many in the crowd appeared to genuinely enjoy Beyonce's performance, which included many ballads from her recent release, "B-Day.''

"Rap music doesn't suit Ethiopia,'' said local music promoter Michael Melake, 36. "Ethiopians need a melody. Rap music is all about the message and we don't identify with that. It's all about the black American experience, and we don't relate to that.''

Local nightclub owner Enoch Nicano, 30, provided a slightly simpler explanation for Beyonce's huge fan base in Ethiopia. "She's hot,'' he said, then paused to reconsider. "She's more than hot.''

Concert organizers were a little more delicate about why Ethiopians are so fond of the singer.

"Because she loves Ethiopia,'' said Mulugeta Aserate, a member of Ethiopia's millennium secretariat.

The singer seemed to convey that herself, showing genuine emotion before closing the show to deafening applause.

"I want to thank you,'' she told the screaming crowd. "You have been one of the best audiences of my lifetime.''

Beyonce continues her world tour to Romania, Turkey, India, Thailand, Indonesia and China.
http://thestar.com.my/news/story.asp?file=/2007/10/21/apworld/20071021211102&sec=apworld

Nadia

Oct 23rd, 2007, 05:45 AM

Romania:
American singer Beyonce delivered an impressive concert in the north-western Romanian city of Cluj on a rainy night on Monday. Over 10,000 Romanian fans faced heavy pours and thick mud to see the singer perform for the first time in Romania the hits that made her worldwide famous.

Traffic jams, heavy rain and the muddy streets nearly postponed the concert. However, because people came at the concert despite the weather, organizers changed their mind.

During the 50 minutes show, Beyonce changed three outfits, all golden like while singing and dancing like a diva, as fans described. As the concert ended and people queued out of the venue, most said they did not regret a minute of facing heavy rain to witness Beyonce live in their home country.

But while the music was an all-out hit, the appearance of the singer left many a critic: "She's more fat than on TV", one said.

http://english.hotnews.ro/Beyonce-experiences-rain-in-firs-Romania-gig-articol_46236.htm

Nadia

Nov 6th, 2007, 04:15 PM

Ethiopia #2

Ethiopia: "I Have Never Had an Experience Like in Ethiopia" Beyoncé Knowles

The Reporter (Addis Ababa)

21 October 2007
Posted to the web 22 October 2007

Hayal Alemayehu

And at the end of Beyonce Experience, the world super star's "gift for Ethiopia,"- the crowed went in frenzy when she and her dancing group did Ethiopia's traditional dance the "Eskista" 30 year old Ludacris had an arm band and a matching head band with the Red Gold and Green colors of Ethiopia's national flag.

"I have been all over around the world, but I have never had an experience like in Ethiopia," R & B superstar Beyoncé Knowles said amidst her thrilling performance that rocked her fans in the concert hall that hosted her two-hour extravaganza until midnight.

The diva turned out more than a thriller on Saturday at the Millennium Concert Hall, leaving Ethiopian fans in standing ovation for her repeated words of love as she commanded the magnificent a state-of-the-art stage which also heightened the spirit of the scene.

Tickets for the show sold out early and the concert was attended by a large audience of about 20,000 people which included number of invited guests. Arguably, it was the largest attendance that the concert hall has hosted since its inauguration on the eve of the Ethiopian millennium.

Beyoncé, who time and again was saying "I love Ethiopia" in between her tunes, sent the crowd in a frenzy as she also kept bowing towards as is customary in Ethiopian tradition when extending greetings.

She performed many of hit songs including "To the left", "Crazy in love" all well known by her fans in Ethiopia.

Following a warm welcome from millennium organizing officials, the famous African American R&B singer started traveling around Addis Ababa, visiting various sites including the palace, Addis Ababa museum, government residences and national attractions, ending at a banquet organized to welcome her.

Prior to her captivating performance at the concert, the Multi-Grammy award winning artist also planted tree seedlings, thereby taking part in the Ethiopian millennium tree planting campaign.

Many people from different countries came here both to attend her concert and experience the Ethiopian Millennium.

The superstar, who beyond doubt has enthralling command of a stage, saved her best for last.

"You have seen my songs and performance for the last two hours, now this is my gift to Ethiopia."

What followed surely will remain as the best concluding act by a performer, in the minds of those who attended the concert - especially Ethiopians.

The 26 year-old and her dancing group performed Ethiopia's traditional dance - the Eskista to Teddy Afro's Millennium hit "Abebayehosh" a revised version of a traditional tune sang by young girls welcoming a new year.

And did they dance as if they had always known how to do it. The hall literally went out of control at that point.

Much will be said about Beyonce Knowles' performance on Saturday at the Addis Park. These pictures taken by The Reporter's Senior photographer Nahom Tesfaye, however will tell more and we hope our readers will enjoy viewing them.

http://allafrica.com/stories/200710220809.html

Nadia

Nov 6th, 2007, 04:27 PM

Bangkok:

Bootylicious Beyonce'

Beyonce' lived up to her global diva status on Tuesday, serving up the right amounts of quantity, quality and heat

ONSIRI PRAVATTIYAGUL

Among the very few that are recognised by their first names alone, Beyonce' lived up to her global diva status on Tuesday. Some said Christina Aguilera was a bit too mechanical and Gwen Stefani came off too emotional, but Beyonce' Knowles knew how to serve just about the right amount of quantity, quality and heat.

If you were looking for top-notch vocal prowess, a high octave performance, an all out production and bootylicious dance moves, Beyonce' and her large crew had it all down, proving why tickets to the concert were sold out.

Well planned, well sequenced and well executed, the showcase displayed Beyonce''s capacity as a stadium performer. The smiles constantly lingering around her luscious lips and big eyes came off as sincere and positive.

But the major attraction of the concert was none other than Beyonce''s powerful voice, adrenaline boosting footwork and voluptuous hip grinds. This is how a diva should always perform- pacing out her performance with costume changes and dance breakdowns, plus instrumentation solos clearly enabled her to sing with full vocals while flashing her fancy, seductive footwork continuously, without looking even slightly out of breath.

Constantly being fanned from underneath (possibly to add a Marilyn Monroe touch), Beyonce' kicked off the night with her biggest solo hit, Crazy in Love, fusing with Gnarl Barkley's Crazy and if that didn't get the punters going, I don't know what will.

Her hits, from Baby Boy, De'ja Vu to Irreplaceable were all there. Acknowledging her Destiny's Child past, Beyonce' presented a nice 10-song medley that consisted of Independent Woman, No No No and Say My Name. As a statement, she ended the section with Survivor.

Beyonce''s "Hollywood" bit was, however, a little too much when she started belting out Happy Birthday; even though Listen made a lot of men shed tears and dream of sequinned dresses. (Cont...)

Nadia

Nov 6th, 2007, 04:28 PM

(Cont..)
The dancers were equally energetic - the female troupe was sultry and strong and the males were inspiring and energetic, with six pack abs eliciting loud screams. It was obvious that a very thorough casting was done so that the dancers were in perfect sync with Beyonce'.

The musicians were all women, or Beyonce''s "ladies" as dubbed by the mistress. Having an all-girl band can sometimes be too much of a cliche'd testament to the Spice Girls type of girl power, but this back-up band packed in the punches with their sassy attitudes. The stage design served its purpose with a visual backdrop that accentuated the lady in charge. The lighting and camera works were possibly the best that I've seen this year. It was, as they say, a full production.

But, as proven a million times before, Impact Arena does not really function as a concert hall with its abysmal sound acoustics. I didn't feel it as much as the others for my designated seat was rather close to the stage and in the middle of the arena (yes, you can hate me); even though it is tiresome to remark on such low quality sound over and over again, it must still be noted.

Another thing worth noting was Beyonce''s wardrobe, which was all sequins, glitters, a patent trench coat or tight fitting satin. There's something hilariously outdated about the way Beyonce''s mother, who is also her personal stylist, dresses her and her troupe. Maybe it's time to designer up and move onto 2007?

But the R&B loving RCA and the hi-so crowd certainly didn't care for the sub-standard sound or the questionable costumes as they bumped, grinded and copied Beyonce''s every move. Such devotion is usually only reserved for Jatukam ceremonies! Although the tickets were pricey, and the sound system was not up to the mark, Queen Beyonce' was worth every single baht.

http://www.bangkokpost.com/Outlook/03Nov2007_out01.php

Nadia

Nov 6th, 2007, 04:36 PM

Jakarta:

Beyonce‚ shines, promoters off key

Deanne Whitfield, The Jakarta Post, Jakarta

Fervent Beyonce‚ fans wandered around Mangga Dua Square mall in North Jakarta on Thursday night in anticipation of what was predicted to be the most amazing concert by an international performer in Jakarta for almost a decade.

Kiky, 20, a student at Atma Jaya University and an avid Beyonce‚ fan, could hardly contain his excitement.

"I am so excited, I can't even eat anything," he said an hour before the show.

Beyonce‚ Knowles, former lead singer of R&B group Destiny's Child, touched down on Indonesian soil Wednesday aboard a private plane as part of her Beyonce‚ Experience world tour. She spoke with reporters briefly at Halim airport before being whisked away to her hotel.

"I've never dreamed of being somewhere like Indonesia, its very exciting and an honor for me and my band and my dancers to be here .... I searched all over the world to find my band and they are all females, I'm really proud of that," said the 26-year-old five-time Grammy Award winner.

At the venue of the Jakarta International Event and Convention Center journalists were only allowed to enter after the sixth song, Naughty Girl.

From outside, the roar of the crowd could be heard as Beyonce‚ kicked off her show with Crazy in Love, the hit single from her debut solo album Dangerously in Love.

Beyonce, backed by her energetic band, wowed the audience with her extraordinary vocals and dancing prowess. She changed costumes several times, reappearing in glittering outfits by Giorgio Armani, Versace and her own label, House of Der‚on.

Beyonce's six female and four male dancers stirred up the crowd with their skimpy outfits and erotic dance moves, all backed by a spectacular lighting show.

The audience sang along as she closed the more than two-hour show with the hit song Irreplaceable.

She thanked her band and dancers before wiping her brow with a small white towel, which she threw into the screaming crowd.

The Jakarta Post caught up with Kiky after the show.

"Beyonce's performance was perfect! She has an amazing voice. I thought I was going to faint ... she's very beautiful and exotic," he said. (Cont...)

Nadia

Nov 6th, 2007, 04:37 PM

(Cont...)
However organization by the local promoters and concert security was questionable.

"We weren't even allocated a seat number," Kiky said, referring to the "platinum" ticket area, which was situated around five meters from the stage.

Fans holding "diamond", "platinum" and "gold" tickets were placed in a seating area but were not allocated seat numbers, causing some confusion and commotion before the concert began.

"We were not supposed to take in digital cameras, cigarettes and lighters but the security guards at the entrance gate didn't even check for any of these prohibited items ... they were only concerned about seeing our tickets," he said.

Promoters Electronic City and Nepathya say they only received confirmation of the concert on Sept. 25, allowing only five weeks to organize the event.

Several journalists boycotted the concert after being invited by local promoters to cover the concert, only to be told only a selected few would be allowed to enter.

Those journalists who entered were startled 20 minutes later when part of the platform they were standing on fell apart, taking the crowd's attention away from the stage and sending several journalists crashing to the floor 1.5 meters below.

The architecture and acoustics of the Convention Center made it a strange choice for a concert, as the sound didn't carry very well to the back of the venue.

When queried as to why Istora Senayan, a popular location used for most international concerts, was not chosen to host the Beyonce concert, promoters said it was "booked".

A better venue and security would have made The Beyonce‚ Experience world tour Jakarta concert, well, a better experience.

http://www.thejakartapost.com/detailheadlines.asp?fileid=20071103.A08&irec=7

Nadia

Nov 6th, 2007, 04:50 PM

Bangkok #2:

Big times with Beyonce

The American diva gets Impact howling with her hit parade and a slew of surprisesPublished on November 5, 2007

More than 9,000 people packed Impact Arena last Wednesday to watch the bootylicious Beyonce Knowles sing, dance, act and flaunt the night away. It was "The Beyonce Experience Live in Bangkok 2007", and it was a perfect performance for fans who'd waited a long time to see her.

A lot of the fans were of the third sex, dressed like Beyonce้ in silver micro-dresses and wavy curls. Makeup artist Arphasiri Nilkaeo was as excited as anyone, having missed Beyonce้'s concert in Phuket, and this show met all her expectations.

"The time went by so quickly! It was really fulfilling but I wanted to see more!" she said, wishing she could travel to China to catch her again on the tour.

Flight attendant Tuk Artitaya admitted she wasn't a major fan but came to watch Beyonc้e dance, and Vasinee Israsena Na Ayuthaya, an assistant professor, had just returned from the United States and was curious to see the American's performance here.

The concert began with Beyonce้ appearing alone onstage, like a glittering goddess in a revealing outfit.

"Her legs are so big!" was one overheard reaction.

"If you look at her waist, her legs and her arms they look big, but overall they balance each other so that her body looks perfect!" die-hard fan Arphasiri insisted later."

It was just a surprise in Thailand, where slim builds are the norm. Her backup vocalists are even rounder, so Beyonce is making a big statement - you don't have to be thin to look good.

"Crazy", from Beyonce้'s debut solo album, opened the proceedings, followed by tunes from "Freakum" and "Greenlight", every new song met with cheers and screams, though most of the offstage dancing was in the upper decks.

The real clincher, though, came when she started singing her slower songs, like "Listen" and "Dangerously in Love". That's when the "wow" factor hit the audience. At one point the ex-Destiny's Child gave herself up to the spirit, showcasing her singing talent by hitting notes impossibly high and low.

Beyonce้'s dancing involves a lot of shaking, bouncing and belly dancing, mixed with hip-hop. It was all incredibly sexy, though some in the crowd may have suspected her of copying Shakira's style.

Sexy Shakira even showed up, albeit on the big screen, for a "duet" on "Beautiful Liar".

Beyonce้ surprised her fans by singing several Destiny's Child hits, including "Independent Women", "Bootylicious" and "No No No".

At one point the diva directed a few words to the audience in a voice that cut through the air like an emergency siren.

"You know why I came to Thailand? Because I think you know how to party! But it's getting a little quiet here!"

Her 13-piece band was introduced - all of them women, an extra treat for fans who appreciate musicianship.

Another enjoyable moment was a re-enactment of a scene from the film "Chicago", with her dancers giving a humorous rendition of women scorned by men who have betrayed them.

Beyonce didn't forget to bring along her Hollywood-actress side, either, singing the theme song and "Listen" from her hit movie "Dream Girls".

Right at the end came the moment all the fans were waiting for: "Irreplaceable". Beyonce told everyone to sing along as though they were alone in front of the mirror with no one watching. It was a suggestion the whole arena took to heart.

One final surprise arrived when Beyonce้ announced that she had to sing "Happy Birthday" to one of her stage crew and extended her best wishes to anyone in the audience who was born on that day.

There was thunderous demand for an encore but, in one of life's classic disappointments, Beyonce้ declined to reappear.

Lisnaree Vichitsorasatra
http://nationmultimedia.com/2007/11/05/entertainment/entertainment_30054893.php

Nadia

Nov 6th, 2007, 05:00 PM

Mumbai

Beyonce leaves Mumbai crowd euphoric

Sunday, 28 October , 2007, 01:31

Mumbai: Pop sensation Beyonce Knowles rocked Mumbai as a large gathering of mostly youngsters danced to her hit numbers at a dazzling concert here on Saturday evening.

The crowd went euphoric when Beyonce came on the stage at the MMRDA Grounds in Bandra even as pyrotechnics and laser special effects enveloped her glittering white and red costume. Her famed 10-member all-woman band was accompanied by a couple of men this time.

As with any rock concert, the 15,000-plus crowds danced, jumped, sang and enjoyed to their hearts content as she belted out her evergreen number like ‘No, No, Bill, Bill, Bill,’ ‘Dangerously in Love’ and others. The open-air venue with a 40-foot covered stage was packed almost to capacity.

The American pop star arrived here from Ethiopia on Friday night as part of her ‘The Beyonce Experience - 2007 World Tour.’

Lasting two hours, the Beyonce concert was organised by the Royal Challenge in partnership with the DNA Networks, which had brought singer Shakira to Mumbai on March 27.
http://sify.com/news/fullstory.php?id=14550998

Nadia

Nov 12th, 2007, 04:47 PM

Shanghai:

Concert Review: Beyoncé - Shanghai, China
Written by Mat Brewster
Published November 06, 2007

Before I begin my review of this concert, let me say a few things.

For the record, I am not a fan of Beyoncé. I despise divas. I cannot stand the genre called R&B. I do no like dance music in just about any form. I do not even know any of Beyoncé's songs.

I was pretty sure I had heard one or two from Destiny’s Child, but if hard pressed before the concert I couldn’t name them. My sister let me borrow a Beyoncé CD the other day, and I threw it out less than half way through. I simply couldn’t tolerate it.

And I had a spectacular time at this concert.

The question could be asked – "Why did you go to the concert if you don’t like her music?" And it would be a fair question indeed. The truth is that if was I living in any other part of the world I would not have seen her. She could have been giving away free tickets in the States and I would have likely passed.

Yet for reasons I’m not entirely sure of, I was excited about seeing her in Shanghai. Perhaps this was because so few musical acts that I know pass by this part of the world. Or maybe I liked the idea of seeing gaggles Chinese kids dancing to an American pop idol – kind of an East meets West thing. Or maybe I was just hankering for a little booty shaking.

The show was a right good jaunt away from us. We boarded two cabs, two subway trains, and did a pretty fair amount of walking to make it to the concert hall. All of this in the middle of rush hour. And if you haven’t tried to keep up with five of your friends while zipping through a 100,000 Asians all bustling to get to their own destinations, well you just haven’t lived.

We arrived. We scarfed down fast food. We found our nosebleed seats.

Not all of the seats were filled and there was much discussion of leaving the nosebleeds for more interesting seats one flight down. We all agreed to move, more or less, and when the lights went down there was a mass exodus. Unfortunately the ladies (which included my wife) got separated from the men and there was much anger (on the part of the ladies) and apologetic text messaging (from us men.) Eventually things settled down and we were able to enjoy the show.

What a show it was! She’s calling this tour the "Beyoncé Experience," and it was certainly that - quite an experience. Going into the show I half expected it to be lame. I figured Beyonce would mostly likely lip synch her way through the performance, and that most of the music would come from a DAT tape. Certainly I expected a fun light show and lots of scantily clad dancers along with flashy set pieces and costumes. But musically I was looking for a let down.

I was more than pleasantly surprised. Beyoncé sang live and with a full, beautiful voice. While there were a few moments that were obviously being played off of a tape, almost all of the music came live from her backing band.

Her very big, very good backing band.

There was guitar and bass, plus at least four horns, two keyboards, a bevy of back up singers and three drum sets (that’s more than the Grateful Dead!) All of which created a very full, and boisterous sound.

This was a party. A musical celebration. I came in expecting a Diva boring me with her “music” and got a rollicking good time instead.

I don’t mean to say this was a low frills musical experience. Beyoncé may have rocked, but she didn’t forget the extravagance either. The light show was enormous and gorgeous and immaculately crafted. There was a bevy of dancers and at least four costume changes. There were several big set pieces all executed with a flair for the theatrical. The show even ended with a credit roll on the multiple screens set throughout the hall.(Cont...)

Nadia

Nov 12th, 2007, 04:48 PM

Cont...
There were also a few diva moments. During the handful of ballads Beyoncé brought the big voice and attempted a few Mariah Careys. While most of the audience ate this up, it was all a bit much for me and I found myself shifting in my chair and looking around bored. That’s just not my sort of thing and I was always ready for it to move on before it ever did.

Mostly though, she kept the diva in check and kept the party going. I’ve had better concert experiences but never have I been to such an enormously boisterous production.

Will I be buying the next Beyoncé CD? Will I be downloading all of her old songs? Do I now consider myself a fan? The answer to all of these questions is decidedly no. But I’ve got to say the lady knows how to bring it and make even a naysayer like me have one crazy good time.

http://blogcritics.org/archives/2007/11/06/123310.php