Flanked by 20 or so female dancer of all shades – in cornrow braids, bantu knots and afros – and backed by an all-woman band, Beyoncé captivated as she commanded her troops in perfect formation at Baltimore’s M&T Bank Stadium on Friday night. After a brief welcome, the hypnotic bass of “Formation,” the lead single from her latest album “Lemonade,” filled the space as the singer let the BeyHive in on her plan for the evening: “We gon’ slay.” Beyoncé then strutted down the stage’s catwalk, golden microphone in hand and clad in her signature leotard, giving her songs (and her fans) new life.
Over a career spanning nearly two decades, Beyoncé has come to be known for her unmatched attention to detail and showmanship. Case in point: a video wall that transformed into a rotating light box, as tall as the stadium. Hours of practice were evident, her precision undeniable. But when all of the cinematic glitz fell away and Beyoncé was alone on stage, she revealed herself to be a true force of nature. Her voice was flawless during a stripped-down version of the self-affirming “Me, Myself and I,” from her 2003 solo debut. But the standout moment came with the acoustic ballad “1+1.” On her knees, she sang, simply. It was sweet yet powerful, and spoke to a side of her artistry that sometimes gets swamped by the wake of her stagecraft.
Still, it’s the show that brings people fawning to her concerts.
Beyoncé wears her influences proudly. There were countless nods to the playbooks of Michael and Janet Jackson, as well as a dedication to Prince that turned an entire stadium into a constellation of cellphone lights. In such an instance, some of the moment’s sadness gets replaced with gratitude that the legacy of a performer we have lost can live on in the music of another artist.
Mega-stars are often discussed in terms of their ability to transcend race and gender, but there can be none of that here. There were plenty of men in the audience, as well as in Beyoncé’s songs: targets of her wrath, loves of her life and the one that raised her. But the Formation World Tour is very much a conversation with, for and about women. In particular, about girls and women of color, who are validated and made free in the presence of Beyoncé. She is an embodiment of #ICanBeBoth, a hashtag that was created to inspire black women to revel in the fact that they – like anyone else – can be both sexy and successful role models, worthy of respect.
For two hours and over 30 songs, Beyoncé danced all over that dichotomy. From the fiery and profane “Don’t Hurt Yourself” to the cabaret-inspired dance of “Partition” to “Freedom” – which included a metaphorical baptism in an onstage pool – Beyoncé reminded the ladies in the audience of their strength, encouraging them to love themselves first and always.
The spectacle brought to mind a Marianne Williamson quote (often misattributed to Nelson Mandela): “We ask ourselves, ‘Who am I to be brilliant, gorgeous, talented, fabulous?’ Actually, who are you not to be?” In that vein, Beyoncé gave her fans permission to let their lights shine. It’s proof of her power that her own fearless liberation is capable of liberating others, if only for a night.
