Renaissance World Tour
Beyoncé may be riding high off Cowboy Carter right now, but Renaissance is the gift that keeps on giving.
In a revelatory conversation with Ahmir Questlove Thompson on his Questlove Supreme podcast, renowned choreographer Fatima Robinson revealed how Beyoncé came up with stage design and concept for the Renaissance World Tour during the pandemic — and why the superstar shifted her approach to dance on her most recent trek.
“That was Beyoncé sitting in a pandemic with a lot of time on her hands and coming up with the most incredible, creative stage that I had ever gotten to work on,” Robinson gushed of the Renaissance World Tour stage. The sold-out stadium tour featured two separate platforms connected by a moving ramp, a main stage complete with a sprawling flatscreen, a B stage that stretched into the crowd, and a slew of props including, a tank, pyrotechnics, a laser show, a giant clam shell, robot arms, a flying “disco horse” and various levitating platforms.
In Renaissance: A Film by Beyoncé — the box office-topping documentary concert film chronicling the conception and execution of the tour — Queen Bey revealed that the tour was planned over four years, and three identical stages were developed for the show. The $580 million-grossing tour also featured 22 dancers, including her eldest daughter, Grammy winner Blue Ivy Carter.
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“She has quite a few choreographers across her span of music,” said Robinson. “We gave me the title ‘director of choreography’ because I was the point person that all the choreographers worked under and with. It was such a big boulder to get up a hill, that show.”
While Robinson has worked with Beyoncé in the past — most notably on 2006’s Oscar-winning Dreamgirls and her “Be Alive” performance at the 2022 Oscars — she joined forces with several other choreographers for the Renaissance tour, including her two other team members, Chris Grant and four other choreographers who worked on numbers sporadically.
Her first solo concert tour since 2016’s Formation World Tour, the Renaissance World Tour presented a notably different Beyoncé. While the three-hour show was still a feast for the eyes and ears, the performance included less intense choreography than her past tours — partially due to a knee injury she suffered before those 56 sold-out shows.
“We were having a lot of conversations around when is enough enough?” Robinson explained. “You have nothing to prove, Bey. You are our Michael Jackson of our time. We’re like athletes, at a certain point, you have to just say “Okay, I’m gonna do it, but I’m gonna also take care of myself and be mindful of what my body is telling me right now.”
Robinson’s revelations echo sentiments Beyoncé herself shared in Renaissance: A Film by Beyoncé. Throughout the documentary, Queen Bey mused about looking to her idols to inform how she moves in her career. The Renaissance tour was a celebration of that, from a surprise appearance from Diana Ross to a multi-city tribute to the late Tina Turner.
“Look at how Prince was when he passed away, he had those hip replacements because of all those splits and stuff,” noted Robinson. “Look where Michael [Jackson] is. We want you around performing for years to come, so let’s not put that kind of pressure. Let’s ease into it, let’s stand there and be powerful and step into a different kind of power, and guess what? They gon’ come with you!”
That approach to performing also resulted in a very Beyoncé take on the concept of an opening act. For each show, Beyoncé began with a set of ballads, introduced by a beautiful piano-led rendition of 2003’s seminal “Dangerously In Love 2.”
“I turned to her and I was like, ‘This is really fly, starting with ballads,’” recounted Robinson. “She laughed and she said, “I’m opening up for myself!”
In addition to the Renaissance World Tour, Robinson also worked on 2023’s The Color Purple movie musical, which topped the domestic box office on opening day and earned one Oscar nomination.
Click here to watch the full clip of Fatima Robinson describing the creation of the Renaissance World Tour.
It’s no secret that Taylor Swift and Beyoncé staged the two biggest tours of 2023, with Swift even continuing the Eras Era throughout 2024. But not only did both artists earn record-breaking grosses and affect local economies with their treks, the stage shows also juiced each artist’s recorded music consumption.
Luminate and Billboard partnered to dig deeper into the connection between touring and streaming, capping a colossal year of headline tours. Beyoncé and Swift proved perfect examples of artists’ abilities to capitalize on their concert calendar to not only score a local bump in each city but sustain long-term national interest throughout the duration of their tours and beyond.
Both Beyoncé and Swift saw expected bumps to their consumption totals upon their respective tour kick-offs. When The Eras Tour launched, Swift’s U.S. on-demand audio streaming count increased by 59% in the week ending March 23, according to Luminate. For Beyoncé, the effects were teased out, as the tour’s first leg in Europe allowed domestic streaming to build slowly before her North American arrival. By the end of their U.S. runs, streams were up – from the week before each tour began through the release of each artist’s concert film – by 106% and 34%, respectively.
Initially, these bumps could be explained by the analysis of touring’s local short-term impact on consumption. In each city that Beyoncé and Swift played, market-level streams immediately grew by 89% and 95%, respectively, on average. But as their tours continued, isolated regional bumps compounded on one another, with particular narratives and trends aggregating to a mountain of consumption at the national level.
The mere announcement (Feb. 1, 2023) of Beyoncé’s Renaissance World Tour – coupled with the 65th Annual Grammy awards, where she did not perform but accepted two record-breaking trophies – spurred three weeks of gains, as the tour’s on-sale kept excitement alive. The beginning of Beyoncé’s domestic dates naturally fueled consumption in dramatic fashion with six consecutive weeks of increases (July 7 – Aug. 17).
Beyoncé stretched out her summer streaming bump with intention, focusing on individual moments of choreography and arrangements within the setlist. For “Energy,” a deep cut from Renaissance, she made a meal out of the lyric, “Look around, everybody on mute.” She took it literally, pausing the song and freezing alongside her dancers and band, teasing the audience before resuming, “Look around, it’s me and my crew/ Big energy.”
The Mute Challenge soon became an integral part of the show. By the time “Energy” hit its own streaming peak of 1.7 million clicks (week ending Sept. 7), it had nearly tripled its consumption from before the tour.
When Beyoncé performed “My Power,” a non-single from The Lion King: The Gift, she was joined by daughter Blue Ivy Carter on stage. Their much-memed and much-imitated dance routine entered the cannon of iconic Beyoncé choreography, with fans tracking Blue’s progress throughout the tour. The track posted explosive streaming gains over several months, ultimately up 449% by its peak (the week ending Aug. 17) from before the tour’s launch (the week ending May 4).
Spotlights for under-the-radar tracks like “Energy” and “My Power” yielded organic, drawn-out increases in consumption that snowballed alongside a parade of guest stars, controversy over the Queens Remix of “Break My Soul,” and a constant influx of social media content showcasing Beyoncé’s rotating wardrobe from local designers.
Swift’s catalog soared as soon as her tour began on March 17. Even before the July 7 release of Speak Now (Taylor’s Version), which warped her streams beyond the impact of The Eras Tour, consumption had almost doubled, at 372.9 million clicks in the week ending June 1. After the new release receded, her catalog maintained, at 391.4 million by the U.S. leg’s end in the week ending Aug. 10.
Like Beyoncé, Swift found songs within her ever-expanding catalog to highlight, particularly those that weren’t already world-conquering hits. Even with a nightly setlist of more than 40 songs, she left room each night to perform two rotating “surprise songs.” On average, the surprise songs got a 27% bump the week of their performance. Removing performances of songs from Speak Now after the release of the Taylor’s Version set, more affected by new-release streaming patterns than the typical tour impact, the average gain bumps to 31%.
After the exposure and subsequent streaming increase, the typical next-week drop was just 5%, indicating that inclusion in the surprise-song section encouraged sustained streaming action.
Within the show’s routine set pieces, Swift turned a fan-favorite into a Billboard Hot 100 No. 1 hit. Lover’s “Cruel Summer,” from 2019, was the first properly performed song each night at The Eras Tour, helping to reignite Swifties’ passion for the album cut. Without an official music video or announcement, even as Swift launched the 2022 Midnights track “Karma” as a single with its Ice Spice remix, “Cruel Summer” showed unstoppable growth from the tour’s launch. Steady between 1.9-2.1 million streams in the early months of 2023, the song ballooned to 16.7 million by the final U.S. show (in the week ending Aug. 10).
The prolonged championing of “Cruel Summer” and the one-after-another success of Swift’s surprise songs underlined The Eras Tour’s ability to transform her from superstar to stratosphere. Her relationships, philanthropy and seemingly every move during the tour continued to fuel her consumption, consistently more than double the streams she drew from earlier that year.
Both Beyoncé and Swift extended their good fortunes with the release of record-breaking concert films, each delivering profits for distributor AMC and more consumption boosts for their catalogs. The seeds they planted with “Energy, “Cruel Summer” and more took full bloom, even inside movie theaters, with audiences singing and dancing along — except when they had to be on mute.
Months after each tour wrapped in the U.S., Renaissance: A Film By Beyoncé scored the pop-dance-R&B(-country) chameleon a streaming increase of 54% the week of its Dec. 1 release, while Taylor Swift: The Eras Tour earned its once-country-now-pop star a 20% boost upon its Oct. 13 release.
Beyoncé and Swift are, of course, enormous stars that were likely to attract some amount of attention for going on tour even if they didn’t plan and work for these kinds of long-term rewards. But this kind of long-term, national growth isn’t only reserved for top-of-the-line megastars, as Maluma, ODESZA and Weezer experienced similar touring impact last year.
Both five years removed from their last stadium tours, Beyoncé and Swift designed their shows for maximum impact and staged campaigns that turned each trek into an era of its own.
Click here for more on the symbiotic relationship between touring and streaming.
Beyoncé just confirmed that the title of her forthcoming country album is Cowboy Carter, but she’s not the only noteworthy Carter in town. Earlier this week, Mathew Knowles — former manager of Destiny’s Child and father of Beyoncé — penned a heartfelt note to his granddaughter Blue Ivy Carter.
“I remember coming back stage in London to the Renaissance concert and asking about you,” Knowles began. “Beyoncé replied ‘she is there rehearsing’ and then I understood why because one of your friends had commented negatively about your first performance on the tour. In that moment I was so proud that you wanted to put in the work to get better.”
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During her mother’s record-breaking Renaissance World Tour — which she launched in support of her four-time Grammy-winning Billboard 200-topping LP of the same name — Blue Ivy performed as a backup dancer. After her first appearance at the trek’s Paris stop, the Grammy winner worked to improve her performance and danced along to “My Power” and “Black Parade” at nearly every stop on the tour’s North American leg.
“I want to take a moment to appreciate the amazing determination and willingness to learn that you displayed,” Blue Ivy’s granddad continued. “Your excitement for life and your eagerness to soak up knowledge and new experiences is truly inspiring. You have already shown the world that you are a force to be reckoned with, and I have no doubt that one day you will continue to astound us all.”
Fans bore witness to Blue Ivy’s progression throughout the tour, but her evolution was most poignantly captured in Renaissance: A Film by Beyoncé — a box-office-topping documentary concert film that chronicled the making of Beyoncé’s historic tour. In the film, Beyoncé recounts initially not wanting Blue to dance onstage with her, but eventually giving in once she saw how hardworking and determined her daughter was to improve her performance with each subsequent show. Blue was quite the presence behind the scenes on tour, even pleading the case for Queen Bey’s 2009 hit “Diva” to remain on the setlist in a heavily memed moment in the film.
In the rest of his lengthy note, which served as the caption to a fierce picture of Blue performing at the Renaissance World Tour, Knowles praised her “extraordinary Knowles spirit” and stressed that he wanted her “to never be afraid of exploring new opportunities,” whether she remains in the arts like her parents or ventures into “science, business, or any other field.” “Your journey is just beginning, and I have no doubt that you will leave [a] lasting mark on the world,” he concluded. “Chase your dreams, follow your heart, and always believe in the extraordinary potential that lies within you.”
Before she won the world’s hearts on the Renaissance World Tour, Blue Ivy was already making a name for herself in the entertainment industry. She is the youngest person to appear on any Billboard chart — Jay-Z‘s “Glory,” on which she’s credited as B.I.C., peaked at No. 23 on Hot Rap Songs in 2012 — and she picked up a best music video Grammy for “Brown Skin Girl” alongside Wizkid, SAINt JHN and, of course, Beyoncé. “Brown Skin Girl,” which appears on Beyoncé’s The Lion King: The Gift compilation soundtrack, also earned Blue Ivy honors at the BET Awards, Soul Train Music Awards and NAACP Image Awards. In 2021, she won the best voiceover – children’s audiobook award at the Voice Arts Awards for her narration of Hair Love, an adaptation of Matthew A. Cherry’s Oscar-winning animated short.
Read Mathew Knowles‘ full message to Blue Ivy Carter below:
The Renaissance is far from over. On Thursday (Dec. 21), Beyoncé made a grand return to Brazil to celebrate the premiere of her Renaissance documentary concert film in a slew of new international territories, marking her first visit to the country in a decade.
Queen Bey had days earlier shared on Instagram the latest KNTY 4 News update: Renaissance: A Film by Beyoncé would premiere in 15 new countries, including Brazil, on Dec. 21. “Y’all didn’t have to break my website,” she said in a voiceover. “But I told y’all, the renaissance is not over.”
To celebrate the film’s release around the world, Parkwood Entertainment and TV Globo teamed up to co-sponsor an event in Salvador, Bahia, Brazil. Fan-captured footage shows what appears to be a replica of the Renaissance World Tour stage and exclusive Club Renaissance merchandise.
Beyoncé teased her arrival in Brazil with a cheeky meme of the Renaissance disco horse — nicknamed Reneigh by fans — peeking out of a private jet. Sure enough, the music icon surprised fans with her first public appearance in Brazil in 10 years. She last visited the country during her Mrs. Carter Show World Tour back in 2013.
Once at the event, a visibly overwhelmed Beyoncé addressed the crowd, saying in fan-captured video, “I was not able to come for the Renaissance tour, but I’m so happy to give y’all the Renaissance film … You are the Renaissance!”
“I came because I love you so much … It was very important to be here, right here,” the “Cuff It” singer continued. “Thank you for all your support over the years. There is no one like y’all. You are one of one, No. 1 and the only one!”
Immediately following her brief appearance — during which she wore a stunning silver hooded grown — Beyoncé shared some snaps on her Instagram page featuring her chucking up the deuces on her private jet, holding the Brazilian flag, and taking in the enraptured crowd.
The “Break My Soul” singer originally hosted two premieres for her film: a private premiere at the Samuel Goldwyn Theater in Los Angeles on Nov. 25 and a public premiere at Leicester Square in London on Nov. 30. At both events, Beyoncé sported brand new platinum blonde hair.
The film made its U.S. debut on Dec. 1, topping the domestic box office in its first weekend and earning acclaim from critics and fans alike. The behind-the-scenes look at her Renaissance World Tour and accompanying Grammy-winning album featured Beyoncé at her most vulnerable in years.
Beyoncé’s record-breaking tour visited the U.S., Europe and Canada, selling more than 2.7 million tickets and grossing $579 million. The trek, which was in support of her Billboard 200-topping Renaissance album, is the highest grossing tour by a woman, by a Black artist and by any American soloist in Billboard Boxscore history.
Check out some fan-captured footage of the Beyoncé’s momentous visit to Brazil below:
🚨 BEYONCÉ SPEECHING IN SALVADOR! “It was very important for me to be here in Bahia. Renaissance film is about freedom, beauty, joy. Everything that you Brazilians represent. I’m very happy to be here and see your beautiful faces.” pic.twitter.com/iviZmBaeOc— Ernesto Sanchez (@important131313) December 22, 2023
It’s finally here! After weeks of waiting, two premieres (one in L.A. and one in London), and three trailers, Beyoncé‘s highly-anticipated concert documentary, Renaissance: A Film by Beyoncé, has hit theatres at long last.
The film provides a rare peek into Beyoncé’s behind-the-scenes process, namely how she runs her ship as the Mother of the House of Renaissance. Over nearly three hours, the documentary treats fans to pristine footage of several nights of the superstar’s record-breaking Renaissance World Tour. Seamless edits showcase the endless variety of haute couture costumes the “Break My Soul” singer flaunted across her 56 sold-out shows, and intimate black-and-white scenes present the Beyoncé her family sees offstage.
Written, directed and produced by Beyoncé herself, the film — which is evenly split between the concert (just about every track made the final cut) and behind-the-scenes footage — is as much about the enigmatic artistic genius as it is about community — the various intersecting communities that crafted the album and tour, enjoyed the music at the concerts, and inspired the throughlines of Black queer liberation that course through Queen Bey’s most recent musical era.
Nearly all of the tour’s special guests — Blue Ivy Carter, Megan Thee Stallion, Kendrick Lamar, Diana Ross, among them — make cameos in the film, alongside Beyoncé’s family (including JAY-Z, Ms. Tina Knowles and twins Rumi and Sir Carter!) and former Destiny’s Child bandmates Kelly Rowland, Michelle Williams, LeToya Luckett and LaTavia Roberson.
Even though we’re over a year removed from the release of Renaissance, it’s a body of work that continues to resonant deeply. The album ranked atop the 2023 Year-End Dance/Electronic Albums chart, and the tour helped Beyoncé earn the biggest touring year in Billboard Boxscore history ($570.5 million), making her No. 1 on the Year-End Billboard Boxscore Top Tours chart.
Clearly, the Renaissance is still in full swing, and now we can all see how Beyoncé got us here. Without further ado, here are seven of the best moments of Renaissance: A Film by Beyoncé.
The Renaissance Tour may have ended, but the Blackout is only beginning. Beyoncé gave fans a sneak peek at pieces from her upcoming IVY PARK drop with Adidas on Instagram Thursday (Oct. 5), revealing she wore them in an all-black look on stage during her final Renaissance show earlier this week. Posting photos from her […]
Megan Thee Stallion couldn’t be happier about being welcomed into the Knowles family. After Beyoncé referred to the 28-year-old rapper as her “sister,” Meg freaked out on Instagram with the rest of the BeyHive. “Yall… nobody can tell me nothing else EVERRRRRRRR 🐝🐝🐝🐝” the “Plan B” musician captioned a carousel of photos from Bey’s Renaissance […]
On Sunday night, Beyoncé wrapped her historic Renaissance World Tour in Kansas City, Mo., and Cardi B was there to bear witness to the end of the record-breaking trek. In a series of Instagram Story posts, the “Bongos” rapper chronicled her experience during the show.
Cardi began her Instagram Story barrage with a quick video surveying her private jet. “And we out,” read the caption. With travel to Missouri secured, the Grammy winner then uploaded a clip of her in a car on the way to Arrowhead Stadium. In the video, she’s singing along to the BEAM-featuring Renaissance track “Energy” in anticipation of the viral “mute challenge.” (The challenge is a friendly competition to see which stadium can actually remain completely quiet when Beyoncé sings the song’s “Look around/ Everybody on mute” lyric.) In a clip taken during the concert, Cardi excitedly participates in the challenge, throwing some lethal side-eyes to a couple of attendees who couldn’t help but scream during the elongated pause.
In addition to “Energy,” Cardi also posted clips of Beyoncé performing “Dangeously in Love,” the show’s opening song and the title track from her debut solo studio album, which celebrates its 20-year anniversary this year. “Yaaass, bi—!” Cardi screams throughout the recording. The “WAP” rapper also posted videos vibing and singing along to “America Has a Problem,” which shot back to its No. 38 peak on the Billboard Hot 100 following the release of a remix with Kendrick Lamar earlier this year. Lamar made a surprise appearance at Beyoné’s birthday show in Los Angeles on Sept. 4.
Over a clip showing Beyoncé sinigng “Summer Renaissance” and flying above the crowd on a life-size version of the disco horse on the album’s cover — lovingly nicknamed “Reneigh” by fans — Cardi wrote, “It’s not a concert… it’s [an] experience,” an apt descriptor for the finale of a tour that has moved millions of people around the world.
The Renaissance World Tour was in support of Beyoncé’s Billboard 200-topping seventh solo studio album. The record — a love letter to Black queer folk and their contributions to the foundation of dance music — won four Grammys and spawned a pair of Hot 100 top 10 hits: “Break My Soul” (No. 1) and “Cuff It” (No. 6). Last week, Billboard reported that the tour’s global haul will blow past the $500 million mark, likely closer to $560 million — with 10 shows left to be reported. With those numbers, the tour will become one of the 10 highest-grossing tours in Boxscore history, making Beyoncé the only woman, only Black artist and only American solo act on the all-time leaderboard.
Although she documented a healthy chunk of her Renaissance experience, Cardi’s stories did not include a very special announcement Beyoncé made at the very end of the show. The music icon will bring a documentary concert film titled Renaissance: A Film by Beyoncé to theaters on Dec. 1, and pre-sale tickets are currently available.
Click here to see Cardi B’s Renaissance Tour extravaganza before her Stories expire.
For the last few shows of her record-breaking Renaissance World Tour, Beyoncé is headed back home. The Houston-bred megastar is set to play two shows at the city’s NRG Stadium — just two days after gracing Arlington’s AT&T Stadium — and her hometown is pulling out all the stops in her honor.
According to a Sept. 21 KPRC 2 report, the Harris County Commissioners Court passed a resolution to temporarily rename itself “Bey County” in honor of Beyoncé’s first tour stops in Houston since 2016, when she graced the stage for her Formation World Tour.
On Sept. 19, the official X (formerly Twitter) page for the city of Houston tweeted a graphic announcing an event called “Hou Run The World” — a tribute to the “Breaky My Soul” singer in collaboration with Houston First and Central Houston, complete with a “homecoming party on the plaza.”
At her Thursday night (Sept. 21) show in Arlington, Beyoncé squealed, “It feels so good to be home! Texas girl!” Born and raised in Houston, both the city and the larger state of Texas have provided a sturdy foundation for Beyoncé’s personal life and a bevy of musical throughlines for her catalog — from country music to Southern hip-hop.
Beyoncé’s homecoming will also coincide with the launch of the Knowles-Rowland House, which was first teased back in June. On June 27, officials announced that Harris County would be collaborating with Beyoncé and Kelly Rowland to create 31 permanent housing units using $7.2 million in American Rescue Plan funds. “Initiatives like this one I certainly will be supportive of it no matter who’s behind it, but it’s especially interesting… because there are these names of Beyoncé and Kelly Rowland, who, of course, have been supportive of the community for a very long time,” Judge Lina Hildago said during a press conference.
Officials also teased an “even bigger launch” for the project — which will include case managers, peer specialists, service specialists and support services, like transportation, mental health and physical and behavioral health support — upon Beyoncé’s homecoming. Queen Bey was spotted with her mother Tina Knowles at the renovation celebration for the Knowles-Rowland House on Friday morning (Sept. 22).
The “America Has A Problem” singer is riding out the final four shows of the tour’s North American leg. According to figures reported to Billboard Boxscore, Beyoncé earned $141.4 million in the first 12 Renaissance shows in the U.S. and Canada, selling 553,000 tickets and putting the tour’s figures at $295.8 million and 1.6 million tickets (as of Aug. 1). With more numbers yet to be reported, the Renaissance World Tour is already Beyoncé’s highest-grossing tour yet, passing 2016’s The Formation World Tour ($256.1 million) and 2018’s Jay-Z-assisted On the Run II Tour ($253.5 million).
From a seemingly endless list of celebrity attendees to a characteristically jaw-dropping performance, Beyoncé’s Renaissance World Tour birthday show (Sept. 4) was one for the history books, and now, the star is thanking two who made that concert extra special.
In a pair of Instagram posts on Monday (Sept. 11), Beyoncé expressed her personal thanks to Diana Ross and Kendrick Lamar for their surprise performances during the show. “Thank you again to the legend Kendrick Lamar for blessing the Renaissance World Tour,” she wrote in the caption for a picture of the pair performing the “America Has a Problem” remix. “I deeply appreciate you. What an incredible experience. Respect, 🐝.”
For the final show of her three-night Renaissance World Tour run at SoFi Stadium in Inglewood, Calif., Beyoncé brought out surprise guest Lamar for a cinematic performance of their remix of “America Has a Problem,” a fan-favorite breakout song from her Billboard 200-topping Renaissance album.
In a message to Ms. Ross, Beyoncé quoted her own Billboard Hot 100 top 20 hit “Alien Superstar” (No. 19) writing, “Thank you to the incomparable Ms. Diana Ross. The 1 of 1, the number 1, the only one. Thank you from the depths of me, my Queen. 🐝”
The legendary performer had led the crowd in a performance of “Happy Birthday,” which was completed with a hug from a gobsmacked Beyoncé. The 79-year-old icon first appeared on stage in front of more than 60,000 screaming fans during one of the show’s regularly scheduled intermissions, which features Ross’ 1976 Hot 100 No. 1 single “Love Hangover” as an interlude between songs. Usually, it’s Bey’s backup singers who perform the transition, but this time, Ross herself was on hand to do the honors.
The “Cuff It” singer is gearing up for the final few shows of the North American leg of her tour. She returned to the stage on Monday night at BC Place in Vancouver, Canada. According to figures reported to Billboard Boxscore, Beyoncé earned $141.4 million in the first 12 Renaissance shows in the U.S. and Canada, selling 553,000 tickets. That puts the tour’s figures at $295.8 million and 1.6 million tickets (as of Aug. 1), making it Beyoncé’s highest grossing tour yet, passing 2016’s The Formation World Tour ($256.1 million) and 2018’s On the Run II Tour alongside Jay-Z ($253.5 million).
Beyoncé’s latest worldwide trek is in support of Renaissance, her seventh solo studio album, which spawned the Grammy-winning Hot 100 top 10 hits “Break My Soul” (No. 1) and “Cuff It” (No. 6).