♀ OTR II ♂ (Beyoncé/JAY-Z)

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Postby KEY9481 » Mon Mar 05, 2018 4:01 pm

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VIDEO : Tour Announcement
VIDEO : Tour Trailer

_______________________________________________________________________________________________________________________

TOUR DATES / PICTURES / ATTENDANCE & GROSS
Spoiler:
1st LEG : EUROPE

6/06 CARDIFF, Principality Stadium
39,731 / $4,186,450

9/06 GLASGOW, Hampden Park
37,963 / $4,132,251

13/06 MANCHESTER, Etihad Stadium
45,097 / $5,700,721

15/06 LONDON, London Stadium
16/06 LONDON, London Stadium
126,443 / $11,035,860

19/06 AMSTERDAM, Amsterdam Arena
20/06 AMSTERDAM, Amsterdam Arena
97,869 / $9,753,269

23/06 COPENHAGUEN, Parken Stadium
45,356 / $5,741,911

25/06 STOCKHOLM, Friends Arena
46,647 / $4,610,554

28/06 BERLIN, Olympiastadion
57,155 / $5,697,111

30/06 WARSAW, Stadion Narodowy
53,500 / $4,624,995

3/07 COLOGNE, RheinEnergieStadion
39,501 / $4,520,814

6/07 MILAN, San Siro
49,051 / $4,460,552

8/07 ROME, Stadio Olimpico
40,440 / $3,475,543

11/07 BARCELONA, Olympic Stadium
46,982 / $4,733,549

14/07 PARIS, Stade de France
15/07 PARIS, Stade de France
111,615 / $10,905,089

17/07 NICE, Allianz Rivieira
33,662 / $3,898,880

* * * * *

2nd LEG : NORTH AMERICA

25/07 CLEVELAND, FirstEnergyStadium
38,931 / $4,194,376

27/07 WASHINGTON, FedEx Field
28/07 WASHINGTON, FedEx Field
81,964 / $11,437,578

30/07 PHILADELPHIA, Lincoln Financial Field
54,870 / $6,709,691

2/08 EAST RUTHERFORD, MetLife Stadium
3/08 EAST RUTHERFORD, MetLife Stadium
99,755 / $13,886,416

5/08 BOSTON, Gillette Stadium
47,667 / $6,159,980

8/08 MINNEAPOLIS, US Bank Stadium
32,851 / $3,627,417

10/08 CHICAGO, Soldier Field
11/08 CHICAGO, Soldier Field
86,602 / $12,303,099

13/08 DETROIT, Ford Field
43,699 / $5,310,376

16/08 COLUMBUS, Ohio Stadium
35,083 / $3,142,160

18/08 BUFFALO, New Era Field
38,053 / $4,262,076

21/08 COLUMBIA, Williams-Brice Stadium
38,057 / $3,920,226

23/08 NASHVILLE, Vanderbilt Stadium
35,353 / $4,058,910

25/08 ATLANTA, Mercedes-Benz Stadium
26/08 ATLANTA, Mercedes-Benz Stadium
105,170 / $14,074,692

29/08 ORLANDO, Camping World Stadium

31/08 MIAMI, Hard Rock Stadium

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

11/09 ARLINGTON, AT&T Stadium

13/09 NEW ORLEANS, Mercedes-Benz Superdome

15/09 HOUSTON, NRG Stadium
16/09 HOUSTON, NRG Stadium

19/09 PHOENIX, University of Phoenix Stadium

22/09 LOS ANGELES, Rose Bowl
23/09 LOS ANGELES, Rose Bowl

27/09 SAN DIEGO, SDCCU Stadium

29/09 SANTA CLARA, Levi's Stadium

2/10 VANCOUVER, BC Place

4/10 SEATTLE, Centurylink Field

Total attendance : 1,609,067 / Average attendance : 45,973
Total gross : $180,122,990 / Average gross : $5,146,371
_______________________________________________________________________________________________________________________

SETLIST / VIDEOS

European Leg
Spoiler:


North American Leg
Spoiler:
OTRII Video Intro
Holy Grail

Part II (On The Run)
'03 Bonnie & Clyde

Summer

Beach Interlude ("When The Lights Are Low" by The Paragons)

Drunk in Love
Diva / Clique / Everybody Mad (dance break)

Dirt Of Your Shoulders
On To The Next One
F*ckWithMeYouKnowIGotIt
***Flawless (Remix) / Feeling Myself / Naughty Girl
Big Pimpin'
Nice

Jamaica Interlude [i]("Bad" by The Bug)


Run This Town
Baby Boy / Mi Gente

Bam / Black Effect
Countdown

Sorry

Bar Fight Interlude ("Sun is Shining" by Bob Marley and "DNA" by Kendrick Lamar)

99 Problems
Ring The Alarm
Don't Hurt yourself

I Care / 4:44
Song Cry
Resentment

Running Interlude ("Its motion Keeps" by Caroline Shaw performed by the Brooklyn Youth Chorus)

Family Feud
Upgrade U

Ni**as in Paris
Beach is Better
Formation
Run The World (Girls)

Public Service Announcement

Ballet Interlude ("Four Women" by Nina Simone)

The Story of O.J.

Band Jam Interlude
Deja Vu / Show Me What you Got

Crazy in Love / Down For My Ni**a
Freedom

U Don't know

Baptism Interlude ("Its motion Keeps" by Caroline Shaw performed by the Brooklyn Youth Chorus)

Forever Young
Apesh*t

_______________________________________________________________________________________________________________________

STAGE DESIGN / THE STORY OF THE SHOW


Spoiler:
BENEATH THE STAGE WITH BEYONCÉ & JAY-Z
How to tell an intimate story to thousands? Entertainment architects Stufish reveal the complex engineering and design of Beyoncé and Jay-Z’s ‘On the Run II’ stage set


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It’s a mere few hours until Beyoncé and Jay-Z will step on stage at London Stadium for the fourth date of their ‘On the Run II’ tour. Ric Lipson, partner at Stufish – the world’s leading entertainment architects – is walking into the vast stadium. Soon he has disappeared into a maze of steel constructions beneath the stage – a whole city, built in the names of Beyoncé and Jay-Z.

Lipson has been working with Stufish for nearly 12 years designing shows for Pink Floyd, Madonna, U2 and Lady Gaga amongst other musical legends. Stufish was founded by the late British architect Mark Fisher in the mid-1990s, and the company has been creating, building and producing stages for live productions, touring shows and exhibitions ever since.

‘What we are walking through now is the ‘foundation’. We can’t excavate to build the set up, so we construct a big substructure,’ says Lipson. Navigating his metal jungle like a seasoned hunter, he steals ahead beneath the stage weaving between poles, technical equipment, cables, a technician sleeping in a hammock and corridors of blinking computers. At the centre, a huge ballast of steel is filled with water to keep it base-heavy, with a ‘sub deck’ built around it.

‘Everything you see here is here because we designed it to be there. We are at the top of a very flat pyramid – we say how we want things and then we work with various companies and specialists to make these things happen,’ he says. For Beyoncé’s Coachella performance in 2018, Stufish designed a pyramid stage for the show – a ‘bleacher-esque’ structure layered with dancers, musicians with ‘Queen Bey’ owning the pinnacle at the top.

The On the Run II show is a montage of Beyoncé and Jay-Z’s artistic journey together – from their first collaboration ‘03' Bonnie & Clyde’ it traces a pathway through past albums and visual fragments of photography and film, all the way to the present and the launch of their new joint album ‘Everything Is Love’ which dropped on the tour at London Stadium.

Stufish worked with the duo’s creative team to create a canvas for the story to play out – expressing the themes of opposition, duality, separation and eventually completion. It’s a portrait of contemporary love that collides fiction, fantasy and reality together into an operatic, feminist symphony that reaches out, seduces, and totally grips you.

‘It’s very unusual to have two A-list stars performing together, whilst being in their own environment,’ says Lipson, who designed two long catwalks stretching deep into the audience to give each artist their own individual space. ‘This is probably one of the longest stages we’ve ever designed. No show I’ve ever done has come out this far. Madonna projected about halfway for MDNA in 2012.’

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The scale of the stage is vast, and the Olympic stadium beyond it even vaster. ‘The work comes from an experience of architecture – you need to understand scale to know how to take on an stadium. How do you take on the architecture of an architecture? The only answer to that is the event itself,’ he says.

While the two catwalks separate Beyoncé and Jay-Z at the beginning of the show, ‘The Bridge’ reconciles them at the end. This feat of engineering and design rises and coasts over the heads of the audience below, pumps out plumes of smoke to create ‘Club Carter’ beneath. ‘Architecturally and engineering-wise the bridge is pretty special,’ says Lipson. ‘It weighs 26 tonnes and accommodates up to 15 dancers at once. I believe this is the first track bridge that elevates over the audience in an outdoor environment.’ At 18m wide, the bridge, made of lightweight fibreglass decking, moves 52m into the audience – and rises 5.5m above them. If Stufish had commissioned standard decking materials it would have weighed too much to roll on the playing field.

Image


As a backdrop to all of this, a huge video wall parts like curtains to reveal another world inside, the ‘performer wall’. From here, the layered 26-piece orchestra is positioned in a gridded, vertical formation and 17 dancers move in unity, twisting and contorting.

‘The performer wall is custom for this show – bits of it were used in the Rolling Stones set for the ‘A Bigger Bang’ tour in 2006, but all the vertical columns are custom. There’s four floors – we are touring a four-storey building.’ Working so long in the business, Stufish is always growing and evolving and pushing the technology forwards. For example, Stufish were involved with productions that required the innovation of video-led follow lights that could be operated from the ground, instead of by a man hanging above the stage for hours.

‘A lot of stuff in this industry has originated from Mark Fisher – in the ‘olden days’ stadium shows were built with just scaffolding, which means you would need a lot of scaffolding to get very high and a lot of depth to keep it stable against wind,’ says Lipson. It was Fisher’s architectural background that enabled him to innovate. Stufish has been working with Stage Co, a company that builds and rents out steel trusses and structures all over the world for 30 years. ‘This truss might have been in 27 different Stufish sets over the years. They are all modular. They fit inside each other to package easily into trucks, so all of this is recycled.’

For Stufish, the sky’s the limit – but only if they have the truss and the scaffold to get all the way up there. ‘Three things work in symbiosis – time, money and physics. You might have enough money and time but the physics might not allow it,’ says Lipson.

Each part of the set has to be moved, assembled and understood by the crew. ‘It’s a tap dance. The set has to work for the artist, it has to work for backstage, it has to work in the rain, it has to pack into the trucks, but first and foremost it’s got to be a really great idea to deliver a really great show. We want people to remember that this was Beyoncé and Jay-Z’s set.’

What you can’t see is that there’s three identical stage sets picking up momentum into a carefully orchestrated rhythm as we speak – hosting 44 more shows until October. It takes a day and a half to dismantle the stage set – Manchester is being packed up into trucks to Amsterdam as we speak. Five days will be spent building it back up, with 100 tour crew and 200 local crew, it’s all hands on deck. After Saturday’s London show, nine hours later, 46 trucks will be on the way to Germany. The number of people involved in synchronising this effort is off the scale.

On our way through the backstage medina, footsteps never to be retraced, we meet McGoo, who’s in charge of the band and instruments. Malcolm does all the technical coordination. Terry is the backstage manager. Angelica operates a piece of machinery that controls the automation. Russell manages moving the shows – he’s moved nine Stufish-designed shows around the world. Mark is the video director. Emily handles the aperture of all the cameras. Leo runs the content on the screen.

As well as supporting the performance, the foundation of the stage multi-tasks as an instrument store, offices, changing rooms and technical hubs for operating lights, cameras and smoke machines

It’s unfair to say the architecture is temporary, because the architecture creates a different type of permanence – a memorable sequence of events that will stay with those immersed in its creation. ‘For us architecture is the manipulation of space – whether that’s permanent, temporary, or momentary – this is absolutely a construction; it should viscerally affect the user in the some way,’ says Lipson.

Stufish bridge the gap between the immediacy of the performance and the everlasting nature of its memory through video technology, integral to the millennial experience of capturing and sharing moments with friends: ‘When we’re designing we’re thinking about how it is going to be shot and from where. Five years ago the same video technology didn’t exist and in three years time there will be something new.’

A few hours later, when Beyoncé appears on stage, each step she takes causes a tsunami of aftershocks on video screens, phone cameras and Instagram stories across the world. Nine hundred video panels flash behind her as she joins Jay-Z. The screen broadcasts out their struggle like an exquisite dream and parts like a curtain to reveal their darkest memories played out by the 26-piece orchestra.

The engineering and architecture must keep up with the visceral and emotional experience that Beyoncé and Jay-Z deliver through their work. They are the perfect storm – artists consistently pushing the boundaries between performance, video, art, media, reality and fantasy, which Stufish reflect through the stage design, heightening further the fierce emotional connection they have with their fans.

Each stage Stufish designs is a total response to a moment of an artist’s career and of the technology available: ‘It’s popular culture. It’s right now and it won’t be right next year,’ says Lipson. And later, when the bridge raises up Beyoncé and Jay-Z in a cloud of smoke – all hail the Carters – the emotional response across the crowd is overwhelming. They light up London Stadium with energy.

‘The sets are the physical embodiment of an experience that you’ll have for two and a half hours, but hopefully if we get it right, those people will remember that experience for ever.’

https://www.wallpaper.com/architecture/ ... by-stufish
Last edited by KEY9481 on Wed Sep 19, 2018 9:47 am, edited 30 times in total.
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Postby MO_FAN95 » Mon Mar 05, 2018 4:03 pm

Omg omg omg omg omg :o :o :o :cry: :cry: :cry:
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Postby Hugo » Mon Mar 05, 2018 4:10 pm

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"You are Beyoncé!"
"Thank You."
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Postby Hugo » Mon Mar 05, 2018 4:10 pm

"You are Beyoncé!"
"Thank You."
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Postby Hugo » Mon Mar 05, 2018 4:17 pm

As long as it's just a tour and not an album. I'm actually excited as this will happen after LEMONADE and 4:44, there's a lot that can be explored.
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Postby Jesper » Mon Mar 05, 2018 4:23 pm

It Will be interesting, I am a bit mixed about it, I even wouldn’t mind that joint project to Some extend
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Postby KEY9481 » Mon Mar 05, 2018 5:36 pm

I mean it makes more sense to tour now together than in 2014 lol.
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Postby Erotica » Mon Mar 05, 2018 6:55 pm

If it would be an album and not a tour I really could not listen to it, as Jay-Z destroys every song for me :lol: Each song is better without him
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Postby Benjamin » Mon Mar 05, 2018 6:57 pm

8-) 8-)
would love to see them perform together.
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Postby ArmyOfMe » Mon Mar 05, 2018 7:25 pm

I think I'll pass. I've already spent too much on Björk
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Postby urbanmusik » Mon Mar 05, 2018 7:46 pm

Dying to go. I swear if the Ireland date is while I’m in Seoul :cry: .
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Postby Jesper » Mon Mar 05, 2018 8:09 pm

Can I just act delusional and hope for Deja Vu to be revived. But knowing Bey she might aswell perform Hollywood
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Postby Petrie » Mon Mar 05, 2018 8:13 pm

Would rather it be her solo tour but I’m good either way because I missed out on the OTR tour.

I have a feeling a new album from Bey is coming very soon though, can’t see her touring the same album (Lemonade) after already performing it all over America and Europe.
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Postby Jesper » Mon Mar 05, 2018 8:27 pm

well the rumours are that they will release a joint album along with the tour, so that would be enough new material to hold us over.
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Postby Noahh » Mon Mar 05, 2018 9:54 pm

If this bitch snubs Godja Vu again. I swear Imma ERAGPUNTAERUHBHI;Earojnwrofj[ofnrwFHRuieb :x :cry:
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Postby Petrie » Mon Mar 05, 2018 10:58 pm

Jesper wrote:well the rumours are that they will release a joint album along with the tour, so that would be enough new material to hold us over.
Would still rather have a solo album from her but if push comes to shove I’d still be here for a joint album. She/they need to release it quite a bit before the tour starts though. Poor Miami only had 4 days to learn Lemonade on the FWT.
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Postby ThaInfo1 » Tue Mar 06, 2018 5:16 am

Bring it bitch! Lemme make sure my credit card balance is good so I can swoop this up when they drop.
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Postby Petrie » Tue Mar 06, 2018 11:00 pm

This is creating a lot of buzz here in the UK it’s all over the radio and news outlets, despite it not even being confirmed.

If this is true it’s gonna be a HUGE deal.

wtf are the waiting for? We are ready!!
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Postby Benjamin » Wed Mar 07, 2018 5:09 am

Noahh wrote:If this bitch snubs Godja Vu again. I swear Imma ERAGPUNTAERUHBHI;Earojnwrofj[ofnrwFHRuieb :x :cry:
Jxjskdkfjfj!!?/$28&!!! :lol: :lol:
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Postby Loveguru » Wed Mar 07, 2018 5:23 am

pass sis
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Postby KEY9481 » Wed Mar 07, 2018 6:39 am

Petrie wrote:This is creating a lot of buzz here in the UK it’s all over the radio and news outlets, despite it not even being confirmed.

If this is true it’s gonna be a HUGE deal.

wtf are the waiting for? We are ready!!
I've read that Coachella acts cannot announce tours before they perform at the festival. Don't know if it's true tho.
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Postby Petrie » Wed Mar 07, 2018 6:53 am

Ye me too. I read it on Billboard website.

I wonder why though?
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Postby Jesper » Wed Mar 07, 2018 9:38 am

Petrie wrote:Ye me too. I read it on Billboard website.

I wonder why though?
Probably to not draw any attention off Coachella as event. Because if tour dates are announced before Coachella, Coachella basically functions as a promotional tool for events they have nothing to do with at all. It's all a money game
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Postby KEY9481 » Thu Mar 08, 2018 9:48 pm

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Postby Hugo » Fri Mar 09, 2018 12:16 am

Do people realise they can have their relatives fired for that kind of ish?
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