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The Mrs. Carter Show World Tour

Tour by Beyoncé
Promotional poster for tour
Start date	April 15, 2013 (2013-04-15)
End date	December 20, 2013 (2013-12-20)
Legs	5
No. of shows	35 in Europe 45 in North America 6 in South America 6 in Australasia 92 Total
Beyoncé concert chronology
I Am... World Tour (2009–10) The Mrs. Carter Show World Tour (2013)

The Mrs. Carter Show World Tour is the fourth concert tour by American recording artist Beyoncé Knowles. It was announced in February 2013 following Knowles' performance at the Super Bowl XLVII halftime show and entitled in reference to her marriage with Shawn "Jay-Z" Carter. An advertisement to promote the tour was revealed the same month featuring Knowles dressed in royal regalia and subsequently several posters and photos were released on Knowles' official website to promote the tour.

The opening leg was lauded by critics who praised Knowles for her dancing and singing abilities. The outfits worn by Knowles during the show, for which she collaborated with several designers, received mixed reviews from critics. Following the announcement of the tour all of the tickets made available for the shows were sold out which prompted more dates to be added to the itinerary. A promotional trailer and behind-the-scenes footage of the tour were released through Knowles' official YouTube channel and website. As of June 30, 2013, the tour has grossed $55.6 million from the first 36 shows, according to Pollstar's mid-year Top 100 Worldwide Tours list.

Background

During a press conference for Super Bowl XLVII on January 31, Knowles revealed that she would make an announcement after her performance at the halftime show and added that "fans should just stay tuned to see". The tour and its name, which is a reference to Knowles' marriage with Shawn "Jay-Z" Carter, were announced following her performance at the Super Bowl XLVII halftime show on February 3, 2013. Initial dates in Europe and North America were announced, and later more were announced in Latin America, Australia and Asia. However, the official poster of the tour with the name written on it was leaked on the tickets website Live Nation prior to the official announcement. It shows Knowles posing in a "kind of a Louis XIV bathing costume" which references Queen Elizabeth I as stated by writers of The Guardian. She is wearing a Victorian golden royal top and a crown. Cassie Carpenter of the Daily Mail praised the poster, writing that "Knowles looks every bit the queen of pop" with the "billowing" costume. Rosie Swash of the same publication wrote that Knowles' look on the poster was "a bit more leggy", adding that it is "a visual stamp of authority".

The concert at The O₂ Arena in London was announced on February 3, along with an advertisement which was posted on Knowles' official website. An extended version of the advertisement appeared in late February. It shows Knowles dressed with ermine cape, scepter, gilded ruffs, thigh-high stiletto boots, and a golden corset with jewels. She also has a "caged" skirt and golden nails. She is performing a choreography with several dancers and a DJ, dressed as a jester who tries to distract Knowles. A writer of the website E! Online compared her look with Marie Antoinette and Queen Elizabeth I. The end of the advertisement shows black-and-white snippets of behind-the-scenes footage of the video, where several assistants, choreographers and dancers appear. Margaret Eby of Daily News praised Knowles' aristocratic look in the video, saying that her "towering bouffant and opulent style" is similar with Marie Antoinette while he compared the costume with Lady Gaga's style. The tour is sponsored by Pepsi, the company with which Knowles signed partnership in December 2012.

Following the announcement of the title of The Mrs. Carter Show World Tour, Knowles was "hit out" by several critics for titling the tour after her husband's name as she has been regarded as a feminist. Sarah Walters of Manchester Evening News noted that critics questioned "how could a woman as empowered and influential as Beyoncé compromise her identity and be known as the bride of some other celebrity?". During an interview with Vogue magazine, Knowles confirmed that she regards herself as a "modern-day feminist" and further spoke about her decision to reference her husband's name in the tour's title, saying: "I feel like Mrs. Carter is who I am, but more bold and more fearless than I've ever been... It comes from knowing my purpose and really meeting myself once I saw my child. I was like, 'OK, this is what you were born to do'. The purpose of my body became completely different." Speaking of her rehearsals before the tour and every live performance she's preparing for, she said, "I'm always bruised somewhere, my legs, my hips... But you've already started so you've just gotta fight through it."

Promotion

In March 2013, Knowles posted a new poster for the tour on her official Facebook page and it showed her striking four different poses, wearing a blond wig, a white top and blue shorts. A writer of The Huffington Post commented that Knowles was channeling her "inner 60s siren complete with blonde Brigitte Bardot-esque wig". Gregory DelliCarpini Jr. of Billboard magazine praised Knowles' look on the poster, writing that it suits her "divalicious, chic style". On March 29, 2013 Knowles posted a photo on Instagram of a director's chair for the director of the tour and a chair designed for her daughter Blue Ivy Carter. Several rehearsal photos were also released on Knowles' Tumblr website prior to the start of the concert in Belgrade. Prior to the opening concert, it was announced that Knowles took part in "Miss A Meal", a food-donation campaign and supported the charity Goodwill during her tour, where fans were asked to bring food, clothes and household goods. Throughout the tour, an auction for the campaign was held by Knowles and her mother on the website Charitybuzz in which the auction value was $25,000. The winner would get a chance to work behind the scenes of Knowles' concert in Los Angeles and assist Tina Knowles in the wardrobe department, get a VIP ticket for the concert and have a personal meeting with Beyoncé. On April 24, 2013, it was announced by Knowles' publicist that all photographers except Knowles' personal photographer Frank Micelotta, were banned from the tour, following the incident from her Super Bowl XLVII halftime show where unflattering pictures of her appeared online, even after her publicist asked from websites to remove them. In June 2013, it was announced that Knowles would add a limited edition to her Heat line of perfumes, titled Heat: The Mrs. Carter Show World Tour which would be released the same month. Inspired by the tour, the fragrance was meant to "give them a special remembrance of this tour and... reflect the power, passion and playfulness I put into my performances" as stated by Knowles.

Stage and set list

Eight hundred dancers auditioned to be included in Knowles' performance at the Super Bowl XLVII halftime show and she chose a selected group of them who were also chosen for the tour. Her choreographer Frank Gatson described them as "professional and magical". During the performances, Knowles was backed by several female dancers for the choreography, three backing singers The Mamas, an eleven-piece female band including a guitarist with fireworks sparking from her instrument, a drummer, two saxophone players and two keyboardists. Two back-up male dancers called Les Twins also accompanied Knowles on stage performing street dances. Wind machines were also present during the performances. During Knowles' costume changes there were ballet dances, choreographs performed by her male dancers, piano and guitar solos as well as video interludes. Philip Matusavage of musicOMH commented that the production value of the show was relatively low-key compared to most other arena pop concerts by other artists as Knowles and her dancers only danced in front of it. Tim de Lisle of Daily Mail wrote in his review, "The ultra-wide video screen allows for some dazzling effects: when the dancers separate into a line of silhouettes, the screen reflects and multiplies them, conjuring up an instant Busby Berkeley musical." Las Vegas Weekly's Andrea Domanick commented, "The show’s production read like a formula for a Las Vegas hit: interactive LED screens... pyrotechnics, laser lights, Cirque-worthy choreography and costumes... and, of course, a headlining voice—all of which was executed with simplicity and elegance." A running Louis XVI theme was also present throughout the show highlighting the oversized wigs, bustiers, and white-powder makeup of 18th century France as noted by Tiffany Poole from The Oklahoman. Two stages were used during the performances; a main stage and a B-stage where Knowles was transferred with a rope over the crowd and performed three songs; "Irreplaceable", "Love on Top" and "Survivor" after being carried back the same way. Knowles said that the favorite part of the show for her was when she was on the B-stage, closer to the fans as she could read all the signs and feel their energy. The set list of the tour included songs from Knowles' four solo studio albums: Dangerously in Love (2003), B'Day (2006), I Am... Sasha Fierce (2008) and 4 (2011). The majority of the songs on the set list originated from 4; seven tracks were featured from that album. Several cover versions of other artists which were used as snippets to Knowles' own songs were also included.

Fashion

Knowles has been working with multiple designers for the tours costumes. She wore costumes by Peter Dundas from Emilio Pucci, Riccardo Tisci from Givenchy, The Blonds, Julien MacDonald, Dean and Dan Caten, Ralph and Russo, David Koma, Alon Livné, Vrettos Vrettakos and designers from Kenzo who designed the costume for the performance of "Grown Woman". Knowles worked with duo Dean and Dan Caten, known by their DSQUARED name, using an outfit from their spring/summer 2013 collection, the Glamazon catwalk show which was inspired by models of the '90s like Linda Evangelista, Cindy Crawford and Christy Turlington. Peter Dundas from the fashion company Emilio Pucci also designed several costumes which were described as a "modern take on glamour", taken from his fall/winter 2013 collection and designed the clothes which would allow Knowles to perform the choreography during her performance.

"What Beyoncé specifically pays attention to is being able to without noticing they're on her feet... She doesn't want her feet to burn, so we can't have too thin of a sole, but the build-up inside the shoe so it doesn't look too heavy. The public doesn't see or think about that, but Beyoncé does... I've been doing shoes for so long for her, we've learned what she needs... She really is interested in the way the shoe feels on her foot. She absolutely has the impression of not being willing to suffer, no matter how the shoe looks on her foot."

Ralph and Russo's creative director, Tamara Ralph, was personally requested by Knowles to design an outfit for her. Stuart Weitzman designed the shoes for the tour for Knowles, her back-up dancers and band collaborating with stylists Ty Hunter, Raquel Smith and fashion designer Tina Knowles. Forty to fifty shoes were created for the tour made from Swarovski jeweled pumps, ankle boot lace-ups with metal trim on them. Weitzman further said that they were made up to the thigh, have a military influence and are designed in different colors, so the stage would look like a battleground. The heels were designed with a special width so Knowles could dance with them and they had rubberized soles "so she's not slippin' and slidin' around" as stated by Weitzman. One of Knowles' costumes was a gold bodysuit designed by The Blonds embellished with golden breasts complete with a nipple detail. The costume was a collaboration between the group, Knowles and her mother Tina Knowles as well as her stylist Ty Hunter. It was hand embroidered with approximately 30,000 Swarovski crystals that took over 600 hours to apply. According to The Blonds, it was meant to give the illusion of being covered in crystallized honey and reflect Knowles personality for the tour. They were inspired by Knowles' songs of female empowerment and female nudes painted by Tamara de Lempicka. The costume received media attention by fans and mixed reviews by critics. Jocelyn Vena of MTV News described the costumes as "Eye-catching... dazzling... provocative". Tess Merich and Donna McConel of Daily Mail described it as Knowles' "raciest outfit yet" and added that it "grab the attention" of the crowd. A writer of Life & Style magazine described the tour as Knowles' "sexiest tour to date" and added that she looked "sexier than ever", while a writer of The Huffington Post described it as a "shocking look". During the first concert of her tour, Knowles changed her wardrobe eight times, and later nine times during the other stops of the tour. The other outfits worn by Knowles were praised by critics. Rosa Silverman of The Telegraph commented that Knowles was "mesmerizing the crowds with her showstopping outfits and polished choreography... she took to the stage in a series of racy costumes that made no attempt to hide her famous curves." Owen Tonks of Daily Mirror gave a positive review about the look, writing, "Impressive and totally unsurprising as Beyoncé did look rather excellent in her different outfits." Erika Ramirez of Billboard magazine commented that most of Knowles' "stunning" costumes were dazzled with sequins. A dress created by Amato Haute Couture's Furne One which was worn by Knowles for the tour book was originally designed and worn by Estonian singer-songwriter Kerli during her Utopia EP photoshoot who praised the look after seeing it. The other dresses and looks were noted to channel queens like Marie Antionette, Cleopatra and Elizabeth I.

Knowles' makeup for the tour focused on trying to emulate cosmic stars with the underlying themes based on the stratosphere. Other references used as inspiration for the makeup included: Film noir, 60's London, cyber beauty, cosmic constellations and Felines.

Concert synopsis

The concert began with a video projected on the screen showing black and white images of Knowles dressed as Marie Antoinette and gothic architecture. She was then being handed a crown by several female subjects. As several of them walked off the video and onto the stage, the video wall raised and a brief pyrotechnics display began. Then Knowles appeared onstage in white dress starting to perform "Run the World (Girls)" which was preceded by an extended rumbling of timpani. She performed a choreography to the song's dance hall rhythm while singing and also a routine of faux kicking her male dancers. "End of Time" was performed after that with Knowles performing a choreography as fireworks were also displayed on stage. "Flaws and All" was performed as the third song on the set list with Knowles showing her imperfections and dedicating it to the members of her fan group, the BeyHive.A video interlude entitled "You Are a Queen" followed. The ballad "If I Were a Boy" was mashed with The Verve's grunge song "Bitter Sweet Symphony" taking its string motif and incorporating several lines. "Get Me Bodied" followed with Knowles interacting with the audience with a playful call and response. "Baby Boy" was performed against a holographic background. Knowles and several female dancers did synchronized moves before the screen which was flashing realistic images of more dancers. Knowles took her cap off to perform a Dutty Wine dance at the end of the performance, before immediately going into "Diva". Prior to the performance of "Naughty Girl" a video interlude was shown. The song was later performed into a neon strip-lit with a snippet of Donna Summer's "Love To Love You Baby" interpolated in it. Knowles also performed a choreography in front of an open fire. "Party" was performed after with a Las Vegas showgirl-theme. For "Freakum Dress" two ballerinas appeared on stage and performed a choreography and Knowles later performs the song in a deep-plunging, thigh-high split long red dress along with her dancers.

For "I Care" Knowles was dressed in a black leather fedora seated on a bar stool. Knowles sang "I Miss You" while shadow dancing was illustrated on the screen behind her. "Schoolin' Life" was performed with a light show and '80s neon lights while Knowles performed a dance routine. "Why Don't You Love Me followed with a projection showing a vintage video and Knowles being dressed in a 1920s fringed dress. The performance of "1+1" saw Knowles in a blue cat-suit singing the song kneeling and laying atop a grand piano. Later, she was transformed from the main stage to the B-stage closer to the crowd with a wire through a cloud of glitter. "Irreplaceable" was performed after that with an audience sing-along. "Love on Top" and an abbreviated version of Destiny's Child's "Survivor" followed; Knowles dedicated the latter song to the member of her former girl group, Kelly Rowland and Michelle Williams. After that, Knowles was taken back to the main stage in the same fashion she came to the B-stage. "Crazy in Love" was the first song performed on the main stage with a new brassy arrangement, different from Knowles' other live performances of the song. During "Single Ladies (Put a Ring on It)", Knowles integrated a snippet from the theme song to The Jeffersons TV show, "Movin' On Up". Images of pyramids, animated lions and elephants and a portrait of the singer wearing a Nefertiti-style crown accompanied the African vibe of "Grown Woman". Knowles was also wearing African-inspired costumes. A montage of Knowles' life was shown with the song "I Was Here" being played in the background; it showed images of Knowles with the American President, doing charity work, moments with Jay-Z, during a holiday and at the Super Bowl. An a cappella performance of several lines of "I Will Always Love You" preceded "Halo" as the closing song of the concert. "Green Light" and "Suga Mama" were used for the encore of the concert.

Critical reception

The writers of Black Entertainment Television commented that the show was "the hottest thing to hit Serbia since the Ottoman Empire" and added that Knowles, "a whirlwind of culture-mixing and 'Single Ladies' independence, came through with her next level dancers, choreography and special effects and turned the global spotlight up even brighter on the nation." While reviewing the concert in Zagreb, Boštjan Tušek of the website 24ur.com wrote that "If Madonna is still the Queen of Pop, then it is becoming increasingly clear that Beyonce Knowles is a hot candidate for sure." The show received praise from critics in Netherlands, following her concerts in the country. Alex van der Hulst from the newspaper NRC Handelsblad called her stunning and sensual during the performances and gave the show 5 out of 5 stars. Myrthe van der Wolf of De Telegraaf praised the choreography and singing during the shows as well as the balance between the up-tempo and low-tempo songs performed during the concert. In his review he further wrote, "This superstar has once again proven that she is more than worth all the fuss... In the two-hour show Beyonce pulled out all the stops, exciting outfits, daring choreography and most vocal violence. For live singing, this lady can do it like no other." Gijsbert Room of the newspaper de Volkskrant praised the fact that Knowles was one of the rare performers whose live performances are equally as good as his recorded material. He further added that "pop music is gradually becoming well again with a world star who dazzles on all fronts when the room lights go out... Finally, a world star who convinces in all." Peter van Brummelen of Het Parool also gave a very positive review for the performance and choreography during the concert, adding, "Beyonce has finally taken over Madonna as the role of fashion icon in pop music... There is also Lady Gaga and Madonna (no longer). Beyonce is the queen of pop music today." Describing the performance as a true American show with unique voice and choreography, a writer of NRJ wrote, "With boundless energy, Beyonce gave a unique and unforgettable show at the Parisian public. Staging, choreography, costumes, the star performed flawlessly." Writing that she "ignited" the stage in two minutes, Pauline Delassus of the magazine Paris Match further praised the singing and the "sexy, mischievous, athletic" choreography. Le Parisien's Thierry Dagger commented that Knowles proved she was "irreplaceable" during the concert. Describing the concert as the best he has ever seen, Julien Chadeyron of Le Nouvel Observateur wrote that, "A voice of sweetness and power. A lot of dance... Singers, musicians, dancers... the woman is in the spotlight. She says her feminism on stage."

"The Mrs Carter Show heralds Beyonce's thunderous return to the spotlight rejuvenated and hungrier than ever to stake her claim as the greatest female artist alive... Anyone doubting whether she has still 'got it' following her transition to motherhood was quickly silenced as she burned up the stage and showcased her cast-iron lungs."

While reviewing the first show in the UK in Birmingham, Nick Hasted of The Independent graded it with three out of five stars and wrote, "Beyoncé follows every current stadium trend tonight, crossing big-budget movie clips and Broadway musical dance moves, with platoons of backing singers and dancers acting as extras. As the Marie Antoinette conceit plays out on screen, the fireworks shower down and ballerinas and male marionettes cavort, this is pop as a Cecil B. DeMille spectacle." Adding that Knowles' voice is "anyway a more sparingly deployed thunderbolt than her melisma-mad idols Mariah Carey and Whitney Houston", he further concluded, "what makes this show's largely enervating juggernaut breathe is Beyoncé's tireless physical effort. She has created a literal body of work. Gaze on it, ye pop mighty, and despair." Tim de Lisle of Daily Mail wrote that "As well as control, Beyoncé specialises in spectacle" during the performance. However, she noted that "After an hour of this high-energy, high-tech, high-concept show, there hasn’t been a minute of memorable music." Alexis Petridis of The Guardian graded the performance with four out of five stars and wrote that "there's something powerful and relentless about Beyoncé's show". He praised the "bombastic" opening which included videos, backing dancers and pyrotechnics accompanied by choreography which he described as "all impressively grandiloquent stuff", and further commented, "She is, as has often been noted, spectacularly good at belting out uptempo tracks with a rawness that contrasts with the staging and choreography and seems to tap into an R'n'B tradition far older than she is. Watching her in full flight, you're reminded more of Tina Turner than any of Beyoncé's contemporaries... Furthermore, for all the inter-song hokum, she's still a compelling performer." He finished his review by writing that "while onstage Beyoncé feels weirdly unassailable". Manchester Evening News' Sarah Walters commented that "Beyoncé's show is a statement of feminine intent... is clearly determined to give the crowd so much ass-shaking fun they’ll leave crazy in love again". Grading the concerts with four out of five stars, Digital Spy's Robert Copsey noted that Knowles proved that with or without the fireworks and leotards, "as a live performer she continues to reign supreme." Philip Matusavage of musicOMH graded the show with four-out-of-five stars praising Knowles for being "insanely talented" and added that there is no-one who can compare when it comes to performing live. However, he criticized the show for being repetitive as Knowles performed songs that had already been performed during her previous tours. David Smyth of Evening Standard concluded in his review, "Beside her arena pop rivals, she was not as cool and dirty as Rihanna, not as physical and funny as Pink, and not as weird as Lady Gaga. But she had a star wattage that was blinding, an ability to sing and dance and be mesmerising without the light beams and glitter cannons." Metro's Arwa Haider awarded the tour with five-out-of-five stars saying that it "is an assault of ultra-slick showstoppers, with a pace that impressively never flags".

The North American leg of the tour received positive reviews from critics. Mike Wass from the website Idolator stated "As massively entertaining as the I Am... World Tour was, it succeeded largely on Beyonce’s extraordinary talent. This time, no expense is spared. The Mrs. Carter Show is a concert extravaganza in the style of Michael Jackson or Madonna." He further noted, "It's a big budget affair with pyrotechnics, stunning couture costumes and jaw-dropping projections. You might pay a little more for the ticket but you see every cent on stage... Everything about the concert screamed quality... The Mrs. Carter Show showcases an icon at top of her game." Gail Mitchell, a writer for Billboard magazine, gave the show a positive review, stating "Queen B’s two-hour musical and visual extravaganza also laid claim to something else: the multi-talented artist’s intent to join the rarefied ranks of ultimate entertainer... A strong-voiced Beyoncé delivered a power-packed two hours, treating fans to a kaleidoscope of colorful imagery and on-point dancing that enhanced rather than overshadowed the music." Mikael Wood of Los Angeles Times noted, "What left the deepest impression was something far more elemental: Beyoncé's ability to make self-aggrandizement seem like an expression of humility... Beyoncé's ambition seemed in proportion with her fans’ expectations; she came by the sense of scale honestly." Tiffany Poole from The Oklahoman claimed, "Leotards, sequins, amazing digital video backdrops, and some of the most impersonated dance moves on YouTube were what the fans paid to see and Beyonce did not disappoint... To say that Beyonce puts on a good show would be grossly understated. The loyal fans that came out to see her perform live are representative of her wide range and longevity as an artist and no doubt expect more club-hits, soulful ballads and dance crazes from Beyonce in the future."

The Hollywood Reporter's Shirley Halperin praised the show, writing that Knowles "tore through her Los Angeles set with the ferocity of a grown woman who has something to prove" but criticized the set list which included down-tempo songs for a "ready-to-party" audience. She concluded that the singer had "an equal dose of sex appeal and good old-fashioned hyping... unequaled showmanship and those killer vocals". Las Vegas Weekly's Andrea Domanick graded the show with four out of five star noting that Knowles turned the "manufactured, well-oiled machine of a pop tour" into something personal. She added, "Whether writhing atop a piano, strutting in a freakum dress or adjusting her crown in one of the many fashion editorial-esque videos played between songs, every element in the show seemed to proclaim, 'That’s Queen Carter, to you.'" However, Domanick criticized the show's set list as it featured abbreviated versions of the songs performed. Jim Harrington writing for San Jose Mercury News gave a mixed review of the tour, grading it with C and explained that it wasn't Knowles' best in comparison with her previous tours The Beyonce Experience (2007) and I Am ... World Tour (2009–10). He noted that Knowles "sounded great and looked even better" but criticized the tour itself for the way it was choreographed, adding that the production was "poorly planned and executed, especially in the way the longtime hits were handled". He also noted Knowles spent "way too much time off the stage".

Commercial performance

Following the announcement of The Mrs. Carter Show World Tour, a source confirmed to Us Weekly that the tickets for every show were sold at low prices, "so Beyonce can make sure all of her fans can see the show... She takes care of all her fans so that every one of them can see her". The lowest concert tickets prices were $45. Tour stops in Los Angeles, Las Vegas, San Jose, Miami, Dallas, Charlote, Houston, Chicago, Detroit, Boston, D.C. and Brooklyn sold out in minutes after being announced. Due to the high demand, one extra show was added in Amsterdam (which had a demand of more than 113,000 people), one extra show in Antwerp, two extra shows in London and a third date in Manchester. In North America, extra dates were added in Washington D.C, Los Angeles and New York City. Tickets for Rock in Rio became available for general sale on April 4, 2013. Within two hours, the first day of the festival, in which Knowles is headlining, had sold out all 65,000 tickets. 20,000 tickets had already sold out from the pre-sale a few months before.

Phone firm O2, which was behind the pre-sale, said it could have sold out London’s O₂ Arena 150 times with the number of website hits. A spokesman said: "We saw an unprecedented level of demand from O2 customers looking to buy tickets." Following the frenzied rush for tickets during the general sale, the UK tour had completely sold out within three minutes. Original tickets for the UK dates were available through the website Ticketmaster for prices between £55-£85. However, websites like eBay and Seatwave sold the tickets for £2,000 which prompted fans which weren't able to buy tickets through Ticketmaster to complain about high prices and demand stronger consumer rights from the websites to protect the fans being "ripped off by touts". An eBay spokesperson told the International Business Times that consumers should have the right to sell spare or unwanted tickets to popular events and added that "the ticket price should be determined by what someone is prepared to pay for it". Knowles' shows in London and Manchester grossed $9.7 million and $4.65 million respectively, indicating an average gross of $1.55 million to $1.6 million per show in ticket sales.

On June 24, 2013, a second wave of tour dates were announced via Knowles' website. Included in this was a second US leg added due to the overwhelming demand, as well as a Latin American leg, containing multiple stadium dates in Brazil. In just 5 days of sales, over 15,000 tickets were sold for the September 11, 2013 show in Belo Horizonte, causing promoters to open more outlets within the city where fans could purchase tickets. On July 7, 2013, the Australasia leg of the tour was announced, with dates set for shows in Australia and New Zealand (the latter of which will be Knowles' first concert in the country). The shows will take place in late October leading into November and ticket prices range from A$99 to A$249. Fan club tickets for the October 18, 2013 show in Auckland, New Zealand sold out in just 3 minutes. The general sale for the New Zealand shows became available to the general public on July 19, 2013. Within 15 minutes all allocations of tickets were sold out for all 3 shows. On July 7, 2013 also, Knowles' performance broke the attendance record (previously held by Janet Jackson) at the Essence Music Festival, with over 70,000 people in attendance. It was one of the few performances in the annual festival's history to sell out the Mercedes-Benz Superdome. On Pollstar's mid-year chart of the top one hundred grossing worldwide tours, from January 1 to June 30, 2013, The Mrs. Carter Show World Tour was placed at number 10 with a gross of $55.6 million from the 36 shows that were played during the given time period. 604,150 tickets were sold with an average gross of $2,417,391 per city.

Broadcasts and recordings

Professional footage from the tour was officially released on April 22, 2013 through Knowles' YouTube channel and website. It shows Knowles emerging from the stage surrounded by smoke and continues with portions of performances including "Run the World (Girls)", "Love on Top" and "Halo" during the opening nights. A series of eight behind-the-scenes footage of the rehearsals and preparations for the tour were released on Knowles' website on May 21, 2013. During "The Sound of Change Live" charity concert held at Twickenham Stadium in London on June 1, 2013, various clips and performances were broadcast worldwide to over 150 countries which were believed to have reached over 1 billion people. A second trailer for the tour was released on June 24, 2013. The 30 second clip contains live vocals of Knowles' song "Get Me Bodied" and a dubstep audio mix. It also shows footage from the previously shot O2 commercial, as well as multiple snippets of live performances from the show.

Opening acts

• Franka Batelić (Croatia)
• Eva Simons (Netherlands)
• LidoLido (Norway)
• Luke James (various European and North American dates)
• Melanie Fiona (Los Angeles)
• Iggy Azalea (Australia and New Zealand)

Notes

This artist only opened for the show on June 28, 2013 in Los Angeles, as part of the BET Experience. The second show in the city was opened by Luke James with the third set to follow.

Setlist

The following set list is representative of the show in San Jose on July 2, 2013. It does not represent all concerts for the duration of the tour.

1. "Run the World (Girls)"
2. "End of Time"
3. "Flaws and All"
4. "If I Were a Boy" (contains elements of "Bittersweet Symphony")
5. "Get Me Bodied"
6. "Baby Boy"
7. "Diva"
8. "Naughty Girl"
9. "Party"
10. "Freakum Dress"
11. "I Care"
12. "I Miss You"
13. "Schoolin' Life"
14. "Why Don't You Love Me"
15. "1+1"
16. "Irreplaceable"
17. "Love on Top"
18. "Survivor"
19. "Crazy in Love"
20. "Single Ladies (Put a Ring on It)" (contains excerpts from "Movin' on Up")
21. "Grown Woman"
22. "I Will Always Love You"
23. "Halo"

Notes

• "Grown Woman" was performed for the first time in Paris on April 24, 2013 and was later permanently included to the set list for all furture stops.
• "Standing on the Sun" was performed live for the first time in Antwerp on May 31, 2013.
• During "The Sound of Change Live" charity concert held at Twickenham Stadium in London on June 1, 2013, Knowles was accompanied by an 8-piece string section. She was joined by husband Jay-Z on stage whilst performing "Crazy in Love". The show lasted for 45 minutes and contained unique, one-time only costumes designed by Gucci for the special event.
• "Bow Down" was performed for the first time during the concert in Knowles' hometown of Houston, Texas on July 15, 2013. During the beginning of the performance, images of young girls with the words "Bow Down" flashed across the screen appeared as sound bites of gossip reports were heard in the background. Knowles addressed many rumors surrounding her throughout her career including faking her pregnancy with daughter Blue Ivy Carter, before appearing on stage and beginning the song along with a choreography.
• At the July 20, 2013 concert in Detroit, Knowles covered Sam Cooke's "A Change Is Gonna Come", following the city's recent file for bankruptcy

Tour dates

Festivals and other miscellaneous performances

This concert was a part of the "Orange Warsaw Festival"

This concert was a part of the "Sound of Change Live"

This concert is a part of "BET Experience 2013"

This concert was a part of the "Essence Music Festival"

These concerts are a part of the "V Festival"

This concert is a part of the "Made in America Music Festival"

This concert is a part of "Rock in Rio"

This concert is a part of the "Live Music Rocks Concert Series"

Cancellations and rescheduled shows

Box office score data

Personnel

Credits and personnel are taken from the Official The Mrs. Carter Show World Tour Program.

References

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External links

• Beyoncé Knowles' official website

• 2013 concert tours
• Beyoncé Knowles concert tours