What's It Gonna Bey?

Some deep Beyoncé appreciation.

On Saturday night, I had the pleasure of seeing the inimitable Beyoncé, live in concert for the fourth (technically fifth) time. Every time I’ve seen her, I’ve left satisfied and astounded, most notably at the Formation World Tour back in 2016. This time around, the Renaissance World Tour felt like one big party, and a major flex.

For starters, this woman has the audacity to be her own opening act. In an attempt to not disrupt the dance party that is her brilliant Renaissance, Beyoncé delivers a solid 20 minute set of ballads to open the show, and then disappears to return for an hour and a half of dancing and partying. It’s a stunning spectacle to take in. The production value is sky-high, which is why the tickets are too. And frankly, it makes those high ticket prices worth it. I feel like I’m getting what I pay for at a Beyoncé show.

To further celebrate her, here are a few Beyoncé moments (live and studio) that are highlights for me.

First off, I’m starting with my very first Beyoncé experience (see what I did there?). 15 years ago, I was sat and seated at Jay-Z & Mary J. Blige’s Heart Of The City Tour at Madison Square Garden on May 6, the day after my 18th birthday. The two legends had to do 3 nights to satisfy their hometown’s demand. In the middle of Jay-Z’s set, he started cycling through a minute or two of hits he didn’t have time to fully include, and then would cut his DJ off with a “fuck that” and move along. When he got to “‘03 Bonnie & Clyde,” the same was true, and he added a “sorry B!”

Suddenly at the other end of the stage a spotlight came on and there she was. THe audience lost their ever-living shit while she just stood there. “Crazy In Love” began to blare through the speakers, and she strutted across the stage. When reached the other end and the beat gave way to the “uh oh”’s (which the audience enthusiastically screamed), she broke into the iconic dance from the video and danced for exactly 10 seconds. The music cut off, she threw her hands in the air, and exited. In under a minute, Beyoncé stole the show.

Another favorite live moment for me was her 2009 “Sweet Dreams Medley” at the Wynn in Las Vegas. After delivering a ballad version of “Sweet Dreams,” she segues into one of my favorite ballads, “Dangerously In Love,” and finally, Anita Baker’s classic “Sweet Love.” It’s a tour de force performance.

In 2002, while still in the Destiny’s Child era, she and the girls converged with Celine Dion, and Beyoncé more than held her own.

During VH1 Divas 2000: A Tribute To Diana Ross, Beyonce and the girls gave a Diana Ross classic a Destiny’s Child spin. Unfortunately, the video isn’t available online, but the audio is (it’s even available on streaming platforms)!

Now, a few studio cuts.

I have to start with this one, because many people don’t know it even exists. If you read the liner notes to Dangerously In Love, amidst the thank you’s to the ‘producers and writers who contributed to this project,’ which also includes the artists, you’ll find Lil’ Kim’s name. When I got the album in 2003 at the age of 13, I was becoming a tried and true Lil’ Kim fan. Once I saw her name, I scoured those liner notes over and over looking for her contribution, to no avail. It wasn’t until I got on either Morpheus, Kaazaa, or Limewire (I forget which I was on at the time), that I discovered Kim’s omitted contribution. Though never formally confirmed, it can be inferred that she was cut from the album. There was a lot of tension at the label when Beyoncé released the album, her A&R Teresa LaBarbera Whites, who signed Destiny’s Child, actually left Columbia because of how much the label didn’t believe in the album. During her 2009 Wynn Las Vegas show, Beyoncé famously recounted that the label, “told me I didn’t have one hit on my album. I guess they were kinda right. I had five.”

At least two versions of “Naughty Girl” with Lil’ Kim exist. The version which was released (in the U.S. on 12” only and on CD and digitally internationally) includes two verses from Kim. Another version includes the second verse and an introduction from Kim where she refers to herself and Beyoncé as “the Queen Bee’s,” making her the first person to refer to her as such. Below is the 2-verse version (with the introduction tacked on at the end in a mediocre fan edit). The collaboration, though little-known, was even nominated for Best Female Rap Collaboration at the 2004 Source Awards.

A lesser-known cut from the deluxe edition B’Day.

Initially released as an iTunes bonus track/Japan bonus track of I Am… Sasha Fierce. I always felt like this one had immense potential. It felt like it should have led a superhero movie soundtrack. Apparently it’s easily available on a ‘Platinum Edition’ of the album.

And now, a few unreleased cuts…

This one is so funky and groovy.

This one from the B’Day sessions is polarizing (some people HATE it), but I always thought it was very cute.

My absolute favorite unreleased cut. She put her whole foot in this once and sang her fucking face off. If you ask me what my favorite Beyoncé song is, this is my answer.

And though this wasn’t officially released, it was, as Foxy says, the “official Roc-A-Fella remix”… this was the appearance Foxy Brown made on wax after her hearing loss.

Finally, some dance mixes for your workout (or just strutting down the street)

The Freemasons put their whole foot into this remix. I prefer it to the original version. It’s a constant on my workout playlists.

I only discovered this “Telephone” mix in the last year. Two things to look out for: Bey’s verse being repeated, and a previously buried run from her being featured prominently later in the mix.

Another electrifying mix that builds fantastically on the original.

Of all the mixes from this remix EP, this was always my favorite. It does a great job of electrifying this album cut ballad.

This sexy cut gets a slinky, driving update.

Adding some much-welcomed hard depth to another slinky, sexual cut.

And that’s it… for now!