beyonce best selling tour

Beyoncé's 'Renaissance' tour breaks all-time record: Report

SANTA CLARA, Calif. - Queen Bey is once again proving she is royalty.

The "Break My Soul" singer just broke some records. Beyoncé's ‘Renaissance World Tour' has become the highest-grossing tour by a woman artist in history-- at more than $461 million, according to reports.

Chart Data said the last titleholder was Madonna for her "Sticky & Sweet Tour," back in 2008-09.

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She performed to a sold-out crowd at Levi's Stadium Wednesday night and her show went past an 11 p.m. curfew that had been extended treating her fans to a memorable show that lasted nearly three hours.

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Beyoncé’s Renaissance World Tour Earns $579 Million

By Steven J. Horowitz

Steven J. Horowitz

Senior Music Writer

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The Renaissance World Tour may have come to an end this past Sunday in Kansas City, but it’s safe to call it a smashing success for Beyoncé.

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The trailer shows footage of her daughter (and consistent tour guest star) Blue Ivy Carter rehearsing, as well as her and Jay-Z’s twins, Rumi and Sir. Insiders claim that the movie will feature highlights from the Renaissance World Tour and footage recording the album, as well as the long-awaited music videos for songs from the project.

Beyoncé initially released “Renaissance” in July 2022 and teased the tour three months later. The Renaissance World Tour kicked off on May 10 in Stockholm, Sweden, continuing on through Europe before landing in Toronto on July 8. Throughout its duration, Beyoncé led a team of more than 300 touring crew members, bringing out guests including Kendrick Lamar, Megan Thee Stallion and Diana Ross .

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Beyoncé surpasses michael jackson, the weeknd with highest-grossing tour for a black artist.

The final numbers are in and Bey has made history, yet again.

By Mya Abraham

Mya Abraham

R&B Reporter

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If Beyoncé is going to do anything, she’s going to make history .

After wrapping her Renaissance World Tour on Sunday (Oct. 1) in Kansas City, Mo., the final numbers were tallied and according to Variety , the international affair earned $579 million, with 2.7 million attendees across its 56 dates in 39 cities.

Bey would rank No. 7 on Billboard Boxscore ‘s top 10 tours of all time—making her the only woman, only Black artist, and only solo American artist to enter the ranks. The list, which was published in August 2023, was solely comprised of white, male artists and has yet to include “newly launched 2023 treks by Beyoncé, Metallica, Taylor Swift, and more.”

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Not to mention, the Houston native’s tour included an unprecedented five night residency at London’s Tottenham Hotspur Stadium. According to Live Nation, “no one has played this many shows at the stadium since its opening in 2019, and she was one of very few artists to perform at this stadium.” A total of 238,000 fans attended those five shows.

Fans can relive the Renaissance World Tour on Dec. 1 when the official documentary hits theaters. Watch the trailer below.

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Beyoncé's Renaissance Tour Is Her Greatest Achievement

It's an athletic feat, a work of art, and even a pseudo-communion. Even with another mega-tour sweeping the world this year, we've never seen anything like it—and may never again.

It’s 10:00 P.M. at New Jersey’s MetLife Stadium. We’re nearly two hours into Beyoncé’s marathon-like Renaissance Tour , and she finally pauses to address the crowd. “Thank you for coming,” she says, marveling at the sea of people who, on July 29, trekked to one of the tour's most anticipated stops.“Some of you have been with me for 20 years.”

That's me. I was introduced to Beyoncé at six years old, shortly after the release of her debut album , Dangerously in Love . I still remember holding the CD from my car seat, marveling at a mysterious woman in a glittery top, whose heavenly vocals boomed through our stereo. Twenty years later, Beyoncé is still a mystery to me—maybe even more so, following most recent album, 2022's Renaissance . At 41 years old, Beyoncé has three children and seven albums under her belt, but she can still sing like there’s an angel trapped in her throat. (She hasn’t let go of the sparkly outfits either.)

As Beyoncé finishes her speech, 80,000 fans erupt in a thunderous cheer. The floor shakes. Glitter floats through the air. Looking at the jumbotron, I swear there's tear in her eye. Beyoncé beams back at the audience, and everyone roars again. She doesn’t have to say much else. We get it. Beyoncé is a legend. Now, it's simply time to celebrate Renaissance .

The Renaissance Tour kicked off on May 10 in Stockholm, Sweden. From there, Beyoncé and co. traveled across Europe before making it to North America. By the time Beyoncé reached New Jersey, clips from her previous shows leaked online. Even a glimpse at the silver-hued concert hinted that the Renaissance Tour may stand as Beyoncé’s best work yet—and her most popular show ever.

Forbes predicts that the Renaissance Tour could earn around $2.1 billion by the time it wraps in September. If Beyoncé pulls it off, that will make her the highest-grossing female act of all time. That title currently belongs to Madonna, who—in July 2022—had earned $1.4 billion from her shows. Taylor Swift is next in line with a projected $1.9 billion in sales from her currently-running Eras Tour. According to Billboard , Beyoncé is well on her way to nabbing the top spot, earning more than $154 million from her European tour dates alone.

Like everyone else in the crowd, I attended the Renaissance Tour as a fan. But I was a fan on a nearly 20-year-long mission. We all know Beyoncé is Beyoncé (you don’t earn $154 million on a whim), but I wondered what I'd learn from seeing her live—dancing and singing along with her, plus, of course, mingling with the Beyhive.

One of the first people I run into is Zahir, who is proudly donning a sequined top. I simply ask why he loves Beyoncé. He says, “Her Blackness. She’s so in tune with her womanhood and voice.” The next person I talk to is Rickey Mile, a self-proclaimed superfan. He gives a dumbfounded look, as if any questions about Beyoncé's greatness go without asking. “She’s timeless,” he explains. According to Mile, it doesn’t matter when you see Beyoncé, what’s going on in her personal life, or which era of her career she’s in—the woman always puts on a good show.

After seeing the Renaissance Tour, I have to agree. The concert (and the album) is a homage to Beyoncé’s uncle, Johnny—a gay man who introduced her to house music. To say Renaissance would make him proud is an understatement. It’s one giant, queer party, filled with references to drag icons Kevin Aviance and Moi Renee, along with a cameo from viral ballroom dancer Honey Balenciaga. The stadium shook for three straight hours , with fans bouncing and rocking along to each song.

‘Formation’ broke me for some reason. I continued to cry for the rest of the show.

Given Beyoncé’s expansive catalog, there is a smattering of oldies woven throughout the show. But don’t be fooled. This isn't anything like Swift's Eras Tour. Instead of selecting songs chronologically, Beyoncé presents a mix of her favorite hits. The show opens with a powerful rendition of “Dangerously in Love,” which bleeds into the yearning ballad “1+1.” Then, just when you’re ready to profess your love to someone in the crowd, Beyoncé switches gears, performing the self-assured Renaissance track, “I’m That Girl.” The whole thing exudes rich aunt energy. Pure fun. No rules. And the atmosphere? Well, it’s like a reunion. After all, the last time the Beyhive convened was during 2016's Formation Tour.

You know that moment at a family party, when you see someone you don’t recognize, but feel an intrinsic connection to? That’s what attending Renaissance is like. Everyone is a stranger, yet also a cousin. I suppose that makes Beyoncé our matriarch. Just ask the troves of fans yelling “Mother!” during her set.

Perhaps that maternal energy stems from Beyoncé’s dedication to lifting others up. Along with the references to the aforementioned queer icons, Beyoncé uses Renaissance to celebrate Black women. During the show, she sings, “Break My Soul (The Queen's Version), featuring Madonna. The remix praises every Black performer who inspired them: Bessie Smith, Lauryn Hill, and Nina Simone, among many others. Later on, Beyoncé brings her daughter, Blue Ivy, on stage to celebrate their heritage, with the songs “My Power” and “Black Parade.” The Renaissance Tour feels like one giant love letter to Beyoncé's community—and because of that, every moment has a purpose.

Though the Renaissance Tour is art, and even a pseudo-communion, it's also an athletic feat. Any time you think Beyoncé has reached her peak, she surprises you with something else. At one point, she’s singing riffs you’ve never heard. In the next moment, she’s dancing in stilettos. If you look away for a second, you'll miss a surprise costume change or an exciting set design. It’s magic.

After the concert, I see a teenage girl dab her eyes with her sleeve. “‘Formation’ broke me for some reason,” she tells her friend. “I continued to cry for the rest of the show.”

Those who weren’t crying in the presence of Queen Bey were screaming instead. Case in point: “Energy.” The thumping club track arrives midway through the show. When she sings, "Look around everybody on mute," the crowd is told to shush for dramatic effect. It would have been cool, but everyone was too busy singing to oblige. Beyoncé didn’t seem to mind. She just laughed and carried on. Legendary status aside, Beyoncé is a human being who can’t help but giggle when things go wrong.

On my way home, looking at my notes from the night, I found a few words from my conversation with a kind man named Herby. I met him earlier that night and complimented his outfit—a sparkly silver number that Beyoncé would surely approve of.

“Why do you love Beyoncé?” I asked.

“She represents the dichotomy of being a human person with limits, but she feels limitless,” he said. “That inspires me."

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Beyoncé’s Renaissance World Tour Becomes Highest Grossing Tour By Black Artist

Queen Beyoncé is having the best year ever. So far, we’ve witnessed everyone from Oprah to Madonna sing praise to what is arguably one of the greatest shows ever. After 33 shows, box office data shows, Beyoncé’s Renaissance World Tour has become the high-grossing tour of her career, with $295,676,504 in sales.

This becomes the highest-grossing tour of all time by a black artist, breaking the record set by her own Formation World Tour. Set to make $500,000,000 in ticket sales, I can’t help but to think about the adversity she overcame back when she silently fought through senseless rumors. If we learn anything from this ray of light we learned that naysayers and opinions don’t mean a thing when you stay disciplined and focused.

This tour tells a story with so many hidden gems that calling it a show doesn’t even do it justice—it’s an experience. One that you don’t want to miss. Creative thinkers, movers and shakers have been showing up by the boatloads to get a glimpse of this epic performance. Lenny Kravitz, Naomi Campbell, Pharrell Williams, Kelly Rowland, Salma Hayek, Kris and Kylie Jenner, Kandi, Megan Thee Stallion, Chloe and Halle Bailey, Amy Schumer, Ashley Graham and more have made this a priority in their schedule much like the rest of us.

I remember a time when they couldn’t pronounce her name correctly.

Now my 7-year-old daughter Felicity is envisioning her own future after we went to see Beyonce perform at Met Life Stadium in New Jersey. We both sang and danced through tears amazed at the legend my daughter (and myself) look up to. For three hours straight we watched her consistency, perfection, stamina and creativity in a way the world has never seen before. After growing up with every image but my own in the spotlight, it’s breathtaking to witness this greatness from Beyonce (and Blue Ivy) with my own black princess. 

It’s safe to say this generation has a new Michael Jackson in town…and her name is Beyoncé.

View this post on Instagram A post shared by Felicity (@felicitysseamoss)

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Regarding Beyoncé, Mother of the House of Renaissance

When Renaissance dropped last summer, it was perfect timing. The masses were ready to shake off that last bit of ennui wrought by pandemic isolation, and Beyoncé exhorted us to celebrate that we were alive en masse, and to do so in the face of all that was scary: crowds, evil bosses, legislators, haters, the Supreme Court. “ Break My Soul ,” the single indebted to ’90s vocal house, was a jubilant, defiant protest. Its arrival on June 20, 2022, just four days before SCOTUS overturned Roe v. Wade , meant that it soundtracked furious pro-choice rallies across the country. It also lent itself to a larger landscape: a perfect lip-sync song in the era of state-level drag bans, a song of strength devoted to Black women and LGBTQ people in the ongoing fight for justice.

Millions of people have been enthralled by Beyoncé’s live imagination of Renaissance since it hit the road this May in Stockholm. When I saw her perform for a crowd of 82,000 at New Jersey’s MetLife Stadium this summer, it was impossible not to think of this timing. Her vehement demand for joy as an intervention was on full display, on giant glittering screens projecting her every expression and accessory. The pan-African flag gleamed across the masses as she sang “Black Parade” from atop a silver tank, her eleven-year-old daughter Blue Ivy raising a Black Power fist at her flank. The sound of ballroom artist Kevin JZ Prodigy commentated “cunt to the feminine what, ow” in staccato cracks as she hand-twirled into the quiet ferocity of “Cozy.” The rejuvenating tribute to her idol, the icon and queen of rock Tina Turner, with a transcendent rendition of “River Deep, Mountain High.” The retrofitting of the famous Italian painting The Birth of Venus , in which she emerged like a pearl on the half shell via Flora Purim singing “Plastic Off the Sofa.” The visibility she gave her inclusive, euphoric array of dancers and performers, including those who were nonbinary, transgender, plus-size, and, in the case of one trumpeter in her famous all-woman band, pregnant. The space she gave voguers from the ballroom scene, including Darius Hickman , Carlos Basquiat , and Honey Balenciaga , to express the beauty of their art.

That concert was one day after one of her fans, a 28-year-old Black dancer named O’Shae Sibley , was murdered in a racist and homophobic hate crime at a gas station in Brooklyn, simply for voguing to Renaissance . (The chant that followed at a memorial in Los Angeles, one of several across the country, went: “O-O-O-Shae. He was voguing to Beyoncé.”) Balenciaga took time off to join mourners in Brooklyn, and Beyoncé paid her respects . O’Shae Sibley’s death underscored the importance of her speaking directly to her queer fans, using her massive power as a place for others to reflect themselves back and, one hopes, teach everyone else respect and tolerance. The devil is working hard , but Beyoncé works harder.

And in a disquieting climate in which a young Black man can be targeted simply for expressing his joy, it’s a massive relief to experience something that feels like an unencumbered blast of good, even amidst the very real fact that inclusion and catharsis is not protection . In that way, Renaissance has been the year’s defining, galvanizing cultural event, a release in which the catharsis of the club has been replicated on a massive scale. Fashion alone has been altered irrevocably: Beyoncé’s custom looks for each concert are chronicled in all their intricate splendor on her Instagram , and her label Parkwood has been posting the fans in kind, showcasing their gorgeous outfit photos from each tour stop. (In late August, Beyoncé requested attendees “wear your most fabulous silver fashions” in honor of her birthday and Virgo season.)

The way attendees have been showing out reflects their widespread intent to be active participants in one of the most inclusive pop tours ever staged. They’ve spent massive amounts of money to travel overseas for early stops of the tour, to buy outfits that represent both the flashiest church and sophisticated club afters, and to be a member of the Renaissance. I saw these things span across age, race, gender identity, sexual orientation, even class differences, as evidenced by the high-low range of the style and ingenious amount of DIY fashion. While the active, enthusiastic participation has been delicious for fans to watch online, it felt even better to be cocooned in it in person—throngs of showgoers clad in glimmering sequins, silvery cowboy boots, iridescent hats, and LED accessories, taking a cue from the Renaissance cover art and Beyoncé's equine partner, the mirrorball-clad Reneigh. (Everyone, it seems, is a horse girl now.) Fans have been instrumental in the actualization of the tour and the crucial key to its ambience and sense of communal activity. When I was there, even the security was hype. In my row in the stands, an exceedingly jovial guard—over-50 and white, with a Jersey accent—took outfit photos for showgoers with their phones. When he saw my friend and I laughing happily at his enthusiasm, he admitted with a grin, “I turn into a bad bitch for Mrs. Carter!”

That fandom and connection goes beyond the camaraderie and aesthetics of such a show. In the realm of performance, there is simply no one better than Beyoncé, who is living proof that women don’t wither and die in middle age, they flourish. For the duration of her career, she has delivered pristine vocals alongside punishing athleticism, all while holding her facial expressions at exactly the correct angle and leading a gargantuan stage with tens of dancers and musicians. It’s the level of greatness that solicits respect from the greats themselves. On the Renaissance tour stop that fell on her birthday in September, Diana Ross—79 and still going strong—came onstage to support Beyoncé, leading a muva-to-muva singalong of “Happy Birthday” that ended with a heartfelt hug. “I’m thankful for every flaw, every stretch mark, every FUPA… I’m thankful that I’m here, at fuckin’ 42,” Beyoncé said before the going into the song “Flaws and All.” She held court in a black lace gown custom-made by Dolce & Gabbana, looking every bit the regal diva, making a promise that she’s nowhere near half-done. There is strength in seeing adult women command such massive audiences, and a reminder that our own wrinkles, or stretch marks, or crow’s feet don’t define us, but rather showcase our experiences and wisdom.

Beyoncé opens the Renaissance shows with a run of four ballads, including a majestically felt rendition of “Dangerously in Love” and Mary J. Blige’s “I’m Goin’ Down”—itself a cover of ’70s soul group Rose Royce—that grounds her as a brolic purveyor of blues. Through the rhythmic three hours that follow, she interpolates—live remixes, really—her own discography into itself as well as intergenerational cuts from other artists (“Love on Top” with the Jackson 5’s “I Want You Back,” to cite one ). Three-quarters of the way through the concert, she performs her transcendent cover of Frankie Beverly and Maze’s “Before I Let Go,” a nod to her Homecoming album and another link from her own music to Black pop hits past. She improvised deep cuts, too: upon seeing Tia Mowry in the Los Angeles crowd, she interpolated a bit of “ Yeah, Yeah, Yeah ,” a song Mowry released with her girl group Voices in 1992, when Bey was a tween. Throughout, she deploys the sorts of extravagance and camp that ballroom values, Mothering outlandishly through her “Heated” commentating , inspiring Beyoncslay memes across social media, and making an interactive game out of which city shushes most thoroughly when she sings “look around, everybody on mute” in “Energy.” (Houston seems to have won.)

No one else at this level possesses the same combination of historical gravitas and trenchant work ethic, or uses their platform to link their work to the roots of American Black music and beyond. Take, for instance, the segment in the Renaissance tour when she uses a costume change break to edify the audience about the history of house, with videos about its importance set to soundtracks like “ Percolator ” and “ Hot Music ,” the unofficial theme songs of New York City block parties for three decades. She not only grounds Renaissance in a long lineage, she reminds audiences that house music is Black music, and important to understanding its presence. To that end, she has enlisted a slate of young, queer, Black, and regional DJs to provide opening music—and vibes—for Club Renaissance, including Arca, Ariel Zetina, Mike Q, and Uniiqu3, both cosigning them and giving them the rare opportunity of playing music for stadiums. She’s also blessed regional stars at certain chosen stops—Kendrick in L.A., Megan Thee Stallion performing the “Savage Remix” for the first time ever in Houston, and a solid rumor that Big Freedia will join her on “Break My Soul” for her stop in New Orleans this week.

It’s hard to think of a massive pop tour that speaks so clearly and perfectly to its sociopolitical moment as the Renaissance tour. Beychella , to be sure, Beyoncé's 2018 culture-shifter devoted to Black feminism, HBCUs, and the nuances of various Black artforms. Before that, perhaps Madonna's 1990 Blond Ambition tour, when she performed “Vogue” in an earlier era of heightened homophobia and transphobia, flaunting her sexuality and power in a time when silence equaled death . As it happened, Madonna was in the audience in New Jersey , witnessing Beyoncé perform her Black woman-elevating remix of “Vogue,” as a sort of passing of the torch between Queens of Pop.

Maybe some of that freedom was simply Beyoncé living her house diva dreams, a significant statement in itself. So many pop house divas of the past were erased from the popular record of the time, a record that is only beginning to be corrected . The iconic Martha Wash, of the Weather Girls, spent the fatphobic ’80s and ’90s suing for her own credits , after being replaced with younger and thinner women lip-syncing her vocals in the videos for Black Box’s “Everybody Everybody” and C+C Music Factory's “Gonna Make You Sweat.” Those lawsuits were perhaps the best known, but similar stories of erasure have played out with Loleatta Holloway , Jocelyn Brown , Kelli-Leigh , and more, where Black women vocalists transformed scores of songs into indelible classics, but are viewed by their male producers and record labels as throwaway, mere clips to sample, or tertiary to the real genius.

Beyoncé placing herself in front of this history won’t right those wrongs, and it is easy to ascribe dreams and aspirations onto her. As with many pop stars, her moves don’t always square with the values she performs . But she does have the cultural power to reorient the narrative even just a little, whether centering house divas or paying homage to LGBTQ Black and Latine ballroom originators. (Plus vocalists are infinitely more interesting to watch than DJs, particularly in a climate when staring has supplanted dancing.) It is not uncommon to get hyperbolic about Beyoncé. She has, like many pop stars, been deified to the point of Veladoras hawked by candle companies, her beatific visage and unfailingly sick fits replacing the benevolent gaze and gently draped robe of La Virgen. During her tour she assumed the role of the conduit and protector; she is the “Mother of the House of Renaissance ,” as a voice-over goes in the tour as she fans herself in the style of the ball. A house mother is the keeper of her children, and her children are genuflected. But the Renaissance tour’s most important act was bringing Beyoncé’s fans together in massive numbers, creating a space in which joy can build and attendees can experience sweet release. That’s what dance music, at its beating heart, is about.

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Beyoncé’s Renaissance World Tour Makes History As The Highest-Grossing Tour For A Black Female Artist

Beyoncé is one of the most successful Black female performers of all time, and she has the stats to prove it. Her Renaissance World Tour has already amassed over $295.6 million in sales, making it the highest-grossing tour for a Black female artist — eclipsing her own Formation World Tour .

According to Billboard , the European leg of Bey’s tour garnered $154.4 million on its own with one million tickets sold across 21 shows. The first nine shows alone made the Houston native the top-grossing touring act of May. Not to mention, her five-night run in London earned $42.2 million from its 240,000 tickets sold.

The outlet later predicted that, based on the tour’s current trajectory, it’s expected to rake in $415 million with 2.8 million tickets sold. Forbes , however, predicted that the IVY PARK mogul is anticipated to make $2.1 billion from the Renaissance World Tour, beating out Taylor Swift’s Eras Tour.

After 33 shows reporting box office data, Beyoncé's #RENAISSANCEWorldTour has become the high-grossing tour of her career, with $295,676,504 in sales. This becomes the highest-grossing tour of all time by a black artist, breaking the record set by her Formation World Tour. pic.twitter.com/z4szqLfZd1 — BEYONCÉ LEGION (@BeyLegion) August 8, 2023

In terms of the overall top-grossing tour for a Black artist, The Weeknd holds that title with his After Hours Til Dawn Tour . The 64-city run grossed $350 million in sales, surpassing Michael Jackson’s Bad Tour, which earned $311 million — adjusted for inflation.

The sold-out 2022 North American leg of the Canadian crooner’s stadium tour brought in $148 million.

When celebrating news of the feat back in July, The Weeknd shared a video of him performing “D.D.” from his mixtape, Echoes of Silence , which is a loose remake of Jackson’s “ Dirty Diana .”

“My king. Then, now and forever. Rest easy,” read the caption from the Instagram post.

View this post on Instagram A post shared by Abel Tesfaye (@theweeknd)

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Beyonce’s Renaissance World Tour Is Highest Grossing of Any R&B Artist

Cillea Houghton

Updated: 

With her 2023 Renaissance World Tour , Beyonce continues to best herself. According to Billboard , the first dozen shows of the U.S. leg of the tour grossed $141.4 million, bringing the current total gross to north of $295 million. The European leg alone made more than $150 million.

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With these numbers, the Renaissance World Tour is now the highest-grossing tour for not only an R&B artist but a Black artist, in the history of the Boxscore. It’s also the highest-grossing tour of Beyonce’s career so far. This marks her sixth headlining tour, with her 2016 The Formation World Tour previously being her best-seller at $256 million. Her 2018 joint headlining tour with husband Jay-Z, On the Run II Tour, was just behind that with $253 million.

[RELATED: Beyoncé Packs in Stadiums like a Night Club with Renaissance World Tour: See Setlist]

The Renaissance World Tour made an impression right off the bat. When the tour launched in May 2023, she became the first woman to top the Boxscore chart since 2019 when Pink was at No. 1 with her Beautiful Trauma World Tour.

The tour started in Europe on May 10 with two shows in Stockholm, Sweden, followed by several dates across the continent. She returned to North America in July for two shows in Toronto, Canada. She’ll continue to trek across North America until the tour wraps on October 1 in Kansas City, Missouri.

Queen Bey will make a highly anticipated stop in her home city of Houston, Texas, for two nights on September 23 and 24. Beyonce and her Destiny’s Child bandmate Kelly Rowland are also working on a housing project in their native city called the Knowles-Roland House Project that aims to establish permanent housing units for the homeless population in the city. Harris County Judge Lina Hidalgo said that the initiative will have a “bigger launch” when Beyonce arrives in September.

Photo by Kevin Mazur/WireImage for Parkwood

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Beyoncé’s 30 Biggest Solo Hits on the Billboard Hot 100, From ‘Crazy in Love’ to ‘Texas Hold ‘Em’

Bow down to Queen Bey.

By Hannah Dailey

Hannah Dailey

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From her splashy first hits as a soloist to her later experiments with house music and country, Beyoncé always sticks the landing — even upwards of three decades into her career.

But before we dive into her biggest hits as the mononymous, standalone performer the world knows her as today, it’s important to note that Bey had already scored four No. 1 hits on the Billboard Hot 100 well before to her solo debut. How? Say their name: Destiny’s Child, where she got her start alongside Kelly Rowland and Michelle Williams. The R&B trio notched a total of 14 entries on the chart — 10 of which were top 10 hits — before disbanding in 2006.

When she later set her sights on a one-woman endeavor, Bey was an immediate success. The Houston native’s first-ever solo single, “Crazy in Love” — recorded with future husband Jay-Z — spent a whopping eight weeks at No. 1 in 2003 and remains one of her biggest hits to date.

Since then, Ms. Carter has continued to top the charts with singles such as 2005’s “Check On It” with Slim Thug, 2006’s “Irreplaceable” and 2008’s “Single Ladies.” The same goes for her tracks that either pushed the boundaries of pop/R&B or shed the genre’s label altogether, with the twangy “Texas Hold ‘Em,” for instance, making Bey the first Black woman to ever top the Hot Country Songs chart in addition to ruling at No. 1 on the Hot 100 for two weeks.

The most decorated Grammy winner of all time, Beyoncé’s music has defined generations — and continues to do so. Keep reading to see her 30 biggest hits on the Billboard Hot 100 — so far, that is.

Beyoncé’s Biggest Billboard Hot 100 Hits ranking is based on weekly performance on the Hot 100 through Sept. 7, 2024. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at lower spots earning the least. Due to changes in chart methodology over the years, eras are weighted differently to account for chart turnover rates during various periods.

Album: I Am…Sasha Fierce (2008) Peak position: No. 39 Peak date: 8/15/2009

Listen above.

"Love in This Club Part II" (Usher feat. Beyoncé & Lil Wayne)

Album: Here I Stand (2008) Peak position: No. 18 Peak date: 5/31/2008

Listen here .

"Partition"

Album: Beyoncé (2013) Peak position: No. 23 Peak date: 3/15/2014

"Ring the Alarm"

Album: B’Day (2006) Peak position: No. 11 Peak date: 9/30/2006

Album: Lemonade (2016) Peak position: No. 11 Peak date: 5/14/2016

Album: I Am…Sasha Fierce (2008) Peak position: No. 19 Peak date: 3/7/2009

"Until the End of Time" (With Justin Timberlake)

Album: FutureSex/LoveSounds Deluxe Edition (2006) Peak position: No. 17 Peak date: 12/15/2007

"Best Thing I Never Had"

Album: 4 (2011) Peak position: No. 16 Peak date: 8/13/2011

Album: Beyoncé [Platinum Edition] (2014) Peak position: No. 13 Peak date: 12/20/2014

"Déjà Vu" (feat. Jay-Z)

Album: B’Day (2006) Peak position: No. 4 Peak date: 8/12/2006

"Beautiful Liar" (With Shakira)

Album: B’Day Deluxe Edition (2006) Peak position: No. 3 Peak date: 4/7/2007

Album: Renaissance (2022) Peak position: No. 6 Peak date: 2/18/2023

"Mi Gente" (J Balvin & Willy William feat. Beyoncé)

Album: N/A Peak position: No. 3 Peak date: 10/21/2017

"Sweet Dreams"

Album: I Am…Sasha Fierce Peak position: No. 10 Peak date: 11/7/2009

"Perfect" (Ed Sheeran feat. Beyoncé)

Album: N/A Peak position: No. 1 (five weeks) Peak date: 12/23/2017

"Texas Hold 'Em"

Album: Cowboy Carter (2024) Peak position: No. 1 (two weeks) Peak date: 3/2/2024

"Break My Soul"

Album: Renaissance (2022) Peak position: No. 1 (two weeks) Peak date: 8/13/2022

"Drunk in Love" (feat. Jay-Z)

Album: Beyoncé (2013) Peak position: No. 2 Peak date: 2/15/2014

"If I Were a Boy"

Album: I Am…Sasha Fierce (2008) Peak position: No. 3 Peak date: 11/8/2008

Album: I Am…Sasha Fierce Peak position: No. 5 Peak date: 5/23/2009

"Telephone" (Lady Gaga feat. Beyoncé)

Album: The Fame Monster (2009) Peak position: No. 3 Peak date: 4/3/2010

"Savage" (Megan Thee Stallion feat. Beyoncé)

Album: Good News (2020) Peak position: No. 1 (one week) Peak date: 5/30/2020

"Me, Myself and I"

Album: Dangerously in Love (2003) Peak position: No. 4 Peak date: 2/21/2004

"03 Bonnie & Clyde" (Jay-Z feat. Beyoncé)

Album: The Blueprint 2: The Gift & The Curse (2002) Peak position: No. 4 Peak date: 12/28/2002

"Naughty Girl"

Album: Dangerously in Love (2003) Peak position: No. 3 Peak date: 6/5/2004

"Single Ladies (Put a Ring on It)"

Album: I Am…Sasha Fierce Peak position: No. 1 (four weeks) Peak date: 12/13/2008

"Check on It" (feat. Slim Thug)

Album: B’Day (2006) Peak position: No. 1 (five weeks) Peak date: 2/4/2006

"Crazy in Love" (feat. Jay-Z)

Album: Dangerously in Love (2003) Peak position: No. 1 (eight weeks) Peak date: 7/12/2003

"Baby Boy" (feat. Sean Paul)

Album: Dangerously in Love (2003) Peak position: No. 1 (nine weeks) Peak date: 10/4/2003

"Irreplaceable"

Album: B’Day (2006) Peak position: No. 1 (10 weeks) Peak date: 12/16/2006

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Beyoncé raises – and clears – her own ambitious bar at Renaissance tour US opener

PHILADELPHIA – Two  Beyoncé s come to play on her Renaissance World Tour .

There is the understated Beyoncé  of the opening segment, her creme brulee -colored hair blowing delicately as she vocalizes intently through “Dangerously in Love,” sits elegantly atop a sliver baby grand piano for “1+1” and thanks the crowd for their loyalty (“You are the reason I’m standing on this stage”).

Then there is the Beyoncé of the other five segments of the show, with themes such as “Renaissance,” “Opulence” and “Motherboard.”

This Beyoncé is an unstoppable force of precise movement and vocal dynamics, a superstar who, two months shy of turning 42 and in the where-did-the-time-go third decade of her career, has raised – and cleared – her own ambitious bar yet again.

At Philadelphia’s Lincoln Financial Field Wednesday, Beyoncé finally unveiled her colossal, eye-popping production in the U.S. She’s already played for a million-plus fans since launching the world tour in Sweden in May, allowing her time to perfect every second of this polished, 2 ½-hour spectacle that will play nearly two dozen stadiums through October.

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Though a tiny, taut figure on a stage designed with ramps, staircases and catwalks, Beyoncé loomed magnificently on a video screen wall, her doe-eyed beauty and trademark snarls amplified to reach the farthest cranny of the venue.

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The dazzling concept videos that ushered in each changeover – particularly, the futuristic visual feast that created a Bey-bot for the “Renaissance” segment – captivated, never feeling like costume-change filler or a glitzy stall tactic.

Of course, there is no stalling in Beyoncé’s universe . The blizzard of beats powering “I’m That Girl” and “Cozy” was complemented by rigidly snapped elbows, severe shoulder shrugs and cocked hips by Beyoncé and her cadre of 10 female dancers.

Her ode to house music, punctuated by “Cuff It” and “Break My Soul” – standout tracks from last summer’s “Renaissance” album – pulsed accordingly, with lights attacking from every angle of the stadium.

Clad in a Barbie-pink gown with more slits than material, Beyoncé radiated glam-infused confidence. When her sunglasses slid down her nose one too many times, they were brusquely tossed offstage. No errant eyewear will impede her rhythm.

A hearty rump shake at the start of “Break My Soul” sent the sold-out crowd into spasms, but it was the midsong interpolation of Madonna’s “Vogue” that further encouraged their glee as Beyoncé name-checked Lizzo, Nina Simone, Solange Knowles and Jilly From Philly in her recitation.

By now, the Beyhive knew to expect an appearance by Blue Ivy, the 11-year-old daughter of Beyoncé and husband Jay-Z (aka Shawn Carter), who started joining the team on stage in Europe. But even with advanced knowledge, the crowd erupted when the preteen arrived during “My Power,” leading the dance crew down a ramp while Mom followed atop a glistening tank-like vehicle.

Blue Ivy ably kept pace with the fleet feet around her, ending “Black Parade” with her fist in the air. As the audience showered the young Carter with more whoops of appreciation, Beyoncé’s game face melted into a proud smile, leading to one of the most memorable snapshots of the night.

The tour set list draws heavily from “Renaissance” as expected, but Beyoncé sprinkles in hits – though maybe not enough for some fans – from her robust catalog, including “Naughty Girl” and “Formation.”

A musical highlight landed with the double punch of classics “Love on Top” and “Crazy In Love.” With her male dancers lined up behind mic stands, Beyoncé humorously led the crowd through the escalating key changes in “Love on Top” before the delectable groove of the song dovetailed into the snaky bass line of The Jackson 5’s “I Want You Back,” complete with throwback choreography.

It was a moment of unadulterated joy that remained through the sizzle of “Crazy in Love,” which included a fabulous coda by her hardworking band.

The tempo of the show decelerated a bit as Beyoncé entered the homestretch in her already-famous Loewe bodysuit designed with strategically placed handprints. “Plastic Off the Sofa” and “Virgo’s Groove” didn’t have the audience as adrenalized as intensely as other selections from “Renaissance.” But by the time she reemerged for the encore sporting a yellow-and-black headdress and offering a powerful missive with “America Has a Problem,” attentions were rapt again.

Soaring balladeer and poetic messenger. Refined couture and sequined camouflage. Warm smiles and dramatic sneers.

Beyoncé delivers all of it, with excellence.

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Beyoncé Announces Her Renaissance World Tour 2023: All We Know

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Beyoncé kicked off Black History Month with the announcement the world has been waiting months for: Her Renaissance World Tour is happening, this year. Bey unveiled the news with a simple Instagram post: “RENAISSANCE WORLD TOUR 2023.” She did not immediately provide more information, but more is obviously coming.

So, what is known so far about her tour? What can the world expect? Here, we've gathered everything released so far.

When is the Renaissance World Tour happening?

The tour kicks off May 10 in Stockholm and ends on September 27 in New Orleans. See all the dates below, per Beyoncé's website :

• May 10: Stockholm, Sweden @ Friends Arena
• May 14: Brussels, Belgium @ King Baudouin Stadium
• May 17: Cardiff, Wales, U.K. @ Cardiff Principality Stadium
• May 20: Edinburgh, Scotland, U.K. @ BT Murrayfield Stadium
• May 23: Sunderland, U.K. @ Stadium of Light
• May 26: Paris, France @ Stade de France
• May 29: London, U.K. @ Tottenham Hotspur Stadium
• May 30: London, U.K. @ Tottenham Hotspur Stadium
• June 8: Barcelona, Spain @ Olympic Stadium
• June 11: Marseille, France @ Orange Vélodrome
• June 15: Cologne, Germany @ Rhein Energie Stadion
• June 17: Amsterdam, Netherlands @ Johan Cruijff Arena
• June 21: Hamburg, Germany @ Volksparkstadion
• June 24: Frankfurt, Germany @ Deutsche Bank Park
• June 27: Warsaw, Poland @ PGE Narodowy
• July 8: Toronto, Canada @ Rogers Centre
• July 12: Philadelphia, PA @ Lincoln Financial Field
• July 15: Nashville, TN @ Nissan Stadium
• July 17: Louisville, KY @ L&N Federal Credit Union Stadium
• July 20: Minneapolis, MN @ Huntington Bank Stadium
• July 22: Chicago, IL @ Soldier Field Stadium
• July 26: Detroit, MI @ Ford Field
• July 29: East Rutherford, NJ @ MetLife Stadium
• August 1: Boston, MA @ Gillette Stadium
• August 3: Pittsburgh, PA @ Acrisure Stadium
• August 5: Washington, DC @ FedEx Field
• August 9: Charlotte, NC @ Bank of America Stadium
• August 11: Atlanta, GA @ Mercedes-Benz Stadium
• August 16: Tampa, FL @ Raymond James Stadium
• August 18: Miami, FL @ Hard Rock Stadium
• August 21: St. Louis, MO @ Dome at America's Center
• August 24: Phoenix, AZ @ State Farm Stadium
• August 26: Las Vegas, NV @ Allegiant Stadium
• August 30, San Francisco, CA @ Levi’s Stadium
• September 2: Inglewood, CA @ SoFi Stadium
• September 11: Vancouver, BC @ BC Place
• September 13: Seattle, WA @ Lumen Field
• September 18: Kansas City, MO @ Arrowhead Stadium
• September 21: Dallas, TX @ AT&T Stadium
• September 23: Houston, TX @ NRG Stadium
• September 27: New Orleans, LA @ Caesars Superdome

Where can you get tickets?

Tickets for the North American leg of the tour will be available through Ticketmaster's Verified Fan program. Tickets will go on sale Monday, Feb 6, with an exclusive presale to BeyHive members, according to a Live Nation press release.

Verified Fan registration is now open. Once you register, you'll be placed in a lottery system that determines which fans get invited to purchase tickets. Registration alone doesn't guarantee tickets. If you're selected, you'll get an access code the day before tickets go on sale. Everyone else will be placed on a waitlist. According to Live Nation, this process is intended to help Ticketmaster weed out the resellers and verify your account so that actual fans get priority to buy tickets.

Register for Tickets

Citi cardmembers will have a special Citi Presale after the Verified Fan process. Get more details here . Verizon will also offer an exclusive presale through their customer loyalty program Verizon Up .

Will Beyoncé be using Ticketmaster like Taylor Swift to sell tickets?

Yes, but given what happened with Taylor Swift's Eras tour (and the fact it led to Congressional hearings about Ticketmaster ’s practices), it seems very likely both Beyoncé and Ticketmaster would want to avoid repeating that mess. That most likely explains the usage of the Verified Fan system.

Where will Beyoncé be playing?

The Renaissance World Tour will hit 40 cities in North America and across Europe. Stops include Paris, London, Amsterdam, Toronto, Chicago, East Rutherford, Atlanta, Las Vegas, Los Angeles, Houston, and many more.

What has Beyoncé said about the Renaissance World Tour?

She just announced it was happening with a post on February 1. Her website didn't immediately contain any more details. But during the Wearable Art Gala in October 2022, she appeared to confirm it would start this summer, as a backstage tour with her mother Tina Lawson was up for auction at the event.

Will Beyoncé be performing at the Grammys (on February 5) and sharing more tour details there?

Not clear yet, but she is the most nominated artist at the ceremony . On January 21, Variety reported that “ talks with show producers are ongoing for a possible onstage appearance ” by Beyoncé.

What can we expect from the tour on stage?

Beyoncé hasn't shared that yet either, but given the artistry she put into her recent Dubai show , it's fair to say we can expect no less than excellence, elaborate costumes, and an incredible experience.

This post will be updated the moment more detail is released.

Alyssa Bailey is the senior news and strategy editor at ELLE.com, where she oversees coverage of celebrities and royals (particularly Meghan Markle and Kate Middleton). She previously held positions at InStyle and Cosmopolitan. When she's not working, she loves running around Central Park, making people take #ootd pics of her, and exploring New York City.

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