In his 2012 compendium How Music Works, David Byrne postulates, “The gathered masses in sports arenas and stadiums demanded that the music perform a different function — not only sonically, but socially — from what it had been asked to do on a record or in a club. The music those bands ended up writing in response — arena rock — is written with that in mind: rousing, stately anthems.” So one surmises that when Beyoncé announced her all-stadium tour just days after her audacious and thrilling Super Bowl halftime performance, her accompanying album “Lemonade” would contain songs like “Formation” and “Freedom,” both thoroughly “rousing, stately anthems.” Beyoncé performs at Foster + Partners’ Wembley Stadium, London, U.K.; photo by Karen Wong As performers jostle to out-innovate one another — Pharrell’s interactive website, Kanye’s “surveillance” video, Frank Ocean’s architectural video/album/zine, as three recent examples — Queen Bey’s tour trumps with a royal flush. I witnessed this sold-out spectacle twice: first at Citi Field in Queens, New York, and then at Wembley Stadium in London. Two questions quickly surfaced: How many people are here singing in unison? 45,000 and 90,000, respectively. How many trucks does it take to ... , Karen Wong, read more http://ift.tt/2blSVXv
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