Beyoncé and Jay Z spent their Saturday afternoon in SW19, watching their good friend Serena Williams stake her claim as the greatest tennis player in history. A few hours later, it’s another sporting cauldron for Mrs Carter – and, as it turns out, her own convincing argument for immortality.
For years, the woman who would be Queen was somewhat secretive, as celebrities go. Her level of fame precluded actual reclusion, but we certainly never saw more than we were meant to, our view as stage-managed as her touring spectaculars. With Lemonade, however, the veil dropped once and for all, matters personal and political laid bare. It’s the highlight of an already superlative career – and it doesn’t take long to realise the accompanying tour is aiming similarly.
As the evening sun continues to poke its way into Croker, things open as ferociously as one might expect; a blistering ‘Formation’ and a tub-thumping ‘Run The World (Girls)’ rallying the foot soldiers of Queen Bey, herself an army of one. In between, though, it’s ‘Sorry’ that’s most striking. As every fan named Becky does their best to look sheepish, irrespective of follicular styling, the artist who was previously a pop culture juggernaut now looks like a bonafide force of nature.
Sure, the familiar hallmarks are still there, including aggressive dance moves, hair-as-a-weapon head-flicks, and the incredible voice – showcased beautifully in a capella renditions of ‘Irreplaceable’, ‘Love On Top’ and, most notably, during a delicately accompanied run-out of '1+1'. But even the old cuts are now emboldened by a sense of unabashed confrontation; ironically, the woman who once invented Sasha Fierce now finds her own self the very embodiment of fiery passion. The devoted crowd, many dressed in relatively ancient tour regalia, might argue that she was just as vehement before, but it now rings with an authenticity previously lacking.
It’s only right that this triumphant display is presented in such towering style. A runway moving treadmill-style, a monstrous video-box nicknamed The Monolith and a B-stage - which, by the final songs, is like a set from SeaWorld - provide a setting befitting the occasion.
Disappointments? Well, 'Crazy In Love', 'Bootilicious' and 'Naughty Girl' are mashed into an all-too-brief medley - but, as the woman says herself, "every diamond has imperfections". At this stage, though, they're getting harder and harder to spot.
Bow down, bitches...

*All of our great photos from the night can be seen by clicking here.