​For a die-hard fan of Beyoncé (also known as a BeyHive member), attending her concerts is communion. It's a rare instance that comes once about every 3 years where we can sit in an arena full of people just like us; gone are the judgments, criticisms, questions and antagonisms of those who think we're strange or idiotic for our fandom. Finally, we're around others who can air-drum and sing-along with us through Bey's ad-libs and quirky vocal/verbal twitches because they too have seen a million recorded performances and have memorized the live versions (if I got a dollar every time I said "Whoadie" while listening to "Countdown" and those around me were confused, I'd be rich). There's a collective gasping and freaking out when unofficial or rarely done songs come up, and inside jokes are understood. Our applause at the end of a dance break or musician's solo is genuine because we know the crew. If Beyoncé does a tribute or a mash-up with another artist's track, we know the reasoning behind it. When she goes into a sermon, tells a story or plays a personal video clip, we know the context and can connect with her. Especially for long-time attendees (I've been lucky enough to see every tour since "Ladies First" in 2004--except "On the Run;" I have my reasons for not going), seeing Bey is like reuniting with an old friend. You are hers, and she is yours. The fellowship is part of what makes the live experience the climatic thing that it is, and why some go to multiple dates on the same tour. So, imagine how downhearted I must have felt walking away from the "Formation World Tour" thinking those days were over.
 
As I worked my way through the bustling crowd at Nashville's Nissan Stadium to get to my seat, I already began to detect a difference. Demographic groups I'd previously seen in smaller portions were substantially larger, necking up with Bey's primary audience of black women in their 20 and 30's. The most notable additions were children (which is interesting because Beyoncé's music hasn't been kid-friendly since 2013), older black women and white men. I thought "Humm...this is interesting," and quickly got back to focusing on locating my section. Once there, I began chatting up the woman next to me. Usually when I do this, it results in a fun stan-session and they're my BFF for the next few hours. This time, I was dealing with someone who described themselves as "a big fan," but only had the Lemonade album, and on stream at that (which is not ownership). Sigh. When Chime for Change ads and music videos for Montina Cooper, Sophie Beem and sister-duo Chloe & Halle started to play, I heard people ask "What's Chime for Change? Who are these singers?" I had to explain that Beyoncé was a co-founder of a fund-raising organization for women, Cooper was one of her background singers, and that the other artists were those she's signed to her record label. "Beyoncé has her own label?," inquires a woman wearing a shirt that reads "'Cause I Slay," a lyric from the single "Formation." Double sigh.
 
A couple of numbers in, the opening chords of "Me, Myself & I" (my favorite ever) slowly ring out. I identify it instantly and jump down the stairway. I couldn't contain myself. It was last on the set-list in 2007 for "The Beyoncé Experience;" hands were up and amen's were shouted like it was a church service then. At this venue though, I apparently was the only one prepared for the deliverance. No one in my area seemed to recognize the song (I was pretty darn close on the side too). Bey talked about how it came from her first solo album and thanked everyone for riding with her since Destiny's Child arrived 20 years ago. I grumbled under my breath, "Too bad most of the people over here don't know anything about that." Later, footage of her talking to a camera at age 16 comes across the screen. I smile warmly. It came with DC's debut, back when there were CD-ROM bonus features. I reminisced about how impressed I was with Bey's focus and spirituality. I related to her perspective and found her adorably endearing. When material like this is pulled out of the vault for the stage, it's precious. A flood of memories rush over; you recall your life at the time, the significance of that piece and where your favorite artist (who's likely reflecting back with you) was in their career. It creates a nostalgic nirvana that's overcoming, particularly when it's happening at mass. Watching that tape threw me into thinking about how I have practically grown up with this woman (we're close in age) and the mark that she's made on me. Additionally, as a music nerd, it's such an honor to have bared witness to an artist's development from the early stages and be able to testify to it. You get to carve "I was here" in the door. However, as with "Me, Myself & I," my near-nirvana was abruptly interrupted when someone said, "Whoa, where'd that come from?" 

On the album teaser, “Bow Down,” Beyonce` made it a point to say “I took some time to live my life, but I’m not just his little wife” to remind everyone that even though she’s madly in love with her rapper/mogul husband, Shawn “Jay-Z” Carter, no one will limit the definitions of her identity or life roles. Over the span of their roughly 12 year relationship, the couple has intently kept their personal life personal and their professional lives as such, only mixing their brands long enough to do a few song collaborations. I find this to be brilliant, as all too often women become so enmeshed with their mates, they don’t know who they are or have a sense of purpose outside of the relationship and have to start from the ground-up should the relationship end. Despite this and all of Beyonce’s many individual accomplishments, some people still attribute her success to the man standing beside her (gotta love gender bias). With Beyonce` clearly being aware of how quickly people will underestimate her based on the ring on her finger, I can’t understand for the life of me why she would name her tour (and, according to rumors, her album) “The Mrs. Carter Show.” After sweating hard to build an empire on her own name since before she was old enough to drive, she’s picked a title that doesn’t reflect that? 2013 marks the 10th anniversary of her 1st solo single, “Crazy in Love,” and album, “Dangerously in Love.” It would be awesome and celebratory to build her promotional campaign around that, especially with Pepsi at the helm, but no, you’re going to put focus on your marital status. Hell, if we’re going to name the tour and album after someone else, let’s call it the “BeyHive Tour,” because after all, that’s who she’s putting the show on for anyway.