Concert review:
Madison Beer performs astatine BleauLive Theater astatine Fontainebleau Las Vegas connected Saturday, June 13, 2026, during her 32-date "Locket Tour. Photo by: John Taylor
By John Taylor (contact)
Friday, June 19, 2026 | 2 a.m.
Madison Beer’s stages are getting bigger — and much elaborate. At BleauLive Theater astatine Fontainebleau Las Vegas connected Saturday, she performed wrong a castle-like acceptable portion anchored by a glowing, music-box carousel, a ocular that leaned arsenic overmuch into phantasy arsenic it did scale.
The mounting matched the trajectory. As precocious arsenic 2024, Beer was playing intimate rooms similar the House of Blues wrong Mandalay Bay. Now her 32-date “Locket Tour” includes London’s O2 Arena, Kia Forum successful Inglewood, Calif., and New York’s Madison Square Garden. “This is simply a elephantine stage,” she told the BleauLive crowd, a enactment that landed arsenic some reflection and understatement.
The amusement opened with sets from Lulu Simon, the girl of Paul Simon and Edie Brickell and a singer-songwriter successful her ain right, and Thuy, an autarkic R&B-pop creator with a breezy, early-2000s sound.
After the openers, the level rapidly filled, with a wide admittance assemblage packing tightly astir a runway extending from the stage. Beer treated it little similar an accessory and much similar a 2nd show space, repeatedly pushing heavy into the assemblage and turning the runway into a focal constituent of the show.
The assemblage underscored who has grown with her. The country skewed young, dominated by teenage girls, galore wearing oversized bows pinned to the backs of their heads — a signature accessory astatine her shows — portion others sported angel wings successful a motion to 1 of her much fashionable tracks. The ocular cohesion betwixt creator and assemblage gave the nighttime a curated, astir participatory feel.
Between songs, pre-recorded vignettes reinforced that aesthetic. A swan-shaped Tunnel of Love thrust opened the show, portion different conception showed Beer looming implicit a elaborate miniature of the signifier itself, blurring the enactment betwixt performer and architect. A aboriginal series leaned into surrealism, with Beer navigating an oversized Operation-style crippled board, extracting symbols similar a locket and a breached heart. The interludes occasionally bordered connected indulgent, but they provided a wide ocular throughline for the set.
Onstage, she backed it up. Joined intermittently by 4 dancers — sometimes successful pairs, occasionally each unneurotic — Beer moved perpetually passim the night. Whether strutting, dropping to her knees oregon singing portion lying flat, she ne'er sacrificed vocal control. On a mates of occasions, the backing way threatened to overpower her voice, but those moments were little and rapidly corrected. The physicality wasn’t conscionable for show; it reinforced a performer progressively comfy commanding a larger space.
The catwalk, successful particular, became a conduit for connection. During “You’re Still Everything,” she dropped to her knees and leaned into the assemblage lining the runway, 1 of the night’s much intimate moments. “Lovergirl” flipped that dynamic into thing much playful, arsenic she worked the barricade, clasping hands, pausing for selfies and donning a cowboy chapeau tossed from the audience, which she kept connected for respective songs.
She ran done the entirety of the “Locket” deluxe album, weaving successful earlier material, with “Angel Wings” and “Boyshit” lasting retired for their vigor and vocal demands. Even crossed a acceptable built to showcase growth, those moments highlighted the instauration of her appeal: a dependable susceptible of carrying some spectacle and stripped-down intimacy.
By the clip she closed with “Bittersweet,” the assemblage was already connected its feet. Confetti — a Vegas amusement staple — burst good into the song, adding a last furniture of spectacle. The absorption felt little similar a highest than a confirmation of wherever she is now: playing bigger rooms, with bigger staging, and a instrumentality basal acceptable to conscionable her there.
English (US)·