“THIS IS THEATRE,” Beyoncé plastered in black and white on the screens of London’s Tottenham Hotspur stadium on 7 June. The statement perfectly captured exactly what to expect when seeing a seasoned superstar like Beyonce live: performance and production is everything. On the 2nd night of  the ‘Cowboy Carter’ tour’s six-night run in London (Paris is next!,) the Grammy-winner’s vocals were an impressive tour de force throughout. Her range was remarkable, transitioning from infectious rap to faultless opera. Even under foggy rainfall, Beyoncé took it all in her stride, laying down on the middle of stage unphased and pitch perfect.

Beyoncé is a master of creating cult-like universes with her albums. Much like her popular 2023 ‘Renaissance’ tour, the Beyhive arrived dressed on theme, making the stadium a sea of leather boots and cowboy hats. ‘Cowboy Carter’ is deeply rooted in the genre’s Black Southern origins. The genre may not have as much cultural footprint outside of the US, but Beyoncé’s deep passion for her heritage radiated throughout the stadium as she proudly waved the red, blue and white flag for the genre. Admittedly, certain moments, like her beautiful rendition of the country’s national anthem, did create a brief moment of disconnect for the majority European audience, but in the wider context of ‘Cowboy Carter’s’ themes of ownership and identity, Beyoncé’s odes to the US were a powerful symbol of reclamation. 

‘Cowboy Carter’ stans will pleased to hear that here the songs they’ve come to cherish brought to life with lively choreography and retro visuals. Although the crowd’s energy mellowed during certain points of the set list, it never failed to re-ignited when Beyoncé revived some her most adored singles like ‘If I Were A Boy,’ ‘Love on Top’ and ‘Irreplaceable’. The party atmosphere bubbled over into singles from the Cowboy Carter album like ‘Jolene’ and the finale track ‘16 Carriages,’ reaching its peak when Beyoncé dedicated a section of the show to ‘Renaissance’ favourites.

The ‘Cowboy Carter’ tour is truly a family affair, making for some viral and heartwarming moments like daughter Rumi tenderly waving to a packed stadium winged by her mother and sister, Blue Ivy. Blue Ivy has clearly taken after her mother’s performance gene, dancing with as much charisma as the professional backup dancers and giving some show stopping solo dance routines. Beyoncé’s entire crew delivered on the performance end, with the much loved Les Twins bringing all the energy, and talented members of her band like classical violinist Meredith Ezinma Ramsay and Black Irish step dancer Kaitlyn Sardin performing with professional prowess. Beyoncé not only makes sure every member of her team is the very best but also gives them plenty of time to shine on stage.

Although the set design for the show was more minimal in comparison to the last tour, each moment was an intentional transition piece and visually impactful, like Beyoncé straddling a golden mechanical bull or floating across the stadium on a neon horse shoe. The cowboy world building was best showcased in her several costume changes. She switched some things up for night two of her London show, wearing looks by Etro and Versace, styled by Shiona Turini and Ottolinger, styled by Karen Langley. A particularly showstopping look involved a black LED dress designed by Anrealage that illuminated with different colours and designs. From her style to her set, Beyoncé has the art of showmanship down to a science and that’s why she always delivers a 5-star show.

photography. Parkwood Entertainment
words. Shama Nasinde

New York artist Lexa Gates is an icon in waiting. As we find ourselves in really exciting period in rap music where women occupy top spots, an artist like Gates is a refreshing dose of authenticity and individuality. There is no one out right now who sounds quite like her. Gates’ husky vocals and unpredictable lyricism give her the kind of confessional wit and unapologetic self expression reminiscent of 2000s Lily Allen or Amy Winehouse. Sonically, Gates has a chill and laid back vibe, pairing  jazz -inspired vocals with lofi production and old school samples. Gates is only in the early stages of her career and has already developed such a distinct sense of style and tone. As one of Schön!’s 2025 rising stars, we caught up with the artist on her way home from a Europe tour. Shot backstage at her London show by 3STACKS, She reveals her thoughts on London street style and curated a playlist of her personal favourite tracks.

Hey Lexa, what are you up to right now?

I’m on a plane back to New York, filled to the brim with sugar cookies.

How did you find London? Did you get to see much of it?

I love London so much. It’s amazing and super fun to walk around. I love the way people dress and the clothes that they sell out there. The style is unmatched.

Have you found any similarities to New York?

I think London is a lot like New York. There’s a similar demeanour to the locals. It’s a little more loopy, lots of twists and turns to the geography, plus everybody’s pants cut at the ankles.

How does it feel to be receiving so much buzz for your music lately?

I’m appreciative of it and also barely even notice. I’s never enough, never enough…

Do you have any thoughts on the reign of women in rap right now?

Women have straddled the rap game and dominated it. It’s beautiful to see.

Looking back at when you first started writing music, what do you think shaped the kind of artist you are today?

Just staying true to myself and always saying things exactly how they are in the moment. Saying productive, constantly creating, trying to keep the ball rolling. Looking around and finding a unique way to describe the life around me.

What do you think your album ‘Elite Vessel’ says about the era that you’re in right now?

I’m so deep into my next album that I don’t even listen to this one anymore, but when I perform it, it’s always fun and a vibe that all the visions came to fruition.

Are your songs inspired by reality or fiction?

They are inspired by reality or [the] delusion of it. I always see myself further than I am, what is true is even subjective.

The album represents manifestation. What’s the most surreal thing you’ve ever manifested?

Top secret info.

When it comes to personal style, who or what influenced your signature look and liner?

I’m super influenced by my neighbourhood, and newly, the world. Coincidentally, London is really fire and I love people having personal style. Nature and flowers, a spill, everything is so inspiring. The eyeliner is just me trying to get the wings even until they turn way too big.

You’ve done some shows around the rest of Europe, what’s one thing you wanted to tick off your bucket list while on tour?

The perfect flat white.

Lexa Gates‘ new single ‘Latency‘ is out now.

This Schön! online exclusive has been brought to you by

photography. 3STACKS
talent. Lexa Gates
words. Shama Nasinde

suit. Mikio Kasabe
shirt. Sculptor Worldwide
shoes. Jeffrey Campbell
earrings. Mondo Mondo

Atsuko Okatsuka continues to carve an unpredictable, deeply original path; equal parts theatrical precision, physical grace, and fearless vulnerability. With her latest special, ‘Father’, she opens up her most personal chapter yet, transforming family history, cultural identity, and even childhood trauma into something radically hilarious. “I really truly fell in love with the material,” she says. “I got sad even when I did my last show of it in Paris this past March. That’s what guided me this time. The true love of the art.”

Known for her whip-smart storytelling and her iconic bowl cut that, yes, fans have started wearing wigs to her shows, Okatsuka’s star has gone global, touring across more than 20 countries without once needing to change the show. But beyond the laughs, what sets Atsuko apart is her ability to blend the absurd with the intimate, the meticulous with the spontaneous. Whether she’s recounting the time her grandmother kidnapped her as a child (“She didn’t even ask for rent!”) or dissecting the #DropChallenge phenomenon, Okatsuka dances between worlds with the finesse of someone who’s studied every beat, every gesture, and every moment of silence.

Schön! sits down with the comedian to discuss her latest special, her goals for her comedy act, and more.

dress. RVNG Couture
shoes. Simon Miller
rings. Mondo Mondo
opposite
dress. Maisie Wilen
shoes. Jeffrey Campbell
earrings. Annele

In ‘Father’, you open a new chapter of storytelling — deeply personal, yet wildly funny. What was the emotional compass guiding you this time around, and how did it evolve from ‘The Intruder’?

I guess I’ve always been pretty personal with my jokes and shows, but I played with the pacing this time: More grounded, taking my time, trusting the pauses. I got to tour this show more than ‘The Intruder’: performing it over two years in multiple countries and honing in on my joke, writing skills by recording every show on video, watching it over and over again, studying my every move, setting my inflections, really truly falling in love with the material. I got sad even when I did my last show of it in Paris this past March. That’s what guided me this time. The true love of the art.

Also, the fact that I had to admit to myself, many truths like the fact that I am codependent with my husband, or that making friends as an adult is hard, for the fact that my grandma did indeed kidnap me from my father when I was a child. I wrote Glass, who is the journalist at ‘This American Life’, really helped me figure that out. Then, I dug deep to figure out where the jokes were in that.

Your global tour took you to over 20 countries and countless sold-out rooms. Was there a moment on the road that caught you entirely off guard — something only live performance could reveal?

I love travelling and meeting people from all over. I was raised with three different cultures over three different countries, so I love seeing how big the world is, but also how small it is. We all connect on the same things. I never had to change my show, whether I was in Indonesia or Berlin or the Philippines. My show was in English, and with all the references, and all the stories and jokes, everyone understood and related and laughed, and I love that. A lot of locals come to see my shows, and I think my upbringing of being pretty international really helped with that. That’s what that revealed, is that storytelling and comedy is universal.

Also, I learned that in Iceland, I had shark meat in my green room. In Hong Kong, I had a dragon fruit in my green room. It was truly a taste of different cultures, not just through the audiences, but through working together with the locals. I was nervous about performing in Scandinavia because I didn’t know how much we would have in common, only to realize that everyone there has names like Thorbjor Jonsdottir, so they had no problem pronouncing my name. I felt so understood and seen!

top. KkCo
dress. Cecilie Bahnsen
boots. Grounds
ring. Mondo Mondo

The #DropChallenge became a cultural flashpoint — joyful, spontaneous, unforgettable. What do you think it says about your connection to your audience that such a simple gesture could resonate so far and wide?

My audience is very international and interested in different cultures and empathetic to human experiences. Sometimes physical gestures and physical humour, though simple, are the most universal and most relatable. My first comedy influences were very physical: Lucille Ball, Charlie Chaplin, and this Japanese comedian, Ken Shimura. My audience and I connect on a soul level because of that. Also, they are not afraid to have fun!

Your comedic rhythm is like choreography — playful, controlled, electric. How instinctual is that timing for you, and where does precision meet improvisation?

As I said earlier, I really really focused on perfecting this show. From inflection, to the noises I make with my mouth, to eye movements, to head tilts, I really became like a theatre director with this one. Because I am not one note in the way I speak, or in the way I express myself as a person, sometimes I am deadpan, sometimes I am maniacal, sometimes I am passionately yelling. Sometimes it’s just a physical gesture that I give.

I do have a dance background, so musicality is a big influence on how I storytell. It is helpful in creating tension and releasing it. And once you perfect something, you can really stay present and playful, and that’s where the improvisation comes. Every audience is different, so you just need to pay attention and listen for everything and watch for everything that’s happening within the room, and voilà! You have the perfect blend of a written and improvised show.

sweater. Boy Kloves
shorts. Nancy Stella Soto
rings. Mondo Mondo
opposite
sweater. Boy Kloves
shorts. Nancy Stella Soto
shoes. Jeffrey Campbell
rings. Mondo Mondo

Acting alongside Jonah Hill, Keanu Reeves, and soon making your Pixar debut — how does your approach shift when stepping from the stage into a scripted frame?

I am still learning the difference between the art forms. With stand up, I get to be very controlled; my own director, my own writer, and my own performer. I get to practice in the confines of my own home, or in public, the same day I wrote jokes to see if it works! Acting is a little different because it is such a collaborative effort of many different artists. But I think the perfectionism, the consistency of performance with practice to ultimately tell one big story, is similar to stand-up. There is less control, though, you can give a performance that you really love, and ultimately, the editor or director or producer could even cut it out.

Whether on ‘This American Life’ or ‘The Late Late Show’, your voice carries more than laughs — it carries meaning. Do you see your comedy as a form of cultural commentary, or is that just a beautiful consequence?

Honey, when you’re iconic, you are culture! But in all seriousness, I love people and am an observer of humans and what makes them do the things they do, so that’s where my comedy comes from, and that ends up being cultural commentary as well.

top, dress + trousers. Henrik Vibskov
shoes. Grounds
earrings. Naimah Jewels
opposite
dress. Maisie Wilen
earrings. Annele

The bowl cut — part statement, part signature. Was there ever a moment when you realized it had become more than a look, but part of your mythology?

Yes, definitely when I was doing my first ever shows in Madison, Wisconsin, after my first special ‘The Intruder’. A group of fans showed up wearing wigs of my bowl cut. I said, “Wow, I have started a cult.” Kidding, but it is a way the audience tells you, “Hey, you make me feel seen.“ And that’s what comedians are, we’re all unique in our perspectives, but also influence the world. We are kind of like Minnie Mouses. We are all characters.

Your work dances between vulnerability and absurdity. In ‘Father’, was there a moment where that tension surprised even you, where the laugh came from somewhere deeper than expected?

Yes ,I think the part where I talk about how my grandma kidnapped me from my father. That could be a dark side subject, but every time, the audience laughs when I make the joke that she said at least she didn’t ask for rent or anything and then I go further to take that apart by saying “Can you imagine trying to negotiate with a kidnapper and you’re like please? How much money do you want I just want my kid back? And they’re like ‘oh no, it’s on me. No ransom. Free.’” I love seeing that the audience is always on board with absurdity and that they know it’s OK to laugh at that even in darker times.

suit. Mikio Kasabe
shirt. Sculptor Worldwide
earrings. Mondo Mondo
opposite
jacket. Nancy Stella Soto
dress. dodot.
hat. Vintage Fusion Jewelry

Stand-up invites risk — every night is a high-wire act. How do you hold space for the unexpected, especially when a joke doesn’t land the way you imagined?

Well, this is why practice and studying, and more practice are important! So that you leave room to be able to play. And that’s what I see unexpected moments as, a high-stakes play situation.

You’ve carved a space entirely your own — joyfully, defiantly, unmistakably. If the younger you could see what you’ve built, what do you think she’d feel first: disbelief, pride… or something else entirely?

I think she would ask, “What is stand up comedy?” I think she would need a lot of explanation! I don’t know if a younger self could be proud of an older self? I think it’s usually the opposite. Now I’m getting philosophical. But I think I would think, “this girl sounds bad ass.”

top + dress. Henrik Vibskov
earrings. Naimah Jewels
opposite
dress. dodot
shoes. Jeffrey Campbell
hat. Vintage Fusion Jewelry

photography. Ashley Chappell @ FORD Artists
fashion. Daisy Stackpole @ ACM
talent. Atsuko Okatsuka
hair. Hailey Adickes @ Tomlinson Management Group
make up. Yukina Liu using Prada Beauty
interview. Alper Kurtel