excuse me, i love you

what is in it

the show, mostly, cut from the london dates, with rehearsal and backstage footage between numbers. it is a concert film rather than a documentary — there is no narrative, no interviews to camera and no argument being made. what it documents is what the set looked and sounded like.

the setlist is the two-album one: sweetener and thank u, next material with the earlier hits threaded through. that combination existed only on that tour, which is most of why the film is worth having.

why it exists

why it is the only one

her tours are unusually thinly documented. there is no official film of the honeymoon tour, none of the dangerous woman tour, and as of writing none of the 2026 eternal sunshine tour. the archive records the runs; the footage for most of them is fan-shot.

that makes this film the only professional record of what she is like on a stage across a whole show — which matters more than it would for most artists, given how often the live vocals question comes up.

the set, as filmed

the running order is the one the tour used all year: sweetener material opening, the earlier hits threaded through the middle, and thank u, next closing it. raindrops opens the show a cappella, which is the single best decision in the production and the thing the film captures better than any phone footage does.

the arrangements are worth attention if you have only heard the records. several are rebuilt for a band rather than for a session — needy and ghostin in particular sit differently live, and the harmony parts that are stacked in the studio are distributed across the backing vocalists on stage. the piece on her live vocals explains why that distribution matters.

what it is not

not a biography, not an account of 2019, and not about manchester or anything else that happened around the tour. people arriving expecting a documentary about that period are reliably disappointed, and the disappointment is a category error rather than a criticism.

the absence is itself informative. an artist of this size not having authorised a documentary in fifteen years is a choice, and it lines up with everything else on the record — leaving twitter in 2021, declining to annotate her own lyrics, and stepping back from public work in 2026.

where to watch it

netflix, where it has remained since release. the where-to-watch page covers the rest — the wicked films, the specials, and the short films that live only on youtube.