Madison Beer’s stages are getting bigger — and more elaborate. At BleauLive Theater at Fontainebleau Las Vegas on Saturday, she performed inside a castle-like set piece anchored by a glowing, music-box carousel, a visual that leaned as much into fantasy as it did scale.

The setting matched the trajectory. As recently as 2024, Beer was playing intimate rooms like the House of Blues inside Mandalay Bay. Now her 32-date “Locket Tour” includes London’s O2 Arena, Kia Forum in Inglewood, Calif., and New York’s Madison Square Garden. “This is a giant stage,” she told the BleauLive crowd, a line that landed as both observation and understatement.

The show opened with sets from Lulu Simon, the daughter of Paul Simon and Edie Brickell and a singer-songwriter in her own right, and Thuy, an independent R&B-pop artist with a breezy, early-2000s sound.

After the openers, the floor quickly filled, with a general admission crowd packing tightly around a runway extending from the stage. Beer treated it less like an accessory and more like a second performance space, repeatedly pushing deep into the audience and turning the runway into a focal point of the show.

The crowd underscored who has grown with her. The room skewed young, dominated by teenage girls, many wearing oversized bows pinned to the backs of their heads — a signature accessory at her shows — while others sported angel wings in a nod to one of her more popular tracks. The visual cohesion between artist and audience gave the night a curated, almost participatory feel.

Between songs, pre-recorded vignettes reinforced that aesthetic. A swan-shaped Tunnel of Love ride opened the show, while another segment showed Beer looming over a detailed miniature of the stage itself, blurring the line between performer and architect. A later sequence leaned into surrealism, with Beer navigating an oversized Operation-style game board, extracting symbols like a locket and a broken heart. The interludes occasionally bordered on indulgent, but they provided a clear visual through line for the set.

Onstage, she backed it up. Joined intermittently by four dancers — sometimes in pairs, occasionally all together — Beer moved constantly throughout the night. Whether strutting, dropping to her knees or singing while lying flat, she never sacrificed vocal control. On a couple of occasions, the backing track threatened to overpower her voice, but those moments were brief and quickly corrected. The physicality wasn’t just for show; it reinforced a performer increasingly comfortable commanding a larger space.

The catwalk, in particular, became a conduit for connection. During “You’re Still Everything,” she dropped to her knees and leaned into the crowd lining the runway, one of the night’s more intimate moments. “Lovergirl” flipped that dynamic into something more playful, as she worked the barricade, clasping hands, pausing for selfies and donning a cowboy hat tossed from the audience, which she kept on for several songs.

She ran through the entirety of the “Locket” deluxe album, weaving in earlier material, with “Angel Wings” and “Boyshit” standing out for their energy and vocal demands. Even across a set built to showcase growth, those moments highlighted the foundation of her appeal: a voice capable of carrying both spectacle and stripped-down intimacy.

By the time she closed with “Bittersweet,” the crowd was already on its feet. Confetti — a Vegas show staple — burst well into the song, adding a final layer of spectacle. The reaction felt less like a peak than a confirmation of where she is now: playing bigger rooms, with bigger staging, and a fan base ready to meet her there.