logo
Charity 'blown away' by support after Chappell Roan donation

Charity 'blown away' by support after Chappell Roan donation

Yahoo12-02-2025

A charity supporting artists' mental health says it's been "blown away" by the support it's had since Chappell Roan called for better rights for musicians at the Grammy's.
The Pink Pony Club hitmaker donated $25,000 (£20,000) to Backline, a US-based charity, after an emotional speech on stage as she collected her award for Best New Artist.
Charity director Hilary Gleason has told BBC Newsbeat there's been a surge of further support after criticism of a column by a music executive which described Chappell's speech as "misinformed".
"We really appreciate her using that moment to call for action to change the music industry," she says.
Monday was Backline's "single biggest fundraising day" she says, with artists including Charli XCX and Noah Kahan matching Chappell's contribution.
"A lot of others have followed suit," Hilary says, citing donations from global touring companies and promoters.
Hilary feels Chappell is "taking it one step further than a speech" but she'll need more support to make sure there is sustained change.
"This is a movement and it's gonna take every single person in the industry calling for this.
"So we're really excited to be at the forefront of this conversation right now, but it's going to be a long game," she says.
During her speech, Chappell reflected on her own experience when she was dropped by her label during the pandemic, saying she struggled to find a job and could not afford health insurance.
Hilary says while success in the music industry "looks different for everyone", Chappell's experience isn't uncommon.
"It's not always an informed process as you're getting into contracts at the start of your career, so it can be really isolating," she says.
Touring can also put a strain on artists, she adds.
"That lifestyle involves a lot of time away from home, it can be really hard on relationships, there's often a lot of substance use... so touring professionals have a really hard road ahead of them."
Singer Jeff Draco says he could really relate to the issues Chappell raised in her speech.
"It's really tough being independent and when you're not backed by a major label," the 24-year-old from Washington DC tells Newsbeat.
When he first started performing six years ago, Jeff says he "really struggled" with his mental health but didn't have anyone to turn to for support.
"Things can feel really heavy when it's your main passion and it's like, this is the thing I love the most - why is it painful right now?"
Backline offers support to workers across the industry, from artists down to tour bus drivers, with access to financial aid as well as wellbeing services but both Jeff and Hilary think the industry needs more radical change.
Chappell Roan hits back at criticism over Grammys speech
All the winners and nominees at the 2025 Grammy Awards
'It's a cost-of-working crisis for musicians'
Hilary says it's hard to map out the charity's vision for the future because "it looks different than anything that's existed before" but broadly they want "support from the first day you start in the music industry until the day you retire".
For US artists, that includes access to healthcare and Jeff says he'd also like to see "more structural support" from labels, including things like mentoring for emerging artists.
A report in 2023 by the Help Musicians charity found artists in the UK also face similar challenges to their American counterparts.
It found a lack of sustainable income was a barrier to the careers of 44% of artists who took part in their survey and 23% said they were unable to support themselves or their families.
However, a column in The Hollywood Reporter, written by music executive Jeff Rabhan, made the argument that labels aren't charities and artists are not traditional employees.
He branded Chappell "disingenuous" because she's profiting from the industry she's calling out.
Posting on her Instagram story after announcing her donation, Chappell said "sharing my personal experience on a Grammy stage wasn't meant to be a crowdfunded bandaid".
"But a call to action to the leaders of the industry to step up, help us make real change," she said.
Chappell also challenged Jeff Rabhan to match her donation, however he has not responded to requests from Newsbeat about this.
Listen to Newsbeat live at 12:45 and 17:45 weekdays - or listen back here.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Charlotte Le Bon is focused on directing, but has ideas for a ‘White Lotus' return
Charlotte Le Bon is focused on directing, but has ideas for a ‘White Lotus' return

Hamilton Spectator

timean hour ago

  • Hamilton Spectator

Charlotte Le Bon is focused on directing, but has ideas for a ‘White Lotus' return

TORONTO - Since her breakout role in season 3 of HBO's hit dramedy 'White Lotus,' acting offers have been pouring in for Charlotte Le Bon. But for now, the Montreal native is just not interested. 'Making films is my main focus more than acting, to be honest,' Le Bon said during a sit-down interview in Toronto Thursday. Le Bon recently returned from the Cannes Film Festival, where she held meetings in search of a financing partner for her sophomore feature — a still-untitled Montreal-shot drama exploring themes of loss. 'It's autobiographique,' says the bilingual actor, reluctant to reveal too much. 'It's a very, very personal movie and I think the goal is to try to make a very light-hearted movie on grief. It's a challenge, but that's what I'm aiming for.' The Montreal-based Le Bon was in town for Bell Media's 2025/26 programming showcase, where Etalk hosts interviewed her during a splashy event for media buyers about the last season of 'The White Lotus,' which streams on Crave. In Mike White's eat-the-rich anthology series she plays Chloe, a socially savvy French-Canadian expat living in Thailand with her much older boyfriend, and the series' main antagonist, Greg, who now goes by 'Gary.' She's seemingly unaware of Greg's history: in Season 2, he pulled off a plot to murder his wife Tanya, played by Jennifer Coolidge, in order to inherit her wealth. Le Bon says she was ready to take a hiatus from acting when she was offered the 'White Lotus' role. Though she'd built a successful career — with roles opposite Joseph Gordon-Levitt in the 2015 biographical drama 'The Walk' and Christian Bale in the 2016 war epic 'The Promise' — her passion had shifted to working behind the camera. Her 2023 horror-romance 'Falcon Lake,' which she directed and co-wrote, premiered at Cannes to strong critical acclaim. 'I was thinking about taking a break from acting because I was like, 'Oh, I don't know if I still like it.' I was just asking myself some questions about it... I sometimes played characters that were not really inspiring for me for some reason,' she says. 'And then 'White Lotus' arrived and I was like, 'There's no way I can not do this. It's just an amazing opportunity'... Between the moment where I sent the self-tape and the moment I was in the plane flying to Thailand, there were probably like 10 days.' Le Bon says the experience of being part of such a pop-culture juggernaut was hard to wrap her head around. 'It's kind of overwhelming when you're taking part in such an important thing in culture. Even when it started to come out, when I started to see memes on it on social media, it was really exciting,' she says. While acting isn't her current focus, Le Bon says she would be down to return for Season 4 — and has some ideas about how it could play out. 'If their relationship is based on true love, which I think it is, then maybe she'll come back with Greg, because Greg has to come back, for sure,' she says. Le Bon muses that Chloe could be Greg's accomplice or even the one who serves him his inevitable comeuppance. 'She could either become Greg's ally and they can be like a duo of villains, or she can maybe be the one who will create the karma for Greg. Maybe she'll give it to him,' she says. 'He has to get it at some point, so we'll see what happens.' While Chloe's relationship with Greg may seem transactional on the surface, Le Bon argues the two share a deeper 'understanding' of one another. 'I think what she likes in this relationship is she thinks she's found a way to be free… just by spending a lot of money and partying and having sex with whoever she wants,' Le Bon says. 'I think they find an agreement by the end of the season where it's clear that's her intention and maybe he can take part in this and have fun with it as well.' If that setup sounds peculiar, Le Bon says that's just the kind of thing that interests her. 'There needs to be a singular aspect to a part that really inspires me in order for me to move my butt and be an actress again,' she says. 'It needs to be weird.' This report by The Canadian Press was first published June 7, 2025.

The New Faith-Based Hollywood
The New Faith-Based Hollywood

Politico

time2 hours ago

  • Politico

The New Faith-Based Hollywood

BUFFALO, New York — In the middle of April, it's beginning to look a lot like Christmas. Mario Lopez of Saved By the Bell fame is shivering outside on set, periodically bundled in a down jacket. Crew members and Los Angeles-based actors mill about in winter gear. Behind them sit a close-to-frozen pond, barren trees and a row of identical light blue homes. Lopez is the star of A Christmas Spark, an upcoming film about a middle-aged lawyer who returns home around the holidays to become a firefighter — and, spoiler alert, finds love along the way. It sounds, looks and feels just like a Hallmark movie. But peek behind the cameras, and A Christmas Spark is part of a new media boom, funded largely by conservative donors, that's reshaping entertainment in the Trump era. It's produced by Great American Media, a company focused on family friendly, faith-based content and led by Bill Abbott, the former CEO of the parent company of the Hallmark Channel who left amid a nasty political split during Donald Trump's first administration. Despite the stars and the sets, we're far from a major studio production. And for GAM, that's on purpose. Most Hollywood studios and streaming services are dealing with turbulent financial waters and concerns about looming tariffs. But in an era in which Americans are interested in living their politics in the companies they support and the media they consume, outfits like Great American Media — which consists of a streaming service, multiple cable networks and produces much of its own content — are growing. GAM is part of an expanding network of faith-based production companies and streaming services that are finding success in an increasingly polarized country. They're both slowly building dedicated audiences and have cashed in with big hits, like the Angel Studios movie Sound of Freedom, which made $250 million on a less than $15-million budget. These companies insist they aren't partisan, seeking only to create a brand associated with family and amorphous American values that parents can feel comfortable watching at home. But GAM and like-minded companies are able to succeed where secular alternatives struggle by using a sense of conservative aggrievement with Hollywood to their benefit. Bad review in a mainstream publication? It's the liberal media, even more reason to support their offerings. Themes like same-sex marriage or pre-marital sex offend you? Try faith-based media. For decades, many of the same concepts could be applied to Hallmark or Lifetime films. While not overtly political, they espoused generally culturally conservative values and a moral tradition that appealed to conservative viewers, with an emphasis on small-town living and heterosexual love stories. But as Hallmark has begun making some content about gay couples and hasn't committed to promoting unambiguously religious themes, a swath of its fans have gone looking for something else that more directly conforms with their politics and their values. That's where many of them find GAM and a growing slate of faith-based or avowedly conservative production companies. Longtime president of the Federalist Society Leonard Leo, for example, helped to bankroll Wonder Project, the Texas-based studio that produced House of David, the wildly popular retelling of the biblical shepherd's story that found a home on Amazon's Prime Video. Leo received a $1.6-billion gift that he's using with the express purpose of making culture more conservative. 'You're only going to accomplish so much in shifting American cultural and social life through politics and public policy if you're not dealing with the cultural institutions that are at the choke point of American opinion, American sentiment, American thinking,' Leo tells POLITICO Magazine. 'So entertainment, of course, is a really important part of trying to rebalance the culture.' GAM leaders don't state their ambitions as quite as directly political. But they also believe there's money and cultural influence in serving people who are tired of what they're getting from Hollywood. 'We're focused on meeting the needs of an unmet audience,' Abbott wrote in an email to POLITICO Magazine. 'Our viewers are multigenerational and value content that reflects faith, family, and country.' Abbott, a spry, 63-year-old Long Islander by birth, has been working in family entertainment since 1988. He worked at big networks like CBS and Fox before he joined the Crown Media Family Networks in 2000 and was named CEO of Crown Media — the parent company that operates Hallmark programming — in 2009. He oversaw the launch of the Hallmark Movie Channel, got Hallmark into the scripted series game, and presided over decades of sustained success for the brand. Everything looked rosy before a tumultuous breakup during President Donald Trump's first term spurred by a White House Christmas event, an ad for a wedding registry website and a public outcry. 'In 2017, you could see the change in the chairman and the management at the parent company and the family to become much more woke,' Abbott said in February at the Conservative Political Action Conference, when asked why he left Hallmark. 'And DEI driven, very DEI driven. They were in DEI before it was cool to be in DEI.' According to Abbott, in 2017 the Trump White House chose Hallmark to host a Christmas tree lighting ceremony. After the network hosted the show, he says he was told by his bosses at the Hallmark Channel's parent company, that 'you're either for humanity or you're against it,' chastising him for agreeing to host the event. Hallmark did not respond to requests for comment. Then, in 2020, Abbott departed the company after a December 2019 ad for wedding website that depicted a same-sex couple exchanging vows and kissing. After the conservative group One Million Moms objected to the ad, Abbott and his team pulled the ad from its programming — a move that prompted swift backlash. #BoycottHallmark trended on X, then Twitter, and public figures including Ellen DeGeneres called out Abbott directly. The company ultimately reversed course and reinstated the ad, and Abbott stepped down a little over a month after the fallout and the intense backlash to pulling the ad inside and outside the company. 'We made a decision to not take one commercial and that blew up everything on the planet,' Abbott said in April on the podcast of Moms for America, an organization that recently presented Trump with the 'Man of the Century' award at a gala held at Mar-a-Lago. He noted Hallmark was careful about the ads they took in general, not running ads for political campaigns, alcohol or drugs or feminine hygiene products. In his email, Abbott wrote, 'I am very proud of what we built at Hallmark, but their priority became creating content to align with political and social counterculture rather than staying focused on celebrating tradition and delivering what viewers wanted. My goal has always been to serve the audience with uplifting entertainment that creates trust.' So Abbott pivoted into the world of faith-based media. As Abbott tells it, actor Jon Voight — now Trump's Special Ambassador to Hollywood, who starred in the Hallmark film J.L. Family Ranch in 2016 — introduced Abbott to Tom Hicks, a Texas-based private equity investor who runs Hicks Equity Partners. In 2020, Hicks Equity Partners looked to raise $200 million for conservative alternatives to Fox News and explored buying Newsmax, as they sought to put their political imprimatur on American media. (Hicks' son, Thomas Hicks Jr., is a former co-chair of the Republican National Committee and a national finance co-chair for Trump's 2016 campaign.) The Newsmax acquisition never came to fruition, but Hicks Equity Partners helped Abbott get Great American Media off the ground, aiding in his acquisition of the cable network Great American Country in 2021 from Discovery which was subsequently rebranded to Great American Family. Their original programming airs on both linear cable and streaming. According to Great American Media, Hicks Equity Partners has been joined in their initial investment by several other sources, including Deason Capital (a Dallas-based family office run by conservative activist and donor Doug Deason) and Sony. Hicks Equity Partners did not respond to a request for comment. 'Right now, we're going through a period where religious conservatives are increasingly assertive and very energetic in funding and expanding their own cultural space,' said Anne Nelson, author of Shadow Network: Media, Money and the Secret Hub of the Radical Right. While it rejects an explicitly political label, Great American Media receives much of its funding from sources that also fund politically conservative organizations and candidates. They and other similar production companies believe they can power their growth through servicing a large swath of viewers who sound a lot like how Republican candidates describe their voters. 'We have people in our culture who very much want all aspects of their life to be consistent with family-centered values,' Leo says. 'When they're in the marketplace, or when they're in the political world, or when they're simply doing what people do in life to engage in leisure and entertainment, they look for that kind of family-values centered thinking and approach to life.' In the world of faith-based television and movie content, business is booming. Sound of Freedom, a 2023 thriller distributed by the faith-based network Angel Studios about child trafficking that critics called a vehicle for promoting conspiracy theories, minted over $184 million in North America. That made it one of the most successful independent movies ever. His Only Son, another 2023 Angel Studios film, made over $13 million on a $250,000 budget. The Chosen, an ongoing television series about Jesus by filmmaker Dallas Jenkins, claims to have crowdfunded almost $100 million and reached a quarter of a billion people via streaming. Crowdfunding is a popular tool for faith-based production companies that use their audience's enthusiasm — often around a particular political point — to raise cash. Since 2022, The Daily Wire, a conservative media company co-founded by commentator Ben Shapiro, has also produced multiple successful television shows and films and has become a big player in this space. House of David was a huge crossover hit for Wonder Studios, and a starting point for Leo's mission to get more traditional studios and streaming platforms to promote these types of stories. 'I don't see this as being in competition with big Hollywood. I see this as being an opportunity for big Hollywood to make targeted investments that make them money at a time when it's hard to make money in producing movies,' says Leo. Great American Family, meanwhile, grew its viewership by 20 percent between the fourth quarters of 2023 and 2024, making it one of the few networks achieving that sort of rapid growth, according to internal documents from GAM shared with POLITICO Magazine and Nielsen ratings. (Others include conservative media networks Fox News and Newsmax.) Over the same timespan, Hallmark's audience shrunk by 9 percent and Lifetime's by 13 percent, according to Nielsen ratings. Hallmark and Lifetime still maintain larger audiences in total than Great American Family, though. On the business side, many faith-based production companies follow a similar proposition to a channel like Hallmark: build out a slate of movies and TV shows that follow a tried and true formula of simple love stories and moral lessons. 'The reason the model works is because you keep budgets down. These are not genre films. These are not films that require an awful lot in terms of location. Often they're reusing actors,' says Adam Nayman, a Toronto-based film critic and professor at the University of Toronto. 'You kind of build up your own star system where these people are not stars, but they become recognizable to your audience.' GAM's streaming service is currently advertising 'Summer Romcoms' like Sweet Maple Romance, 'Military Heroes' like Peace River: God, Country & The Cowboy Way, and 'Stories of Faith' like Disciples in the Moonlight. The company also launched a specific childrens' hub on their streaming service this week. They are trying to build a catalog of films that fit together in one neat, Christian package. 'Sometimes you'll say, 'I love that show, but I don't know where it is — is this on Max? Is this on Netflix?'' said Kristen Roberts, Great American Media's chief revenue officer and executive vice president of programming, in a recent interview at GAM's New York offices. 'We want to be the complete opposite of that. We want people to say, 'I watch Pure Flix, I watch Great American Family,'' referencing two arms of GAM. The goal, she said, is for viewers to say, ''I watch that service' more than 'I watch that particular show.'' Faith-based networks also have the benefit of being able to position themselves in direct opposition with what they argue is a liberal agenda in Hollywood. The community of faith-based filmmakers can set themselves up as the antidote to cultural products that they see as inappropriate for children and adults alike. 'When you look at White Lotus and you look at situations where they're creating storylines that have incest in them and they're being applauded by the entertainment community, that's an intentional way of taking aberrant behavior and trying to normalize it,' Abbott said on the Moms for America podcast. 'We see it all the time in entertainment — every day. You can turn on almost any movie, any network, go to any movie, and I know it's a very intentional strategy.' The success of faith-based media companies is in large part a reaction to the kind of frustrations that Abbott elucidates. The industry is buoyed by the very thing that it rails against — and it's the response that drives some of the success. 'They've really not ever tried to pretend that they're for everyone,' says Nayman. 'Instead, they say, 'isn't this what you've been missing.' And if you're the one getting that message, and you're the one being reached by that advertisement, then your grievance is being stoked, even if it's underneath the guise of a warm hug.' 'You're assuming that people are fed up with anything that resembles something mainstream or something secular,' Nayman adds. 'And I think they really, really take advantage of a polarized moment.' There's tension between faith-based content and the rest of the media landscape. The faith-based films and television shows — when they're reviewed at all — are regularly panned by critics. Sound of Freedom, the film from this universe that was recently reviewed by the most mainstream critics, has a Metacritic score of 36 out of 100. 'It's bizarre, unsettling and yet — in the filmmaking equivalent of turning wine to water — bracingly dull to boot,' read a review in The Telegraph. 'The quality is a really big issue,' Leo acknowledges. He argues conservatives need to invest in incubating talent that can make family-values movies and shows that are more slick, better produced and appeal to a wider audience. The art in this space often has no real aspirations towards acclaim as it's connoted by an Oscar or Emmy. In fact, in some ways they've created a parallel industry, with their own critics and markers of success. The Movieguide Awards, which are held every year and which largely honor films and television that Movieguide — a service that brands itself as 'movie reviews for Christians' — believes connects with their values. In 2025, winners included the movie Reagan, actor Candace Cameron Bure for A Christmas Less Traveled and Americans With No Address, a documentary about the country's homelessness crisis narrated by actor William Baldwin. Movieguide rates Hollywood films and gives them a 'family content' rating. In the company's annual 'Report to Hollywood,' they argue that films with strong Christian values perform better at the box office. Their formula relies on the often strong performance of children's films and doesn't include every mainstream hit; both Barbie and Oppenheimer had low 'family content' ratings, for example. 'We have a new generation that's having kids, and they want faith and values, their generation does not want sex and violence.' says Ted Baehr, the publisher and editor-in-chief of Movieguide. He cites this year's Academy Awards Best Picture winner Anora, about a New York sex worker, which made a little over $20 million at the domestic box office. 'In Hollywood [that] is pathetic,' he says. 'It's worthless. And all the Academy Award winners were pathetic.' (The film was generally considered an indie success; it was made on a $6 million budget.) While Hollywood has long been a bastion of liberalism, there wasn't always such a stark divide between mainstream Hollywood and religious fare. But in today's political climate, the gap is widening. According to April 2024 research from Pew, 59 percent of Protestants align with the Republican Party compared to 38 percent who align with Democrats, and among white Evangelical Protestants, 85 percent lean Republican while only 14 percent lean Democrat. Christians of all faiths are more likely to be Republicans, where Jews, Muslims and anyone unaffiliated with a particular religion are more likely to be a Democrat. The large partisan split among white Evangelical Protestants in particular has grown steadily and significantly since the start of the Reagan era. And that gap has been reflected in available entertainment options. In the Facebook group 'Great American Family (GAC) Fan Community', users post every day about how the network is one of the only ones that represents their interests, values and politics. In a recent post, a fan wrote, 'GAC SEEMS TO HAVE SOME GREAT PROGRAMMING COMING UP FOR GOOD FRIDAY INTO EASTER. THANK YOU! I SAW SOME DISTURBING STUFF ON A MOVIE WITH HALLMARK OVER THE WEEKEND. ONLY TUNED IT IN WHEN IT WAS ALMOST OVER AND IT WAS 10 MINUTES OF AGENDA!' Her post was flooded with supportive comments. 'Stopped watching Hallmark movies when they cowered to the masses allowing same sex couples. Don't miss it and LOVE Great American Family!!,' another member of the group replied. Abbott uses and cultivates that sense of cultural alienation to market his content. Along with A Christmas Spark — where after two days on set Lopez's character has moved from a big-city office setup to charming small-town USA — GAM's offerings include the upcoming Home Sweet Christmas Wedding starring Cameron Bure and a slate of released Easter-themed productions including Forty-Seven Days with Jesus. Watching GAM is not only an escape from Hollywood, but also a signifier of your own values or politics. While spending your money or time with a Great American Media product, you're voting for something. It's not about artistic innovation or form, it's about sending a message. 'I think that 'Christian' is used by the media to downplay or to stereotype,' Abbott told Moms for America. 'It's reverse racism or however you want to define it. You get stereotyped and put in this box. And that's what they want to do, they want to put faith in a box and make it go away. And we will never let that happen.' — Tessa Berenson Rogers contributed to this report.

Ranking all the best bits you missed from Beyoncé's Cowboy Carter London tour dates
Ranking all the best bits you missed from Beyoncé's Cowboy Carter London tour dates

Cosmopolitan

time3 hours ago

  • Cosmopolitan

Ranking all the best bits you missed from Beyoncé's Cowboy Carter London tour dates

Beyoncé is in town, people! Queen Bey is currently halfway through her London leg of the Cowboy Carter Tour, and those who managed to secure tickets have witnessed music royalty in real-time. For those who didn't - or won't - be making it to Tottenham Hotspur Stadium, we've resorted to catching the best bits through our phone screens. So, as Beyoncé takes it easy for a couple of days before taking back to the stage on 10th June, we thought now might be the perfect time to look back on the epic performances so far. Because honestly, there have been some pretty iconic moments. For all the Beyoncé sleuths out there, you'll likely have checked out the setlist way ahead of time. Of course, the tour is in support of her Grammy-winning album, Cowboy Carter, meaning the show revolves mostly around this era. However, that doesn't mean that plenty of her other hit songs are out of the question. Despite this, many were gutted when her 2022 Renaissance hit 'Break My Soul' was nowhere to be seen on lists... Until now. Thankfully, on 7th June, she performed it as a surprise song. And as you can hear from the crowd's screams, it was the correct artistic decision to make. During the opening London show, Beyoncé also performed her Renaissance track, 'Energy.' With that, she prompted fans to reenact the Renaissance World Tour staple, the "mute challenge." To recap, this is where fans go silent when she sings the lyrics "look around everybody on mute." In 2022, it made its way onto social media and became a viral TikTok sensation. "We got Donatella Versace in the house," Beyoncé told the crowd towards the end of the show on night two. Which is perhaps the reason fans were treated to some new looks. Continuing with her cowboy couture theme, she donned cowboy hats, boots and plenty of fringe. During 'Alliigator Tears,' she served a fresh fit consisting of a white top, white skirt, thigh-high boots and fringe gloves. Later, she donned a Versace ensemble complete with a ruffled dress with matching boots and gloves. It's the UK. Rain doesn't spare anyone, even Sasha Fierce. On night one, the heavens opened, but rather than fuming at the weather, fans seemed to embrace it. Many even called it iconic. One person said that the downpour during 'Bodyguard' was a vibe, while others said that the rain made Honey Balenciaga's section of the show "all the more iconic." It didn't seem to bother Queen Bey, either, as she told the crowd: "We won't let the rain stop us." Unfortunately, even during a Beyoncé show, things can't always be guaranteed to go 100% smoothly. It's how you deal with unprecedented mishaps that separates amateurs from pros. On the first night, while performing 'I'm That Girl,' Bey encountered a wardrobe malfunction during a choreographed moment. Her gold chaps literally fell down around her ankles, but rather than freaking out, she continued. Her expression didn't change, nor did she try and fix the problem. Rather, one of her dancers subtly slipped them back up, fastened them, and carried on with the performance. It wasn't until after the chaps were firmly back up that Beyoncé hilariously acknowledged the slick moment: she just laughed as if to say, "s**t happens." And finally, how could we leave out the sweetest moment of all? Beyoncé literally hyped up her eldest daughter, Blue Ivy, who has been a major part of the Cowboy Carter Tour, as she left the stage. Just look at how proud she is of her! Mother-daughter goals right there. There's a reason she's called Queen Bey.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store