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Beyoncé's 'Cowboy Carter' tour celebrates country music while also holding it accountable

Beyoncé's 'Cowboy Carter' tour celebrates country music while also holding it accountable

USA Today17 hours ago

Beyoncé's 'Cowboy Carter' tour celebrates country music while also holding it accountable
Beyoncé's "Cowboy Carter" tour has been a unifying celebration of joy, movement and intentional fashion, as an ode to to country music's true roots. Simultaneously, she seamlessly holds the genre accountable for its historical and ongoing exclusionary bounds.
The Grammy-winning singer first debuted her "Cowboy Carter" tour at SoFi Stadium in Los Angeles on April 28 with 39 songs on the set list. The concerts have been revolutionary shows filled with family, fashion, different music genres, and most notably country music and cultural commentary.
Beyoncé opens up her show with her song "Ameriican Requiem," in which she sings "for things to change they have to stay the same." Later in the song she sings, "They used to say I spoke too country and the rejection came, said I wasn't country 'nough."
She goes on to sing her her Beatles cover "Blackbiird," inspired by the Civil Rights Movement, "The Star-Spangled Banner and "Freedom" — the theme song of Kamala Harris' presidential campaign. Then she wraps up the night's first act with "Ya Ya" — "whole lotta red in that white and blue."
At another point of the show a message appears on the backdrop: "Never ask permission for something that already belongs to you."
A.D. Carson, associate professor of hip hop at the University of Virginia in Charlottesville spoke to that message of belonging.
"Country music is as much a place for an artist like Beyoncé as any of the artists who have dominated country for the past 25 years," Carson says. "So I wouldn't call it a reclamation but a reminder that all of American pop music — no matter the genre — owes a debt of gratitude and much more to the unsung Black artists who were pioneers in those genres so that they could become what they are today."
Messages and motifs throughout 'Cowboy Carter' and its tour
As fans know, Beyoncé first released the 27-track project in March 2024. It has since made history and broken multiple records. As Beyoncé's first country album, she deliberately featured country legends and emerging Black country artists alike.
Beyoncé's Cowboy Carter and the Rodeo Chitlin' Circuit Tour doubles down on this notion down to the name.
Historically, the "Chitlin' Circuit" was a network of venues that embraced and employed Black musicians who were otherwise shunned from white theaters during the Jim Crow era. The performance theaters and clubs would host some of the best talent in American history.
Since the album's release, Beyoncé has made it clear why she felt inspired to highlight the country's roots — often misperceived or erased entirely — while also celebrating her own country roots and Southern heritage. And this powerful intersection comes to life on her tour.
A celebration at the core and a continuous teaching moment
"Sometimes we want things to be one thing or the other, like we make it into the false choice between celebration and protest," Carson says. "But very often as a Black person in this country, your celebration is protesting even if you don't mean it as such. People receive it that way and so they interpret it as being protesting."
Carson emphasizes the power of duality.
"We can do multiple things at once," he says. "And so while we're being entertained, we can be critical and we can be learning and we can be teaching."
With this project, Beyoncé became the first Black woman to win best country album at the 2025 Grammys and also took home album of the year. Her tour is a celebration of country music, while spotlighting the complex truth: Black people helped build the genre and are still ostracized today. It's a place where fans from all different races and backgrounds come together and enjoy country music in its fullness and its true roots of diversity without forgetting the history and the current backdrop it's up against.
"It's probably always wise for us to look at — especially at moments of political or social turmoil — the kinds of things that people turn to for entertainment," Carson says. "This happening right now should tell us something about who we are and maybe something about who we aspire to be as much as it tells us about who we were and who we thought we were."
Through her genre-bending performance, Beyoncé reinforced the statement printed on her merchandise: "This Ain't A Country Tour, It's A Beyoncé Tour." However, it's clear the tour wasn't just a country music tour.
"It's fundamental to our understanding of the world right now to listen to Black cultural producers. And the reason that it's important is not just because they entertain us, but because of the ways that they say the things that end up being unsayable in other forms or undoable in other forms," Carson says. "So a Black woman's country album right now tells us something. It tells us many things about right now."
Fashion that makes a real statement
In addition to the music, Beyoncé's tour has been a huge showcase of fashion. Each night, Beyoncé continues to blend high fashion with custom Western glam. There's been lots of sparkly chaps, cowboy hats, boots and fringe. Most notably, there's been a significant amount of American flags and red, white and blue. She has also made a point to put a spotlight on Black-owned brands such as Telfar.
During her New Jersey tour stop, Beyoncé donned a Black Yankees varsity jacket. The New York Black Yankees were a professional Negro league baseball team. They were founded in 1931 to provide an avenue for Black players amid racial segregation in Major League Baseball. Again, another deliberate but fashion-forward choice that nods to Black history while highlighting a version of Americana that has long existed.
This tour has also inspired fans of all demographics to embrace cowboy and Southern culture with their wardrobe. Beyond the inevitable teaching moments it sparks, joy has remained at the heart of it all — whether it's the thrill of new merchandise or curating the perfect outfit.
"Allow yourself to be entertained," Carson says. "But also allow yourself to be challenged. And allow yourself to be critical because you don't have to be uncritical in order to be entertained."
Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.

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For the centennial, the Schomburg's leaders have curated more than 100 items for an exhibition that tells the center's story through the objects, people, and the place — the historically Black neighborhood of Harlem — that shaped it. Those objects include a visitor register log from 1925-1940 featuring the signatures of Black literary icons and thought leaders, such as Zora Neale Hurston and Langston Hughes; materials from the Fab 5 Freddy collection, documenting the earliest days of hip hop; and actor and director Ossie Davis's copy of the 'Purlie Victorious' stage play script. An audio guide to the exhibition has been narrated by actor and literacy advocate LeVar Burton, the former host of the long-running TV show 'Reading Rainbow.' 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Still, many people outside the Schomburg community remain unaware of the center's existence — a concerning reality at a time when the Harlem neighborhood continues to gentrify around it and when the Trump administration is actively working to restrict the kind of race-conscious education and initiatives embedded in the center's mission. 'We amplify scholars of color,' Ford said. 'It's about reawakening. It gives us the tools and the voice to push back by affirming the beauty, complexity, and presence of Black identity.' The Schomburg Center has 11 million items in one of the oldest and largest collections of materials documenting the history and culture of people of African descent. That's a credit to founder Arturo Schomburg, an Afro-Latino historian born to a German father and African mother in Santurce, Puerto Rico. 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The home of one of the largest catalogs of Black history turns 100 in New York
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NEW YORK (AP) — It's one of the largest repositories of Black history in the country — and its most devoted supporters say not enough people know about it. The Schomburg Center for Research in Black Culture hopes to change that Saturday, as it celebrates its centennial with a festival combining two of its marquee annual events. The Black Comic Book Festival and the Schomburg Literary Festival will run across a full day and will feature readings, panel discussions, workshops, children's story times, and cosplay, as well as a vendor marketplace. Saturday's celebration takes over 135th Street in Manhattan between Malcom X and Adam Clayton Powell boulevards. Founded in New York City during the height of the Harlem Renaissance, the Schomburg Center will spend the next year exhibiting signature objects curated from its massive catalog of Black literature, art, recordings and films. Artists, writers and community leaders have gone the center to be inspired, root their work in a deep understanding of the vastness of the African diaspora, and spread word of the global accomplishments of Black people. It's also the kind of place that, in an era of backlash against race-conscious education and diversity, equity and inclusion initiatives, exists as a free and accessible branch of the New York Public Library system. It's open to the public during regular business hours, but its acclaimed research division requires an appointment. 'The longevity the Schomburg has invested in preserving the traditions of the Black literary arts is worth celebrating, especially in how it sits in the canon of all the great writers that came beforehand,' said Mahogany Brown, an author and poet-in-residence at the Lincoln Center, who will participate in Saturday's literary festival. For the centennial, the Schomburg's leaders have curated more than 100 items for an exhibition that tells the center's story through the objects, people, and the place — the historically Black neighborhood of Harlem — that shaped it. Those objects include a visitor register log from 1925-1940 featuring the signatures of Black literary icons and thought leaders, such as Zora Neale Hurston and Langston Hughes; materials from the Fab 5 Freddy collection, documenting the earliest days of hip hop; and actor and director Ossie Davis's copy of the 'Purlie Victorious' stage play script. An audio guide to the exhibition has been narrated by actor and literacy advocate LeVar Burton, the former host of the long-running TV show 'Reading Rainbow.' Whether they are new to the center or devoted supporters, visitors to the centennial exhibition will get a broader understanding of the Schomburg's history, the communities it has served, and the people who made it possible, said Joy Bivins, the Director of the Schomburg Center, who curated the centennial collection. 'Visitors will understand how the purposeful preservation of the cultural heritage of people of African descent has generated and fueled creativity across time and disciplines,' Bivins said. Novella Ford, associate director of public programs and exhibitions, said the Schomburg Center approaches its work through a Black lens, focusing on Black being and Black aliveness as it addresses current events, theories, or issues. 'We're constantly connecting the present to the past, always looking back to move forward, and vice versa,' Ford said. Still, many people outside the Schomburg community remain unaware of the center's existence — a concerning reality at a time when the Harlem neighborhood continues to gentrify around it and when the Trump administration is actively working to restrict the kind of race-conscious education and initiatives embedded in the center's mission. 'We amplify scholars of color,' Ford said. 'It's about reawakening. It gives us the tools and the voice to push back by affirming the beauty, complexity, and presence of Black identity.' Founder's donation seeds center's legacy The Schomburg Center has 11 million items in one of the oldest and largest collections of materials documenting the history and culture of people of African descent. That's a credit to founder Arturo Schomburg, an Afro-Latino historian born to a German father and African mother in Santurce, Puerto Rico. He was inspired to collect materials on Afro-Latin Americans and African American culture after a teacher told him that Black people lacked major figures and a noteworthy history. Schomburg moved to New York in 1891 and, during the height of the Harlem Renaissance in 1926, sold his collection of approximately 4,000 books and pamphlets to the New York Public Library. Selections from Schomburg's personal holdings, known as the seed library, are part of the centennial exhibition. Ernestine Rose, who was the head librarian at the 135th Street branch, and Catherine Latimer, the New York Public Library's first Black librarian, built on Schomburg's donation by documenting Black culture to reflect the neighborhoods around the library. Today, the library serves as a research archive of art, artifacts, manuscripts, rare books, photos, moving images, and recorded sound. Over the years, it has grown in size, from a reading room on the third floor to three buildings that include a small theater and an auditorium for public programs, performances and movie screenings. Tammi Lawson, who has been visiting the Schomburg Center for over 40 years, recently noticed the absence of Black women artists in the center's permanent collection. Now, as the curator of the arts and artifacts division, she is focused on acquiring works by Black women artists from around the world, adding to an already impressive catalog at the center. 'Preserving Black art and artifacts affirms our creativity and our cultural contributions to the world,' Lawson said. 'What makes the Schomburg Center's arts and artifacts division so unique and rare is that we started collecting 50 years before anyone else thought to do it. Therefore, we have the most comprehensive collection of Black art in a public institution.' Youth scholars seen as key to center's future For years, the Schomburg aimed to uplift New York's Black community through its Junior Scholars Program , a tuition-free program that awards dozens of youth from 6th through 12th grade. The scholars gain access to the center's repository and use it to create a multimedia showcase reflecting the richness, achievements, and struggles of today's Black experience. It's a lesser-known aspect of the Schomburg Center's legacy. That's in part because some in the Harlem community felt a divide between the institution and the neighborhood it purports to serve, said Damond Haynes, a former coordinator of interpretive programs at the center, who also worked with the Junior Scholars Program. But Harlem has changed since Haynes started working for the program about two decades ago. 'The Schomburg was like a castle,' Haynes said. 'It was like a church, you know what I mean? Only the members go in. You admire the building.' For those who are exposed to the center's collections, the impact on their sense of self is undeniable, Haynes said. Kids are learning about themselves like Black history scholars, and it's like many families are passing the torch in a right of passage, he said. 'A lot of the teens, the avenues that they pick during the program, media, dance, poetry, visual art, they end up going into those programs,' Haynes said. 'A lot the teens actually find their identity within the program.' Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .

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