Beyoncé Honors Her Duty To Reflect The Times Through A ‘Cowboy Carter' Lens
Nina Simone once said, 'It's an artist's duty to reflect the times' and very few have been brave enough to fully embrace such a challenge. Beyoncé, though, has always been one of them. Through the lens of COWBOY CARTER, she doubled down on the idea that not only does America have a problem, it is the problem. Calling for liberation and reclamation by way of educational entertainment was what Beyoncé's Cowboy Carter tour represented.
Unified by western-inspired looks and whimsical glee, fans across the world witnessed Beyoncé pay homage to her music, her lineage, and the impact of Blackness on history— live and in color— during opening night of the Cowboy Carter tour. The air was crisp, and fans' bustling energy was high at the sold-out show held on Monday (April 30) at the SoFi Stadium in Los Angeles, but it went deeper than cult classics, costume changes, and coordinated attire.
'It's a lot of talking goin' on,' she declared, commencing the three-hour event with 'AMERIICAN REQUIEM.' Dressed in an all-white custom Mugler ensemble in front of an illuminated American flag background, she eerily brought the lyrics to life as she sang about taking up space, brushing off futile criticism, and standing for something.
She seamlessly flew back and forth between her storied discography while bringing forth deeply rooted but nuanced symbolism that one might've missed if they weren't closely paying attention. As she sang 'BLACKBIIRD' solo, the imagery showed her fully covered from head to toe as the flag distorted behind her and the blackbird flew away. She daringly wove in the National Anthem, but not the standard rendition. Instead, Bey opted to perform Jimmy Hendrix's controversial but classic version from Woodstock 1969, which came during a pivotal time of civil unrest, war and recession.
Bey quietly altered the lyrics, stopping short after 'O'er the ramparts we watch'd were so gallantly streaming?' and continuing with 'You were only waiting for this moment to be free,' instead of singing about rockets, bombs, and calling America the land of the free. The LED screen read, 'Never ask permission for something that already belongs to you' and Bey drove the point home by segueing into 'Freedom' as she reappeared on the screen wearing nothing except a 'Reclamation Of America' sash— a look first seen on the COWBOY CARTER limited edition vinyl cover art.
She welcomed fans to the Cowboy Carter Rodeo Chitlin' Circuit with a 'YA YA'/'Why Don't You Love Me' mashup and Blue Ivy by her side for the first of several moments to come. The visual interludes were just as important and poignant as the music itself with highlights of Southern and Black music history appearing in-between Bey's homage to the likes of Tina Turner, Nina Simone, Little Richard, and more. Through glimpses of 'propaganda' and Bey dressed as Uncle Sam, she cemented this notion that in her gaze, America is not brave or beautiful, but bold, Black, and cuntry. She led the show's second act with 'AMERICA HAS A PROBLEM' and a dynamic dance break from Blue, whose confidence in front of the masses has grown exponentially since 2023's RENAISSANCE WORLD TOUR.
Bey interpolated '***Flawless' and 'Run The World (Girls)' into 'SPAGHETTI,' but, the crowd really went off when 'Formation' began to play and Bey donned a black cowboy hat instead of the traditional wide-brimmed hat from its music video.
'If you know who you are and where you come from, say 'I slay,'' she encouraged as Blue performed the classic choreography. Much to fans' enjoyment, the 'MY HOUSE'/'Diva' segment confirmed the fact that Beyoncé sees all. She recreated the infamous 'She Ain't No Diva' meme and seemingly teased more of the 'Cowboy Carter' visuals.
The moment that truly evoked emotion— tears for some— occurred when Beyoncé's youngest daughter, Rumi, joined her and Blue to perform 'PROTECTOR' for her onstage debut. Although she tried to stick to what was rehearsed, the 7-year-old was simply overjoyed to be with her mom. Bey attempted to intertwine 'Dangerously In Love,' but Rumi's tender hug caught her by surprise and home videos of the Carter family played as they exited the stage— silencing fodder about Sir Carter being shunned from public purview.
Bey proved to be invincible and a 'whole lotta woman' during the 'DESERT EAGLE'/'RIIVERDANCE'/'II HANDS II HEAVEN' portion of the show as she rocked a form-fitting denim catsuit. In the video interlude that served as that act's introduction, she was in a standoff with a rival cowboy. She was shot at numerous times— but not down— and only had to fire one lethal shot to eliminate her opponent. Fans erupted in cheers as 'Move out the way/ I'm with my girls and we all need space/ When the queen come through, part like the Red Sea' boomed throughout the arena. As an added bonus, Bey later incorporated Drea Kelly's viral choreography into the show. The unexpected highlight, however, was the inclusion of 'PURE/HONEY' and 'SUMMER RENAISSANCE'— considering the time gap between act i and act ii.
The 'JOLENE' act had Bey lusting after herself, but it was the 'JOLENE'/'Daddy Lessons' mashup that brought the entire show full-circle. The 2016 record was her first foray into country music and showed how her past influenced her present as well as reminding true fans that COWBOY CARTER was initially intended to precede RENAISSANCE. This sector of the show also momentarily included 'II MOST WANTED,' which merely served as a palate cleanser to make way for 'CUFF IT' with elements of 'CUFF IT WETTER REMIX' and 'Dance For You.' Bey transformed into a 'TYRANT' riding a mechanical bull before spawning a series of nostalgic renderings as she laced that number with a smidge of 'Haunted' and strung together 'THIQUE' with Destiny's Child's 'Bills, Bills, Bills' into 'LEVII'S JEANS.'
We were properly welcomed back into Bey's renaissance moments later as she performed 'I'M THAT GIRL,' 'COZY,' and 'ALIEN SUPERSTAR' in gold chrome— complete with a vogue battle and standout solos from Darius Hickman and Honey Balenciaga. Following that thrill, nothing could've prepared the crowd for Blue's 'Déjà Vu' solo.
Bey returned to the rodeo with the extended edition of the 'TEXAS HOLD 'EM' visualizer before performing the 'Pony Up Remix' merged with notes of 'CHURCH GIRL.' She trolled fans by teasing 'Freakum Dress' during 'Crazy In Love,' but the fleeting tension subsided as she gifted the audience with a 'HEATED'/'Boots On The Ground' mashup and a touching 'Before I Let Go' tribute to Frankie Beverly.
The show concluded with a montage of videos from her youth and career highlights— paving the way for '16 CARRIAGES' and 'AMEN.' That initial wave of symbolism was heavily seen during the final ballad as the Statue of Liberty's head emerged shielded by a mask. It could symbolize how our voices are being silenced, but Bey made sure her statements loud and clear whether you got it the first time or not.
The Cowboy Carter Tour is an experience that can't be digested overnight. It needs to be sat with, discussed, retold, and relived. Beyoncé fulfilled her duty to reflect the times while honoring the path that made way for her to do so.
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