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.
More from VIBE.com
Fan Fight Breaks Out In VIP At Cowboy Carter Tour Opening Night
50 Cent Makes Fun Of Beyoncé For Supposed Low Ticket Sales
Blue Ivy Recreates Beyoncé's Iconic "Deja Vu" Dance Break During Cowboy Carter Tour
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hypebeast
31 minutes ago
- Hypebeast
Ryan Coogler's 'Sinners' Receives Max Streaming Premiere Date
Summary Ryan Coogler'sSinnersofficially received aMaxstreaming date for at-home viewers. TheMichael B. Jordan-led feature hits the streamer on July 4, followed by anHBOpremiere on July 5 and physical copies on July 8. Sinners sees Jordan portray a set of identical twins, Stack and Smoke, who return to their hometown of Clarksdale, Missisipi after a tenure for the Chicago Outfit. They, along with their cousin and preacher's son Sammie, open a juke joint for the local Black community, but are haunted by the supernatural on opening night. Joining Jordan in the cast are Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Li Jun Li, Yao, Jayme Lawson, Omar Miller and Delroy Lindo. Sinnershas since grossed a total of $363.8 million USD in the global box office since its release and was met with critical and commercial acclaim. Sinnershits Max July 4, and premieres on HBO on July 5.
Black America Web
3 hours ago
- Black America Web
Bring Back Boredom: A Requiem For Black Gen X Summers
Source: iantfoto / Getty There used to be a thing called boredom. Not the kind you complain about with Wi-Fi and seven streaming platforms within reach. I'm talking about real boredom; staring-at-the-ceiling, watching-ants-on-the-sidewalk, 'ain't-nothing-on-but-soap-operas-after-The-Price-Is-Right' boredom. And as a Black Gen X dad who grew up in the era of Jheri curls, tube socks, and universal latchkey kid protocol (see: 'Don't you let nobody in this house.'), I say this without a hint of irony: boredom might have been the most important part of summer vacation. It was in that boredom that we got creative. We built worlds with nothing but imagination, bike tires, and the occasional giant cardboard box that was a clubhouse, a breakdance pad, or an art canvas, respectively. We passed long hours playing Uno or freeze tag or making up ridiculous games with equally ridiculous names. Some days were filled with activity, but just as many were left to the elements of whatever came our way. And that was the magic of it. The freedom. The chaos. The possibility. Fast forward to now, and it feels like summer, at least the kind that shaped us, is dead. We didn't kill it. Hyper-competitive parenting did. Today's kids have schedules tighter than a Silicon Valley CEO. Between travel sports, enrichment camps, accelerated reading lists, and STEM programs, we've programmed the summer to death. What was once a break has now become the offseason grind. A warm-weather bootcamp for future scholarship recipients, Google interns, and startup founders. But in all that hustle, we've stolen something essential. Summer used to be about the absence of structure. Now it's about maintaining control in a different font. Look, I get it. As a Black parent (especially a single Black father) I'm acutely aware of what the world wants to deny my kids. So we push. We prepare. We polish them up and present them as exceptional, because we know they have to be. But damn if it isn't exhausting. For them and for us. My Glee-obsessed 13-year-old daughter is starting to come into her own artistic and dramatic potential. She's in theater camp this summer, and I'm glad she has a place to explore her passion. But I'm also kind of sad. Because theater camp is scheduled. Structured. Supervised. She'll grow as a performer, sure. But will she learn how to do nothing and be okay with it? Will she know how to entertain herself with a cardboard box and a Sharpie? Will she ever just roam? My summers were a beautiful blur of spontaneity and slight danger. From the public pool to the basketball courts to random treks to corner stores with no particular purpose, our summers were self-directed chaos. Even when we were enrolled in day camp, it was mostly a teenage-led survival exercise with dodgeballs and boxed lunches. There were rules, sure. But there were also long stretches of unsupervised time. Time to be curious. Time to fail. Time to try things that might not go anywhere but still taught us something. We learned how to read people, how to handle conflict, and how to entertain ourselves and others. And we did it all without a single app. What those summers gave us was adaptability. Resilience. The ability to walk into a room with strangers and figure out what game was being played and its random rules, and then figure out how to win. They gave us improvisational skills for life. They taught us how to make lemonade from warm tap water and two sugar packets. Today's kids? They're brilliant. But some of them can't hold a conversation without checking a screen. And it's not their fault; it's the culture we've built around them. A culture that values productivity over presence, structure over soul, and outcomes over experiences. The pressure to be excellent all the time has trickled down from Wall Street to the jungle gym. And as Black dads, we often feel that pressure more acutely. We want our kids to succeed not just for themselves, but for the generations they represent. And in our fear of their marginalization, we push them toward perfection. But what happens when we forget to teach them how to sit still? To just be ? You can't push creativity on a schedule. You can't over-prepare for discovery. You have to make room for it. You have to leave space in the summer for the kind of moments that don't show up on a résumé but shape a life. Like wandering around the neighborhood for no reason. Or figuring out how to turn a laundry basket into a roller-coaster on the stairs. Or learning how to read the vibes at the basketball court before deciding whether or not to shoot your shot (metaphorically or literally) and call 'next'. I'm not anti-camp. I'm not against organized activity. But I am against the idea that kids should never be idle. That every second of every day must be accounted for, optimized, branded, and captured. I want my daughter to know that freedom isn't just something we talk about on Juneteenth—it's something you feel on a Tuesday in July with nothing to do but ride your bike and follow your thoughts wherever they lead. So I'm trying to build in blank space. Days where there's no itinerary. Where she gets to decide how the day unfolds, even if that means doing nothing at all. Because that, too, is a skill. One that too many of us are forgetting to pass down. We're raising kids in this world that moves too fast and expects too much. A world that commodifies every interest and gamifies every interaction. But if we want to raise humans, not just high-performing outputs of our parental anxiety, we have to give them time to be human. Summers are supposed to be messy and weird and wonderfully unproductive. They're supposed to be the seasons of origin stories, when kids figure out who they are outside the classroom, outside their parents' gaze, outside the grind. We figured it out because we were left to our own devices. Not the digital kind; the real ones. Our guts. Our instincts. Our imaginations. My daughter may never know the feeling of getting on her bike and riding until the streetlights come on. But she can still have the kind of summer that isn't about achievements. A summer that feels like hers, not something planned for her. A summer where her mind can wander and her soul can breathe. So yes, let her go to theater camp. Let her find her voice. But let her be bored too. Let her be curious. Let her figure it out. Because one day, when she's older, I want her to smile at the memory of the summer where nothing much happened—but everything changed. She'll have the rest of her life to run the rat race. I just hope she gets one summer to ride a bike down a steep hill. SEE ALSO: This Was Supposed To Be A Review Of 'Forever,' But It's Not The Uncomfortable Realities Of Middle-Aged Black Manhood SEE ALSO Bring Back Boredom: A Requiem For Black Gen X Summers was originally published on Black America Web Featured Video CLOSE
Hypebeast
3 hours ago
- Hypebeast
New Balance 1906L Loafer 最新配色「Black/Royal Blue」率先曝光
New Balance藉由即將發售的1906LLoafer 「Black/Royal Blue」，持續挑戰傳統鞋履的界限。這款品牌大膽融合樂福鞋與運動鞋的最新力作，預計於 2025 年夏季上市，呈現出更深沉、內斂卻同樣引人入勝的設計。相較於先前版本偏向鮮豔或金屬色調，「Black/Royal Blue」配色提供了一種精緻、近乎匿蹤的選擇。鞋面採用啞光寶藍色飾面，與深灰色和黑色網眼底層形成鮮明對比，為鞋款帶來未來感，同時不失精緻的酷感。 忠於其混血本質，此設計捨棄了傳統鞋帶，轉而採用方便的套穿式綁帶，強調輕鬆穿脫與極簡美學。儘管鞋面採用樂福鞋輪廓以營造休閒風格，但網眼鞋頭和醒目的合成材質拼接仍暗示其源自機能跑鞋的血統。在非傳統鞋面之下，是 1906R 未經改動的機能導向鞋底單元。這意味著 1906L Loafer 保留了 New Balance 聞名的卓越舒適性和支撐性，搭載提供卓越吸震效果的 N-ergy 大底，以及鞋跟處的 ABZORB SBS 緩震膠囊。 此鞋款將於 2025 年夏季正式登場，建議售價 $210 美元。 >thisisneverthat x SUICOKE 全新聯名鞋款正式發佈 >品牌大使 Callum Turner 演繹！Louis Vuitton 正式推出全新運動鞋 LV BUTTERSOFT >KIKS x MINNETONKA 全新聯名系列「TWO CITIES」正式登場
