Beyoncé hints at going on tour again after final 'Cowboy Carter' concert in London
Beyoncé hints at going on tour again after final 'Cowboy Carter' concert in London
Beyoncé-Knowles-Carter is still be in the middle of her 'Cowboy Carter' tour, but she already may be hinting at going on tour again.
The Grammy-winning singer posted to her Instagram on the heels of her sixth show at Tottenham Hotspur Stadium in London. The performance marked her last concert in the U.K. on her Cowboy Carter and the Rodeo Chitlin' Circuit Tour.
In the post, Beyoncé thanked Paul McCartney for writing his 1968 song 'Blackbird,' which she covers on her eighth studio album and performs on tour. However, fans were left reeling with excitement over what they saw as her foreshadowing another tour.
She wrote: 'Thank you, Sir Paul McCartney, for writing one of the best songs ever made. Every time I sing it I feel so honored. And it is a full circle moment to wear your beautiful daughter's design. Thank you, London, for creating unforgettable memories for me and my family.' She continued, "Holla at 'ya when I come on tour again!'
Of course, the caption instantly sent the Beehive buzzing with one fan commenting, 'Oh, it's confirmed!' Another wrote, 'Tour AGAIN!! Saving my Bey dollars now.'
As fans know, 'Cowboy Carter' is the second part of a three-act project. Her seventh studio album 'Renaissance' is considered Act 1. The 2022 project earned her four Grammys, including best dance/electronic music album, making her the most decorated artist in the awards' history.
Beyoncé has not yet announced Act 3 or any details surrounding it. As always though, there has been speculation within the Beyhive about the next project. And now, there's even more excitement and anticipation with the possibility of an upcoming tour.
Until then, Beyoncé's Cowboy Carter era is fully underway. She first debuted her "Cowboy Carter" tour at SoFi Stadium in Los Angeles on April 28 with 39 songs on the set list. Her shows have been filled with family, fashion, different music genres, and most notably country music and cultural commentary.
The nine-city tour will span the U.S. and Europe with the grand finale taking place in Las Vegas on July 26. She is now set to head to Paris for three nights on June 19, 21 and 22.
Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New York Times
44 minutes ago
- New York Times
Terry Louise Fisher, a Creator of ‘L.A. Law,' Dies at 79
Terry Louise Fisher, who channeled her experience as a Los Angeles prosecutor into an Emmy Award-winning television career as a writer and producer for 'Cagney & Lacey,' the groundbreaking female-oriented police procedural, and a creator, with Steven Bochco, of the sleek drama 'L.A. Law,' died on June 10 in Laguna Hills, Calif. She was 79. Her death was confirmed in a social media post by Mark Zev Hochberg, a family member. He did not cite a cause. Ms. Fisher was best known for her work on shows about cops and lawyers, and she certainly knew the terrain. Before turning her attention to the small screen, she worked as a deputy district attorney in Los Angeles for two and a half years. She quickly grew disillusioned with a revolving-door criminal justice system that seemed to her to boil down to a jousting match between opposing lawyers, with little regard for guilt or innocence. In a 1986 interview with The San Francisco Examiner, she recalled being handed an almost certain victory in an otherwise weak case involving a knife killing because of an oversight by the defense: 'I felt really challenged, and my adrenaline was pumping. I realized I could win this case. And I slept on it. I went, 'My God, has winning become more important than justice?'' Her unflinching view of the system informed her tenure in television. In 1983, she began writing for 'Cagney & Lacey,' bringing depth and realism to a CBS series that shook up the traditional knuckles-and-nightsticks cop-show genre by focusing on two female New York City police detectives, Christine Cagney (Sharon Gless) and Mary Beth Lacey (Tyne Daly). Want all of The Times? Subscribe.
Chicago Tribune
an hour ago
- Chicago Tribune
Review: Muti returns to the CSO, principal trumpeter and Verdi's Requiem in tow
For a time, Chicago Symphony music director emeritus Riccardo Muti planned to end the 2024/25 downtown season with Hector Berlioz's 'The Damnation of Faust,' not heard at Orchestra Hall since 2008. But last summer, the CSO announced the Berlioz would be swapped out with a more recent throwback: Verdi's Requiem, which Muti last led in Chicago in 2018. A signature of Muti's tenure here, the Requiem was performed and recorded to wide acclaim, first through a Grammy-winning 2010 album and again via livestream in 2013, back when that technology was relatively novel. Despite missing out on a rare-going-on-rarer 'Faust,' the Muti/Requiem pairing is as sure a thing as they come. Thursday's concert was no exception, clinching a standout performance of the year with a quartet of superbly cast — and superbly matched — vocal soloists, three of whom were making their CSO debuts. Mezzo-soprano Marianne Crebassa and tenor John Osborn were both cast for the originally planned 'Faust,' but you'd think they were hand-picked specifically for this repertoire. Crebassa didn't just sing the mezzo part — she seemed to live it, from the throaty intensity of 'Liber scriptus' to a grief-stricken 'Lacrymosa,' her vibrato bubbling like tears. Her jewel-toned voice sat well in Verdi's lower vocal writing, but it also easily winged skyward when called for, like a glittering upward climb in 'Quid sum miser.' Crebassa has not sung at the CSO since 2015, at Esa-Pekka Salonen's invitation; her next visit ought to come far sooner. Osborn was every bit as sensitive, living proof that one doesn't need to muscle through this writing to captivate a hall. Between his dynamic and emotional range, and an uncommon transparency of tone — the top of 'Quid sum miser' would have given most sopranos a run for their money in its diamond-bright purity — his every feature cut straight to the heart. Elena Guseva's soprano staggers in its power and control, retaining its hue even at lofty peaks. But much like her colleagues, the soprano was even more astonishing in moments of balance and introversion, like her spick-and-span octaves with Crebassa in 'Agnus Dei' and the tender sendoffs to 'Domine Jesu Christe' and 'Libera me.' The young bass-baritone Maharram Huseynov stepped in last week for Ildebrando D'Arcangelo, also originally a 'Faust' hire. Where many before him have brought big-boned heft to this role — which might have helped Huseynov when he got swallowed by the orchestra's fire in the 'Confutatis' — I'm not convinced that's the point. Huseynov's lighter touch felt closer to the spirit of the text, his voice toned, vulnerable and sympathetically, grippingly human-sized. These performances mark Donald Palumbo's official debut as the new director of the Chicago Symphony Chorus. It was an auspicious first outing, the choir sounding sculpted and notably unified in color and timbre. Basses rumbled in the 'Rex tremendae' like a voice from a fissure in the earth; sopranos entered on the final 'Libera me' canon with the precision of a single singer. Any ensemble issues mostly came from disagreement between the orchestra and the chorus. The chorus floated around the beat in the first 'Dies irae.' The 'Sanctus' was the opposite: they followed Muti's more leisurely tempo like a shadow, despite the orchestra itching to default to the sprightly pace of years' past. But these moments were few and brief in an inspired, brilliantly paced Requiem, its orchestral contributions sounding fresher than ever. Violins supported the 'Kyrie' crisply; later, Vadim Karpinos' timpani licked like flame in the 'Dies irae.' Onstage and offstage trumpet quartets drove a terrifying transition into the 'Tuba mirum.' And when Guseva and the chorus sang that 'the earth shall be shaken' in the 'Libera me,' a mighty rumble in the double basses made sure you really believed it. Elsewhere, Muti halted the action with moments of total silence, all to great, hair-raising effect. Deliverance, indeed. A week earlier, also under Muti's baton, principal trumpet Esteban Batallán — returning to the ensemble this fall after a season with the Philadelphia Orchestra and a summer parental leave — made his CSO solo debut on two 18th century concertos for piccolo trumpet, by Georg Philipp Telemann and Joseph Haydn's overlooked brother, Michael. The repertoire frequently played to Batallán's strong points. Both — especially the Michael Haydn concerto and its virtuosic cadenzas, devised by Batallán himself — gave the trumpeter a chance to show off his dazzling upper register. And for all his sheer power behind the horn, Batallán can certainly scale back when called for, balancing chamber-style against the ensemble throughout. Mostly missing, at least on June 12, was a certain sense of phrase and direction in legato sections. From the slow movements of the Telemann to floating refrains in the Haydn, notes felt over-articulated rather than part of a longer line. The CSO sound under Muti is nothing if not refined — everything shapely and in its place, never crass nor unruly. That made for an elegant yet reliable accompaniment in these concertos. But once the orchestra became the main focus for Joseph Haydn's Symphony No. 48, 'Maria Theresa,' and Schubert's Symphony No. 4, 'Tragic,' that refinement sounded more like reticence. The stormy fake-out in the Haydn's first movement sounded defanged, and the finale rather polite. The Schubert was even more reined in, the orchestra clean but sounding like it was playing at half-verve. The overall impression was one of an ensemble walking on eggshells: little spark, little levity, little variety, too much weighty reverence. That's not to discount some fine ensemble work. Woodwind contributions in the Schubert from clarinetist Stephen Williamson, oboist William Welter, and outgoing flutist Stefán Ragnar Höskuldsson were both impassioned and lucid. Mark Almond, sitting in the hot seat for the Haydn symphony's diabolically high horn part, wasn't always pristine, but he deserves serious kudos for deftly balancing the stratospheric register of his accompaniment so it dusted the harmonies instead of dominating them — all too easy to do. 'Muti Conducts Verdi Requiem' repeats 7:30 p.m. June 20-24 at Symphony Center, 220 S. Michigan Ave., tickets starting at $79,
UPI
an hour ago
- UPI
Listen: Haim releases 'I Quit,' first studio album in five years
1 of 4 | Este Haim, Alana Haim and Danielle Haim released "I Quit," Haim's first studio album in five years. File Photo by Chris Chew/UPI | License Photo June 20 (UPI) -- Haim released I Quit, their first studio album in five years, and sat down with Kesha to explain the process behind the new record. The album marks the sisters' first new album release since Women in Music Pt. III in 2020. The sisters -- Este, Danielle and Alana -- sat down with longtime friend Kesha to discuss their new album in an episode of Spotify's Countdown To. "We've always been obsessed with how people can mix sounds and genres," Danielle Haim said in a clip released to Instagram. "That's just always been our bag." The sisters also shared how the album's title, I Quit, is a reference to a scene in the film That Thing You Do when Jimmy (Johnathon Schaech) sings those words into a microphone in the studio. Haim also released the official audio Friday for the song "Million Years" on YouTube. I Quit is out Friday in record stores and on streaming platforms.
