Beyoncé provides a strong statement about the country at the breathtaking tour opener of ‘Cowboy Carter’

At some point during Beyoncés 36-song-Westful topic Cowboy Carter Tour Opener, the words “Never ask for permission for something that already belongs to them” were illuminated red on the massive screen. In many ways, the Unapologist’s Mantra Beyoncé’s approach to what some have released as “Country foray”. But instead of winning back, she celebrated the black origins of land culture and its development.

Beyoncé’s three -hour performance in the Sofi Stadium on Monday evening was a beast to digest. It also reminded her audience exactly how she paved her own lane and grabbed the set with the songs from Country, Cowboy Carter While he calls back to his predecessor inspired by ballroom, Renaissanceseveral times.

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“I would like to thank all those who came in front of me,” said Beyoncé, dressed in a beautiful white leather ensemble by Mugler and a suitable cowboy hat, as pictures of Linda Martell and other black land pioneers on the screen. “I would like to thank my fans to make this album. Thank you for giving me the creative freedom to challenge myself.”

The Cowboy Carter However, show is much more than a land spectacle. That was clear from the start when she took up her cowboy hat during “Ya Ya” to deliver the fundamental beyoncéisms: the hair flips and classic dance movements. Yes, the Banjos rang out loud during “Texas Hold ‘Em”, the violin with “II Most Wanted” and “Blackbiird”, and she and her dancers rocked chaps, cowboy hats and huge belt buckles everywhere. But in the end, Beyoncé delivered a Beyoncé caliber stadium show without genre restrictions and anchored through the breathtaking choreography of her more than 24 backup dancers.

During the entire performance there were impressive pictures and interludes that Beyoncé put in a wild backdrop and, as a “outsider”, were in a place that should never belong. At the end of the concert, she smashed this story and defeated an older white cowboy in a stylized weapons duel, balls that crashed from her body. The scene seemed to revoke their exclusion from the Country Music Association Awards and in the broader sense from Nashvilles white dominated industry, which has long since stayed the singer. But during the performance, Beyoncé made it clear that she does not need anyone – she is greater than that.

Beyoncé layered Cowboy Carter‘S patriotic visual topics with more symbolic depth. She opened the show with “American Requiem” and then switched from a gentle reproduction of “Blackbiird” to a difficult view of the national anthem, which on Jimi Hendrix ‘haunting guitar performance by Woodstock in 1969. For Beyoncé, it became a tribute and a memory of the turbulent and current America. Fittingly, she continued to go to “Freedom”, which was used as a soundtrack for Kamala Harris’, the 2024 presidential campaign. She also provided “America has a problem” with Kendrick Lamar’s verse with a backdrop in a press conference style and explained: “But they take me out during a strong reproduction of” formation “.

On the lemonade Beyoncé proudly sang: “I like my baby heirs/with baby hair and afros”, when Blue Ivy with seamless choreography came to her crew from backup dancers. Blue Ivy was a consistent presence throughout the show and appeared on several songs alongside her mother, including “Sweet Honey Buckin”, “Ya Ya” and “America has a problem”. Later, during an energetic dance break, Blue Ivy Solo prompted Beyoncés 2006 hit “Déjà vu” before reviving the legendary choreography of the B’Day Era which Rab Beyoncé’s best song ever.

In one of the most heart -warming moments of the evening, Beyoncé’s younger daughter Rumi Carter also entered the stage during “Protector”, a route that shows her singing. The seven -year -old shone and waved to the crowd with a charming smile when her mother Serenady. Behind them appeared a tribute to Bey’s babies who quoted the poet’s names of the young Carter: “I once had a thousand wishes/but in my only wish to melt her/everything else.” While the show was rich in comments to the black roots of the country and the country, the show was also a sweet celebration of Beyoncés.

The singer made it clear during the performance that the heart of the heart of RenaissanceThe first act of her three-album trilogy is still striking further Cowboy Carter. In addition to playing songs such as “Cuff It”, “Heated” and “Thique” in other parts of the show, she weaved in small nods on the metallic, silver era, including during the “Tyrant”, in which she drove a robot mechanical bull. In other places, a robot poured a glass of whiskey onto a throne. She also redesigned RenaissanceThe beloved horse, Reneigh, now Golden, and provided the original choreography for songs “I’m the Girl”, “Cosy” and “Alien Superstar” with similar props that adapted to the more golden country topics of the new album. “Welcome back to the RenaissanceY’all, ”said Beyoncé on stage when a dance party in the ballroom overtook the stage.

A few outstanding moments from the set included Bey’s silly reproduction of “Diva”, in which she reflected a viral Tikok video from the singer who pointed to an indistent fan in the crowd and repeated the chorus “She ain’t no Divaaaaa”. During “Thique” she mingled with elements of “bills, bills, Bills” by Destiny’s Childs and caused the fans that some DC3 bangers might have sneaked onto the set list. (Although they are not shown, although pictures of the group were shown on the screen at the beginning of their career.) She later tore with a massive pink horseshoe in the stadium in the stadium, while she was listing her first country track track “Daddy Lesson”, her first live performance of the song, during a section that was named after Dolly Parton “Jolene”. The highlight of the show came during the last act when she played a remix of “Texas Hold ‘Em”, who held his land elements before moving seamlessly to her hit “Crazy in Love”.

The three hours of Beyoncé felt continuous when she went through almost the whole whole Cowboy Carter During the set. Everything from the show seemed to be calculated and measured, so that Beyoncé left little to break off the plan. It was a theater spectacle that brought Bey back to its own league.

To close the show, Beyoncé climbed around the stadium in a flying classic car with a single American flag and led a massive vocals to her Cowboy Carter Track “16 cars”. For the encore, Beyoncé presented herself in a dress printed with the US flag when she sang “Amen” in front of a masked face of the Statue of Liberty, which had in particular braided hair. Beyoncé clearly thought about the message she wanted to convey with the show (and the monumental album that celebrated it). It was not even two years ago Renaissance Tour, but Beyoncé keeps proving why she operates on a completely different level. The Cowboy Carter Tour is one that you shouldn’t miss.

Beyoncé will continue Cowboy Carter Tour with four other shows in Los Angeles, with the next Thursday. She will then go to Chicago and New Jersey in front of a series of shows in London and Paris before returning to the Stateside to Houston, DC, Atlanta, and in July in Las Vegas.

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