Music genres seemingly blend to Beyoncé’s will during the “Cowboy Carter” tour. The singer already informed the world that “this ain’t a country album, this is a ‘Beyoncé’ album” before its March 2024 release. Now, “this ain’t a country tour, it’s a Beyoncé tour” is printed on official Cowboy Carter tour merchandise. Another shirt declares the tour a “RODEO CHITLIN’ CIRCUIT TOUR.”
The global star finished her shows at MetLife Stadium in New Jersey last week. MetLife Stadium confirmed on their official Facebook page that Beyoncé sold out all five shows, becoming the stadium’s number-one selling artist in history. Additional reports said her highest box office numbers are over $70 million from the performances.
This Beyoncé tour delves into the history and complexities of country music. Right before the release of the “Cowboy Carter” album, she said on Instagram that this project was five years in the making. “It was born out of an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn’t,” Beyoncé posted.
Brenika Banks photos
“BeyHive” members’ duo dressed up in their “Cowboy Carter” attire on Wed. May 28 
Digital Creator and “BeyHive” member Tierra Daubon posing before the start of Night Four at MetLife Stadium. 
“BeyHive” member posing before the start of Night Four at MetLife Stadium in all pink “Cowboy Carter” attire. 
Mother and daughter “BeyHive” members taking pictures before the start of Night Four at MetLife Stadium. 
Beyoncé on stage at the MetLife Stadium during Night Four on Wed. May 28. 
Beyoncé performing on stage as videos flash to Black Americans in a school setting play. 
Beyoncé at the MetLife Stadium performing in the rain on Wed. May 28
Her fans, the “BeyHive,” have suspected Beyoncé’s negative experience came after performing “Daddy Lessons” with the Chicks at the 2016 CMA Awards. Beyoncé received criticism from social media users, and her performance was not uploaded to CMA’s website. Beyoncé also said on IG that she had been deeply studying the history of country music while unpacking its “rich” archive.
“Genres are a funny little concept, aren’t they?” asked Linda Martell, one of the first commercially successful Black females in country music. “In theory, they have a simple definition that’s easy to understand, but in practice, well, some may feel confined.” Martell is described as a “pioneering force” and acclaimed as the “unsung hero” of country music. Her thoughts were conveyed on “SPAGHETTII,” a track from “Cowboy Carter.”
“I ain’t no regular singer, now come get everythin’ you came for,” Beyoncé sings on “SPAGHETTII.” “The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me,” she said via IG during the album release statement. “Act II is a result of challenging myself and taking my time to bend and blend genres together to create this body of work.”
The tour features Beyoncé and her crew blending country with hip hop, R&B, soul, funk, gospel, and more. The headliner opened her show with “AMERIICAN REQUIEM,” where she sang, “They used to say I spoke too country/Then the rejection came, said I wasn’t country ’nough.”
Digital Creator Tierra Daubon, who was present during the night four New Jersey show, called Beyoncé’s genre blending “revolutionary and necessary.” “Beyoncé is reclaiming what’s always belonged to us,” said Daubon. “Country music, rock music — all of it has Black roots — she’s reminding the world of that and doing it on her terms.”
The “Cowboy Carter” show continued with Beyoncé’s version of “BLACKBIIRD,” originally a Beatles song performed by Paul McCartney. McCartney told Today.com that he wrote the song particularly about young Black women during the Civil Rights Movement. “Take these broken wings and learn to fly,” Beyoncé sings. Her rock version of “The Star-Spangled Banner,” accompanied by the American flag, sends a powerful statement from Black enslaved descendants reclaiming what’s theirs — country music and their power.
Beyoncé’s team smartly paced the entertainer for a two-hour and 45-minute show, assembled in different sections. These breaks provided opportunities for videos of Black American poets and musicians, and of Black experiences in the U.S., to be displayed. Other video breaks included Beyoncé depicting various characters, notably a strip tease where she is the woman performing and the “man” enjoying it.
Night four of the “Cowboy Carter” tour co-starred rain, although it made for a dramatic, cinematic effect. The light rain complemented “FLAMENCO” as the singer performed in a denim dress, unbothered by the weather. “I love you through the rain and shine,” she proclaimed to the crowd. Daubon said the weather transformed the concert into a “magical” experience. “It was my first time seeing her in the rain — the difference was undeniable,” she said. “[Beyoncé] doesn’t just perform through the rain; she performs with it.”
Beyoncé thanked her fans for participating in the Cowboy themes of the tour through the storm, and was joined on stage by daughters Blue Ivy and Rumi Carter as she performed “PROTECTOR.” Blue Ivy spent more time on stage, with two solo dance routines.
As for branding, Beyoncé’s products, Sir Davis and Cécred, were strategically promoted. Nostalgic moments included her older country-inspired songs, “Irreplaceable” (2006) and “If I Were a Boy” (2008).
“What captivates me most about Beyoncé is her resilience,” said Daubon. “She’s been an artist for nearly as long as I’ve been alive — there’s never been a long ‘down time’ in her career.”
In addition to many memorable moments, like performing her rendition of Dolly Parton’s “Jolene” while soaring above the crowd on a custom-made horseshoe, Beyoncé’ did a gender reveal. At the end of the show, as promised, Beyoncé circled back to a couple expecting their first child together. She opened the sealed results and revealed they’ll be expecting a “Cowboy.”
“God bless you, congratulations!” the singer exclaimed. “Thank you so much for letting me be a part of it.”
The “Cowboy Carter” tour is in London, UK, until June 16.
Brenika Banks’ article, “Beyoncé blends genres on ‘Cowboy Carter’ tour,” is a masterful exploration of how Beyoncé breaks through the musical barriers of entry while honoring the deep-rooted contributions of Black country music artists. Banks’ insightful analysis captures the essence of Beyoncé’s transformative journey, shedding light on the cultural reclamation and genre-blending that make the ‘Cowboy Carter’ tour a landmark event. Her eloquent writing not only informs but also celebrates the resilience and creativity inherent in Beyoncé endeavor. Kudos to Ms.Banks for delivering such a compelling and culturally significant piece. Thank you for honoring Black American musical experience.
Love this article! Very brilliant in writing! Author deserves a medal! Not to mention the video!