Hello and welcome to The Long Wave. Beyoncé’s much-anticipated Cowboy Carter tour, which made its grand debut in California back in April, has now successfully launched its European segment, with its first show taking place in London last week. I had the opportunity to attend this inaugural performance, and it prompted me to reflect on the historical significance of this chapter in Beyoncé's illustrious career—as well as the aspects that left me feeling somewhat ambivalent.

A Deep Dive into the Chitlin’ Circuit

The excitement buzzed outside Tottenham Hotspur Stadium, where fans adorned in cowboy hats sparkling with rhinestones, cow-print vests, embroidered boots with spurs, and outfits completed with bandanas gathered to witness a spectacle that is quintessentially Beyoncé. Despite the grey skies looming overhead and a forecast threatening rain, the palpable energy and enthusiasm of the crowd transported me to the sun-soaked atmosphere of Texas.

Attending the event was a woman named Marieles, who had flown in from Panama specifically for this concert. Dressed in a striking white and denim cowgirl outfit, she shared that this was her second long-haul trip to see Beyoncé perform, having previously attended the Renaissance tour in Amsterdam earlier this year. I asked her how she felt about the Cowboy Carter album and its exploration of country music. “I love the impact and the message that it brings,” Marieles responded passionately. “As a Black girl, I feel incredibly empowered by that album. It opened my eyes to the history of country music, which I had never engaged with before.”

Similarly, Cornelius from Germany, who proudly mentioned this was his fourth Beyoncé concert, expressed his admiration for the Cowboy Carter album. He noted that Beyoncé sings with “a lot of love and passion” and shared that he has become “more open” to the genre of country music after listening to her latest work.

A Pioneering Fusion of Culture

Beyoncé’s journey into country music was long anticipated, especially following her previous foray with the track “Daddy Lessons” from her acclaimed 2016 album, Lemonade. This song not only showcased her versatility as an artist but also stirred controversy among traditional country music fans when she performed it live with the Chicks at the 50th Annual Country Music Association Awards. Critics from the Nashville establishment questioned her invitation, deeming her musical roots too entrenched in R&B and hip-hop, and her activism through music as counterproductive to the predominantly Republican country scene. The Chicks, too, had faced significant backlash years prior for expressing political views that opposed the prevailing sentiments in their home state of Texas.

The lead single from Cowboy Carter, titled “Texas Hold ’Em,” has proven to be a major success, soaring to the top of the charts in 19 countries, including both the United States and the United Kingdom. Notably, it also achieved the impressive feat of becoming the first record by a Black woman to reach No. 1 on the Hot Country Songs chart in the US. When revealing the album’s artwork, Beyoncé credited her past experience at the CMAs as a driving factor behind Cowboy Carter, stating it was “born out of an experience that I had years ago, where I did not feel welcomed. That experience pushed me to delve deeper into the history of country music and to study our rich musical archive.”

To further emphasize the contributions of Black artists to the genre, Beyoncé invited Linda Martell, the first Black female artist to perform at the Grand Ole Opry, to collaborate on Cowboy Carter, alongside excerpts featuring Roy Hamilton and Son House in the album’s radio interludes. The tour amplifies this theme of inclusivity, boasting visual storytelling that celebrates the vibrant legacy of Black American music, enriching the concert experience with dynamic performances.

A Grand Production

The Cowboy Carter tour also carries the secondary title of The Rodeo Chitlin’ Circuit, a nod to the historic venues that catered to African American audiences and supported Black performers during the Jim Crow era. The show brilliantly honors this legacy, with Beyoncé appearing on stage in a dazzling array of outfits, including fringed chaps and custom Versace-print dresses. The stage design is equally impressive, featuring kitschy neon bar signs labeled “salon” and “saloon.” During the performance, she dramatically flies across the stadium on a giant neon horseshoe and a Cadillac, showcasing her creativity and flair.

Having witnessed Beyoncé’s transformation as an artist since her Formation World Tour when I was just 19, I can confidently say that this is the most self-assured and jubilant I have ever seen her. The songs from Cowboy Carter translate beautifully to live performance; tracks like “Riiverdance,” “II Hands II Heaven,” and “Flamenco” shine, while the lively rendition of “Ya Ya” channels the theatrical rock’n’roll essence reminiscent of legends like Prince and Tina Turner.

The performance is not only a celebration of Beyoncé’s artistry but also a tribute to the rich tapestry of Black musical heritage. During the show, large screens display images of iconic figures from Black music history—Chuck Berry’s electrifying performance of “Johnny B. Goode” in 1965, Cab Calloway’s moving rendition of “Minnie the Moocher” in 1932, Nina Simone’s powerful rendition of “I Wish I Knew How It Would Feel to Be Free” in 1976, and many others. These references aren’t merely a cursory glance through history; they serve to reinforce the narrative that country music is intrinsically linked to African American pioneers who have shaped its very foundation.

Symbols of Reclamation

Yet, there’s a moment in the show that raises questions about the intersection of music and cultural identity. After performing “Ameriican Requiem,” which resonates with a soulful beauty reminiscent of a cathedral choir, Beyoncé transitions into a cover of the Beatles’ “Blackbird,” before delivering a powerful rendition of “The Star-Spangled Banner.” This performance pays homage to Jimi Hendrix’s iconic version at Woodstock in 1967, which was a protest against the Vietnam War. The significance of national symbols like the anthem and the American flag projected on the screens takes on new meaning in an era characterized by political turmoil and divisive rhetoric. Can these symbols, often associated with regressive and supremacist ideologies, truly be reclaimed?

Beyoncé appears to believe they can. During the performance, she dons a sash emblazoned with the phrase “the reclamation of America,” suggesting that these symbols—like American music—should be deeply connected to Black American identity, particularly at a time when there's a push to erase African American contributions from historical narratives. While I acknowledge the importance for Black Americans to express pride in their traditions, the display of patriotism stirred a sense of wariness within me.

The tour has sparked conversations around Beyoncé’s political artistry, raising discussions reminiscent of the discourse surrounding her self-titled visual album from 2013. However, one thing is clear: Beyoncé stands as the foremost performer and artist of our time. Though some speculate that the nostalgic mood of the tour, with its visual montages of her life and the return of classic tracks such as “If I Were a Boy” and “Why Don’t You Love Me,” hints that she may be edging towards retirement, I see a defiant artist who refuses to be slowed down by critics or setbacks.

The rodeo queen rides on, and while complex themes and questions remain, her ability to captivate audiences with profound artistry remains unwavering.

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