‘This Ain’t a Country Tour, It’s a Beyoncé Tour’: A Genre-Defying Experience with ‘Cowboy Carter’

“This ain’t a country tour, it’s a Beyoncé tour” was displayed on a shirt at the opening night of the Cowboy Carter tour — and it couldn’t be more accurate.

Cowboy Carter on opening night at Sci-Fi stadium was the Beyoncé I grew up watching on TV. The performer, the different mixes, some of the unexpected, yet, pulling from herself and previous performances to make something new and different; Giselle really did her thing for this, making it the best Beyoncé concert experience I’ve had.

Opening with “American Requiem” before transitioning into “Blackbiird,” many expected a similar structure to Renaissance — performing the album in order, but Beyoncé had other plans.

From “Blackbiird,” she pivoted to “The Star-Spangled Banner,” set to Jimi Hendrix’s chilling 1969 Woodstock arrangement, which has often been used and considered a form of protest, given the time period (and how recent it still is). Hendrix has said that while some called his version “unorthodox,” he considers it “beautiful.”

While controversial, Beyoncé used it to set the tone, weaving past, present, protest and the American way, with the same issues running rampant in society.

In an Instagram post, Beyoncé shared that the idea of Cowboy Carter came from how she felt unwelcome from her 2016 performance at the CMAs with The Chicks.

“This album has been over five years in the making,” she wrote. “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. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.”

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She’s doubling down throughout the tour, especially with the imagery throughout the concert. The show is packed with messages — including one that reads, “Never ask for permission for something that already belongs to you.” In this instance, it serves as a declaration that challenges the gatekeeping of Country music and honors the overlooked Black roots of the genre.

Cowboy Carter has been everything from critically acclaimed to polarizing. It’s been called bold, confusing, daring, and profound. Onstage, Beyoncé addresses the discourse by directly confronting critiques — visually, musically, and through powerful symbolism. In one sequence, she is bulletproof.

The tour pays tribute to Black country and rock pioneers. During one segment, Beyoncé thanked “those who came before me” while images of Linda Martell, Fats Domino, and others flashed across the screen, alongside scenes of Black community gatherings. “I want to thank my fans for letting me make this album. Thank you for giving me the creative liberty to challenge myself,” she continued.

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For nearly 3 hours, Beyoncé, her dancers and band commanded everyone’s eyes with their presence. Utilizing every aspect of the guitar-shaped stage as a canvas, and at a few points, lifting the entertainer into the sky.

Giselle took various elements from her past performances and influences and made them into her own, especially Tina Turner, whose spirit was channeled throughout the night, but definitely made a grand appearance during “YaYa,” with the transition into “Why Don’t You Love Me.”

The show also became a family affair. Blue Ivy, now more involved as a dancer, performed choreography from B’Day’s “Déjà Vu,” as well as moves from “Formation” and “My House.” While her career path remains uncertain, her presence confirms her star potential. Later in the show, Beyoncé performed “Protector,” which features her youngest daughter Rumi — who also made an appearance onstage, smiling and beaming at her mother and sister.

From The Beyoncé Experience, to Live at Wynn Las Vegas, to Formation World Tour, Beychella and Renaissance, Beyoncé took her own notes, listened to fans, applied and reapplied them for Cowboy Carter. This tour has elements from old remixed into new and different. Even some of the classic songs mixed into the performance had Country-style instrumentals.

She also gave fans a mini-Renaissance set during the show, so if you missed out on the Renaissance tour, you can catch a true glimpse of that show. Choreography still tight, mechanical arms still mechanicaling, and the dancers hitting the flips, dips and tricks.

Beyoncé not performing Cowboy Carter in order gave space to more storytelling and freedom to reshape the album’s narrative — a move that expanded the show’s emotional and creative depth. However, it would have been nice to see her mix more of her hits in a Country style production, something she did a few times throughout.

She closed the night with “16 Carriages,” lifting into the sky, singing to fans directly. A montage of photos and videos spanning her life from early Girls Tyme days was displayed, making it feel like a farewell to an era — and perhaps a subtle hint that the superstar may soon be stepping back from the stage in her current capacity.

Regardless, Beyoncé’s spot will remain and The Cowboy Carter Tour, in real time, showcased that Beyoncé is her own standard and sets her own precedent while being grateful and thankful for those that came before her, which allows her to give back and inspire others.