The Cowboy Carter Tour made its way to Atlanta for a total of four shows at Mercedes-Benz Stadium. I attended Night 1 this past Thursday, July 10.
Thousands of cowboys and cowgirls descended on the trains and streets of Atlanta in their best western-styled fashions, from boots and blonde-haired chaps to denim on denim and American flags, to have a hoedown with Beyoncé, the only artist to sell out Mercedes-Benz Stadium nine times.
The tour kicked off on April 28 in Inglewood, CA, and has hit major cities like London, Washington, DC, Houston, and Paris. Atlanta marked the eighth stop on her nine-city run, an unusually selective route that left many U.S. cities off the list of dates. It’s not clear why only nine cities were chosen, but one thing’s for sure: Everything Beyoncé does is intentional.
The show was a full-blown experience curated just for her 70,000+ close friends. From the moment the lights dimmed, it was clear this wasn’t your average tour. It was a cinematic journey through sound, style, and southern storytelling in a way that only she can pull off.
All four nights sold out and went on without a hitch, or so we thought.
Unbeknownst to the public, things were far more chaotic behind the scenes. Nearly 48 hours before opening night, Beyoncé’s choreographer and one of her dancers were victims of a robbery. According to their SUV was broken into after they arrived in Atlanta. Hard drives containing unreleased music, upcoming setlists, and personal belongings were among the stolen items. Thankfully, no one was hurt. According to Atlanta PD, they have a lead, and an arrest warrant has been secured.
Knowing how much of a perfectionist Beyoncé is, the idea of years of her creative work getting into the wrong hands had to be nerve-wracking. Yet, when Night 1 kicked off, you never would’ve known anything had transpired. She hit that stage with the same commanding energy she’s known for. I’d say she seemed even lighter. There was something airy about her demeanor, like watching a dandelion blow in the breeze.
Having seen her during the Renaissance World Tour’s ATL stop, I’ve noticed she always seems a little more at ease here. This take could be considered biased, but make no mistake: Beyoncé loves Atlanta.
Photos: Julian Dakdouk and Greg Noire for Parkwood Entertainment.
By 8:30 p.m. on the dot, the head diva in charge made her way on stage to begin a three-hour set. Starting with “AMERICAN REQUIEM,” the opening track to the Grammy-winning Album of the Year and Best Country Album, COWBOY CARTER. The album serves as Act II of a presumed trilogy, with Renaissance starting it off and an Act III on the horizon. The soulful song reclaims her place in American music history and makes it clear that she’s done playing by anyone else’s rules.
“NEVER ASK FOR PERMISSION FOR SOMETHING THAT BELONGS TO YOU” flickers in bright letters across the colossal LED screens on stage.
The quote is a reminder that Cowboy Carter isn’t just a genre shift; it’s a statement. Beyoncé is country. Beyoncé is American. And with Cowboy Carter, Black artists have and will always be at the heart of it all.
She then performed a medley of songs that touched every musical corner from soul, country, gospel, and even opera. Vocally, “DAUGHTER” may have been the toughest song of the night. And somehow, she made it all feel effortless. The song’s operatic bridge pulls from the Italian orchestral piece “Caro Mio Bien,” dipping into classical territory and adding an extra layer of drama to the night.
Tracks like “JOLENE” allowed the singer to take advantage of every inch of the unique stage design: a massive star-shaped platform stretched into a diamond of runways that connect. Sporting an embellished American flag mini dress while casually trotting down the runway, she sang with venom to the “hussy with the good hair,” in the words of the great Dolly Parton (Dolly P, for short).
A full denim jumpsuit fit every curve of her body when she line-danced to the first half of “SWEET HONEY BUCKIIN’” with her dancers in matching outfits.
At one point, it honestly felt like the show was outdoing itself. I’ve seen countless videos of the show, but nothing compares to seeing it with my own eyes. Riding on a mechanical mid-song like it was no big deal. Floating through the air on a neon red horseshoe while a bunch of dancers materialize from beneath the stage. The production was gorgeous, smooth, and precise, with not a camera angle out of place. Not one second of those three hours felt wasted.
But what stood out beneath all the spectacle was Beyoncé’s artistry. Her vocals were impeccable for someone who danced nonstop. Her tone was rich and controlled as she made it clear that she is the main event. She doesn’t have to rely on visuals to distract you. And while the visuals were beautiful, there was still a purpose behind the glitter.
“I wanna take y’all to the rodeo. Y’all ready?!” Beyoncé said midway through the show. In that moment, it hit me how rare this kind of moment is. We get to hear her speak much anymore. She rarely does interviews, and when she does, they’re usually written. So, when her voice filled the stadium, it felt like magic. Not to be dramatic, but that low, buttery southern drawl with a bit of breathiness to it felt just as captivating as any high note she hits. We definitely hear her sing more than we hear her speak these days. But I could listen to her talk for hours and never get bored.
Then, she was back in performer mode.
Her cover of Frankie Beverly’s “Before I Let Go” was a highlight for me. Seeing Frankie Beverly on one side of the LED screen and Beyonce on the other, both belting out that iconic “GOOOOOOOOO” near the end felt like watching two legends go toe to toe in real time. The moment felt electric, like Frankie was right there on stage with her, despite us sadly losing him last September.
Most of the songs performed were from the Cowboy Carter album, but a few songs from her extensive catalogue made the cut as well. Oldies like “If I Were a Boy” and Irreplaceable” instantly triggered nostalgia as the audience excitedly sang along to every word, while “Cozy” and “Alien Superstar” diverted the setlist to her 2022 album Renaissance. The old and new seamlessly weaved into each other despite being from different times.
The tour wouldn’t be complete without appearances from Blue Ivy and Rumi Carter. Rumi made her sweet cameo during “PROTECTOR,” a soft, heartfelt tribute to motherhood, love, and legacy. Despite the song’s intimate vibe, Rumi quickly stole the show with her excited energy and her adorable little quirks. Her twin brother Sir didn’t join the show, but his presence was felt as heartwarming family photos of him and his siblings were projected across the big screen on stage.
Photos: Julian Dakdouk and Greg Noire for Parkwood Entertainment.
Blue made her entrance in a full denim look while confidently strutting down the runway and breaking into her mom’s legendary “Déjà Vu” choreography. The moment sparked such a huge reaction from fans at the beginning of the tour that it inspired exclusive “Déjà Blue” tees, only available at select tour stops. The merch debuted at a Paris show last month and has been selling like hotcakes ever since. I tried to buy one at the merch booth and got hit with a giant “SOLD OUT” sign before I even made it to the front of the line.
Jay-Z didn’t make a surprise appearance on Night 1, much to my (very vocal) disappointment. He did end up joining Beyoncé onstage during Nights 3 and 4, making those crowds lose their entire minds. Seeing clips of the duo performing their joint hit “Crazy in Love” made it even more bittersweet.
For the grand finale, Beyoncé wrapped up Night 1 by hopping onto a golden mechanical horse before being lifted into the air and flown around the stadium while singing “16 CARRIAGES.” Chardonneigh, not to be confused with Renaissance’s disco ball horse Reneigh, showed no fear at her first sold-out show as she confidently galloped above the crowd.
The new outro comes not long after a recent mishap during a Houston show, when Beyonce’s usual red convertible that closes out the show was tilted mid-air. It left the singer visibly shaken as she urged production to stop everything until she was safely back on the ground. Things resumed shortly after, but that moment seemed to ignite the change. Ditching the flying car and introducing Chardonneigh didn’t disappoint the crowd as the screams got louder when the horse was unveiled from behind a curtain of American flags.
In conclusion, a time was had. The Cowboy Carter Tour exceeded my expectations tenfold. From the flashy costume changes, the stage design, the choreography, the interludes featuring sentimental video and photo collages of Beyoncé and those she holds near and dear to her… she just keeps raising the bar.
With just two more shows left, the Cowboy Carter tour will officially conclude in Las Vegas on July 26. Then, we patiently wait for Act III…
