“It’s not Texas,” said Beyoncé at the start of “Texas Hold ‘Em”, her hit Hoedown who passed the Pop and Country charts last year.
But he had really had the impression of it during the first of the five “Cowboy Carter” shows from the Superstar to the Metlife Stadium in East Rutherford, NJ on Thursday evening.
Beyoncé may not have been able to change the weather for a rainy and unusually cold night, but the power of the pop goddess was exhibited in the cowboy hats sea, boots and other Western clothes than the Beyhive in Giddied – even with their rain ponchos.
Admittedly, Kenny Chesney, Luke Combs or Morgan Wallen have never published so close to the big city of Metlife.
But it was a different type of country and more diversified – the genre that Beyoncé at the border with her “Cowboy Carter” LP revolutionary which finally earned him this album of the year Grammy in February. And although it was difficult to imagine that Country Bey is rocking a stadium as she did during the “Renaissance” tour in 2023 or the “Training” tour in 2016, she was still Queen B.
And she immediately established that she was not going to be encroorded by any kind with the opener “Cowboy Carter” “American Requiem”.
“They said that I had spoken” too country “/ and the rejection came, said that I was not” country “not”, the native diva of Houston sang with a rumble in her Twang.
Of course, it was a reference to Beyoncé, apparently, not having been “welcomed” when she played “Daddy lessons” with the chicks at the Country Music Association 2016. This experience inspired “Cowboy Carter”, and when she interpreted this country song from her album “Lemonade” on Thursday evening, she had recovered the country.
As a African-American woman bringing the genre back to her black roots, she made a powerful early declaration when she went from her “Cowboy Carter” coverage of “Blackbird” of the Beatles to “The Star-Spangled Banner” in “Freedom”.
It was Beyoncé’s America. And the flag which was a pattern throughout the “Cowboy Carter” era lets you know.
The 43 -year -old singer made the stadium felt as a living room on the intimate numbers “CC” such as “Alligator Tears” and “Just for Fun” and “Flamenco” took harmonies of destiny in folky territory, with a flamenco dancer.
But there was also a show when Beyoncé set up a mechanical bull on “Tyrant” and a giant horseshoe in the air on her remake of “Jolene” by Dolly Parton.
And the visuals for which the beyhive is claiming? Well, they were here on video screens during the interludes. The crowd of New York particularly loved when Beyoncé lit a cigar with the statue of freedom.
While the almost three -hour show was heavy on “Cowboy Carter”, Beyoncé also delivered Top classics such as “Crazy in Love” and “Single Ladies (put a ring on it)”. And she revisited other first solo tubes which were absent in her recent tours, notably “irreplaceable”, who brought the crowd back with a stadium singer, and “If I was a boy”, which inspired one of her best voices of the night.
Another vocal strong point was “her daughter”, which presented the classic beyoncé chops when she faced the Italian aria “Caro Mio Ben”. His crystal clear voice climbed into the cold air of the night.
Naturally, there was also dancing in a “Renaissance” section which brought him back to the Basse-Cur in the ballroom and presented the 13-year-old daughter of Bey, Blue Ivy, fiercely recreate the dance break “already seen” by his mother.
But the 7 -year -old girl, Rumi, was the star of “Protector”, taking the scene to excite applause in a white fur coat – corresponding to that which Beyoncé wore to keep warm in the temperatures that were in the 1940s.
It may be a country, but it is still a diva.
