photos by Julian Dakdouk

Among the many messages that flashed across the stage-spanning screen during Beyoncé’s June 28 show at NRG Stadium – the first of two sold-out nights in her hometown of Houston and the kickoff to the second U.S. leg of her Cowboy Carter Tour – perhaps the most poignant was this all-caps command:

“NEVER ASK PERMISSION FOR SOMETHING THAT ALREADY BELONGS TO YOU.”

That treatise was displayed during a five-song intro section, in between a Jimi Hendrix-style performance of “The Star-Spangled Banner” and “Freedom,” and accompanied by a towering portrait of Bey wearing a red, white, and blue sash imprinted with the words “THE RECLAMATION OF AMERICA.” The imagery made it clear that the concert was intended to resonate as much more than a spectacle. It served as a call to action: Take heed of the undeniable essentiality of Black musicians, activists, and cultural icons as cornerstones of our diverse American culture, and use that knowledge to eschew any presently pervasive divisiveness while reimagining – and ultimately remaking – our nation as one that asserts power via inclusion and unity.

The mission unfurled over the course of nearly three hours composed of six distinct acts, each a stepping stone toward the intended goal. The first, Revolution, fittingly accelerated with the ferocity of dance-meets-rap RENAISSANCE tune “AMERICA HAS A PROBLEM” (the inspiration for this section’s outfits, which displayed the song’s title across a newsprint design), then rallied the troops on the Lemonade callback “Formation,” and positioned Beyoncé as a leader with the one-two punch of “MY HOUSE” and “Diva.”

Up next came Refuge, a downtempo collection of four tunes that included the proper country stomp of “ALLIIGATOR TEARS” – one of Queen Bey’s most intoxicating vocal displays – and the beautiful, maternal-themed balled “PROTECTOR,” which featured 13-year-old Blue Ivy and 7-year-old Rumi flanking their mother at the base of a pyramid of gracefully writhing dancers.

The Marfa section was a blatant ode to the pop star’s Texas roots (the obvious backbone of COWBOY CARTER), featuring a ride on a gilded mechanical bull during the pairing of “TYRANT” and “THIQUE,” and a multi-genre medley of “SWEET HONEY BUCKIIN’,” “PURE/HONEY,” and “SUMMER RENAISSANCE.” This combo of doo-wop, disco, and hard hip-hop saw Beyoncé and her gang of a few dozen dancers dominating the tip of the expansive, diamond-shaped stage for a breathtaking run of choreography, backed by the bombast of her massive band atop two gold-plated risers.

Beyoncé’s concert served as a call to action: Take heed of the undeniable essentiality of Black musicians, activists, and cultural icons as cornerstones of our diverse American culture.

“What’s up H-Town … thank you for inspiring this song,” said Bey to start the next act, Tease, with “TEXAS HOLD ’EM.” The ensuing run of songs was the show’s longest and most high-octane, incorporating more classic hits like “Crazy in Love,” “Single Ladies (Put a Ring on It),” “Love on Top,” and the essential “Daddy Lessons” (“the song where it all started,” according to Bey), which featured elements of New Orleans big band brass and a soaring gospel finish. The section concluded with Beyoncé flying through the air from end-to-end of the arena nestled in a neon horseshoe to sing her cover of R&B maven Maze’s “Before I Let Go,” a fan favorite from her 2019 Homecoming production filmed at the 2018 edition of Coachella.

Then it was time for a break from the over-the-top production and sparkling country-inspired outfits – all topped off with a different cowboy hat, of course. For the Renaissance portion, Beyoncé emerged alone under a single spotlight, adorned in a simple, wide-hooped black dress. As she eased into the compelling ballad “DAUGHTER,” it soon became clear this was no plain getup. The entirety of the gown’s surface was a tapestry of LEDs, glowing and swirling from one color pattern to the next in sync with straight-up operatic singing. Without all the glitz, flashing lights, fire, and booming instruments, it was a showcase of her singular vocal talent and hands-down was the most arresting moment of the evening, inspiring goosebumps and tear-stained faces all around. The energy went a full 180 a few songs later when Blue Ivy led an insane dance-off to “Déjà Vu,” while her mom disappeared in preparation for the final act.

At last, Reclamation! It should’ve been a euphoric moment, but the thunderous “16 CARRIAGES” was cut short in a scary moment where the red car Beyoncé was flying on began to tilt at a 45-degree angle. Clearly a malfunction, she shouted “stop, stop, stop” and paused her singing – a rare move for the famous perfectionist – while the whip was lowered safely to the floor.

“I wanna thank y’all for loving me,” she said as she strolled back onto the stage a couple minutes later. “If I ever fall I know y’all will catch me.”

The line was a perfect way to play it off and tie a bow on the concert’s concept. The reclamation of America requires unconditional mutual support among people of all cultural backgrounds. Yet it also requires militant organization and action, a notion driven home by a giant Statue of Liberty head, with its face covered by a defiant bandanna, that served as the backdrop for the roar of voices fueling closing number “AMEN.”

America is in turmoil, but Beyoncé’s out-and-out soulful belting of the song’s final lyrics pointed a way forward: “Say a prayer for what has been/ We’ll be the ones that purify our fathers’ sins/ American Requiem/ Them old ideas/ Are buried here/ Amen.”

Beyoncé

NRG Stadium (Houston)

June 28