
“Cowboy Carter, time to strike a match and light up this jukejoint!” says Dolly Parton as Beyoncé begins to sing one of my favorite songs off the album “Tyrant” at MetLife Stadium. I had been preparing for months for her highly anticipated Cowboy Carter Tour since she made the announcement back in February. From crafting custom lip-combos for the tour to curating a western wardrobe that was rodeo-ready, I was gleaming with excitement to see the Queen Bey. Plus, this was going to be my second time watching her put on a show since her 2014 “On The Run” tour.
Cowboy Carter MetLife Stop

May 28th arrives, and Beyoncé performs a 3-hour set in front of thousands of us in the pouring rain. The American Flag is projected across the screen and slowly fades to black. You hear the church like hymns of Ameriican Requiem as the spotlight shines on Beyoncé as she sings her song. Her dancers march behind step and toe with her, and the music.
The visuals were compelling, telling a mini story throughout her stage transitions. From her being in the smokeroom to her being Godzilla-size stomping through an old spaghetti western town showcased all the cultural country elements.
For the Cowboy Carter Tour, Beyoncé brought out her daughters Blue Ivy and Rumi for her heartfelt number “Protector,” which always makes me feel emotional and inspired. Plus, she performed some of my other favorites like Alligator Tears, Sweet Honey Buckin, and YaYa.
There were also several cameos and nods that Beyoncé did to her brands and collaborators. In the early act of the show, she had a mechanical robot pour her a shot of SirDavis Whiskey as she did a cheers to the audience. Then mid-performance, she did a solo piece with her male dancers to the “Levii’s Jeans” song, with them being dressed in head-to-toe denim outfits. Finally, towards the end, Beyoncé and her dancers served fierceness in the Cécred Saloon. Plus, she serenaded us while riding in that iconic cherry red car in her final act.
Costumes By Shiona Turini
Beyoncé also served up incredible Western fashion looks thanks to her stylist and costume designer, Shiona Turini. With almost 90 costumes or more, Beyoncé struck a pose in long fur coats, assless chaps, bejeweled body suits, and knee-high fringe boots. Many of the jeweled bodysuits were hand-beaded by Swarovski to give that high glitzy shine on stage. Shiona worked with luxury brands like Loewe, Burberry, Balmain, Mugler, and many more. Some of my favorite looks came from black owned brands like Telfar and Off-White.
Chaps, Boots, and Much More!

Turini also styled several of the denim-on-denim looks by Levi’s. Beyoncé has collaborated with the long-standing denim brand to drop several ads and a capsule collection. For the Cowboy Carter Tour, Beyoncé wore wide-brimmed cowboy hats, a few made by the Levi’s brand. Plus, many of her dancers wore the iconic trucker jackets and jewelled curved jeans.
The accessorization and editing were well curated and intentional. Beyoncé wore black lace gloves, bolo ties, stacked belts, wide-brimmed suede cowboy hats, dark shaded sunglasses, gold chokers, and much more to complement her notable costume ensembles.
I admire how Shiona had brands play with texture, color, and fabrication. She truly pushed the boundaries when it came to each look for the 9-city tour. For her final show in Vegas, the Destiny’s Child Trio all wore gold chaps and bodysuits, and tanks to commemorate their show-stopping moment.
Shiona has been styling several of Bey’s looks since the drop of the album, and it’s had a major economic impact, causing this new age western renaissance. Many small indie western-wear stores had boots flying off the shelves, along with hats being sold out. In addition, small businesses were quickly selling through the red, white, and blue sashes that Beyoncé donned on her cover album. The fashion and music of the Cowboy Carter tour was a reclamation of space in the country genre. I left the tour feeling moved with joy to see Beyoncé grow as an artist over the years and grateful we were able to celebrate an innovative body of work. I’m looking forward to Act III to see if some rock and roll lies ahead.




































































































































































