Beyoncé Brings a Brilliant Country Music Spectacle to MetLife Stadium

Beyoncé at MetLife Stadium (photograph by Mason Poole)

Beyoncé Giselle Knowles came to the New York City area for the first of five concerts at MetLife Stadium and the Beyhive was dressed to the nines to receive her. Some 60,000 fans deboarded local transportation, many in wild or colorful wardrobe. Before long, however, many among her fandom chose to cover up the goods with plastic ponchos due to unseasonal cold and precipitation.

Meanwhile, on the stage, a crew dutifully attempted to dry the stage prior to showtime, yet they lost the battle under a steady drizzle. Temperatures dropped to 49 degrees as the concert was about to begin. Even under the bright stage lights, Beyoncé must have felt the damp chill as she strutted onto the stage at 8 p.m. in her stunning form-fitting, golden rhinestone cowgirl outfit.

“I’m going to try my best to keep y’all warm,” Beyoncé said early in the show.

East Rutherford was the third city on Beyoncé’s Cowboy Carter Tour, which began April 28 in Inglewood, California. The three-hour 40-song set was dominated by most of the songs from her 2024 Cowboy Carter country music album, a landmark collection which won both Album of the Year and Best Country Album at this year’s Grammy Awards. To accent her new musical direction, the Texas-born singer made novel use of Americana and Western-inspired fashion, complete with sparkly sequins and metallic accents. Many of the city folk in the audience aligned with her aesthetic by wearing cowboy hats, boots and chaps.

This would be more than a concert. The show was designed as an artistic multi-media adventure, and the enormity of the production was over the top. The main star-shaped stage extended into a diamond of runways, leading to the smaller stage at the opposite side of the football stadium. Beyond that was a yet smaller B-stage, which Beyoncé utilized later in the program. About 30 dancers accompanied Beyoncé as she sang. Bountiful props often appeared and disappeared onstage thanks to hydraulic lifts. Not only was every movement by Beyoncé and her dancers immaculately planned, even every camera angle was meticulously strategized for projection onto the screens in the background, all conceived to produce the best visual effect.

Beyoncé at MetLife Stadium (photograph by Mason Poole)

Beyoncé sat at a gold piano, unphased when it was set aflame. She rode a mechanical bull on “Tyrant.” She rode atop the glittering cab of a truck while singing “Crazy in Love.” She rode a giant horseshoe through the air on her remake of Dolly Parton’s “Jolene,” landing on the smaller stage B, then rode the horseshoe back to the main stage. Beyoncé concluded the concert by singing “16 Carriages” while riding over the audience in a vintage convertible. Throughout the evening, each wow was followed by a greater wow.

Beyoncé featured both of her daughters during the concert. Thirteen-year-old Blue Ivy Carter danced on “American Has a Problem.” Seven-year-old Rumi Carter huddled close to her mom and waved to the audience as Beyoncé sang “Protector.” (Beyoncé’s one son, Sir, who is Rumi’s twin, was not present on stage, appearing only in visual clips projected onto the screen.)

The concert was not just an extravagant spectacle, however. More importantly, Beyoncé proved to be a consummate singer, hitting notes and carrying tunes masterfully, even while joining in choreography with her dancers. Her variation of country music hearkened to the genre’s African-American origins. The newer songs blended perfectly well with the other genres she touched, including rock, pop, blues, hip hop, house, club, spirituals and field music, perhaps redefining country music as any music born in America. On “Daughter,” she also showcased her classical abilities by injecting the Italian aria “Caro Mio Ben.” Subtle undercurrents of her presentation embodied uplifting messages of Black history, female empowerment and human dignity.

Beyoncé at MetLife Stadium (photograph by Mason Poole)

The concert was presented in seven themed acts, each separated by creative video collages on two massive LED screens. The segments included interlude sections. Beyoncé performed 17 of the 27 songs on the Cowboy Carter album, interspersed with songs from her catalogue, especially highlighting 2022’s Renaissance album. The set also included a few covers and mash-up medleys of hits, many of which were abbreviated and/or rearranged. For instance, her first hit which launched her solo career, “Crazy in Love,” was slowed to an almost unrecognizable reinterpretation.

In short, the Cowboy Carter Tour is a theatrical spectacle unlike any other. Aside from Beyoncé’s costume changes, the choreography, the videos, the pyrotechnics, and the special effects, something was always happening to capture the attention of the audience. It clicked because Beyoncé is phenomenally talented and because she has an uncanny vision of music and performance. The Cowboy Carter tour is the concert of the century.

The show returns to MetLife Stadium on May 24-25 and 28-29. This marks the first time since the stadium opened in 2010 that an artist has played five concerts on a single tour. Beyoncé is still making history. What will be her next accomplishment?

Beyoncé at MetLife Stadium (photograph by Mason Poole)

ACT I: REQUIEM

Intro (pre-recorded interlude; included elements of "Ameriican Requiem")

1. Ameriican Requiem
2. Blackbird (The Beatles cover)
3. The Star-Spangled Banner (John Stafford Smith & Francis Scott Key cover)
4. Freedom
5. Ya Ya / Why Don't You Love Me

Oh Louisiana (pre-recorded interlude)

ACT II: REVOLUTION

Propaganda (pre-recorded interlude, included elements of Those Guys' "An American Poem" and Death Grips' "You Might Think He Loves You For Your Money, But I Know What He Really Loves You For It's Your Brand New Leopard Skin Pillbox Hat")

1. America Has A Problem
2. Spaghettii (included elements of "Flawless", DJ Mimo's "ESSA TÁ QUENTE", "Run the World (Girls)" and "My Power")
3. Formation (abbreviated)
4. My House (included elements of Wisp's "Your Face", "Bow Down" and "Yoncé")
5. Diva (included elements of Soulja Boy's "Crank That", GloRilla's "TGIF" and David Banner's "Like a Pimp")

ACT III: REFUGE

Trailer (pre-recorded interlude; included elements of Justice's "Genesis", JPEGMAFIA's "don't rely on other men" and "I Been On")

1. Alliigator Tears
2. Just For Fun
3. Protector (with Rumi Carter)
4. Flamenco

ACT IV: MARFA

Peep Show (pre-recorded interlude; included elements of Marian Anderson's "Deep River" and Nancy Sinatra's "Lightning's Girl")

1. Desert Eagle
2. Riiverdance
3. II Hands II Heaven
4. Tyrant
5. Thique (included elements of "Tyrant", "Say My Name", "Bills Bills Bills" and "Levii's Jeans")
6. Levii's Jeans
7. Sweet ★ Honey ★ Buckiin' / Pure/Honey / Summer Renaissance

ACT V: TEASE

Outlaw (50ft Cowboy) (pre-recorded interlude; included elements of BigXthaPlug's "The Largest" and Esther Marrow's "Walk Tall")

1. Texas Hold 'Em (included an excerpt of "Church Girl")
2. Crazy in Love (Homecoming version; abbreviated; included elements of Cassidy's "I'm a Hustla")
3. Single Ladies (Put a Ring on It) (abbreviated; included elements of "Get Me Bodied")
4. Love on Top (abbreviated; included elements of "Freakum Dress")
5. Irreplaceable (abbreviated)
6. If I Were a Boy

Dolly P (pre-recorded interlude)

1. Jolene (Dolly Parton cover)
2. Daddy Lessons
3. Bodyguard
4. II Most Wanted
5. Cuff It
6. Smoke Hour II
7. Heated
8. Before I Let Go (Maze featuring Frankie Beverly cover)

ACT VI: RENAISSANCE

This Is Theater (pre-recorded interlude)

1. Daughter
2. I'm That Girl
3. Cozy
4. Alien Superstar

Cowboy Carter Rodeo (pre-recorded interlude, with Blue Ivy Carter, included elements of "Pure/Honey", "Say My Name", "Top Off" and "Déjà Vu")

ACT VII: RECLAMATION

Legacy (pre-recorded interlude)

1. 16 Carriages
2. Amen

Beyoncé at MetLife Stadium (photograph by Julian Dakdouk)

***

The Manhattan Beat reports on New York City's live music circuit. All articles are written by Everynight Charley Crespo. All photographs are taken by Everynight Charley Crespo, except when noted otherwise.

For a list of Manhattan venues that are presenting live music regularly, swing the desktop cursor to the right of the The Manhattan Beat home page and click on the pop-up tab "Where to Find Live Music."

For a more complete listing of upcoming performances in the New York City area, visit The Manhattan Beat's May calendar.