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Random freezes, missing sound and display glitches usually trace back to one bad driver. Find and replace yours safely.Free scan · under a minuteBeyoncé opened the Cowboy Carter Tour on April 28, 2025, at SoFi Stadium in Inglewood, turning the album’s argument about Black musical history into a nearly three-hour stadium production. The first of five Los Angeles-area dates, opening night combined a Cowboy Carter-heavy set with songs from Renaissance and her earlier catalog, balancing vocal precision and live-band range against flying props, cinematic interludes and a golden mechanical bull.
A stadium show with history at its center
The opening sequence made the night’s purpose plain. Beyoncé began with “Ameriican Requiem,” then moved into “Blackbird” and “The Star-Spangled Banner.” As the Los Angeles Times’ Mikael Wood reported, screens brought Linda Martell, Elizabeth Cotten and Sister Rosetta Tharpe into the show’s visual frame. Beyoncé’s use of those artists and songs put Black creative work in the foreground of a concert built around country and Americana.
That framing matters because the show did more than dress a pop concert in Western imagery. Its references connected country music to Black artists and to the wider history of American popular music, including rock and folk. The Guardian’s Bryan Armen Graham read the performance as a reclamation of that narrative; the images, tributes and musical choices gave the interpretation substance onstage. The production made its case through the material it placed side by side, rather than stopping the concert for a lecture.
The Los Angeles Times also noted Beyoncé thanking earlier artists. That gesture gave the historical references a personal, performative dimension: the concert acknowledged predecessors while asserting that their influence belongs in the story of contemporary American music.
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How the setlist connected Cowboy Carter to the wider catalog
Cowboy Carter was the musical center, but the show was not a straight-through album performance. Reviews describe a set that drew heavily from the new record while weaving in Renaissance and older Beyoncé songs. That mix let the concert move among country, dance-pop and familiar catalog material without treating the album’s sound as a detour from the rest of her work.
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The exact song total is not settled. SFGATE counted 36 songs, while GQ described a 40-song setlist; neither figure should be treated as an official canonical count. The more useful point is the shape of the evening: a substantial run of Cowboy Carter material, threaded with songs that widened the musical palette and connected the new project to Beyoncé’s earlier eras.
The live band helped make that range legible. The Los Angeles Times praised its ability to move across the different styles, and highlighted Beyoncé’s vocal precision. SFGATE likewise praised the vocals. Those strengths mattered amid the scale of the staging: the songs remained the show’s anchor, not merely a soundtrack for visual effects.
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Seven acts, aerial movement and a mechanical bull
The Guardian described the production as seven acts, a structure that gave the long show distinct theatrical chapters. Its major set pieces included Beyoncé moving above the crowd on a glowing horseshoe and later in a convertible, riding a golden mechanical bull, and performing around a piano incorporated into the staging. Other reported elements included a semi-truck, robotic props, costume changes, dancers, large screens and cinematic video interludes.
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These were not small flourishes in an otherwise conventional concert. They turned the stadium into a sequence of visual environments, giving the country-coded imagery a larger-than-life scale while keeping the show in the language of pop spectacle. The flying props and bull were especially effective as emblems: part rodeo fantasy, part deliberate exaggeration, and entirely suited to a production built to fill a stadium.
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The visual ambition brought a trade-off. A show with so many theatrical transitions necessarily gives time to interludes as well as songs. SFGATE described the pacing as tight, while other reviews’ descriptions of the near-three-hour runtime leave room for viewers to experience the transitions differently. The evidence does not support a single critical consensus on pacing; what is clear is that the show was designed as a sustained, multi-act event rather than a compact run of songs.
Family appearances within the spectacle
Blue Ivy danced and performed with Beyoncé during the concert, and Rumi joined her mother for “Protector,” according to Pitchfork and SFGATE. The appearances offered an intimate counterpoint to the scale of the production, without displacing the album’s broader musical and historical frame.
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Opening night verdict
At SoFi Stadium, Beyoncé made Cowboy Carter feel like both a record and an argument about who gets included in the story of American music. Historical references, a flexible live band and a set spanning her catalog gave that argument musical weight; the aerial movement, elaborate staging and mechanical bull gave it stadium-sized form. The result was a confident opening night whose spectacle amplified its subject rather than replacing it.
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The tour began in Inglewood, not within the City of Los Angeles, but the regional shorthand is apt: this was the first of five Los Angeles-area dates at SoFi Stadium. The Associated Press had originally announced four Los Angeles dates in February; coverage of the opening run in April described five shows.
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Sources
- Los Angeles Times, Mikael Wood, April 29, 2025
- The Guardian, Bryan Armen Graham, April 29, 2025
- Pitchfork, April 29, 2025
- GQ, Frazier Tharpe, April 29, 2025
- SFGATE, Paula Mejía, April 29, 2025
- Associated Press, Maria Sherman, February 3, 2025
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