By Lisa Richwine
INGLEWOOD, California (Reuters) – Singer Beyonce launched her “Cowboy Carter” stadium tour on Monday, rolling through “Texas Hold ‘Em” and other country-inspired hits and sharing the stage with her two daughters.
Beyonce opened the nearly three-hour show at SoFi Stadium near Los Angeles with “Ameriican Requiem,” appearing in an all-white cowboy outfit with long fringe on the sleeves as dancers in red performed around her.
For her cover of Dolly Parton classic “Jolene,” Beyonce sat on a lighted horseshoe that floated above the crowd. She rode a gold mechanical bull for “Tyrant” and flew through the air in a red car while holding an American flag for “16 Carriages.”
Beyonce’s 13-year-old daughter, Blue Ivy Carter, joined the backup dancers for several songs, including “Ya Ya” and “America Has a Problem.” She strutted down a long runway to lead a dance to “Deja Vu,” flipping her hair as she turned to walk back.
Seven-year-old Rumi Carter appeared on stage while Beyonce performed the lullaby “Protector.” She waved both hands to the crowd and turned around to give her mom a hug.
“Cowboy Carter” earned Beyonce her first album of the year Grammy in February. It was viewed by experts and fans as a reclamation and homage to an overlooked legacy of Black Americans within country music and culture.
“I want to thank all of those who came before me that allowed me to be on this stage today,” Beyonce said at Monday’s show. “I want to thank you my fans for allowing me to make this album. Thank you giving me the creative liberty to challenge myself.”
Beyonce also performed hits including “Formation,” “Cuff It” and “Crazy in Love” from previous albums.
The tour, called the Cowboy Carter and the Rodeo Chitlin’ Circuit Tour, is scheduled to run through July in the U.S. and Europe.
Many fans went all in on the cowboy theme, wearing Western hats, cowboy boots and rhinestone-studded denim. Beyonce thanked the crowd before ending with the song “Amen.”
“I feel so overwhelmed,” Beyonce said.
(Reporting by Lisa Richwine; Editing by Peter Graff)
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