By Marika N. Johnson | For The Birmingham Times
Anticipation for Beyoncé’s Cowboy Carter Tour had been building for weeks in Birmingham as local salons, boutiques, and barbershops saw a surge in customers looking for the perfect “Yeehaw Glam” — from silver boots to custom nail sets.
“We had women coming in asking for Beyoncé-style press-ons with silver stars and rhinestones,” said Haven Moore, owner of Haven Fabulash Nails in downtown Birmingham. “They know I’m the ultimate Beyoncé fan and I was not playing. My clients couldn’t wait for me to drop the Cowboy Carter nail sets — they were going full rodeo.”
Moore, who attended the concert with her daughter, said Beyoncé’s words continue to motivate her as an entrepreneur. “She says, ‘Every time I (Beyoncé) accomplish one thing, I set a higher goal.’ That’s how she got where she is — and that’s how I push myself, too.”
When the global superstar brought her Cowboy Carter Tour to Atlanta’s Mercedes-Benz Stadium July 10-14, she didn’t just perform — she sparked a movement. Dressed in denim, rhinestones, and leather fringe, she redefined country music through a bold, Black Southern lens. And once again, fans from Birmingham showed up in force to witness it.
Thousands made the drive east to Mercedes-Benz Stadium, where Bey’s reinvention of Americana played out across multiple sold-out nights. As the second act of her Renaissance series, Cowboy Carter explores the deep roots of American music — fusing country with soul, gospel, and rock. For many Birmingham fans, the experience felt like a cultural homecoming.
From the moment she stepped onstage in a custom Western ensemble, flanked by a full band and a dynamic cast of dancers, it was clear this wasn’t the country music of Nashville — it was Beyoncé’s. She delivered powerful performances of Cowboy Carter tracks like “Texas Hold ’Em,” “Sweet Honey Buckin’,” and the fiery “Spaghettii,” layered with references to her Houston upbringing and her deep connection to gospel and Southern musical traditions.
“Beyoncé reminded the world that Black hands shaped country music too,” said one concertgoer.
The tour’s cultural impact resonated deeply with local creatives, especially as Beyoncé boldly took up space in a historically white genre — one with deep ties to the South, yet often lacking in Black representation.
Daniel Grier, owner and designer of Splashed by DKG, dressed about 10 fans for various stops on the tour, including one look that made it all the way to the London show and was featured by Beyoncé’s own Parkwood Entertainment social media team.
“Fashion is a powerful form of expression that affects our mental health and confidence,” Grier said. “It means everything that people spent their money with me for a custom look. Beyoncé inspired people to seek out independent designers or tap into their own creativity. Emerging artists really needed this.”
“Independent artisans aren’t in the malls,” Grier added. “We’re out here pushing our brands on social media, trying to grow. My thanks to Beyoncé — Cowboy Carter reminded the world we exist — and we matter.”
One of the most powerful messages of the night came in the form of a quote displayed boldly on stage: “Never ask permission for something that already belongs to you.” That line, for many fans, was more than a lyric — it was a mantra.
“That quote is infused in every lyric, dance move, outfit, and video,” said Javacia Harris Bowser, Birmingham writer and founder of See Jane Write posted on Instagram. “It’s a message that’s so needed right now — especially for women, people of color, and queer folks who are constantly told we don’t belong. This was my sixth Beyoncé show, and she never disappoints.”
Bowser continued, “Cowboy Carter was more than a good time. It was the balm I didn’t know I needed — soothing aches I didn’t have the language to describe. I left that stadium empowered to keep showing up in this world, boldly declaring: I’m still here.”
Jaylon Givan, a Birmingham-based dancer, model, and creative director, echoed that sentiment.
“Cowboy Carter is revolution. It’s a sonic proclamation of Black truth, freedom, and healing,” Givan said. “Just like Renaissance celebrated Black queer culture, this tour honors Black heritage and resilience. The layers are historical, emotional, and spiritual.” “This will be my second time seeing Beyoncé live — but this time, I’m coming from a whole new place in life.”
As the final chorus of “Amen” echoed through the stadium and Beyoncé tipped her Stetson to the crowd, many fans from Birmingham stood motionless — overwhelmed, inspired, and full. For them, Cowboy Carter wasn’t just a tour. It was a reclamation — of music, of history, and of self.
