Among today’s pop musicians, very few can bring their creative ideas to a polished finish the way Beyoncé does. That’s why it matters whenever she chooses not to complete something.
Take, for example, what happened on the Fourth of July. She performed just outside Washington, D.C., and delivered a shortened version of “The Star-Spangled Banner.” She didn’t sing the full lyrics, which opened the door for all kinds of symbolic meanings to fill the humid night air.
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What could those metaphors have pointed toward? Maybe that the United States is not living up to everything it says it stands for. Maybe it means the country’s efforts to build a true democracy are still ongoing. Maybe it shows we are far from finished with the work required to hold this nation together.
A Message Inside the Silence
That decision to stop short was full of purpose and artistry. It was the complete opposite of the issue many found in “Cowboy Carter,” Beyoncé’s 2024 album.
That project left people wondering if she embraced country music to shine a light on parts of American musical history that have been forgotten, or if she did it as a response to her repeated Grammy losses. No matter the reason, she had her moment of recognition during the Grammys night in February.
And on Friday at Northwest Stadium in Landover, Maryland, her powerful concert carried a joyful spirit even while the country’s mood remained heavy. You could feel that lightness when she performed “Texas Hold ’Em” and bounced across the stage in high-heeled cowboy boots like a child in sneakers.
Time and Sound Blended on Stage
Instead of moving in a straight line, time felt more like it was folding into itself during the show. At moments, it raced forward. This was clear during “Ya Ya,” where Beyoncé shifted from James Brown-style energy into a surprise yodel, and then straight into a gospel climax.
All of that happened within a few seconds, mixing musical traditions and eras like they belonged together. But when she slowed things down, her voice became even more powerful. “Crazy in Love” was delivered at the pace of Washington, D.C.’s go-go music, turning a song of obsession into something more thoughtful and raw.
Then came “Formation,” which opened with a long buildup that felt spiritual. The bouncy electronic sounds at the start seemed like a toy ball dropping down an endless flight of stairs inside music’s tallest building.
A Closing That Felt Too Quiet
Not every part of the concert played out that way. The tour’s final song has been “Amen,” the last track on “Cowboy Carter.” At this show, it felt like it was chosen with extra care. “I see you’re hurting badly,” she sang, with a calm and smooth voice, as if her words were floating gently through an open door.
But when she reached the last “amen” in the song, it didn’t feel like an ending. People in the audience looked to the sky, thinking some loud fireworks might close the night.
When nothing appeared, they quietly walked toward the exits, responding to what the whole evening seemed to suggest without saying it directly: America’s story is still being written.
