“As Black people, the world is a lot more surreal,” Tony- and Emmy-nominated multidisciplinary artist Daniel J. Watts told me in 2023. “You have to pay attention to it enough to acknowledge — awareness — and you can’t stare too directly at it, or it’ll steal your ability to do anything. So, it’s threading the needle of balancing joy with reality.”
This definition of Black joy has long resonated with me. If 2024 has taught us anything — specifically Black women, but any human with genuine integrity and authentic empathy — it’s that attaining the lightness of joy amid the darkness of reality is complicated. But not impossible. What’s the most jubilant, profound proof of this pivotal fact? Beyoncé’s iconic halftime hometown performance at Wednesday’s Houston Texans vs. Baltimore Ravens game at NRG Stadium.
The world witnessed an accomplished Black woman representing H-town by stepping into her glory unapologetically and joyfully. Aptly coined “Beyoncé Bowl,” this special X-Mas Day show (and Netflix exclusive) served as Beyoncé’s first live televised concert in four years. The acclaimed powerhouse meticulously executed a flawless performance while sharing her shine on stage with her eldest daughter (and the culture’s favorite niece) Blue Ivy Carter, along with Post Malone (his excitement was palpable through the screen), Shaboozey, Mexican cowgirl Melanie Rivera, Arkansas’ first-ever Black Rodeo Queen Ja’Dayia Kursh, and many other prominent icons as Beyoncé debuted tracks from her latest album, “Cowboy Carter,” for the first time in a live showcase.
As I watched solo from the comfort of my bed, I was moved to tears at the level of intention and unadulterated joy Beyoncé gifted her fans and naysaying critics. The performance was the ultimate homage to Western and rodeo culture, HBCUs, and Houston while embodying joy.
Every facet of this epic show highlighted the nuance of purpose while manifesting a powerful fusion of merriment and creativity, from the ethereal performance of “BLACKBIIRD” — featuring Beyoncé alongside A-list Black country music collaborators Reyna Roberts, Tanner Adell, Brittney Spencer, and Tiera Kennedy — to the exhilarating delivery of “YA YA,” “TEXAS HOLD ‘EM,” and “MY HOUSE.” Her always-stunning vocals were joined by instrumentation from nearly 200 members of the legendary Texas Southern University marching band, Ocean of Soul. I’d be remiss if I didn’t mention the goosebumps I got as I proudly smirked and observed a confident Queen Bey ride into the stadium on a regal white horse on a pathway lined with elbow-rimmed wheel slabs — custom cars meant to be seen and heard — which originated in Houston’s Black community in the ‘80s and are a distinct part of the city’s hip-hop culture.
This alluring showcase also served as a reassuring reminder that Beyoncé is really that girl — regardless of where she doesn’t “belong.” I can attest to “not belonging” at specific tables, as many other Black women can confirm feeling, too. This entire year has provided Black women with a sad aide-memoire across all fields, from politics to sports, of where we’re unwelcome. Given Beyoncé’s international megastar factor, you’d think she’d be immune to gatekeeping — but she isn’t.
For years, Beyoncé has been told in passive-aggressive and bold-faced fashion of where she doesn’t “fit” — from electronic dance music (“RENAISSANCE” faced its share of disparagement from house music purists) to blatant racism in country music with the infamous 2016 Country Music Association (CMA) awards, where Beyoncé did a surprise performance of her Lemonade album track “Daddy Lessons” alongside The Chicks. And despite “Cowboy Carter” debuting at number one on Billboard’’s Top Country Albums chart — making Beyoncé the first Black woman to do so since the tracking’s inception in 1964 — she received zero 2024 CMA nominations.
Beyoncé shared that “Cowboy Carter” was a five-year project in the making: “The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me.” To Beyoncé’s point, I’ve learned never to tell myself no or submit to the limitations society puts on me. Thus, Beyoncé’s halftime performance was an excellent end-of-year conquest for all Black women, proving we don’t need to succumb to the world’s stereotypes of what a Black woman is or isn’t. At least for the CMAs, things came full circle beautifully on Wednesday night, when she was on the most American stage there is (a football halftime show) singing “those petty ones can’t touch me” while Post Malone — who opened for the CMAs last month — softly whispered “yes ma’am” while looking on in absolute adoration.
We’re country music artists. We’re ravers and DJs. Heck, we’re rockers, too.
Speaking of rockstars, after Wednesday’s momentous performance, Beyoncé shared a video of herself on horseback waving a massive American flag before the screen cut to black with the date “1.14.2025” in big, red AC/DC-esque font. Fun fact: In rodeo culture, when a cowboy waves a flag while on horseback in a competition, it usually indicates the end of a timed event, signaling the judges to stop the clock and record the competitor’s time. So, it’s possible this symbolic gesture denotes an end to the “Cowboy Carter” era and the ushering in of rocker Bey, with the arrival of Act III. Only time will tell. Namely, on January 14, 2025. But whatever the new year brings by way of “Act III,” challenges — albeit personal and as a crumbling society — and blessings, let her stunning show and culture-shifting iterations remind you that as Black women, our definition is subjective.
Joy is our birthright.