On the first night of Beyoncé’s “Cowboy Carter” tour stop in Chicago, Chanté Stepney, daughter of famed producer Charles Stepney, and her son Eddie Stepney-Anobah experienced a whirlwind of emotion, artistry, and joy—all wrapped in golden light and thunderclouds. The night began with foreboding skies and an unforgettable road sign that read: “Even Cowboy Carter wears a seatbelt.”
Chanté vividly recalls the ominous feeling in the sky, a mix of anticipation and uncertainty. The weather was clearly on the verge of a storm, yet there was a calm before the musical storm as they drove to Soldier Field.
Eddie added, “And like the juxtaposition, because when we first woke up, it was 62 degrees, and when we were driving there, it was 90 degrees.”
Despite the chaotic weather, the journey to Soldier Field was smooth. “So when we got there, we parked, went to the north garage, and were pretty close to getting in the North Gate. So that all worked out nicely,” Chanté noted. The crowd, filled with anticipation, was handed wristbands for the Beyoncé light show just before an announcement came: shelter in place. The patience and excitement of the crowd were palpable.
The crowd, though quiet and uncertain, stayed in good spirits. Eddie described walking around and meeting people while they waited. “It was fun. I love talking to people. Everyone seemed to be really hyped about the entire experience. So many people came from out of town. It was hilarious ’cause people were all like, oh, I didn’t expect the weather to be this bad. And I was like, you are not from Chicago for real.” This shared experience, this sense of community, was palpable in the air, connecting everyone in the crowd.
After a two-hour delay, the crowd was ushered back inside. “Everybody was hype. Everybody sat patiently. Super great crowd,” Chanté recalled. What followed was a performance marked by meticulous detail and stunning visuals. “One thing I was talking to a guy around me, you mentioned the costumes. I’m a huge fan of Miss Tina. It is just shaped nicely. And as a former dancer, I know it held nicely,” she explained. “Still, it’s evolved over the years, but just the craftsmanship and the attention to detail.”
Beyond fashion, Beyoncé’s signature perfectionism captivated the audience. “The lighting, the tech, the costumes, the dancers, the electronics, the effects—this level of perfectionism… was just appreciative,” Chanté said. “It’s just really a treat.”
Then came the emotion. Eddie recalled, “I was crying a lot… At the end of the song River Dance, she had a Black singer doing a form of river dancing. I was crying, bawling my eyes out because I was having one of those moments like, “Oh my goodness, Black people are so fun and Black people are so nice.” He continued, “I thought it was a ballerina… Right? For Blackbird. That was like really tearing me up. I got into that weird parasocial thing where I was bawling my eyeballs out.”
For Chanté, watching her queer son witness Beyoncé’s magic for the first time was deeply meaningful. “As a mom taking their queer kid to their first Beyoncé concert… it was exciting for me to watch because his reaction was, ‘Mom, we are such a wonderful, beautiful people.'”
She praised Beyoncé’s consistency in honoring Black history and upcoming Black talent through her vignettes and visuals. “She does these little video vignettes in between each song. One was dedicated to the Blackbirds, all the old Black singers. One was dedicated to how dare you do country, referring back to how Black people do have foundational roots in country music.”
The presence of Beyoncé’s children, particularly Blue Ivy, added another emotional layer. “You could feel the legacy and the passing of the torch… especially with Blue. Blue is very much a professional dancer,” Eddie said.
Chanté continued, “Just to see her compared to the last tour… she’s gonna be crazy off the chain next year. This was clearly the year of the Golden Jubilee. The horse was gold, the costumes were gold, and the lighting fixtures were gold. It was absolutely beautiful.”
One standout moment for both was during the performance of “Daughter,” when Beyoncé wore a massive projection gown. “It was gorgeous just to see how they put those lights on the dress,” said Chanté. “Very simple, easy, but for me, a powerful moment.”
Eddie appreciated how Beyoncé structured the show for all audiences. “There are gay people, and there are also going to be 50-year-old Black women… and she accommodates that.”
From costume changes to Blue Ivy’s solo moment, the show was designed with balance and brilliance. “The hive is in effect,” Chanté said. They are all very outgoing, chatty, and working the hell out of their costumes.”
Even the weather played its part. “It was super windy… but once she started, it heated up and was wonderful,” Chanté said.
As the night came to a close, the experience lingered with gratitude. “Thank you, guys. We owe you. We really do owe you,” said Eddie.
For Chanté and Eddie, the Cowboy Carter Tour in Chicago was a memory etched in gold—storm-tested, deeply felt, and utterly unforgettable.
