Field Notes: Beyoncé’s Cowboy Carter World Tour at Sofi Stadium, Inglewood, CA: A Night of Legacy and Liberation
On April 28, 2025, NOMMO had the profound honor of attending the opening night of Beyoncé’s Cowboy Carter Tour at SoFi Stadium in Inglewood, California, as guests of Beyoncé and her BeyGOOD foundation. This invitation placed us among a vibrant community of BeyGOOD grantees—visionaries, organizers, and creatives who, like us, are dedicated to building Black futures rooted in justice, imagination, and joy.
What unfolded that evening was far more than a concert. It was a sweeping, cinematic reclamation of American identity through the lens of Black Southern culture. The stage, designed as a five-pointed star, was the backdrop for Beyoncé's genre-defying performance, blending country, R&B, folk, and rock. This fusion not only showcased her musical versatility but also challenged and redefined the boundaries of these genres
The performance was rich with symbolism and homage. Every element was intentional, from the modified American flag visuals featuring sacred geometry to the dedication of "Blackbird" to Black country pioneers. The inclusion of her daughters, Blue Ivy and Rumi, on stage during "Protector" added a deeply personal touch, emphasizing themes of legacy and generational continuity
As recipients of BeyGOOD's support, we felt profound affirmation. The foundation's commitment to economic equity and community transformation resonates deeply with our mission at NOMMO. Being part of this event reinforced the importance of our work and the collective impact of communities coming together to celebrate and uplift Black culture.
We extend our heartfelt gratitude to Beyoncé and the BeyGOOD Foundation for this unforgettable experience. It was a night that celebrated music and honored the enduring spirit and contributions of Black communities.
❤️🖤💚✨
Field Notes: MOCA’s “Ordinary People: Photorealism and the Work of Art since 1968 “
Welcome to Field Notes, a NOMMO blog series that reviews exhibitions focused on Black history, art, and culture. Field notes record a researcher's observations and insights from their fieldwork. Our notes highlight recent African/Diasporic experiences in museums to promote accessibility for all.
MOCA’s latest exhibition, Ordinary People: Photorealism and the Work of Art since 1968, reexamines photorealism while centering powerful Black portraiture. Featuring artists like Kehinde Wiley, Amy Sherald, and Barkley Hendricks, the show highlights the presence and agency of Black figures in a movement often associated with technical precision over cultural critique.
Wiley’s regal compositions, Sherald’s muted yet emotionally rich tones, and Hendricks’ hyperreal depictions of everyday Black life challenge art historical conventions. These works are more than stunning representations—they are radical acts of visibility in a museum landscape that has historically omitted Black subjects.
Their photorealist techniques bring nuance to Black identity, asserting space and reshaping narratives around portraiture. Each brushstroke resists erasure, demanding recognition of Black life not as spectacle but as a vital and complex reality.
Beyond their technical mastery, these artists elevate everyday Black existence, turning familiar moments into commanding statements. Whether through Sherald’s contemplative figures or Hendricks’ casual yet arresting poses, their work reframes photorealism as an evolving language of representation, resistance, and reclamation.
Ordinary People challenges us to reconsider who is seen, how they are depicted, and why it matters. It is a necessary reminder that the everyday is political—and in the hands of these artists, it becomes unforgettable of the human experience.
