Beyoncé faces backlash over shirt labeling Native Americans as ‘enemies of peace’ during recent public appearance.

A T-shirt donned by acclaimed artist Beyoncé during her Juneteenth performance on the Cowboy Carter Tour has ignited significant discourse regarding the interpretation of American history, eliciting widespread criticism directed at the Houston-born musician. The T-shirt, showcased during a concert in Paris, prominently featured imagery of the Buffalo Soldiers—African-American military units active from the post-Civil War era through the mid-20th century. The garment bore a back inscription that described the historical context in which these soldiers operated, characterizing their adversaries as “warring Indians, bandits, cattle thieves, murderous gunmen, bootleggers, trespassers, and Mexican revolutionaries.”

As Beyoncé prepares for her upcoming performances in Houston, fans, as well as Indigenous advocates, have taken to social media to voice their concerns. Critics argue that the shirt’s messaging frames Native Americans and Mexican revolutionaries in a manner that overlooks their victimization in the context of American imperialism. This backlash has garnered significant attention, with Indigenous influencers and academics publicly denouncing the language used on the shirt as anti-Indigenous.

A spokesperson for Beyoncé has not addressed inquiries regarding the controversy surrounding the T-shirt. Understanding the historical role of the Buffalo Soldiers is essential to contextualizing this issue. Established in 1866, these military units comprised formerly enslaved individuals and Black Civil War veterans. Over their operational decades, they participated in numerous conflicts, including the Spanish-American War and both World Wars, until their dissolution in 1951. Importantly, they were also involved in military campaigns against Indigenous peoples during the U.S. westward expansion.

Some scholars assert that the term “Buffalo Soldiers” was likely coined by Native tribes as a mark of respect for the soldiers’ resilience. However, this narrative has faced revision in museums, including the Buffalo Soldiers National Museum in Houston, which has sought to present a more nuanced examination of the Buffalo Soldiers’ legacy, emphasizing the complexities of their interactions with Indigenous communities.

Beyoncé’s recent album, “Act II: Cowboy Carter,” tackles themes of American iconography, often perceived as her attempt to reclaim the cowboy aesthetic within the context of Black identity. This endeavor was notably recognized when she became the first Black woman to top Billboard’s country music chart, earning her the prestigious Album of the Year award at the 2025 Grammy Awards.

Despite the artistic intent behind her representation of the Buffalo Soldiers, some historians caution against celebrating these figures without acknowledging their involvement in acts against Indigenous peoples. Critics highlight that the T-shirt’s imagery inadvertently perpetuates a narrative often steeped in nationalist myths. The online backlash amplifies calls for transparency and the inclusion of diverse perspectives in discussions around American history.

As Beyoncé continues her tour, the intersection of history, representation, and cultural identity remains a focal point of public dialogue, illustrating the ongoing complexities surrounding discussions of race and heritage in America.