US music superstar Beyonce has been hit by a security scare after computer drives containing unreleased music and concert plans were stolen from a rental car in Atlanta last week.
According to an incident report released by the Atlanta Police Department on Monday, the theft took place on July 8, just two days before the multi-award-winning singer kicked off the Atlanta leg of her “Cowboy Carter” stadium tour.
The stolen items were inside a vehicle used by Beyonce’s choreographer, Christopher Grant, and one of her dancers. Police said the rear window of the car had been smashed while the group was away, and when they returned, they found their luggage and valuable equipment missing.
Grant, 37, told officers that among the stolen property were multiple jump drives that contained “watermarked music, some unreleased music, footage plans for the show, and past and future set lists.” Also missing were an Apple MacBook, headphones, and several luxury clothing items belonging to the touring team.
The theft raises concerns not only about the personal losses for Beyonce’s team but also about the security of unreleased creative work that could now be leaked online. For an artist of Beyonce’s global stature, such material holds enormous artistic and commercial value, and any leak could disrupt carefully planned releases or shows.
The Atlanta Police Department said officers used tracking software to follow pings from the stolen MacBook and headphones to a specific area. However, the report did not mention whether any items were recovered during the follow-up search. In an update posted online, the department confirmed that a warrant has been issued for an unnamed suspect’s arrest, but that the suspect remains at large as of Monday evening.
Neither Beyonce nor her management has released a public statement about the incident, and it remains unclear what impact, if any, the theft may have had on the Atlanta shows themselves.
The “Cowboy Carter” stadium tour, which began in April, marks Beyonce’s return to the stage following the massive success of her genre-crossing 2024 album of the same name. The project, which won her first ever “Album of the Year” Grammy earlier this year, has been praised for pushing artistic boundaries by merging country, pop, and R&B, while spotlighting the often overlooked contributions of Black artists to country music’s roots.
The ambitious album has been described by music critics as a statement piece, weaving history, identity, and reinvention into Beyonce’s ever-evolving discography. Many fans have hailed it as a necessary celebration of Black artistry within country music, a genre where Black pioneers have long been underrepresented despite their foundational influence.
Throughout the “Cowboy Carter” tour, Beyonce has showcased this new sound with elaborate stage design, stunning choreography, and live renditions of both new and classic tracks. Her Atlanta performances were highly anticipated, drawing tens of thousands of fans to Mercedes Benz Stadium for four sold-out nights.
Despite the backstage setback, Beyonce successfully wrapped up her Atlanta run on Monday night. Reports from concert-goers and entertainment outlets indicate that the shows went on as planned, with no apparent disruption to her intricate set lists or production value, though some fans now wonder if any last-minute changes were made to adapt to the missing plans and materials.
The tour is now approaching its final dates, with Beyonce scheduled to close out “Cowboy Carter” with two grand performances in Las Vegas later this month. For now, the focus remains on ensuring that no sensitive creative work is leaked or misused while the search for the suspect continues.
Police have urged anyone with information about the stolen items or the suspect’s whereabouts to come forward. Meanwhile, the incident serves as a stark reminder of the risks artists face when travelling with unreleased material, especially in an age where leaks can spread globally within seconds.
As Beyonce’s team deals with the fallout, the pop icon’s fans continue to show unwavering support, hoping that her new work remains protected, and that her groundbreaking exploration of music’s past and future will continue to reach audiences on her own terms.