Beyoncé turned NRG Stadium into the Beyoncé Bowl on Christmas Day, and Billboard was there to watch history in the making.

From the moment fans drove into the stadium’s parking lot, it was clear this wasn’t just any NFL game — it was the Beymas of our dreams. Even though the Houston Texans and Baltimore Ravens were battling for a spot in the AFC Championship, the real anticipation was for the mid-game Beyoncé concert.

The stadium felt like something out of a holiday movie. Holiday decorations were everywhere — Christmas trees, glowing lights and even the Grinch made a few appearances. Each concourse was a true seasonal scene, even featuring photo setups throughout for fans to snap pictures in their Cowboy Carter getups.

And the crowd? Outfits were split 50% NFL gear and 50% Cowboy Carter/Beyoncé merch. Rhinestone cowboy hats, custom denim jeans, fringe jackets, and lots of cowboy boots took over.

Music was everywhere. DJs posted across different levels of the stadium kept the Texans fans turnt up before, during and after the game. And let’s talk about the food: Bun B’s Trill Burgers were being served in custom Beymas and Trillmas boxes that felt more like collectibles than packaging. And on every seat, a Cowboy Carter-themed light-up wristband sat waiting, ready for what was to come at halftime.

The celebration of Houston pride extended beyond the performers. Throughout the day, some of Houston’s brightest stars were spotted in the crowd, including Liza Koshy, Tobe Nwigwe and Mo Amer.

Pentatonix kicked off the performances of the day with their stunning version of the national anthem. The Texas-born a cappella group nailed every note, giving the stadium a powerful and emotional moment. What made it even more special was that three of the group’s members — Kirstin Maldonado, Mitch Grassi and Scott Hoying — have their roots in Arlington, Texas, showcasing how the great state produces artists.

But when the lights dimmed for the halftime show, you could feel every single person freeze in place. The big screens came alive as Tanner Adell, Brittney Spencer, Reyna Roberts and Tiera Kennedy performed “Blackbiird” together. Their voices were soft and enchanting, echoing through the stadium as well as the big screens, but the crowd was anxious, looking around — scanning the field, all thinking the same thing: Where’s Beyoncé?

And then — BANG! — she appeared. The second she hit the field, the stadium erupted, Texas style. It wasn’t just loud; it was visceral. We get chills just thinking about it.

For 13 minutes, nobody moved. Sure, people screamed, clapped, maybe even cried, but mostly, everyone just stared. It felt like time had stopped. Beyoncé wasn’t just performing; she was commanding. Every look, every step, every note — it was all sharp, deliberate and locked in. It felt bigger than a halftime show. This wasn’t just another stadium stop. It wasn’t another performance to check off a list. It was home.

And then came Beyoncé and Jay-Z’s daughter Blue Ivy. The second the crowd noticed her on the field, the vibe shifted from excitement to being in awe. At age 12, she walked onto that field with purpose. Her focus was sharp, her steps confident and her presence undeniable. It was special because of how she carried herself. There wasn’t an ounce of hesitation in her movements. No nervous glances, no second-guessing, just confidence. Blue Ivy didn’t step onto that field to prove anything; she stepped onto it because she belonged there.

And this wasn’t about Beyoncé passing the torch because Blue Ivy is the torch. She’s not waiting for her moment; she’s already living it. Holding her own next to one of the greatest performers of all time, she isn’t following her mother; she’s walking alongside her, carving her own path. Blue Ivy isn’t next. She’s now.

One of the most powerful parts of the night came from the Texas Southern University’s Ocean of Soul Marching Band, one of the most respected HBCU bands in the country — and it’s Houston’s band. For Beyoncé to feature TSU on this stage, in this moment, in this city, wasn’t just meaningful. It was intentional. It felt like a tribute to her roots, to her community and to the legacy of HBCUs and the role they play in culture and music.

Then Shaboozey hit the stage, and it felt like the energy shifted again. His voice was deep and steady as it rolled through the stadium. Their collaborations on Cowboy Carter — “Spaghettii” and “Sweet Honey Buckiin” — are timeless at this point. And seeing him up there, standing next to Beyoncé, solidified that this wasn’t just an artist who got a lucky break. He is someone who deserves to be here.

The biggest Texas surprise was Post Malone coming out to perform “Levii’s Jeans,” and the crowd lost it all over again. Two Texas Titans — Beyoncé from Houston and Posty from Dallas-Fort Worth — standing side by side together. To be in Houston, it wasn’t like they were just performing together. They were representing being Texans in a way that couldn’t have happened anywhere else but here.

As “Texas Hold ’Em” marked the finale, Beyoncé rose above the stage on a platform before a massive “BANG!” banner dropped, and the wristbands across the stadium lit up in perfect unison.

As the show ended and the platform lowered, Beyoncé raised her fists in the air. She didn’t need to say anything. That moment said it all — pride, triumph and gratitude were written all over her face and the stadium did nothing but clap and cheer, unbelievably thinking about what they had just witnessed.

Beyoncé is more than just the greatest pop star of the 21st century. She creates experiences. And on Christmas night, in her hometown, she delivered what will go down as one of the greatest performances of her career.

Record producer Jay David Saks, who died last month, left behind a rich and unique legacy, one that spanned the worlds of classical music and Broadway cast albums. But it all began a member of a “one-hit-wonder” group which had a top 40 hit on the Billboard Hot 100.

Saks died on Nov. 16 of Parkinsonism-related causes. He was 79. News of his death was confirmed by Peter Gelb of The Metropolitan Opera.

Saks won 13 Grammys between 1983 and 2014, eight for classical music and five for his work on Broadway cast albums.

He won best opera recording four times, all for work with the Metropolitan Opera Orchestra/The Metropolitan Opera Chorus. He won for Verdi: La Traviata Opera Recording; Adams: Doctor Atomic; Wagner: Der Ring Des Nibelungen and Adès: The Tempest.

He won best musical show album five times for cast albums from Into the Woods and Jerome Robbins’ Broadway and revivals of Guys and Dolls, Chicago and Gypsy.

In addition, Saks won two Daytime Emmys, both for his work on Great Performances at the Met. He won outstanding individual achievement in any area of the performing arts – audio (1983) and outstanding individual achievement in the performing arts – audio (1984).

Born in New York City, Saks grew up in The Bronx. His older sister was the cellist Toby Saks.

During the 1960’s, Saks played bass guitar with The Balloon Farm, which had a top 40 hit on the Billboard Hot 100 in March 1968 with the psychedelic pop/rock song “A Question of Temperature.” Saks wasn’t the only member of The Balloon Farm who went on to success in the industry. Fellow member Mike Appel managed Bruce Springsteen from 1972-75 and co-produced his first three albums. Their sole hit was produced by Peter Schekeryk, who went on to produce hits for his wife, Melanie, including the Hot 100-topping “Brand New Key.”

Saks studied at the Juilliard School, and later continued his studies at the Mannes College of Music, from which he graduated in 1970.

As an audio producer for CBS Masterworks, RCA Red Seal (RCA Records), Bertelsmann Music Group (BMG), and Sony BMG Music Entertainment, Saks was responsible for engineering and master recording hundreds of titles.

Beginning in 1980, Saks worked with the Metropolitan Opera in New York City to record and produce more than 1,600 of its telecasts, radio broadcasts and live HD transmissions.

Saks was nominated for 53 Grammys between 1977 and 2018. He received at least one Grammy nomination in 30 different years. He was nominated 10 times for classical producer of the year, but he never won in that category.

Saks’ other cast show album nominations (in addition to his five wins) were for Starting Here, Starting Now, Anything Goes, Assassins, Sondheim: A Celebration at Carnegie Hall, How to Succeed in Business Without Really Trying!, Ragtime the Musical (for two different recordings), Cabaret, Fosse, Thoroughly Modern Millie, Man of La Mancha, Avenue Q—The Musical and The Color Purple.

Saks was also nominated for best compilation soundtrack album for a motion picture, television or other visual media for Fantasia/2000.

Saks was nominated for a Primetime Emmy in 2007 – outstanding sound mixing for a variety or music series or special – as audio producer for PBS’ The Magic Flute (Great Performances at the Met).

An avid runner, Saks completed one of the earliest New York City marathons.

Saks is survived by his wife, Linda Saks; their two sons, Jeremy Saks and Greg Saks; and three grandchildren, Bo Saks, May Li Saks, and Ben Saks.