COWBOY CARTER

This is a long one—get ready. Beyoncé's latest album, COWBOY CARTER, unfolds like a journey through the heartland of American music, blending elements of country, soul, and R&B into a rich tapestry of sound. It is considered Act II of the album series she is creating. However, fans continue to speculate about how many acts there will be, what Act III will entail, and the purpose of each act. In her previous album, RENAISSANCE, she made it clear during the Renaissance World Tour that the world needed an album of dancing and joy, and she delivered just that. Fans underwent their own "renaissance," transforming into stronger and more powerful versions of themselves. Taking inspiration from queer artists, ballroom culture, and house music, RENAISSANCE was designed to empower people to be proud of themselves and to dance, whether the world wants them to or not.

From the opening notes of AMERIICAN REQUIEM, listeners are captivated by the raw emotion and authenticity that permeates each track. This song is stunning and one of my favorites from the entire record. Not only are the vocals beautiful, but the lyrics and instrumentation are extremely powerful, creating a very evident vibe that Beyoncé seeks to establish for the album. As she said, this is no country album; it is a "Beyoncé album." With her unique style, that holds true.

"If that ain’t country, tell me what is," she sings at the end of the track.

The album's diversity is evident from the start, with tracks like BLACKBIIRD offering a fresh interpretation of the classic Beatles tune, which was originally written for Black women in the '70s. Paul McCartney often collaborated with talented women who, as women of color, were not afforded the same respect he received as a white man, and he acknowledged that. Many critics were confused by this inclusion—why would Beyoncé feature a Beatles song, which is not country, on a country album? In my opinion, it speaks to her reputation as an artist: she uses history to add depth to her music and seeks ways to connect different generations on the common ground of respect and power. 16 CARRIAGES, one of the album’s singles, is a sturdy and powerful song about Beyoncé’s family and her experience growing up in the South. Its repetitive nature sustains the slow-moving yet strong lyrical journey.

PROTECTOR delivers a charmingly simple yet endearing country vibe, opening with Beyoncé's 6-year-old daughter, Rumi Carter, which makes sense as the song reflects Beyoncé's grounding in family life. Despite her international fame, she remains a mother, daughter, and wife. Throughout the album, Beyoncé effortlessly transitions between genres, showcasing her versatility as an artist. MY ROSE follows, which didn’t initially resonate with me when I first heard the album, but it is growing on me, and I respect its difference from the rest of the tracks. I imagine it will continue to grow on me.

One of many, SMOKE HOUR - WILLIE NELSON is an interlude that adds more depth to the album's sound and purpose. Country superstar Willie Nelson invites listeners to "blow some smoke, sit back, and relax," preceding the track TEXAS HOLD ‘EM. This song connects with many people, though it’s not Beyoncé's usual style; it's a specific track that only her fans might appreciate. It’s clear she released it as a single to generate buzz for the album—and it did. The song has been posted in nearly a million TikTok videos alone.

Standout tracks like BODYGUARD were pivotal for me. I love the sound of this track, and I think it marked a turning point in the album. When I first listened, I was starting to feel tired of the slow country vibes, and then this song arrived. It was perfectly placed, making the album work as it needed to. DOLLY P, another interlude, features Dolly Parton connecting Beyoncé’s Lemonade track "Becky with the good hair" to her own experience with a woman named Jolene. With that, Beyoncé’s interpretation of Parton's JOLENE begins. I love how the song starts with ad-libs of "Jolene!", which reminds me of RENAISSANCE. The biggest change Bey made was swapping the line "I'm begging of you, please, don't take my man" for "I'm warning you, don’t come for my man." Was anyone surprised? Beyoncé, queen of women empowerment, begging for a man? No way.

Next is DAUGHTER, which was beautiful and fascinating. At first, I found it a little yawn, but then it picked up. I’m not a huge country fan to begin with, so I didn’t want it to be another country ballad—and it isn’t. She sings beautifully before suddenly breaking into an 18th-century Italian opera song, Caro Mio Ben. A crazy choice, which then leads into SPAGHETTI, her only "rap" track on the album. It starts with Linda Martell explaining how artists often feel confined by genre, which makes sense because this is NO country track. I’m still in shock. "Cunty, country, petty, petty, petty, all the same to me, Plain Jane, spaghetti," she spits. Like, what?! But it low-key references RENAISSANCE: "Cunt to the feminine, a WHAT!"

ALLIGATOR TEARS follows this powerhouse, much more subtle but somewhat overlooked. I ranked it high on my list, though most people seem to forget it exists. I think it’s solid and hope it grows on the general public. Another interlude begins, SMOKE HOUR II, with Willie Nelson once again telling his KNTRY radio show audience to trust him because he’s about to introduce them to "some real good shit," leading into JUST FOR FUN and the rest of the album.

Perhaps the biggest hit, besides the singles, is II MOST WANTED with Miley Cyrus. This song is beautiful, and my biggest praise for Beyoncé is that it's evenly split between her and Miley. It’s wonderful to hear them sing together rather than just having a typical featured track. After this comes LEVII’S JEANS featuring Post Malone. So far, this is my least favorite song on the album. I really hope it grows on me because I don’t want to dislike it, but it feels lacking in depth or fun. The guitar falls flat. It’s truly the only song I might skip, but I’ll keep giving it a chance.

FLAMENCO has faced the most online criticism, but I don’t think it deserves the hate. Some find it boring, but her vocals are stunning. Sure, it’s not as flashy as some other tracks, but a country-inspired album needs a few stripped-down songs. I like it, though it’s a little lower on my list.

The last interlude, THE LINDA MARTELL SHOW, introduces my FAVORITE track on this album. It’s now one of my all-time favorite Beyoncé songs. This is exactly what I hoped the album would deliver, and it didn’t disappoint. I URGE you to listen to this song; it will help you understand the vibe she’s going for. I don’t even know how to review it or give it a rating. The vocals are incredible, the background vocals are fun and exciting, and it never gets boring—not for a single moment. I want to get up and stomp and clap. My mom even likes it. Please, give it a listen. I BEGGGGG you.

The next song feels like an interlude—maybe it is one—but it's short and cool enough to be considered a mini-song. It reminds me of Frank Ocean's style, like the song "Nikes."

DESERT EAGLE is another track that delivered exactly what I wanted from this album. The bass is super strong with Western inspiration, but the lyrics and vibe aren’t country. It’s a great mix, but it’s far too short. I wish it were longer with a crazy bridge or chorus, but I still enjoy it. It transitions suddenly into my second favorite track, RIIVERDANCE, which showcases Beyoncé at her best, in my opinion. I can already envision the dance break for this song—it’s a fun, upbeat track meant for movement, much like RENAISSANCE. I love how she connects house-style music to this track, returning to her RENAISSANCE era. Truly fantastic. Country house music? This track made me SO excited.

There’s a beautiful transition between this song and II HANDS II HEAVEN, which connects Beyoncé’s faith to her music. It’s gorgeous. Sometimes, I forget that she started as a vocalist before becoming a performer, writer, and celebrity. Out of nowhere, she’ll deliver a run unlike anything else I’ve heard. I’ve seen lots of praise for this song online, and I think it deserves every bit. I adore it.

TYRANT is a crazy one, but it makes me happy. Like SPAGHETTII, it’s far from traditional country, meshing 808s with southern fiddles. At first, I thought it clashed, but it’s really growing on me—a whole lot. I also love the beginning where Dolly Parton says, "Cowboy Carter. Time to strike a match and light up this juke joint!" It really feels like Beyoncé lights up the joint.

And the final two tracks deserve their own paragraphs.

"SWEET/HONEY/BUCKIIN'" has its specific charm, which parallels "PURE/HONEY," the track on RENAISSANCE. This track is divided into three parts, starting with a truly "SWEET" melody, which is upbeat and quick, but it transitions into "HONEY," a section that is more vocally robust and drawn out. I love it when she says "honey" because she giggles the same way in the "honey" portion of "PURE/HONEY." Then comes a sudden change: the song switches to "BUCKIIN'," which is hardcore and, in my opinion, more her style. "AOTY I ain't win," she says. I mean, Jay-Z said it best—most Grammys ever won, and no Album of the Year?

The album concludes with "AMEN," which is truly fantastic. The background instrumental is a loop of a vintage song, layered with her harmonies as if she’s in a choir of just herself. The lyrics are gorgeous and perfectly close out the album. There has been some talk about the order of her albums, with many speculating that this album made more sense coming first. While there has been some confirmation of this (though I’m not sure by whom), in 2022, Bey believed people needed a dance album before they needed a country album—and I couldn’t agree more. I also believe that the country-style album wouldn’t have made sense in her discography without the house-inspired R&B album to break through genres.

In conclusion, COWBOY CARTER is a testament to Beyoncé's unparalleled artistry and ability to transcend genres. With this album, she takes listeners on a journey through the heartland of American music, weaving together elements of country, soul, and R&B into a rich tapestry of sound. While some may have initially questioned her inclusion of diverse influences and unexpected collaborations, Beyoncé proves that music knows no boundaries and that she is unafraid to challenge conventional expectations.

I loved this album and would encourage most people to listen to it. It's pretty cool in that it’s genre-breaking. Beyoncé continues to amaze me and will undoubtedly go down as one of the most impactful artists in history.

I cannot wait for Act III—whatever it is.

Thanks for reading,

CBN