TNB Album Review:

‘Cowboy Carter’ Stands as a Testament to

Beyoncé’s Innovation and Versatility

After Beyoncé’s Renaissance album and tour took the world by storm, fans everywhere were eagerly awaiting Act II titled, Cowboy Carter. Announcing the two singles, ‘Texas Hold ‘Em’ and ’16 Carriages’ after her Verizon SuperBowl Ad, the world was shocked to learn that we would be getting a Beyoncé country. Country music, deeply rooted in Black culture, led many to speculate that this album would be a love letter to Black people’s contributions to the genre, much like Beyoncé’s Renaissance album was an ode to black queer influences in dance music throughout history.

FIVE YEARS IN THE MAKING

This isn’t Beyoncé’s first rodeo when it comes to country music; her song ‘Daddy Lessons’ from her critically-acclaimed album Lemonade boasts strong country roots. She even performed the song at the Country Music Awards with the Dixie Chicks – an event that polarized the country music industry. Beyoncé herself hinted on Instagram how the outrage surrounding that performance made her feel unwelcome, perhaps serving as inspiration for this new album.

“This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed… And it was very clear that I wasn’t. But because of that experience, I did a deeper dive into the history of country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history. The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. Act II is a result of challenging myself and taking my time to bend and blend genres together to create this body of work.” –Beyoncé

Beyonce’s tracklist for Cowboy Carter compared to A Chitlin Circuit era promotional poster

The album’s promotion was heavily influenced by the rich history of country music, showcasing Beyoncé’s commitment to truly dive into the genre’s roots. This attention to detail was evident even in how she released the tracklist for the album, styled after posters from the era of the ‘Chitlin Circuit.’ These historical performance venues were crucial for Black artists to establish themselves during the segregation era.

THE ALBUM

Image: @Beyonce on Instagram

The album consists of 27 tracks, including eight interludes, making it significantly longer than its predecessor, ‘Renaissance,’ which featured only 16 songs. Embracing a concept akin to listening to a radio station, reminiscent of The Weeknd’s Dawn FM, it surprises listeners with collaborations from artists such as Miley Cyrus, Dolly Parton, Shaboozey, Post Malone, Willie Nelson, Willie Jones, and Tanner Adell.

Notably, Cowboy Carter pays homage to its status as Act II by stylizing some track names with two ‘i’s, such as ‘Blackbiird,’ instead of ‘Blackbird,’ adding a distinct flair to each album track – and it feels like Beyoncé is also playing along with her fans. The album opens with the harmony-laden ‘Ameriican Requiem.’ On this song, Beyoncé states, “It’s a lot of talkin’ goin’ on while I sing my song,” almost directly referencing how controversial all her musical choices can be in the mainstream. Beyoncé also gives us a better peek into her personal life on the album. Love for her family plays a central role, with her daughter Rumi Carter making her debut on ‘Protector,’ adding a personal touch the public does not often have access to. Its lyrical content paints a poignant picture of the touching story of a mother’s love for her children.

The album also includes two unexpected covers – ‘Jolene,’ the renowned song written and performed by the iconic Dolly Parton, and ‘Blackbiird,’ a rendition of the famous Beatles song. Paul McCartney has revealed that when he wrote the song, ‘Blackbird,’ his inspiration wasn’t a literal blackbird but rather a metaphorical representation of Black women during the civil rights era. Given the context and significance of ‘Blackbird,’ it becomes a particularly astute choice for Beyoncé to cover, especially within the realm of country music.

An important fact is that artist Tanner Adell – who gained viral fame on TikTok amid the growing interest in Black country artists following the release of ‘Texas Hold ‘Em’ and ’16 Carriages’ – is featured on this track. Her inclusion on the album, especially after her viral lyric ‘looking like Beyoncé with a lasso,’ feels like a satisfying full-circle moment for her. Beyoncé’s decision to include this cover and feature Adell on the album not only pays homage to the original intent of the song but also shows how every decision she makes is done with intent. 

“As one of the only Black girls in [the] country music scene, I hope Bey decides to sprinkle me with a dash of her magic for a collab.” –Tanner Adell on Twitter after the release of ‘Texas Hold ‘Em’ and ’16 Carriages’ back in February.

There’s a reason Beyoncé is regarded as one of the best in her craft; her voice itself is an instrument.

In the stripped-back genre of country music where talent speaks for itself, Beyoncé’s vocal prowess truly shines.  Each song transitions into the next seamlessly, creating a laid-back listening experience. With country icons such as Dolly Parton, Willie Nelson, and Linda Martell featured on interludes, the album evokes the nostalgic charm of a radio show. Particularly noteworthy is Dolly Parton’s reference to ‘Becky with the good hair’ during her interview, drawing parallels to Jolene and setting the stage perfectly for the cover of the iconic song.

Image: @Beyonce on Instagram

The featured collaborations on the album feel both playful and purposeful. The unexpected pairing of Beyoncé and Miley Cyrus on ‘II Most Wanted’ is a delightful surprise, with their voices complementing each other beautifully. Post Malone’s appearance on ‘Levii’s Jeans’ may seem unexpected to those not following his evolving career trajectory, as he has shifted from rap to a more country-influenced style in recent years. ‘Ya Ya’ features Willie Jones – the song is an eclectic blend of bluegrass and Americana; it features a sample from the iconic song, ‘These Boots Are Made for Walking’ by Nancy Sinatra. Another notable sample that appears is Chuck Berry’s 1971 track ‘Oh Louisiana’ on an interlude of the same name – another ode to country music by Beyoncé.

“This ain’t a country album. This is a ‘Beyoncé’ album” –Beyoncé on Instagram

The album isn’t solely defined by what the public deems as stereotypical country. While those elements are present, there’s a diverse range of influences throughout. R&B influences are prominent in many songs, with tracks like ‘Flamenco,’ which incorporates Mexican influences. On ‘Spaghetti,’ which features alt-country artist Shaboozey and samples DJ Dedé Mandrake’s Brazilian Funk song ‘Aquecimento – Vem Vem Vai Vai,’ there is a fusion of  hip-hop influences and dabbles in elements of trap music. Beyoncé confidently navigates these various genres, using country music legend Linda Martell playfully on the song, challenging the concept of genres with lyrics like, “Genres are a funny little concept, aren’t they?” This fusion of styles reflects Beyoncé’s unique ability to blend different musical elements seamlessly, resulting in a rich and dynamic album. This would not be the first time Shaboozey is featured on the album. He is also featured on ‘Sweet Honey Buckiin,’ which also has a lyrical reference to Patsy Cline’s ‘I Fall to Pieces.’

LISTEN NOW

Beyoncé has continually pushed the boundaries of artistry, and with Cowboy Carter, she challenges her fans to embrace something fresh and unexpected. In doing so, she highlights that country music is for everyone – much like how she made the ballroom scene a global phenomenon following Renaissance. As we anticipate Act III, Cowboy Carter stands as a testament to Beyoncé’s innovation and versatility. The album is available now on all streaming platforms. And remember – this ain’t Texas!