On paper, the idea of successfully mixing ballads, funk, pop, R&B and hip-hop into an album that reclaims a genre historically inaccessible to black artists would be considered a musical impossibility. But to also cover songs from The Beatles and Dolly Parton, along with duets featuring Post Malone and Miley Cyrus? Plus a little opera, psychedelia and Willie Nelson, for the hell of it. The sheer creative audacity of such a project would be breathtaking in its magnitude. But that’s exactly what “COWBOY CARTER,” the country-inspired new album by Beyoncé, manages to accomplish. It is a must-listen labor of love and celebration of culture that takes you on a musical journey with surprises and excitement at every turn.
“COWBOY CARTER,” also known as “Act II,” was conceived from an experience where Beyoncé says she “did not feel welcomed” and was forced to “propel past the limitations that were put on [her].” Many have interpreted this being when she performed “Daddy Lessons” at the Country Music Association Awards in 2016. After the performance, the CMA Awards and Beyoncé received hate messages criticizing not just the performance, but her perceived appropriation of country music. In the performance’s aftermath, and like her 2016 album, “Lemonade,” Beyoncé was given lemons, but she made lemonade.
In 2022, she released the critically-lauded “RENAISSANCE,” which paid homage to the black originators of house and disco music, and was the first of a three act project. With the second act, “COWBOY CARTER,” Beyoncé defies past critics and embraces her Southern roots in a reclamation and recognition of black artists’ influence over one specific genre: country music.
You quickly discover this with the album-opener “AMERIICAN REQUIEM”. Though it begins with a vocally dream-like introduction and a shift towards psychedelia (a style of rock inspired by psychedelic drugs) with distinctive guitar strings, the song’s nature is mournful; like a requiem for the dead, this song mourns our perception of what country has been, and it subsequently ushers in a new era of country music that acknowledges the legacy of black artists in the genre.
Having ushered in a new era, Beyoncé pauses to pay respect to those who came before her with her cover of The Beatles song, “Blackbird.” The song — which co-writer Paul McCartney stated was in reference to the injustice black people experienced during the 1960s — is rejuvenated by the harmonic vocals of Tanner Adell, Brittney Spencer, Tiera Kennedy and Reyna Roberts, all black country musicians representing the genre’s diverse future.
The abundance of ballads found throughout the album are notable additions. In the songs “16 CARRIAGES” and “JUST FOR FUN” — where she duets with country singer Willie Jones — she deftly utilizes sober, yet dynamic chords, strings and percussion to reveal her feelings on her career’s overwhelming nature. Likewise, the short and sweet songs, “FLAMENCO” and “MY ROSE,” delve into her challenges with self-acceptance and the difficulty with loving oneself, but in a more upbeat tempo. They excellently guide the album’s narrative in new directions.
“PROTECTOR,” “II MOST WANTED,” “ALLIIGATOR TEARS” and “LEVII’S JEANS” are all ballads where she expresses love for others. In “PROTECTOR,” like her past song “Blue,” she tenderly professes her maternal love’s depth, and her role as her children’s devoted guardian in a delicate folk style. The latter three all deal with a more intimate type of love.
“ALLIIGATOR TEARS,” “II MOST WANTED” and “LEVII’S JEANS” are all romantic songs of varying degrees. “ALLIIGATOR TEARS” is a song for ride-or-die lovers, with a gentle guitar and percussion blend that ties the resolute love song together. “II MOST WANTED” is not just the wedding song of the summer and terrific for romantic road trips, but also a heartfelt country duet that masterfully showcases the talents of Beyoncé and Miley Cyrus. “LEVII’S JEANS” features a Post Malone duet, and is a sultry romantic country song meant to be played after dark. In both duets, Cyrus and Malone’s raspy voices intertwine beautifully with Beyoncé’s silky smooth voice, and you leave both songs hoping they collaborate again in the future.
The presence of interludes distinguishes “COWBOY CARTER” from “RENAISSANCE.” In guest appearances, country music icons grace the album in a series of interludes presented as though someone were switching across radio stations. “SMOKE HOUR ★ WILLIE NELSON,” “DOLLY P,” “SMOKE HOUR II,” “THE LINDA MARTELL SHOW” and “OH LOUISIANA” feature the likes of Willie Nelson, Dolly Parton and Linda Martell — who was country music’s first commercially successful black female musician. But they also include samples from Son House, Sister Rosetta Tharpe, Chuck Berry and Roy Hamilton — black artists who reign over the realms of soul, blues and rock music, and whose presence on the album may indicate the genres of Beyoncé’s yet-to-be-released third act.
Beyoncé’s ninth chart-topper “TEXAS HOLD ‘EM” follows the first interlude, and is an exuberant country-pop song that not only jolts to life, but will jolt you to life and make you want to rush to the nearest square dance in town. “BODYGUARD” is another testament to the successful marriage between country and pop, and is a song with fun rhythmic verses and an animated bass outro. Prepare to find yourself repeating “This ain’t Texas” and “Honey honey” as a result of these infectious earworms.
The biggest surprises of the album are found with “JOLENE,” “DAUGHTER” and “YA YA”. In Beyoncé’s cover of Dolly Parton’s iconic song, she deviates from the original by embracing her self-proclaimed “Creole banjee bitch from Louisianne” identity and bluntly warns Jolene not to fool around with her man. Beyoncé’s ability to make the song her own is pure talent on display.
In the song, “DAUGHTER,” chords that echo Ennio Morricone’s “The Ecstasy of Gold” score from the movie, “The Good, the Bad and the Ugly,” produce a wild west-like atmosphere, where an indignant Beyoncé triumphs over her enemies. Yet despite her homicidal tendencies, the most surprising aspect of the song is when Beyoncé sings the 18th century Italian opera song, “Caro Mio Ben.” She reminds the listener of her vocal vigor in a style similar to her live performance of, “Don’t Hurt Yourself,” which she performed at Coachella in 2018.
The biggest surprise is “YA YA,” the album’s 20th track. With yowls that would make the late Prince and Tina Turner ecstatic, a rhythm resembling Janelle Monáe’s earlier albums and samplings of “These Boots Are Made For Walking” and “Good Vibrations,” Beyoncé — influenced by her own “Why Don’t You Love Me?” — produces a funktastic extravaganza that will make your whole body move, whether you like it or not. Listening is believing, and since words are futile to do the song justice, it’s better for you to simply listen for yourself and experience the madness firsthand.
To set the mood for the final tracks on the album, the funk-influenced “DESERT EAGLE” is an unmistakably sexual song that prepares you for the oncoming sensuality that will follow.
“RIIVERDANCE” demands you dance, but pay attention to the lyrics while you do. Irish-like strings combine with percussion and Beyoncé’s effervescent harmonic vocals to beautifully tell the story of lovers who return back to each other’s arms despite mutual transgressions. In “II HANDS II HEAVEN,” Beyoncé wields her pen to its fullest potential. With a futuristic R&B beat evocative of her song “Haunted,” and beautifully descriptive lyrics at her side, she conjures a love song that not just embraces the wild chaos of love, but also the profound humility and ecstasy that comes with finally finding the person that destiny saved just for you.
The hip-hop/rap trinity of “SPAGHETTII,” “TYRANT” and “SWEET ★ HONEY ★ BUCKIIN’” is where Beyoncé makes it most clear that she is the last person to be played with. “SPAGHETTII” follows “DAUGHTER” and is a fast-paced duet with country hip-hop artist, Shaboozey, that provides a good contrast to its softly sung predecessor, but still remains true to the wild west outlaw atmosphere previously created. “TYRANT” directly inherits the sexual energy jump-started by “DESERT EAGLE,” and here, Beyoncé is in full control of her sexuality in a country hip-hop song that will definitely be played in a club near you. The penultimate “SWEET ★ HONEY ★ BUCKIIN’” again features Shaboozey and is a three-part bop with DJ air horns that also makes it destined to be a smash at clubs and at mechanical bull rides.
The final song “AMEN” is a short ballad that caps off the 79 minute musical odyssey. Beyoncé acknowledges not just her pain, but also the pain of black artists ignored in country music. Conscious of the pain, she urges a better path forward. “We’ll be the ones to purify our Fathers’ sins/ American Requiem/ Them old ideas are buried here.” The song’s magic is in the lyrics and the seamless transition back to the opener, which allows fans to listen to the album on repeat.
It would be wise for Grammys betting pools to begin, because it’s not a question of if she wins, but how much she’ll win. Her versatility as an artist and her meticulously crafted works continue to shock and awe and raise the bar on the possibilities of what art can be and what it can personally symbolize.
This album makes you comprehend why, over 30 years in the game, Beyoncé remains an artistic titan; her vocal dominance, penmanship prowess, production mastery and embrace of her cultural identity bear no rivals in the modern music industry, and it is breathtaking to behold. Put simply: no one does it like her.
