Album Review: COWBOY CARTER by Beyoncé
Beyoncé’s eighth album is the second act of the trilogy series that picks up where the first act (‘RENAISSANCE’) left off as she celebrates the history of country music and its roots with her twist.
In the last decade, Beyoncé has become a star dedicated to celebrating Black culture from an openly politicized point of view, as demonstrated in her latest artistic steps, from Lemonade to her performance at Beychella to the soundtrack The Lion King: The Gift. However, her reluctance to freely grant interviews to the media continues to distance her from the possibility of making us understand her work better from a more personal and political point of view. In that sense, RENAISSANCE, the first act, sounds fun but also calculated, even far from Beyoncé’s reality. Perhaps it is naive to expect anything else from an artist who represents an entire institution, and the truth is that the album, at its core, is still a fantastic pop album. Now, we fast forward two years later to the second act.
Contrary to the commonly held belief that country music is a genre influenced by Black artists but lacking their presence, Black women have been an integral part of country music since its earliest days as a recorded and commercially marketed art form. However, a pervasive practice of cultural redlining has not only barred Black women from country music writing rooms, airwaves, rodeo stages, and charts but has also systematically excluded the few Black women who managed to circumvent the gatekeepers from entertainment pages and historical records. This systemic exclusion has perpetuated a false narrative that minimizes and erases the significant contributions of Black women to the country music genre, effectively denying them their rightful place in the annals of music history.
In the Instagram caption, the singer tells more about her inspiration for COWBOY CARTER, the second act of the trilogy series, and a whopping twenty-seven tracks for which she immersed herself intensively in the country genre. “I worked on this album for over five years. It grew out of an experience I had years ago when I felt unwelcome. And it was very clear that I wasn’t. But because of this experience, I delved deeper 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 amplifying the voices of some of the people who have dedicated so much of their lives to elucidating our musical history,” she wrote.
And further: “The criticism I faced when I first entered this genre forced me to overcome the limitations imposed on me. ‘Act II’ is the result of my challenges and the time I took to combine the different genres and create this work. I have some surprises on the album and have worked with some brilliant artists that I respect a lot. I hope you can hear my heart and soul and all the love and passion I put into every detail and every sound.”
The unveiling of the album cover received mixed reactions. It came about a month after the superstar released the first singles from the record, with which she has already achieved notable success. Her hit “Texas Hold ‘Em” made her the first Black woman to top the Billboard country chart and the first Black woman to top the Hot 100 with a country song. She also released “16 Carriages,” which details the challenges she faced in her career.
The Instagram post spills over to “Ameriican Requiem,” a reflective opener that touches on themes of change, recognition, and self-identity within the context of American culture. The lyrics open with an acknowledgment of the inevitability of change for things to remain consistent, suggesting a cyclical nature to progress and tradition. She questions whether people will stand with her in this act of affirmation. The second verse gets more personal as she reflects on her heritage and experiences with rejection based on not fitting into preconceived notions of identity. She speaks to her roots in Alabama and Louisiana, addressing criticisms about her authenticity and claiming her hard-fought place within her cultural narrative. Throughout the song, there is a call for authenticity and a challenge to the status quo, asking if others can truly ‘hear’ or understand her message amidst widespread conversation and noise.
We get two solid covers on this album, including “Blackbiird,” which is taken from the Beatles featuring Brittney Spencer, Tiera Kennedy,, Reyna Roberts and Tanner Adell, who’s going viral over the past few weeks with “Buckle Bunny,” and the highly-anticipated “Jolene,” sung originally by Dolly Parton, who’s on the “Dolly P” interlude before launching the track. However, Beyoncé’s rendition of “Jolene” presents a direct and assertive message to the titular character, warning her against pursuing the singer’s partner. The songwriting is a clear expression of territoriality and confidence, with Beyoncé emphasizing her long-standing relationship and deep connection with her man. She highlights the depth of their shared history, including raising children together, which she uses to affirm the strength of their bond. Beyoncé also acknowledges Jolene’s attractiveness but insists it takes more than physical allure to disrupt a committed relationship.
“Protector” opens with a tender request from Rumi asking to hear a lullaby. This introduction sets the tone for a personal and nurturing narrative. It paints a serene picture of nature and spirituality, where Beyoncé describes herself as part of a miraculous event and listening to children sing. The imagery of flowing gardens and golden evening light suggests a peaceful and protective environment. The hook introduces the song’s central theme: Beyoncé positions herself as someone who guides and shields, acknowledging her role in supporting her loved ones even as she recognizes their potential to eventually shine independently.
In the song “Daughter,” Beyoncé presents a narrative that touches on themes of revenge, self-image, and legacy. She paints a scenario where the protagonist confronts someone who has wronged her, leading to a violent altercation. This confrontation is described vividly with references to physical harm and emotional turmoil. The refrain suggests a comparison between the protagonist and her father, emphasizing a shared trait of being unforgiving when crossed. This comparison is further highlighted by the claim of being “colder than titanic water.”
Other songs include “Bodyguard,” which features a blend of affectionate lyrics and protective sentiments, creating a dynamic portrayal of a relationship where she offers emotional and physical support to her partner. Beyoncé describes feeling overwhelmed on “Alligator Tears” (“High tides in the city, I’m in too deep”) and affected by fear, yet she acknowledges the power her partner’s tears have over her, suggesting they cause her distress. Plus, with the runtime, you get some interludes that help with the album’s flow, like “Amen,” “My Rose,” “Flamenco,” and “Desert Eagle.”
There are other features on the album. Besides the iconic Willie Nelson acting as a radio host during the smoke hour and the first Black woman country star, Linda Martell (“The Linda Martell Show”), the album got Willie Jones on the collaborative “Just for Fun,” Post Malone on “Levii’s Jeans,” which may roll some eyes while hearing his voice, but he works fine here, and Miley Cyrus pops up on the duet, “II Most Wanted,” capturing the spirit of youthful love and the idea of living in the moment. They speak to a spontaneous and intense connection between two people, with Beyoncé and Miley expressing a desire to be an ever-present partner in their significant other’s life.
Remember when Bey said, “This ain’t a Country album; it’s a Beyoncé album,” she sure doesn’t play about that. On the hard-hitting “Spaghettii,” she teams up with Shaboozey, one of the rising Black Country stars, and plays with themes of authenticity and originality, contrasting the ‘Plain Jane spaghetti’ with her distinctive flavor. Throughout the song, there is an undercurrent of self-assurance and boldness, which aligns with Beyoncé’s established persona as an artist who consistently takes charge of her music and public image.
To continue with one of the album’s most energetic tracks, “Ya Ya,” she touches on themes of American identity, struggle, and survival, referencing keeping faith and protection close in challenging times in the most Beyoncé way possible. The refrain adds a layer of positivity with mentions of good vibrations and sweet sensations, contrasting with the more serious undertones in the verses that transition into the Chuck Berry-sampled “Oh Louisiana.”
“II Hands II Heaven” lyrically presents a vivid narrative reflecting freedom, escapism, and the search for meaning. The verses paint scenes that blend luxury elements with nature’s rawness and personal introspection. From the “Arizona heat” to “rhinestones and diamonds,” there is a contrast between reality’s harshness and opulence’s allure. Beyoncé’s lyrics often explore complex emotions and situations, hinting at inner conflicts without clear resolutions. In this song, the phrase “lovely daggers kiss my heart many moons ago” suggests past pain intertwined with beauty, while lines such as “I’m a Stallion runnin’, no candle in the wind” evoke strength and independence.
“Sweet ★ Honey ★ Buckin’” blends genres and showcases her ability to adopt different musical styles with Shaboozey once more in the song’s first half, where in the second half, Bey talks a good smack with the help of Pharrell (“A-O-T-Y, I ain’t win/I ain’t stung by them”) and the D.A. Got That Dope-produced trap-inspired “Tyrant,” she portrays herself as a true COWBOY CARTER who identifies as powerful and in control, using the metaphor of riding to assert dominance. References to being pursued by others (“Boy, I know they’re lookin’ for me”) imply a sense of being sought after or targeted, yet there is also an element of pride in this attention. The repeated use of “tyrant” suggests embracing power and acknowledging its misuse.
What Beyoncé is doing with her eighth studio LP is not reclaiming Country music but rather a bold exploration and testing of the genre’s boundaries. By collaborating with iconic figures such as Dolly Parton, Willie Nelson, and Linda Martell on the interludes, Beyoncé pays homage to country music’s rich history and challenges the industry to embrace a more diverse and inclusive future. The inclusion of these legendary artists demonstrates that country music has always been a genre that welcomes and celebrates diverse voices and perspectives.
COWBOY CARTER goes beyond just collaborating with established country artists. She also shines a spotlight on up-and-coming Black country artists, showcasing their immense talent and potential to reshape the genre. By featuring these artists, Beyoncé amplifies their voices and challenges the country music industry to recognize and support the next generation of Black country artists.
Through her collaborations with legendary artists and her support of emerging Black country musicians, Beyoncé sends a message that country music is a genre that belongs to everyone, regardless of race or background.
Please read our guide to Black Country Music here.
Standout (★★★★½)
Favorite Track(s): “Ameriican Requiem,” “Protector,” “Daughter,” “II Hands II Heaven”