No one could have predicted this; but Beyoncé riding into her country era (saddled on a horse named Chardonneigh no less) with a 27-track album Cowboy Carter, hasn’t just been one of the most invigorating releases she has achieved. It has altered something in the grand scheme of things—of one of the oldest and subjugated music genres.
The driving force behind this album was clear as Beyoncé officially stated on her Instagram: “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.”
Fans were quick to allude the said experience to Beyoncé’s performance at the Country Music Awards five years ago, where she performed with The Dixie Chicks in 2016.
Beyoncé is clear in her statement that Cowboy Carter was made as a continuation to RENAISSANCE, while declaring: “This ain’t a Country album. This is a “Beyoncé” album”. From her highly-debated album artwork that pays homage to Black Western rodeo icons to more pointed tracks like ‘Spaghetti’ and ‘Ya Ya’, the cultural phenomenon is liberating the country genre—not just for herself as a Black Texan but with every Beyoncé move, it’s music dedicated to her community.
Below, the 13 thoughts I had while listening to Cowboy Carter.
- You know this album’s going to stir up something poignant when the first track is ‘American Requiem’ while the last one reads ‘Amen’. While it can’t be exactly passed off as patriotism, Cowboy Carter is one that veers deeper into the superstar’s acknowledgment of being a Black Texan born in America, alongside the history of oppression and racism of African-American cowboys.
- If the first track isn’t indicative of the album’s depth of emotive melodies, track two, which happens to be a cover of ‘Blackbird’, will get the ball rolling. It ropes in other talents like Tanner Adell, Brittany Spencer, that only builds and builds to the point that you don’t quite mind that this is a cover after all.
- The powerful vocals that Beyoncé so effortlessly scales in Cowboy Carter is something you would instantly notice right off the bat, but it’s the vocal arrangements that really concoct the greatness of most tracks on the album. The heart-tugging ‘Protector’ is one of them, where Beyoncé dedicates to her youngest daughter, Rumi.
- One of the secret sauces to Cowboy Carter has to be Willie Nelson’s cameo, where Queen Bey enlists the help of the country elder to play the role of a DJ as short interludes.
- By the time you hit track eight, Cowboy Carter feels a lot like a mixed bag—delivering a new arrangement, a new mood and a new message with every toggle of a track. Each intriguing to devour and while disparate, sit beautifully on their own.
- The real fun starts when Dolly Parton enters the chat with ‘Honeybee’ as a voice-mail track interlude: “Hey Miss Honeybee, it’s Dolly P. You know that hussy with the good hair you sing about? Reminded me of someone I knew back when. Except she has flamin’ locks of auburn hair. Bless her heart.” A simple line with several punchy references. The term “Honeybee” reminded us of that epic ‘Telephone’ banger from Lady Gaga and Beyoncé and of course, the parallel between “Becky with the good hair” and Parton’s very own Jolene.
- Beyoncé‘s cover to ‘Jolene’ mostly left the iconic song intact, for good reason too. But she does switches up the lyrics to dominate and warn off her very own Jolene—that includes “We’ve been deep in love for 20 years/ I raised that man, I raised his kids/ I know that man better than he knows himself.” I do wonder at this point, will there ever be a Beyoncé diss track that isn’t haunted by the ghost of Lemonade?
- ‘Daughter’ swoops in next where Beyoncé flexes her vocal prowess—and at one point in the bridge, she ascends to Italian opera, belting out an aria ‘Caro Mio Ben’. Yes, I did mention mixed bag earlier.
- The angst, grit and smoke blows up in the rap of ‘Spaghetti’, while featuring Virginia country star Shaboozey as well as country pioneer Linda Martell. With rhythms and trap beats this good, it did feel like a shame the track didn’t last longer than three minutes.
- The harmonies of Beyoncé ain’t letting up in this album. ‘Just For Fun’ that features Louisiana musician Willie Nelson delivers a song so buttery and smooth that one can’t help but go back to it—again and again.
- Mistakenly, Fleetwood Mac’s ‘Landslide’ is what most would hear instantly with Miley Cyrus’s feature ‘II Most Wanted’. A deliberate decision that picks out the recognisable riff—even throughout the rest of the song, as Cyrus and Beyoncé both strike a mesmerising blend together.
- Would have never pegged Post Malone to be the suave other half in Beyoncé’s sensual, loved-up ‘Levii’s Jeans’, but the two serve up undeniable chemistry in this sexy duet.
- From the lilting ‘Desert Eagle’ to the catchy “Giddy-up” chant in ‘Tyrant’, the last few songs in this explosive album each hones its own magnetism. But in my humble opinion, the album would have already ended on a high with ‘Ya Ya’. Sampling Nancy Sinatra’s ‘These Boots Are Made for Walkin” and interpolated with ‘Good Vibrations’ by The Beach Boys, the track draws out not just legendary greats, but the raw, empowering command of Beyoncé in an epic dance anthem.
Cowboy Carter is now available on all streaming platforms.
