The backstory of Beyoncé’s eighth album has its roots in a 2016 performance at the Country Music Awards in Nashville, where she sang her track Daddy Lessons together with fellow Texan group, the Chicks (formerly the Dixie Chicks). This instant favourite from her Lemonade album was a distinct testament of her upbringing in country music-drenched Dallas.
However, mainstream country music holds strong opinions on who qualifies as a country star. Beyoncé was considered beyond these boundaries. Her involvement in the awards led to public objections on social media and the Country Music Association erased all mentions of her performance. This removal of one of the globe’s biggest pop icons was a chilling reminder of the treatment Black country musicians encountered over the past years.
This event stirred complex emotions towards the genre. She grapples with these feelings in her latest album, a balance of whimsical, profound and at times, dauntingly intellectual tunes. The opening track, American Requiem, sees her stating, “They used to say I spoke too country,” and goes on to acknowledge claims of her not being ‘country enough’.
Moving forward to 2024, Beyoncé sees music not just as a common form of art but as a way to articulate her personal experiences, her kinship dynamics and her position as a successful Black woman in America. Refusing to be restricted by genre classifications, her album Cowboy Carter might entail aspects of country music – steel pedal, appearances by Dolly Parton and Willie Nelson – but instead of it being a tribute, it encompasses these elements into her diverse musical territory. The album has a smaller-than-usual country focus but makes a massive Beyoncé impression and serves as a meaningful follow-up to her 2022 Renaissance album that reinvented the Studio 54-type disco. The initial plan was to introduce Cowboy Carter before Renaissance but the pandemic resulted in a change of plans.
Bearing a considerable burden, having so much to express and such a vast crowd to express it to, there could have been elements of the album that felt tedious; it could have been trapped in the gravity well of its own self-importance. Some of this is evident- when Beyoncé is serious, she’s the most serious artist out there. However, the album is also greatly enjoyable and when it finally lets go, it’s immensely refreshing, as observed in the vibrant country pop of Texas Hold Em and the electrifying Bodyguard.
Listeners from Ireland will find themselves drawn to Riiverdance- although it has little correlation with Michael Flatley and his sorcerous mullet; it’s actually a cathartic act in the record’s concluding third, with Beyoncé assertively stating, “bounce on that sh*t…dance”. She seems intensely serious as she delivers the phrase, yet there’s an irresistible rhythm surrounding it. It’s classical Beyoncé: an artist who shines in making broad gestures and monumental declarations but when the festivities commence, brings the rhythm, the energy; everything.
1: American Requiem
Providing a critique of the state of the nation from Beyoncé and presenting the album’s recurring theme: her intricate relationship with country music and the painful snub of ‘Daddy Issues’ by the Nashville society. She pronounces against a towering choral piece, “They used to say I spoke, ‘Too country’… and when the reaction came, they said I was not country enough… they don’t grasp the difficulty I had to overcome for this/ when I sing my song.”
2: Blackbird
The iconic Beatles ballad by Paul McCartney was partly sparked by the incident of the Little Rock Nine: a group of African American pupils initially forbidden to attend a previously racially-segregated school in Arkansas. The lyrics resonated with Beyoncé – even though her interpretation could be seen as overly modest and respectful. It’s a massive undertaking to awe the voice of her generation, yet here you can sense her delicacy towards McCartney.
3. 16 Carriages
A thunderous country ballad that accelerates from Blackbird and portrays a bleak insight into Beyoncé’s teenage years as a member of Destiny’s Child. It also highlights the conflicts between her managing father and her mother. Robert Randolph, who is responsible for the steel-pedal in the song, has noted Beyoncé’s wish to “ignite some country spirit”, a sentiment they have definitely ignited.
4: Guardian
This eloquent choral composition begins with words spoken by Beyoncé’s six-year-old daughter Rumi and progresses into a heart-filled tribute to her family, asserting “I will guide you on your path should you lose your way/Born to be a guardian”.
5: My Blossom
This 53-second intermission, one of many scattered throughout the album, is directed at a close companion in her life – likely her spouse Jay Z. It features only a plucked guitar alongside Beyoncé’s layered voice singing “la-la-la … adore you … just trust you love yourself.” A seemingly insignificant but powerfully uplifting piece.
6: Smoke Moment Willie Nelson
Beyoncé’s previous association with Nashville makes it unsurprising that she has expanded beyond the usual country cohort for collaborations. The first legendary artist to contribute to the project is rebel serenader Willie Nelson, who provides a grumpy opening act. He introduces the album (only six tracks in) and prepares the audience for the first big hit, saying “For this upcoming track I want you all to take a deep breath in, and allow your thoughts to drift to that special place”.
7: The Lone Star Hold ‘Em
One of the two primary singles dropped before the LP came out, the bold and brassy song serves as a clear signal of her intentions and a calculated bait and switch. It’s a remarkable mix of Beyoncé’s rollercoaster-like pop and a resonating country rhythm. The song is compelling on its own- yet one of the scarce occasions on Cowboy Carter where she fully embraces the idea of transitioning into country.
8: Protector
A catchy tune with an unforgettable keyboard tune and a heaven-sent chorus. Every Beyoncé album has a few gleaming pop songs. Protector is a point at which this lengthy and frequently solemn project decides to lighten up.
9: Sweet Dolly
“Farewell Willie, Welcome Dolly. Parton has frequently voiced her wish that Beyoncé would perform a rendition of her music – and now it is unfolding, with Parton functioning as both a promoter and a kindred spirit of a jilted companion. She draws a similarity between Jolene’s protagonist – a woman close to losing her partner – and Beyoncé, expressing her discontent in Lemonade about the infamous ‘Becky with the good hair’, her husband’s mistress.
“That lady with the good hair you sang about,” remarks Parton, “She seemed familiar to me from my past… except she had radiant strands of red hair… Different shade, but equally painful.”
10: Jolene
In contrast to her zealous respect in her interpretation of the Beatles and Blackbird, Beyoncé provides an enthusiastic rollick of Parton’s Jolene. Motivated by vigorous acoustic guitar and a clear trap beat, it’s an entertaining performance – deferential but dotted with Beyoncé’s charm.
11: Daughter
A lowering whirl of guitar creates a Philip Glass-inspired minimalist impression – the eerie nature amplified by poignant lyrics where Beyoncé appears to indulge in imagining submerging her disloyal husband’s head into a toilet bowl till he starts to choke.
“How prolonged can he breathe before he’s gone,” she sings before there is an unexpected shift, and she breaks into an operatic high pitch. Cowboy Carter is full of astonishments – with just this song, Beyoncé transcends numerous genres, delivering something cohesive and intensely expressive.
12: Spaghettii
“Genres are an amusing notion, aren’t they?” asserts Linda Martell, the groundbreaking black country artist, at the start of an energetic country-hip hop routine featuring Nigerian-American rapper Shaboozey, but it’s all about Beyoncé’s strong command over rhyme. This comes in the middle phase of an LP that celebrates Beyoncé’s singing talent, reminding us that she is also one of the most flexible and forthright rappers in the industry.
13: Alliigator Tears”
Beyoncé exhibits an incredible musical versatility on Cowboy Carter, effortlessly oscillating between hard-hitting hip-hop and southern rock styled after Creedence Clearwater Revival. She takes an lyrical aim at a beguiling yet unfaithful character in her life. Amidst everyone else being duped by his charm, she nearly sees through him; his crocodile tears torment her deeply.
In the 14th track, Smoke Hour II, Willie Nelson returns for another spoken-word contribution. Nelson, serving as Beyoncé’s earthly messenger, communicates her belief that irrespective of the genre, her music will be worth the audience’s time.
The 15th track, Just For Fun, features Willie Jones. It commences with Beyoncé’s assertion, “I am the man I know it,” in a stripped-down piano ballad bearing a slight resemblance to Wait For It from Hamilton. It revisits her personal struggles. The track is subtly cloaked in country elements – raw guitar backed by rich strings. Willie Jones, the African American country singer from Louisiana, lends his authentic tones, but his input seems extraneous in a song revolving around Beyoncé’s internal conflict. A heartfelt tearjerker, its impact might possibly get diluted in the larger album.
The 16th track, II Most Wanted, presents a powerful depiction of friendship and sisterhood through a country ballad featuring Miley Cyrus, akin to Thelma and Louise. The duo’s voices harmonise impeccably. Despite its straightforward arrangements and intense vocalisations, the song’s impact relies on the real chemistry between the singers.
The final track mentioned, Levii’s Jeans, involves the eminent Post Malone.
An electric guitar ditty delivers a certain ease, but it somewhat derails when Post Malone enters with his relaxed, blurry ‘just rolled out of bed’ rap. His laid-back vibe is not entirely in sync with the enthusiastic energy of Beyoncé.
18: Flamenco
Beyoncé comes out of left field, producing a layered piece comparable to a fusion of Lorde and Crosby Stills and Nash. Despite its placement at the end of a genre-centric project, the potential for genericism is diverted as Beyoncé passionately gives her all.
19: The Linda Martell Show (featuring Linda Martell)
Linda Martell, a pioneering country singer hailing from South Carolina, makes a return. At 82, her voice drips with a wealth of knowledge and experience as she announces a song called Ya Ya, describing it as a piece that crosses multiple genres.
20: Ya Ya
The festivity has officially commenced. The opening sample from Nancy Sinatra’s ‘These Boots Were Made For Walkin’ transitions to the Beach Boys ‘Good Vibrations’. This unabashed tune features some of the album’s most throwaway lyrics; the cheerful energy is comparable to a song that commenced drinking slightly too early and proceeds downhill with a wide, careless smile. Beyoncé points out, “We’re snapping”. Indeed, we are.
21: Oh Louisiana
Taking less than a minute, the cover of Chuck Berry’s song features Beyoncé with AutoTuned vocals, making her sound like a chattering chipmunk with plenty to impart. It’s a significant contrast from the festive Ya Ya.
22: Desert Eagle
As the album approaches its conclusion, Beyoncé is prepared for a good time. Her layered vocals are circled by a rhythmic bass line as she notes that “Everything’s bigger in Texas”. It’s a throwback to classic ‘Bey’, with a solid R&B tune that would not seem out of place on any of her earlier records.
23: The Riiverdance.
Prepare for a shock: Michael Flatley is notably absent in this lateral homage to Irish music. It’s not especially Irish either, as an earthy acoustic guitar ignites the ambiance, rapidly followed by Beyoncé who prompts us to “bounce on that sh*t.” The track bridges the gap between Cowboy Carter and the disco-infused Renaissance — a diverse country piece unraveling beneath the disco ball.
24: II Hands to Heaven
Drawing a sample from Underworld’s Born Slippy, it instills a sense of urgency from the dance floor in this self-reflective piece. It allegedly addresses Jay Z and praises her affection for Prince. The lyrics describe an Arizona summer romance turned bitter in lines such as “In that Arizona heat summer fling saw your bad side / slip into my dreams every night … be the good guy.”
26: Tyrant
The return of Dolly! “Time to spark a light and set this juke joint on fire!” Parton declares. Consequently, it transitions into an expansive Southern rap saga built on a repeated violin sample that captures Beyoncé at her most dominant. “I’m such a tyrant!” she acknowledges — assertively and fervently.
26: Sweet Honey Bucklin; (Shaboozey)
Yet another charming country-disco fusion — one minute, she mirrors the sounds of Pasty Cline, and then, she bounces off the comeback rapper, Shaboozey. It encapsulates everything Cowboy Carter embodies — an ode to country music that transcends the genre itself and scrutinizes the divisions within music and the biases that fuel them.
27: Amen
The journey concludes as Beyoncé reverts to the stirring spiritual resonance of the opening track, American Requiem. “Have mercy on me,” she pleads, her voice elevated by a backup choir. “This house was constructed with blood and bone,” Beyoncé continues, describing her family, her experiences, and her music. She shoulders the song as though it’s a hefty burden, and when the melody ceases and silence fills the space, it’s evident her task is completed.