Beyonce’s eighth studio album, COWBOY CARTER, serves as Act II of the three-act project that began with the release of RENAISSANCE, in July 2022.
Each song on the album takes inspiration from different Western films such as Urban Cowboy, The Hateful Eight and The Harder They Fall.
The first two singles, “TEXAS HOLD ‘EM” and “16 Carriages”, released on Superbowl Sunday, caught fans off guard due to its country sound. The release of “Daddy Lessons” was the moment that introduced fans to Beyoncé’s “KNTRY” side from her acclaimed album Lemonade, and its subsequent controversy-stirring performance at the CMA Awards with country band The Dixie Chicks. After this moment, Beyoncé faced criticism for her performance, and the award show even took down the performance from their YouTube channel.
“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 to create this body of work,” Beyoncé wrote in an Instagram caption that marked the 10-day countdown to the album.
From the beginning of COWBOY CARTER, you can tell that Beyoncé did her research on the past, and current Black country artists that have found ways to break past the barriers of the usually all-white genre.
With features from country artists such as Tanner Adell, Brittney Spencer, and Reyna Roberts on her rendition of “Blackbird,” sung by The Beatles originally, it feels as if the country artists are inviting Beyoncé into their world. The song is emotional and sets the tone for the ultimate reclamation theme of the album. In a way, the song can be seen as a passing of the torch from the three country singers to Beyoncé.
The album is unexpectedly narrated by country legend Willie Nelson, who welcomes us to the “Smoke Hour on KNTRY Radio Texas.” The songs and its well-placed interludes perfectly encapsulate the feeling of going on a road trip, while listening to the perfect soundtrack on the way.
A standout on the album is “BODYGUARD,” which is sensual and sweet in typical Beyoncé fashion. The chorus of “Honey Honey I could be your bodyguard,” causes you to sway in whatever spot you happen to be in.
Beyoncé had a common theme of including legends in this album, Dolly Parton being one of them. She appears on the interlude, “DOLLY P.”Parton draws a connection between her ‘Jolene’ and Beyoncé’s ‘Becky’ as mentioned on her album Lemonade. The interlude then leads into the reimagining of “Jolene” which takes upon a different perspective from Parton’s 1973 hit. Beyoncé threatens, “The games you play are nothing new, So you don’t want no heat with me Jolene.” In the background, strums of a harmonica can be heard played by none other than Stevie Wonder.
If you listen closely, you can hear Dolly Parton’s nails clicking in the background of “TYRANT”. The percussion of acrylic nails is most popularized by Parton, once again proving that there was a lot of research done to pay homage to country music as a whole. We are led into the more Rap-Country blend by Parton, who commands the listener, “Time to strike a match and light up this juke joint.” Produced by DA Got That Dope, the song is a left turn from the traditional songs like “II HANDS TO HEAVEN” that are expected from Beyoncé. The song is a direct display of confidence from the singer. It’s a song that fans will be anticipating if a tour follows the release of the album.
Willie Nelson reappears again on “SMOKE HOUR II” and gives, what I think, is the thesis of the album. Most people are already turned off from country music and were skeptical of Beyoncé’s step into the genre. “Sometimes you don’t know what you like until someone you know turns you on to some real good s**t,” Nelson boldly states.
The three-track run of “Just For Fun”, “II MOST WANTED”, and “LEVII’S JEANS” are my personal favorites of the album. The features of Willie Jones, Miley Cyrus, and Post Malone hold their own against Beyoncé’s smooth and powerful vocals. While listening to the album, you can tell that careful attention was placed on the vocal layering of the track “JUST FOR FUN”, which is the opposite of fun with the first few hums, causing you to reflect on the lyrics “time heals everything.”
On “II MOST WANTED”, Cyrus and Beyoncé go back and forth on the guitar’s soulful melody. The raspiness of Cyrus’ voice and Beyoncé’s deep vocal register blend perfectly, causing you to feel as if you are being wrapped into a warm hug. The song, which takes inspiration from the story of Bonnie and Clyde, is a perfect anthem to share with your “ride or die”.
“LEVII’S JEANS” is another soulful croon, full of yearning. Malone’s feature was a surprise to many on the album, but his vocalizing of the chorus “I wish I was your Levi’s Jeans, The way you poppin’ out my phone” communicates to the audience that he belongs on a song next to a voice as talented as Beyoncé’s.
After this, we slide into the next interlude “THE LINDA MARTELL SHOW”. According to Rolling Stone, Martell was “the first solo Black woman country artist to play the Grand Ole Opry.” Although Martell may not be as famous as the likes of Nelson and Parton, her impact on country music is just as monumental. In the interlude, Martell introduces the song “YA YA”, which according to her, “stretches across a range of genres, and that’s what makes it a unique listening experience.” “YA YA” is a vocally acrobatic song, and sounds to be inspired by Tina Turner. The chorus is addictive and makes you want to get up and dance to the nostalgic tune.
“SWEET HONEY BUCKING” is a trilogy in itself with the raps of Shaboozey, self-proclaimed “country boy ‘til the day that I’m dead” filling the song with rich self-assurance. The song is masterfully separated into sweet, honey, and bucking, but they flow so well together that in ways, you can’t tell they are so different.
The finale of the album “AMEN” sets it up to flow into Act iii perfectly. What that will be is probably only known to Beyoncé herself. Though there are theories of a Rock or Gospel album to follow the genre-bending RENAISSANCE and COWBOY CARTER, whatever comes next will have high expectations from both, fans and critics.
Beyoncé is over twenty years removed from her debut album Dangerously in Love and throughout the years has found ways to reimagine her career. Sonically COWBOY CARTER has the soulful, yearning croons that older fans love, but with a youthful confidence that her younger audience can find themselves reciting in the mirror.
The release of COWBOY CARTER as the follow-up to the acclaimed RENAISSANCE, has drawn comparisons within each other, though what is clear is that these albums are sisters. RENAISSANCE was a perfect release for its time, having the world coming out of lockdown. COWBOY CARTER is more reflective and nostalgic in spirit much like an older sister.
The most masterful aspect of this album is the attention to detail and research done to pay homage to the space that Beyoncé has found herself entering. Much like RENAISSANCE which had features from LGBTQ+ icons like Kevin Aviance and TS Madison, Beyoncé gives as much as she takes from these genres.