Album Review: "Cowboy Carter" - Beyoncé's ode to her roots

4.5/5

“They used to say I spoke too country  

And the rejection came, said I wasn’t “country ‘nough.”

Before "Renaissance," I wasn't a die-hard Beyoncé fan. Sure, I knew her hits and enjoyed singing along to them in the car, but I hadn't fully immersed myself in her world. "Renaissance" changed everything. It sparked a newfound appreciation for Beyoncé's artistry in me, and "Cowboy Carter" cemented my membership in the Beyhive.

I don’t think the world was ready for “Lemonade”, and to be frank, neither was I. She was booed for her performance of “Daddy Lessons” in 2016 and received an onslaught of racist hate. “Cowboy Carter” is Beyoncé’s response to her being exiled from the genre, a tale of belonging and boundary-breaking. The album is a bold testament to Beyoncé's artistic versatility and her fearless exploration of new musical territories. Beyoncé delves into themes of resilience, love, and empowerment, weaving captivating narratives that traverse the vast landscapes of both heartache and triumph. The overarching melancholy which haunts the album is extremely poignant, a staple of many Country melodies.

I won't be reviewing every song, as delving into each of the 27 tracks would be quite extensive. Instead, I'll focus on the predominant message of the album, highlighting a few standout tracks along the way.

Country music often contains confessional lyrics and Beyoncé’s nod to gospel highlights her declaration. We begin with “AMERICAN REQUIEM” that sounds as though it is being sung by a choir in the echoey walls of a church. This is Beyoncé’s country. She was raised Methodist and attended St. John's United Methodist Church in Houston. Her faith is her solace but also her struggle. In “DAUGHTER” the genre of Opera is explored, with her sampling and singing of “Caro Mio Ben”, a assertion of sorrow for a loved one and a plea for pain to end. Whilst pinballing between music styles, Beyoncé heads back to her “CHURCH GIRL” roots, highlighting the journey of self that she has embarked upon.

Cowboy Carter Cover Art

The song “BLACKBIIRD”, a cover of the Beatles tune, being the second on the album sets the tone of the piece. Paul McCartney originally wrote the song as a response to the Little Rock Nine incident and the overall Civil Rights movement, Beyoncé uses this perfectly, opening her album with a mix of hope and struggle. Interestingly, the song too has a sinister lore, Charles Manson is said to have used the song on his White Album, interpreting the song as a prophecy of an apocalyptic race war, a call for Black Americans to wage war on their white counterparts. Despite it being a soft, almost easy-listening, song to begin the album, I would have liked to have seen more collaboration with McCartney, a singer-songwriter known for genre-jumping.

A well-incorporated feature Beyoncé uses to her advantage is the duet. Even with a simple monologue, Beyoncé uses other artists and people from her life to tell her story. Proving, that whilst the narrative is unique to her, she also shares her experience. Rumi Carter features in the song "PROTECTOR", highlighting her role as a mother. It brings to light the different identities that women uphold and have to assume throughout their lives.

The inclusion of Miss Miley Stewart (Cyrus) in "II MOST WANTED" serves as a perfect gateway into country pop for Gen Z. Growing up in Scotland, far removed from the Deep South of America, my initial exposure to country music, aside from tunes like "Islands in the Stream" and "The Gambler" at family gatherings, came through the Hannah Montana Movie. I recall seeing a TikTok claiming that the horse in the album art of "Cowboy Carter" was Blue Jeans, Miley's horse in the film. While undoubtedly an outlandish rumour, this white lie nonetheless soothed my seven-year-old soul.  “LEVI JEANS” with Post-Malone feels, again, like a radio hit, but a hit nonetheless. So much so it raised Levi’s stock price by 20%.

Highlighting the breadth of Queen Bey's influence extends beyond her music. In the song "BODYGUARD," there are traces of Motown, a genre deeply intertwined with Beyoncé's family legacy, as she is distantly related through marriage to icons like Marvin Gaye, Diana Ross, and the Jacksons. This Motown influence also mirrors her personal trajectory as an actress, notably portraying Deena Jones in the 2006 film "Dreamgirls."

The cameos from Linda Martell and Willie Nelson were a nice nod to the roots of the genre. Especially for the Black community. Martell had the highest peaking single on the Billboard Hot Country Singles chart at #22, “Color Him Father,” by a Black female country artist in the history of the genre in 1969. This was of course until Beyoncé’s “Texas Hold ’Em” debuted at #1 on February 21st, 2024. Willie Nelson, is a Country hall of Famer, and vigorous activist, proving Beyoncé’s commitment to her perspective. Both artists exemplify the genre's innovation and reflect its complex history of constraints. Their inclusion of emerging Black Country artists like Shaboozey further enriches this legacy.

If I am honest the only song I struggled with on the album was “JOLENE”, I understand that it’s the epitome of country. I love Dolly P’s addition to the story, but I just feel like the changing of lyrics didn’t add much to the narrative. Though maybe, my distaste for the song is more of a reflection of my own opinions on the situation. That whilst Beyoncé chose to work through her marriage, I am still salty and unforgiving of Jay-Z’s behaviour.

My favourite track on the album is "YA YA," primarily because of the Nancy Sinatra sample, which I adore as a fan. Celebrating the artists of the "Chitlin' Circuit," a vital network of live entertainment venues in the United States that provided platforms for African-American performers during the era of Jim Crow segregation, the song embodies everything I hoped for in a Beyoncé country album. It reminds me of a drill team, a popular Texan and Southern activity for young people, especially girls. She states her name incorrectly "B-E-Y-I-N-C-E" , the way it was spelled on her birth certificate; her mother was warned “Be happy that you’re getting a birth certificate.”

The overarching success of Beyoncé’s album is her ability to show us herself, but also reflect the whole of America. Beyoncé's journey is a testament to the complexity and richness of her identity as an African-American woman hailing from Texas. Her story defies conventional labels, showcasing a tapestry of influences that shape her artistry and cultural expression. From the vibrant rhythms of Houston's music scene to the profound legacy of African-American history, Beyoncé embodies a fusion of diverse influences that transcend narrow categorisations. She navigates the intersections of race, gender, and geography with grace. “Cowboy Carter” embraces her multifaceted heritage and serves as a reminder of the beauty and resilience found in refusing to be confined by societal expectations.

 Unable to detain herself within this box. In the words of Martell:

 “Genres are a funny little concept, aren’t they? Yes, they are. In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.”

"Cowboy Carter" declares that Country-pop is back, and Country is cool. This prompts reflection: did country music ever truly leave, or perhaps it was rejected by those who felt excluded from it? Beyoncé has demonstrated that there's room for everyone's story in music, regardless of the genre.