COWBOY CARTER by Beyoncé | Album Review
Queen Bey’s Another Renaissance: Crafting a Message and Experience Beyond Music
Listen on SPOTIFY | APPLE MUSIC
For almost 2 years, fans have awaited the announcement of the second installment from Beyoncé’s new trilogy, following her experimental candy RENAISSANCE. With the singles “16 Carriages” and “Texas Hold’Em”, ACT II embarks on a new country-genre path. The songs display a progressive and epic sound, along with a fun and catchy track.
There was an article I came across a few weeks ago that explained Beyoncé’s choice to venture into the country genre for her new project. And now it all makes sense to me.
Through this record, Beyoncé creates a new “renaissance” by bridging the Black Culture with the country genre. Black culture has heavily shaped the country genre, and Beyoncé is purposefully working on a country record to emphasize this.
The pop/r&b queen can create introspective records like Lemonade or avant-garde sounds like RENAISSANCE, while also revolutionizing her message through music, and COWBOY CARTER is proof of that.
Being a Houston Native, Beyoncé is reminding the legacy of black cowboys in Texas with this cover art. On the cover art, we can spot Beyoncé again on a horse, but this time involved in a cowboy aesthetic that perfectly complements the country music style.
Would you be mistaken if you thought that this is just another country album with only the guitar as the instrument? Yes, specifically in the section where you assume that it’s simply another country music album. In the instrumental part, Beyoncé is not sticking to simple overused chords but rather prospers the theme of going beyond the regular genres.
Beyoncé’s recent post on Instagram mentions: This is ain’t a country album. This is a Beyoncé album.
Throughout the project, Queen Bey consistently challenges the narrative of limited genres, sharing her experience of stepping out of her comfort zone. She embodies the struggle of facing both uncomfortable hostility and the limitations imposed by stereotypes and racial prejudices. However, the further we delve into the project, the more we see that Beyoncé’s confidence is matchless and no one can tell her how the next record should sound.
Continuing the topic of the sound, on the “SPAGHETTII”, there is a fragment from Linda Martell saying:
Genres are funny little concepts, aren’t they?
suggesting the idea that on this record, Beyoncé is ready to go beyond the limits of common, as she has already done before. I found out that Linda Martell was also attempting to transition from R&B to country music in the 1960s, and she didn’t receive the warmest welcome, amplifying the significance of her presence here.
Beyond the pure pleasure of the sound, this album offers a profound experience of being immersed in Beyoncé’s created aesthetic.
Despite a somewhat extensive 27-track list, Beyonce still captivates us with her enthusiastic approach. By incorporating small tracks, you become almost unified with the cowboy, country-ish aesthetic. Those small interludes give you a feeling of the slight break between the tracks or help set the mood before another track.
Describing the album as a simple progression from melancholic cuts to upbeat country bangers would be an oversimplification. While you may experience such feelings during your listening journey, the artistry displayed on every track is truly angelic.
Beyoncé’s artistry extends beyond the confines of acceptable or unacceptable, distinguishing her from other mainstream musicians. She fearlessly ventures into experimentation, incorporating new catchy ad-libs, pitches of her voice, and unexpected production choices into the country album. Prepare yourself for an emotional rollercoaster ride, enhanced by the virtuosity, as soon as you become fully immersed.
Yet, you know this album defies simple classification within the country genre. I believe here it’s a much more diverse and nuanced project. Sometimes the incorporation of the country acts as rather a sub-genre than the main thing, giving Beyoncé room to experiment.
To sum it up, this project may not yet be my favorite one of hers, but it certainly may become one by the end of the year. After several listens, I don’t see myself giving anything other to this album than a 10.
FINAL RATING: 10/10 ( Perfect)
FAVORITE TRACKS: 16 CARRIAGES, AMERIICAN REQUIEM, BODYGUARD, DAUGHTER, YA YA, LEVII’S JEANS
LEAST FAVORITE: PROTECTOR
Scores guideline:
0–2 (dramatically bad)
2.1–4.5 (bad)
4.6–6 (mediocre/mid)
6.1–6.9 (Ok)
7–7.5 (good)
7.6–8.6 (great)
8.7–9.9 (amazing)
10 (perfect)
