“Genres are a funny thing, aren’t they?” country legend Linda Martell asks at the start of “Spaghettii,” the twelfth track on singer-songwriter Beyoncé Knowles-Carter’s latest album, “Cowboy Carter.” It serves as a second “act” to a three-part project that kicked off with her 2022 album “Renaissance.”
Blending country, pop, r&b, rap, and more, Beyoncé delivers a sprawling, cohesive, and addictive album that casual listeners and mega-fans alike will have on repeat. Cowboy Carter tells a uniquely American tale and refuses to accept the labels a genre expects of it.
In 2016, Beyoncé performed at the Country Music Awards, singing “Daddy Lessons” with the Chicks from her then-new album “Lemonade,” and received massive racist backlash, with many claiming she wasn’t “country enough.” “Cowboy Carter” can be seen as Beyoncé’s response to these complaints, as she delves into the Black American roots of country music and dismantles what listeners have come to expect country music to be.
Beyoncé laughs in the face of gatekeepers who try to define what a “genre” is and creates something both familiar and unique. The singer explores American stories that make up country music: stories of love, loss, revenge, struggle, exploitation, and joy. Every song in the album details a new story, but all connect back to a greater theme and understanding of undeniable American identity.
Further connecting these threads, the album takes the form of a radio program, with Linda Martell, Willie Nelson, and Dolly Parton all serving as hosts, occasionally interjecting on interludes to introduce songs. The inclusion of these country icons further emphasizes that Beyoncé isn’t fully ignoring past conventions in country music, but is instead honoring them to create something new.
Opening with “Ameriican Requiem,” Beyoncé addresses complaints of if she’s “country enough” head-on, and demands to be heard. The song is electric, perfectly setting the tone for the entire album.
“16 Carriages” and “Daughter” are both personal ballads where Beyoncé discusses her life growing up, her relationship with her father, and sets the foundation for her legacy. “Daughter” also includes a rendition of operatic aria “Caro Mio Ben,” another expert blending of genres.
“Cowboy Carter” also includes a variety of features that help further broaden its scope.
“Blackbiird,” a cover of the iconic Beatles song, features Brittney Spencer, Reyna Roberts, Tanner Adell, and Tiara Kennedy, whose voices all blend beautifully with Beyoncé’s. By including them on the track, she is further cementing her legacy by boosting the voices of four up-and-coming Black women in country music. Another stand-out feature is Miley Cyrus on “II Most Wanted,” a duet where the two sing about platonic and romantic partnerships, and it has been stuck in my head since the first listen.
“Levii’s Jeans” and “Ya Ya” are more upbeat and archetypal bops, getting at general themes of Americana rather than personal looks into Beyoncé’s life. However, this is by no means a bad thing and helps to balance the overall narrative of the album.
“Ya Ya” is one of my personal favorite songs on the album, as its catchy tune is paired with a strong condemnation of the political realities of America and an homage to the Black performers of the Chitlin Circuit.
My only criticism is that on initial listens, the album was overwhelming. With 27 tracks and a 79-minute runtime, it was a lot to take in all at once, and it felt like portions of the album blended together. However, on later listens, songs differentiated themselves and this sprawling nature steadily became a positive.
“Cowboy Carter” undeniably establishes Beyoncé’s legacy. She paves her own path, experiments with different styles, and pays homage to history, all while staying true to herself. “Cowboy Carter,” without a doubt, is a Beyoncé album. It’s new, it’s familiar, and most importantly, it’s catchy.
