Country music, in my book, has been on a downward spiral since the late 2000’s.
In the wake of all of the 2010’s hitmakers of country leaving relevance, they were replaced with some of the worst artists to hit radio in decades. Morgan Wallen makes bad country-inspired hip-hop for Trump Supporters, Jason Aldean (a 2010’s mainstay) and Oliver Anthony released songs full of racially-tinged dog-whistles that both went #1, and while Zach Bryan has released some well-made and well-written music – even he cannot keep from being repetitive and bland at times.
So, what does all of this have to do with Beyoncé?
Beyoncé first teased her new era, the second installment of the trilogy that began with 2022’s house/dance album ‘Renaissance,’ during a Super Bowl ad that led to the release of co-lead singles ‘Texas Hold ‘Em’ and ‘16 Carriages.’ The former is a country-pop song made for radio, and latter a soulful country ballad.
In particular, ‘Texas Hold ‘Em’ ignited controversy with country radio, being excluded from a number of stations after release. Billboard reported, in the hours after release, the song only collected nine early plays on country radio – igniting a conversation about the black origins of country and the rejection of Beyoncé from country circles.
That is precisely what Beyoncé addresses on ‘Cowboy Carter’s’ lead-off track, ‘Ameriican Requiem.’ She sings, in a sprawling ballad that features some of the most powerful vocals of her career, “Got folk down in Galveston, rooted in Louisiana. Used to say I spoke too country, and the rejection came, said I wasn't country ‘nough.”
Fans have speculated that Beyoncé’s references to being rejected as country spurred from controversy in 2016, where her cover of ‘Lemonade’s’ ‘Daddy Lessons’ with The Chicks at the Country Music Awards was scrubbed from the CMA’s social media and website. Many country fans threatened to boycott the awards over Beyoncé’s tribute to the Black Panther Party at the 2016 Super Bowl Halftime Show.
That said, prior to the release of ‘Cowboy Carter,’ Beyoncé has spoken for years about the exclusion of people of color from not only country and western music circles – but from western history as well. That is part of what makes this record so important. ‘Cowboy Carter’ is a celebration of the black roots of country, including Linda Martell.
However, that does not mean ‘Cowboy Carter’ is a country album – it’s not. It is so much more than that.
While a number of the tracks are country-inspired, some of the strongest songs on the record are when Beyoncé does what she does best, mixing and defying genres. On ‘Spaghettii,’ she drops a Latin hip-hop inspired track with some of the most convincing line delivery in recent memory. In particular, her delivery on the lines, “C*nty, country, petty, petty, petty. All the same to me, Plain Jane, spaghetti” almost killed me. I almost died.
In all honesty, I believe the album is at its best when Beyoncé strays away from traditional country. ‘Bodyguard,’ which had social media briefly convinced it contained a Taylor Swift feature, is more of a traditional pop track than anything. That said, it is such a groovy and feel-good song that cools down some of the energy of its predecessor ‘Texas Hold ‘Em.’
As much as I love this album, two songs didn’t quite hit for me. I have no clue who keeps telling mainstream artists that their albums need Post Malone on them. In quick succession, Post Malone featured on Noah Kahan’s ‘Dial Drunk,’ then was announced as a feature on Taylor Swift’s upcoming album ‘The Tortured Poets Department,’ and then announced as a feature on Beyoncé’s ‘Levii’s Jeans.’ The lyrics on ‘Levii’s Jeans just do not work for me – they are more cringy than sexy, and the vocal chemistry between Beyoncé and Post Malone does not exist.
Furthermore, I have gone back and forth on Beyoncé’s version of ‘Jolene’ by Dolly Parton. While I believe her vocals on the track are fantastic, and the ending added is great, the lyrics just do not land for me. Beyoncé shifts the lyrics from a plea for mercy to a warning shot, and while I like the idea, I don’t believe it was executed well.
All in all, however, ‘Cowboy Carter’ takes a spot as one of Beyoncé’s greatest albums to date. In breaking down the walls of genres, Beyoncé has created an instant classic – one that will likely influence the music industry from years to come.
4.75/5
Beyoncé for 'Cowboy Carter'Courtesy of Pitchfork
