As I pulled into my garage, the clock struck 11:00 p.m., meaning Beyoncé’s second act of “RENAISSANCE,” “COWBOY CARTER,” was officially out. As I walked up the stairs to my room, doubts flooded my head. I was not a devoted member of the BeyHive, nor was I an avid country music listener. I kept asking myself whether or not I would enjoy this album, and it turns out: I loved it.
Before this album, I had been a casual listener of Beyoncé. I knew her classic hits such as “Crazy in Love” and “Single Ladies,” but I had barely been exposed to some of “RENAISSANCE,” and I had only listened to one of two singles from her current album: “TEXAS HOLD ‘EM.” With little knowledge of her discography, I had no idea what I was getting into when I first clicked play.
The album opens with “AMERIICAN REQUIEM,” a statement on the racism Beyoncé has faced in both the country music community and America as a country. From this track to the first interlude, “SMOKE HOUR ★ WILLIE NELSON,” Beyoncé follows a consistent trend: smooth vocals layered over each other and a subtle, folky guitar. Though the opening track was amazing, I was angry I had not listened to “16 CARRIAGES” in the almost two months it had already been out.
Following the first interlude, “TEXAS HOLD ‘EM” introduces us to a different niche in the country genre, incorporating strong percussive elements and a twangy banjo, as opposed to the melodic nature of the album’s first section. This song also features a voice note from country music icon Dolly Parton prior to Beyoncé’s cover of Parton’s 1973 track “Jolene.” The voice note is an introduction to the cover, with Parton saying she once felt what Beyonce is feeling now.
The cover and “DAUGHTER” are prime examples of the more complex vocals used in this album, highlighting specifically the operatic vocals in the latter song. This section ends with “SMOKE HOUR II,” causing the album to shift yet again.
The stand-out of the penultimate chapter of the album was the collaborations. Out of four songs, three of them are collaborations, featuring Willie Jones, Miley Cyrus and Post Malone. With the first two songs being slower “JUST FOR FUN” and “II MOST WANTED,” the song with Post Malone, “LEVII’S JEANS,” was a standout. The short, muffled guitar is a refreshing change to the long, drawn-out sound of many of the other songs.
Coming after its introduction by Linda Martell in “THE LINDA MARTELL SHOW,” “YA YA” is exactly what I would expect from a modern country song, with the cadence similar of “Tightrope” by icon Janelle Monae, leading me to believe both of these songs would sound amazing in a mashup. Another highlight of the end of the album is “TYRANT” featuring an existing collaborator on the album: Dolly Parton.
What begins as a classic, clapping country suddenly shifts to a trap beat via a violin, coupled with an electronic beat. I was disappointed, as Parton was listed as a performer on this track, and she was only featured in the intro. However, all woes were wiped away as I heard the closing notes of “AMEN” — a reprise of “AMERIICAN REQUIEM” that allowed the journey of the cowboy to come to an end.
“COWBOY CARTER” is an amazing follow-up to the juggernaut that was “RENAISSANCE.” This album has led me to rethink my dismissal of country music as a genre, inspired by Beyoncé’s references to classics like “JOLENE” and her innovation in the genre like “SWEET ★ HONEY ★ BUCKIIN.”
I think it is safe to say I have welcomed both “COWBOY CARTER” Act II, and Beyoncé’s music into my playlist.
