COWBOY CARTER is not only Beyoncé’s eighth album, but the second of the trilogy of albums she has promised to release, following her 2022 LP RENAISSANCE.
Beyoncé has already hit major milestones with this album, such as becoming the most-streamed album of 2024 in a single day on the music streaming platform Spotify, and the first Black woman to hit number one on Billboard’s Hot Country Songs chart.
When Beyoncé released “TEXAS HOLD ‘EM” in February during the 2024 Super Bowl, and later announced she would be releasing a country-inspired album, she was met with pushback similar to what she received when she performed at The Country Music Association Awards in 2016. This experience did not deter COWBOY CARTER and served as inspiration for tracks on the album.
Beyoncé starts her country cartel of an album with “AMERIICAN REQUIEM.” It has to be Beyoncé’s best opener to date, sampling from Tchaikovsky’s “1812 Overture” and Buffalo Springfield’s “For What It’s Worth.” What stands out most are the lyrics, where she throws back to the criticism she received in 2016 during her performance with The Dixie Chicks for the song, “Daddy Lessons.”
They used to say I spoke, “Too Country”
And the rejection came, said I wasn’t “Country ‘nough”
Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Beyonce, AMERIICAN REQUIEM
She continues the album with a cover of “BLACKBIIRD,” originally released in 1968 by the legendary English rock band The Beatles. She notably features Tanner Adell, a country singer who went viral in February for posting on X, in hopes of a collaboration with Queen Bee following the announcement of COWBOY CARTER. The song also features Brittney Spencer, Tiera Kennedy, and Reyna Roberts, all fresh Black women within the country scene. The original “Blackbird” was known to be written by Paul McCartney about the Civil Rights Movement in America, and has later gone on to state it should be interpreted to be seen as a song about Black woman.
Released alongside “TEXAS HOLD ‘EM” in February, “16 CARRIAGES” is the pseudo-autobiography single Beyoncé uses to detail the early struggles of her family and her start in the music industry. It’s a powerful track, showcasing traditional country elements and a pleasing glissando.
Featuring her youngest daughter Rumi Carter, Beyoncé sings a graceful lullaby dedicated to her children in “PROTECTOR.” It’s a beautiful ballad inspired by her motherhood, crooning her dedication to protecting her children, regardless of how much time passes. It’s followed by “MY ROSE,” a short interlude about self-acceptance and learning to appreciate all your flaws.
“SMOKE HOUR ★ WILLIE NELSON” is another interlude, featuring prolific artist Willie Nelson, serving as a radio host throughout the album. The first chunk introduces some snippets that work as the ethos of COWBOY CARTER: what does it mean to be a country artist or otherwise, and how is labeling something as such beneficial to an artist’s body of work? He wraps up the intermission, transitioning to the lead single “TEXAS HOLD ‘EM,” the lively country upbeat that’s currently topping the country charts.
“BODYGUARD” introduces the concept of the intimacy she feels for her husband Jay Z, mixing in a breezy rock composition to spice up the country inspiration.
Beyoncé introduces her portrayal of the classic Dolly Parton single, “JOLENE,” even featuring the singer herself to prelude the track with the interlude “DOLLY P.” In it, Beyoncé reworks the lyrics to the track, serving as a threat more than a plea. Where the original bemoans itself, praying Jolene will leave Parton’s partner alone, COWBOY CARTER makes it clear she will handle the situation herself. The song beautifully shows the two personalities of the esteemed singers.
Beyoncé then channels her father’s anger in the track “DAUGHTER,” a manifestation of her resentment towards the infidelity she has been a victim of, letting it be known she can be ruthless when pushed. Toward the end, she sings “Caro Mo Bien,” an Italian aria that details the sorrow one feels when they’re without their loved one. This portion showcases Beyoncé’s past opera training and works as a deviation from earlier lyrics, showing the meaning behind her spite; lamenting over how her beloved could hurt her so, in the same pleading vein of the aria.
“SPAGHETTI” features the legendary singer Linda Martell, the first Black woman to have mainstream appeal within the country domain and singer Shaboozey, another country singer who is most notable for merging country and hip-hop in his music. The three unleash on the track, countering stereotypes found in the country realm, showing what matters more is the artistry, not the genre. She samples Brazilian funk artist O Mandrake to further prove this point, with “Aquecimento Das Danadas.”
“ALLIIGATOR TEARS” follows, continuing her trend of expressing her adoration for her husband, despite knowing the cruelty he is sometimes guilty of. She uses the term alligator instead of crocodile, most likely in reference to Louisiana’s population of alligators, paying tribute to her Creole roots.
“SMOKE HOUR II” is another interlude with Willie Nelson, imparting his knowledge in the voiceover:
“Sometimes you don’t know what you like until someone you trust turns you on to some real good shit. And that, ladies and gentlemen, is why I’m here.”
Willie Nelson, “SMOKE HOUR II”
“JUST FOR FUN” gives away its purpose with the title. She features Willie Jones on track, with the duo singing about the hardships experienced from their exposure of their respective celebrity. It adds onto the thesis of the album: Doing what you want regardless of the critics.
Miley Cyrus makes a surprise feature on the track, “II MOST WANTED.” The song is a beautiful ballad between the two with an enchanting banjo echoing in the background and an accompanying electric guitar. The two serenade their loved ones with the promise they’ll stick by their side until the day they die. Funnily, the song is reminiscent of the Hannah Montana song “Butterfly Fly Away,” possibly due to Cyrus’ credit in production, and uses a similar chord progression heard in Fleetwood Mac’s “Landslide.”
Post Malone is next up with “LEVII’S JEANS.” It’s a softer country song, with a muted guitar strumming as the backing track. Post Malone and Beyoncé’s voices blend seamlessly, with both artists effortlessly transitioning between and subverting traditional masculine and feminine singing characteristics, with Carter leaning towards the lower notes and Malone towards the higher.
“FLAMENCO” is another love song, giving a spotlight to the Tejano contributions to the country scene with what sounds like a Spanish guitar being played in the background.
Beyoncé brings in another interlude with singer Linda Martell in “THE LINDA MARTELL SHOW.” Here she introduces the following track “YA YA,” a foot-stomping country anthem that samples Nancy Sinatra’s “These Boots Are Made For Walkin'” with booming brass that mentions Americana southern life staples like keeping a Bible on the dashboard, or the Chitlin’ Circuit that she seems to reference in promo pics for the album and vocal stylings made in the song. “OH LOUISIANA” is a short track, interpolating Chuck Berry’s own song, orienting the album for the final act portion.
“DESERT EAGLE” is a funky song, with a standout Wah pedal utilized in the bassline. It bleeds into the next track, “RIIVERDANCE,” another banjo-filled track commanding listeners to dance. The song, which has background credits from RAYE and The-Dream, skillfully inspired by the Irish production of Riverdance, and uses percussion thanks to Dolly Parton’s acrylic nails.
Continuing the synth sound and occasional nail percussion, “II HANDS II HEAVEN” is less country and more electronica, a slight detour from the Western soundscape. She follows with “TYRANT,” bringing back the vocals of Dolly Parton. “TYRANT” was surprising upon first listen, the chorus reminiscent of the mid-2010’s style of incorporating trap beats in unexpected ways with an electric violin.
“SWEET ★ HONEY ★ BUCKIIN’” has another feature from artist Shaboozey, with production credits from Pharrell. The song has an interpolation of “I Fall To Pieces” from Patsy Cline, with newly assigned kick drums and lively clapping to add to the percussive section of the song. The song has three parts split between sweet, honey, and buckin’. Halfway through the song takes a thematic change, highlighting Beyoncé’s rap skills and complementing the buckin’ part of the song title.
She ties the whole thing together with the closer track “AMEN,” a gospel-inspired track that includes a portion of the opening song “AMERIICA REQUIEM.” It explores themes of revolution, wrapping up her message of inclusion in music and redefining how a country artist should seem while including the notion of growth in personal relationships.
Beyoncé has followed through thus far on her goal of releasing a trilogy of albums, with this being the second act in her play. Her complete exploration into elements of country and displaying how fluid the genre can be when given the chance is a standout in her body of work, and only builds anticipation for the final album of the trilogy.
COWBOY CARTER can be streamed on Spotify, Apple Music, and YouTube.
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