It’s almost impossible to go into Beyoncé’s new album without expectations. Of course, this was no accident: nothing Mrs. Carter did was accidental. When she revealed that RENAISSANCE would be the first album in a trilogy, fans began speculating about what would happen with the next two albums.
Four months after the blockbuster album’s release, New York Times pop culture writer Kyle Buchanan announced with considerable confidence that Act Two will be an acoustic album, while Act Three will see The superstar is back in the studio with husband JAY-Z. This is the follow-up to their 2018 joint album The Carters, EVERYTHING IS LOVE.
But whether you’re a Beyoncé fan or not, you should know that Packwood’s world rarely allows for leaks and rumors. Buchanan’s theory was quickly debunked, and it wasn’t until earlier this year that fans began to notice hints about a second act, just before she simply announced that the album would be released on March 29. The news was announced via KNTRY Radio – a themed trailer and two tracks – “Texas Hold ‘Em” and “16 Carriages” – confirmed the project’s country direction, but ultimately it’s still not entirely predictable What fans can expect from the new album.
Since then, Bey has masterfully delivered a series of powerful visuals that have sparked discussion about everything from black cowboys to the true origins of country music to Beyoncé’s accusations of usurpation following the release of her first two albums women at work. Cowboy Carter. Expectations were set…and quickly shattered.
While “Renaissance” feels like a form of personal liberation, a vulnerable acknowledgment of the very personal yet collective pain many have felt during the pandemic, and an assertion of the bold decision to retreat to life outside, “Cowboy Carter ” is a retraction executed on behalf of anyone who shares this. Since Lemonade, Beyoncé has been exploring and celebrating layers of identity.
Sonically, it would be lazy to call it a country album just because of the use of acoustic guitar, banjo, etc. “COWBOY CARTER” is a revival of the roots of Bey’s artistic creation and the many branches of African American music. This transformation is achieved through the music itself and the history and culture embedded in the entire project.
Many of the vocal arrangements on this project – which is truly the album’s most impressive feature – are rooted in traditional R&B (see “BODYGUARD” and “II HANDS II HEAVEN”) and gospel music, i.e. “AMERICAN REQUIEM” and its duet, “Amen.” One of the few songs that comes closest to what most people consider country music, such as “JUST FOR FUN” and “DAUGHTER,” hearken back to the late ’60s and ’70s The folk-rock era—think Lynyrd Skynard’s “Sweet Home Alabama,” Credence Clearwater Revival’s “Fortunate Son” or even Otis Redding’s “(Sitting On) the Dock of the Bay.”
In other words: It’s a quality time of unbridled time, with pauses and calms that make room for life’s quieter moments.
Beyoncé has never addressed the concept of genre in her lyrics like she did before the release of “Cowboy Carter.” But she did recruit two OGs to explain why it doesn’t make sense to limit artists to any genre (via avant-garde country singer/songwriter Linda Martell); and what you can do if you’re still not sold on her cross-genre offerings : “Go get a jukebox,” as Willie Nelson advises in one of two remarkably carefree cameos on the project. Everyone’s favorite Dolly P. also took a moment to remind the naysayers that Beyoncé is completely branded in this space.
Just as OG legitimizes her presence here, Beyoncé embraces Miley Cyrus, Post Malone — who face similar criticism from country purists —and newcomers Tanner Addell, Brittney Spencer, Tierra Kennedy, Reyna Roberts, Willie Jones Jones and Shaboozey prove that her intention was never to simply take up space for herself.
Of course, as has been the norm since the aforementioned Lemonade, COWBOY CARTER’s music is peppered with personal gold mines. Rumi Carter’s intro to “Lullaby” (aka “Protector”) makes the song even more poignant. While Bey’s rendition of “JOLENE” picks up where “Sorry” left off, moving vocal performances on “II HANDS II HEAVEN” and “II MOST WANTED” remind us how much Mrs. Carter loves her man. When it comes to trail riding, Zydeco, her grandfather’s “Moonlight Man” and her Creole heritage, Beyoncé is proud to be a daughter of the American South.
This is perhaps the most amazing feat COWBOY CARTER has ever accomplished. From the American flag on the cover, to the sound, to the thoughtful placement of iconic American music from Parton, Nelson, and even a Beach Boys interlude, this project is truly an American requiem, as the opening track states; Beyoncé reminds people of the enormous sacrifices she has made so that she can claim to be a Southern girl and fully participate in all of America’s unique artistic and cultural traditions.
Release date: March 29, 2024
Record label: Parkwood Entertainment/Columbia
Listen to Cowboy Carter’s speech below:
