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It's official: Beyoncé's eighth studio album "Cowboy Carter" dropped at midnight. It's the second album in her planned trilogy after 2022's "Renaissance.”
Like many, I have been waiting for this album for so damn long, back when it was just a widespread musing and then a rumor and then an announcement. In some way, shape, or form, this has been a hope in the making for many years for her fans, myself included.
I grew up on country music. And I grew up on Beyoncé. The fact that she's making a country album with Texas as such a huge theme for this album delights my little Texan heart to no end.
It also serves as a reminder of the enormous contributions of Black artists to country music, something Beyoncé emphasizes with her spotlight on numerous Black country artists throughout the album.
Simply put, there wouldn’t be country music without Black artists, something I encourage everyone to explore in Ken Burn’s “Country Music” documentary series from 2019. Also: check out Black Opry, a social media account that features news and tour updates on current Black artists in country music.
As a side note, this album also serves as a gorgeous era for Beyoncé following the racist reception she received by some in the country music world after her performance with The Chicks at the 2016 Country Music Awards. She herself appeared to allude to this in an Instagram post several days ago in advance of this album’s release.
At midnight, I wrote up a first listen review, track by track. 27 tracks, 79:03 run time.
Quick note on the track listing: the “ii” in the song titles are a play on this being the second album in her planned trilogy.
Enjoy!
1. "Ameriican Requiem"
She opens up with the second longest track on the album. Beautiful texture. Gorgeous instrumentation. This is definitely a powerful opening salvo. It builds up to the last third with a response to people who claim she's not country:
Look it there, look it in my hand
The grandbaby of a moonshine man
Gadsden, Alabama
Got folks in Galveston, rooted in Louisiana
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?
Plant my bare feet on solid ground for years
They don't, don't know how hard I had to fight for this
When I sing my song
Absolutely solid opening track. Gauntlet thrown down. I'm so excited for the rest of this.
2. "Blackbiird"
This is a gorgeous cover of the Lennon-McCartney classic. It has the bones of the original (acoustic guitar) with added harmonizing/vocalizing and soft strings.
It features Brittney Spencer, Tanner Adell, Tiera Kennedy, and Reyna Roberts -- all four of whom are notable Black women country music artists.
This is a fantastic cover. Music done right.
3. "16 Carriages"
It's like someone mashed up good country and good R&B into a sum far more than its parts. She's taking stock of her life up to this point and threading that journey with her musical roots in both genres. So well done.
4. "Protector"
This is a lovely ballad for her daughter Rumi, who's now six. It opens up with audio of Rumi's voice and quickly moves into soft, warm acoustic guitar. It's a comforting listen. Soothing.
5. "My Rose"
This is a 53-second interlude. Beautiful harmonizing over hushed guitar. I assume this is for Rumi, too:
So many roses but none to be picked without thorns
So be fond of your flaws, dear
6. "Smoke Hour Willie Nelson" (featuring Willie Nelson)
This is a 51-second interlude. I'll admit that I'm a bit bummed it's not a full length song, but it's pretty great, nonetheless.
It starts outs with the listener turning the dial through several channels featuring snippets of prominent and pioneering Black voices in early country and rock: Son House ("Grinnin' In Your Face"), Sister Rosetta Tharpe ("Down by the Riverside"), Chuck Berry ("Maybellene"), and Roy Hamilton ("Don't Let Go").
There's also an early Black yodeler in there whose name I couldn't find. Apologies. If y'all find the name, reply to me with it.
Beyoncé is paying homage but also saying: I'm not new, we've been here.
The dial turns to the final station: Willie Nelson lends his voice as the jockey of an old timey country station program ("The Smoke Hour" on K-NTRY Radio Texas) and introduces the next track, presumably after lighting up some good stuff.
It's a cute and funny feature. But damn, I wish we could have gotten a full song from these two.
7. "Texas Hold 'Em"
This is Beyoncé's smash country hit that was released last month, becoming her ninth solo #1 hit on Billboard Hot 100. It also made her the first Black woman with a #1 country song in Billboard history. Just pure fun and perfect for line dancing.
8. "Bodyguard"
Ooooh, I like this one a lot. Damn. It feels a bit Wilco-y, which absolutely works. Piano-pulsing love song with a relaxing beat. I'm gonna be listening to this frequently.
9. "Dolly P"
This is a 23-second interlude from Dolly Parton: "Hey, Ms. Honey B, it's Dolly P. You know that hussy with the good hair you sing about? It reminded me of someone I knew back when, except she has flamin' locks of auburn hair, bless her heart. Just her hair's a different color, but it's her, just the same."
And then we go into "Jolene"...
10. "Jolene"
I would be shocked if this doesn't chart. Beyoncé keeps the driving spirit of Dolly's original with some gorgeous vocalizing and thumping beat. It wounds down with chorale backup. Simmering. Love it.
11. "Daughter"
I'm looking forward to write-ups on this one. It has heavy religious tones and Beyoncé giving a certain someone the business (ahem), reflecting on her father's influence in not backing down. Also: a gorgeous bridge singing the Italian aria "Caro Mio Ben."
12. "Spaghettii"
This opens with Linda Martell, the first commercially successful Black woman in country music and first to play at the Grand Ole Opry, saying the following: "Genres are a funny little concept, aren't they? Yes, they are! In theory, they have a simple definition that's easy to understand, but in practice, well, some may feel confined."
And then it dives into an unapologetic rap track featuring Shaboozey, as if to say: oh, you thought I wouldn't allow myself to break lines of genre on this album? Think again.
13. "Alliigator Tears"
And we're right back to country w/o missing a damn beat. This is a locomotive love track, pleasing and unyielding. It sounds just a touch like Fleetwood Mac's "The Chain" in the best way. I really like this one. If there's justice, it'll chart easily.
14. "Smoke Hour II" (featuring Willie Nelson)
This is a 30-second interlude from Willie Nelson, playing his country jock character and saying the following: "You're turned into K-NRTY Texas, home of The Real Deal. If there's one thing you can take away from my set today, let it be this: sometimes, you don't know what you like and someone you trust turns you on to some real good stuff. And that, ladies and gentlemen, is why I'm here. Up next on The Smoke Hour is "Just for Fun" by Beyoncé. You're welcome."
15. "Just for Fun" (featuring Willie Jones)
Willie Jones is an artist who performs across genres, notably country, R&B, and hip-hop. Beyoncé here is once again featuring a notable Black country artist. The song is a gorgeous country ballad with Jones' vocals featured in the second verse. There's a touch of gospel and a lot of warmth. I really like this one.
16. "II Most Wanted"
This is a country pop duet with Miley Cyrus, and it's gonna be a chart-topper. I absolutely cannot wait for the inevitable internet-breaking live performance of this. It's balm for the ear drums.
17. "Levii's Jeans"
I cannot WAIT to be sippin' on a beer during a beach trip, watching the sun rise or set and listening to this track. It's an early, easy summer hit. Good vibes with a perfect complement in Post Malone's vocals.
18. "Flamenco"
A nugget of glitter and flamenco guitar, not even two minutes in length, it's a welcome treat. This far in the album, and she still hasn't missed.
19. "The Linda Martell Show" (featuring Linda Martell)
Ms. Martell is back in a 30-second interlude, telling an appreciative audience: "Okay (laughs), thank you so very much. Ladies and gentlemen, this particular tune stretches across a range of genres, and that's what makes it a unique listening experience. Yes, indeed. It's called 'Ya Ya.'"
20. "Ya Ya"
Oh my. Oooooh my. Ms. Martell wasn't kidding. This definitely has no regard for genre boundaries. It opens with a slowed down sample from Nancy Sinatra's "These Boots Are Made for Walkin'" and accelerates into a genre-bending dance hit, finding time along the way to nod to The Beach Boys. Fun as hell. Good shit.
21. "Oh Louisiana"
We're back to Chuck Berry, featuring a high-pitched 52-sec. interlude of "Oh Louisiana" after a vocalizing intro from Queen Bey, with some pretty guitar work layered on it. I just know this is gonna get stuck in my head. It's already happening.
22. "Desert Eagle"
Sexy as hell. 72-second interlude of Beyoncé seducing with some Texas spice and funky bass.
23. "Riiverdance"
A shout back to Renaissance with country flavor. Think of it as a bridge between the two albums. It's a solid track and sure to be a fave on the dance floor this summer. I wanna get high and listen to this.
24. "II Hands II Heaven"
This picks up what "Riiverdance" just put down and runs with it. Gorgeous lyrics. You'll be singing this in your car when it comes on, guaranteed.
25. "Tyrant"
Dolly Parton intros this: "Cowboy Carter, time to strike a match, and light up this juke joint."
Beyoncé does. Country sex lyrics over a hip-hop beat and backing strings. Flamin' hot. I'm sweating. Whew. Goddamn, we are so blessed. What a moment.
26. "Sweet Honey Buckiin'"
Many babies will be made to this song. Beyoncé intros with a snippet cover of Patsy Cline's "I Fall to Pieces" and then Shaboozey tags in with his great bars. It's sexy and fun.
27. "Amen"
The closing track leaves you with a hum in your heart and may hint at the tone of Beyoncé's next album in the trilogy. It's beautiful. I'm eager to read how others analyze this verse:
This house was built with blood and bone
And it crumbled, yes, it crumbled
The statues they made were beautiful
But they were lies of stone, they were lies of stone
Trumpets blare with silent sound I need to make you proud
Tell me, can you hear me now?
She then closes with the verse that opened "Ameriican Requiem" and we're suddenly left thinking that 27 tracks weren't enough.
My humble opinion: "Cowboy Carter" is one of Beyoncé's best albums and a seminal moment in her career, but moreover, it's easy to see this being a landmark moment in the landscape of American music. It's a celebration and a homecoming and a sermon and a seminar and sexy on top of all that.
10/10.
REVIEW: "Cowboy Carter" by Beyoncé