I’m either just a sucker for long as hell country records, or I may just be a sucker for Beyoncé.
Beyoncé’s Act I project, “Renaissance” — released in 2022 — is a generational, one-in-a-million house record that pushed the boundaries not only for dance music, but what a Beyoncé record could be.
Act II, “Cowboy Carter,” does the same thing but for country and folk — it also does it better.
Beyoncé’s newest record, announced at the Super Bowl this year, is unlike anything we’ve heard from her before. At the same time, it is a completely familiar song and dance.
On “Cowboy Carter,” Beyoncé mixes contemporary country, pop, soul, folk and even tinges of southern hip-hop — and completely blew me away.
Despite being 27 tracks and over an hour long, this newest opus from Queen Bey slides through each track with ease, blending in and out of their respective lanes and genres.
“AMERIICAN REQUIEM,” the first track on the record, is an absolutely triumphant country soul ballad by Beyoncé. Her main performance mixed with the gospel backing vocals encapsulates what an opening Beyoncé track can and should be.
Beyoncé does not shy away from political themes on the record, especially with the cover — Beyoncé draped in American flag memorabilia while riding a white horse — and with the track as well.
“Can we stand for something?/Now is the time to face the wind (Now is the time to face the wind)/Now ain’t the time to pretend/Now is the time to let love in (To let love in)/Together, can we stand?,” Beyoncé sings on “AMERIICAN REQUIEM.”
She also tackles why this album is a country record, singing that she has always been pinned down as “too country” yet “not country ‘nough” while growing up in the south.
Beyoncé is making a definitive statement. This is a country record first and foremost, but it is so much more than that.
“Cowboy Carter” tackles contemporary country on tracks like “TEXAS HOLD ‘EM” and “ALLIGATOR TEARS.” It also deals with folksy covers with “BLACKBIIRD,” as well as straight-up pop bangers like “LEVII’S JEANS” and “II MOST WANTED.” Finally, Beyoncé goes full blown trap rap on “TYRANT” and “SPAGHETTI.”
Through all of these different genres, Beyoncé has not lost her spark or burnt herself out. Her voice is as beautiful and as poignant as ever. Her contemporary and modern sensibilities are still there too, and none of the tracks feel old or tired. Everything is up to date.
My favorite track on the record has to be the magnificent yet lowkey “II HANDS II HEAVEN.” The track is a perfect mix of electronic, downtempo and classic Beyoncé pop sensibilities.
Beyoncé’s lyricism on this track is also a triumph, especially on the refrain.
“Two hands to Heaven I’ve prayed, priest forgive my soul/Lovely daggers pierced my heart many moons ago/Toxic roses chased by wolves and carnivores/Lost virgins with broken wings that will regrow,” Beyoncé sings.
It’s spiritual and humble — Beyoncé still has room to grow as a person, even three decades into her career.
My complaints about the record are minimal, some of the tracks are a little too formulaic, but they are still welcome additions to Beyoncé’s catalog.
I cannot wait to see what Beyoncé brings to the table with Act III of her groundbreaking and genre-defying trilogy.
Rating: 4.5/5 stars
