On March 29th, Beyonce released her 8th solo studio album titled “Cowboy Carter.” This is a part of a larger three act project by the 42-year-old superstar that she started during the pandemic.
COWBOY CARTER (CC) was the second album in this project, preceded by “RENAISSANCE” released in 2022.
Each album gives Beyonce’s signature touch on different genres that have been underrepresented throughout musical history and giving black artists platforms to share their unique spin on genres that have been historically dominated by white male artists.
In Renaissance, Beyonce explores predominantly Dance and House music, while also paying homage to her beginning with Pop, R&B, and Soul music being present throughout. Various other subgenres can also be found throughout.
Artists like Grace Jones, Tems, and Beam were finally given their long-awaited recognition and fame after being featured on Beyonce’s act I. They have all gained success on music streaming platforms like Spotify and apple music.
Bey’s new album, CC, is an even more ambitious project, exploring the timeless genre of country music. CC contains all different aspects of country, including the spunky accent, references to southern culture, honoring defining artists in country, and of course, a little banjo!
Songs like “AMERIICAN REQUIEM” & “SPAGETII” explore the singers complicated past with the predominantly white genre, talking about an incident which occurred when she performed at the country music awards in 2016. She was regarded with disrespect from singers present at the ceremony as well as country music fans. “Beyonce doesn’t belong in country” was the consensus by these haters.
Lyrics like “They used to say I spoke, ‘Too country’ // And the rejection came, said I wasn’t, ‘Country ‘nough’” reference the double standards in the music standards, and how anyone outside the stereotypical idea of a country artist is regarded when they try to join.
In SPAGETII, lyrics like “Genres are a funny little concept, aren’t they? // In theory, they have a simple definition that’s easy to understand // But it practice, well, some may feel confined,” referencing how hard it can be for artists to shift genres or experiment with new music. This ultimately leaves us with no new music, and no innovation.
Other songs, like “BLACKBIIRD” and “JOLENE” are covers of famous country songs that defined the genre.
BLACKBIIRD features other black female country artists, giving them a chance to shine in they eye of the public.
JOLENE shares a similar story to Dolly Parton’s, (who is also featured on the album,) about a woman who is trying to get the singers partners to cheat on them. While Dolly P takes the approach of begging Jolene, Beyonce warns Jolene to stay away from her husband.
Some songs such as “DAUGHTER,” “PROTECTOR,” “BODYGAURD,” and “II MOST WANTED,” explore motherhood and love through Beyonce’s southern heritage from Louisiana and Alabama, reaffirming that she’s just about as country as it gets.
Throughout the album, some tracks are not as traditional as other, but rather Beyonce’s version of country. “YA YA,” “RIIVERDANCE,” “II HANDS II HEAVEN,” “TYRANT,” and “SWEET ⭐ HONEY ⭐ BUCKIN” are all Beyonce’s unique spin on the genre, adding her vocal talent, and genre bending touch to redefine “country” for years to come.
Beyonce’s big break into country was incredibly successful, receiving an 8.4 from pitchfork, a 9.1 from Metacritic, and a 100 from rolling stone, being deemd an “Instant Classic.”
The artist said it best herself when describing this incredibly wide spanning album. “This ain’t a Country album. This is a ‘Beyonce’ album.
