Beyonce Knowles-Carter stole the people’s hearts as a part of Destiny’s Child in 1997 with their self-titled debut album. Twenty seven years later, Knowles-Carter released Cowboy Carter, the second installment of her trilogy entitled Renaissance. This trilogy is meant to pay homage to the overlooked black creators’ contributions to American music and history. While Renaissance was arranged as a DJ mix inspired by 1970s black dance music such as House and Disco genres, Cowboy Carter is arranged as a radio broadcast presented by a fabricated “KNTRY Radio Texas” with country artists like Willie Nelson and Linda Martell as radio personalities.
Many people are critical of the album, as many have noticed that Knowles-Carter has not done country before, and some have claimed that she does not “know country.” Knowles-Carter responded to the critics in the first song of Cowboy Carter entitled “Ameriican Requiem”in which she sings, “Used to say I spoke too country, and the rejection came, said I wasn’t country ‘nough.”
While this album is heavily influenced by country music, Knowles-Carter stated via an Instagram post, “This ain’t a Country album, This is a ‘Beyonce’ album.”
The album is split into five sections with their own unique meanings. The first section is very meaningful and slow. The first five songs are Ameriican Requiem, a cover of Blackbiird, 16 Carriages, Protector, and My Rose. The introduction speaks on many topics such as racism in Ameriican Requiem, general hardship through life in 16 Carriages, and the ideals that women may grow into during motherhood in Protector. This was a very heartfelt introduction to the experience that is Cowboy Carter.
The second section starts with the first interlude, Smoke Hour ★ Willie Nelson, which introduces the radio aspect. Willie Nelson introduces the next song that has taken social media over, Texas Hold ‘Em. This feel-good anthem contrasts the energy of the first part of the album and though it may be overplayed on the internet, it is definitely one of the better songs. The song after is Bodyguard, which is a romantic, happy song that details how far someone will go to protect their lover. All in all, these two songs are a nice breath of fresh air compared to the first songs.
The third section, which is aligned with relationship issues, starts with our next interlude, Dolly P, in which Dolly Parton is talking to Knowles-Carter about some “hussy with the good hair” that was mentioned in the Lemonade album. This introduces Knowles-Carter’s cover of Jolene, and in contrast to Parton’s original song which was pleading for Jolene to leave her man alone, Knowles-Carter is warning Jolene to stay away from her man. The next song, Daughter, takes a dark turn as it implies the violent acts that Knowles-Carter would do and how she would cover them up if “Jolene” didn’t follow the demands of Knowles-Carter in the previous song.
Our next song, Spaghettii, strays away from the country roots of the album and shows a side of rap that we have only seen Knowles-Carter do in songs like LoveHappy. This song features an intro from Linda Martell speaking on genres. Alliigator Tears returns to the country aspect and, similarly to Bodyguard, it details the unconditional actions one will take to keep their lover happy. This section showed every aspect of a proper relationship and the things that will come when someone is unfaithful.
The fourth section of this album starts with Smoke Hour II, and is a heart-touching part that details the experience of growing with friends and family. It starts off slow with Just For Fun with Willie Jones. This is more of a gospel ballad, which is something we haven’t seen from Knowles-Carter.
If you have someone you consider your “ride or die,” you will love the next song, II Most Wanted, featuring Miley Cyrus. It’s very emotional and was even praised by Actress Sarah Paulson, who said, “Can’t stop listening to this, but does anyone know why it makes me cry?”
We end up with Levii’s Jeans, which features Post Malone and is another feel-good, romantic anthem that is a little nonchalant about its innuendos. Flamenco is the last song and it’s short and sweet. This section of the album is all about feeling great and I think most people will enjoy it.
The final and largest section of the album is introduced with the interlude The Linda Martell Show. This spoken piece by Linda Martell introduces the beginning of the end which is Ya Ya, a patriotic and loud song. The next two songs, Oh Louisiana and Desert Eagle, are shorter songs that really need no comment; they are unique in their own way and I love the way they flow together.
Riiverdance and II Hands II Heaven also flow together rather well and the transition from an upbeat jig to a holy, romantic song was the most beautiful part of the album in my opinion. Tyrant is a song to dance to with a sadder meaning in the lyrics that, when listened to, could bring tears to your eyes as you divulge the meaning. The final two songs, Sweet ★ Honey ★ Buckiin’ and Amen, polarize each other from a final mixdown of an upbeat song to another gospel ballad that make up the grand finale.
This album is taking its final breath while referring to the house mentioned in Ameriican Requiem and then finally ties it all together in the last few seconds. This part of the album is definitely my favorite and the entire album has been a thrilling roller coaster of music. With that being said, here is my ranking of the songs.
