Beyoncé – Cowboy Carter

Beyoncé’s latest release has made mainstream news headlines. The album has been promoted and accepted by many critics as her moving her tanks onto the lawns of the country music industry seeking acknowledgement of black artists’ contribution and the freeze out nature of Nashville. I think the narrative gains traction because critics see country music as a Southern pre-occupation and, frankly, the politics down there probably aren’t theirs. However, before we get to the music she was clear before its’ release: “This ain’t a Country album. This is a Beyoncé album.” True and in many ways I could finish the review here.

During Covid she decided to write a trilogy of albums of which Renaissance, in 2022, was the first, a dancefloor album. Here the lyrical themes were about black and gay tribulations. The second in the series, Cowboy Carter, moves on to replicate the format of a collage of songs, talk and samples with icons of the genre but this time addressing black artists, their marginalisation in the genre and how this and other heritage white music played a role in her own musical education.

American Requiem presents her credentials to be considered ‘country’ because of the activities of her forbears, her, maybe, modest upbringing and striving (more of this in 16 Carriages). It seems clear that Nashville’s hostile reaction to her 2016 CMA’s appearance with The (Dixie) Chicks still stings.  On the record she’s worked with some lesser-known black country music artists and Dolly and Willie have walk on parts either introducing songs or pretending to be a country music DJ (how could they resist the royalties!) 

However, apart from the smash hit line dancer Texas Fold ‘Em and the Jolene cover there’s no discernible country music over the 78 minutes. There are references in several lyrics to country tropes such as ‘Marlborough Man’ but the accompanying music could be hip-hop or some such. Throughout she has used a number of country music artists to play or sing and whilst most are not discernible there are some snatches such as Tyrant that recycles Cam’s Diane. 

I’ve mentioned the country moments above but there’s a deep dive into Beyoncé’s white music influences with samples of the Beach Boys, Nancy Sinatra and a faithful cover of Paul McCartney’s Blackbird, the latter having a lyric about a Civil Rights event that seems in keeping with themes raised here. Similarly, if you listen closely you’ll hear a fraction of Sister Rosetta Tharpe, Chuck Berry and Son House making the point that they’re black but have influenced country. On most of the songs she uses traditional instruments, which nicely distances this from her R&B output, including acoustic. There are sumptuous harmonies throughout that give many melodies allure.  

One critic on BBC Radio Four did concede that whilst most of it sounded nothing like country then the storylines were pure country! Tenuous would be a kind summary of their attempt to bolt it onto the genre. Like me you may have hoped that this was her Modern Sounds in Country and Western Music (Ray Charles) or even a brilliant covers album like Almost Blue (Elvis Costello). Instead, there are a lot of genres briefly covered and discussed with several spoken interludes.

For all that, it’s an excellent pop/soulful album bursting with melodies, interesting arrangements, intriguing samples and complex yet fresh production. I liked it and it went a long way to explaining how she’s amassed $1.16 billion with her husband, Jay-Z, and scooped up 32 Grammys along the way. She’s had a hand in all the original song compositions, arrangements and production. She’s a formidable talent not least for the curation worthy of a musicologist.

She puts in the words of Linda Martell a lecture about genres, and more to the point that they shouldn’t exclude. This is a clumsy message directed at the industry. Genres are a retail tool to categorise certain sounds to enable their promotion and sale. When’s the last time you turned your back on a good song because it wasn’t country? 

So, stand by for it being lauded in the Grammys. Texas Hold ‘Em has probably done enough to earn a gong but I shall be dismayed, and even more detached from the Big Label music corporates, if they dare put the album near a country music category.