When one of your bests and most musical peeps tells you “you have to listen to this album – the layers,” amongst her other high praise comments, you know you have to sit down and do it properly. Pay attention, record reactions, immerse.
So I just fought with Bluetooth speakers in the Nashville airport while I wait for my delayed flight to Philly, so I can do just that with Beyonce’s latest release, Cowboy Carter, because it is time. I have been craving uninterrupted time to properly do this thing, and here we are.
Beyonce has made comments that this has been a project a long time in the making and a long time put on hold due to push back and a general unwelcome feeling from the music industry. Beyonce is a woman facing Music Row, a historically and sadly presently by-and-large an old white man’s gaming arena, where false hopes are handed out like links to music, and the shrugs of “that’s just how it is” trigger shattering of glass around dreams when we should be shattering glass ceilings.
But I digress, and will now take a page from Queen Bey’s book – time to let the music speak for itself.
So I just fought with Bluetooth speakers in the Nashville airport while I wait for my delayed flight to Philly, so I can do just that with Beyonce’s latest release, Cowboy Carter, because it is time. I have been craving uninterrupted time to properly do this thing, and here we are.
Beyonce has made comments that this has been a project a long time in the making and a long time put on hold due to push back and a general unwelcome feeling from the music industry. Beyonce is a woman facing Music Row, a historically and sadly presently by-and-large an old white man’s gaming arena, where false hopes are handed out like links to music, and the shrugs of “that’s just how it is” trigger shattering of glass around dreams when we should be shattering glass ceilings.
But I digress, and will now take a page from Queen Bey’s book – time to let the music speak for itself.
Your ears get filled with incredible harmonies unlike what I’ve heard from anyone outside of Boradway in a very long time. “AMERIICAN REQUIEM” (because I will go ahead and stylize the titles the way the queen wrote them) has already almost got me crying in the middle of this airport. There’s a lot of talking going on while I sing my song… There’s no loss of rhythm here, this is not your momma’s country but don’t call it modern either. This is a meshing of genres unlike anything you’ve experienced, and Beyonce didn’t need to duet to do it – we’re singing an entirely new song here. Buckle up.
I heard “BLACKBIIRD” at midnight when the album was released, knowing I wasn’t going to be able to wait until morning, or a week later when I got to sit down like this. I was already seeing articles saying this was like a part two to McCartney’s classic, and immediate took the “II” within the title to mean that. Something amazing about music is that while sure, the songwriter can tell their story, the next artist to sing it can tell theirs too. Tannder Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts join on this to create a chorus of rising women, completing an ascention.
“16 CARRIAGES” is light on-coming, reminding us that Beyond has a truly lovely voice. The drums impact her points, telling a story of change and growth, moving the heartbeat of this along. How are you not going to feel this with each beat? Your heart gets carried through this, and if you’re not feeling this up and down in your soul I don’t need to know you.
What does make a song “country”? Is it the guitar strums? Is it the storytelling (if so I have some questions about some radio hits…)? Is it family? Ah gotcha on that last one, as does the child’s voice (hi Rumi Carter) leading into “PROTECTOR,” which has all of these elements. I’d argue this is more country than at least half of what charts now by definition of the genre. There’s a perfect loveliness to it, a lullaby for the heart of the home.
“MY ROSE” might be the first place I’m lost. Don’t get me wrong – lovely harmonies, but grateful it’s an interlude and well-fit to its place. Perhaps a reminder of the origins needed to make it to this point.
Willie Nelson being involved in this project has us all a twitter, and his little bit into “SMOKE HOUR * WILLIE NELSON” (sorry, I don’t know how to get a star into that title other than an asterisk) is just a cute touch as we launch into…
“TEXAS HOLD ‘EM,” the – I’m calling it – earworm of 2024. Sure, let’s line dance, or maybe break some norms and not plan it out? I mean this is a fun and even insightful song. All the problems just feel dramatic. Now we’re running to the first bar we can find. Sounds like my kind of people, and the fact I could sing-sing on the dance floor makes this everything I would have wanted at the Honkey Tonks when I used to actually venture out.
What is this 90’s pop style coming into “BODYGUARD”?? I don’t believe the credits – you’re telling me that Sheryl Crow didn’t co-write on this? I need a Cadillac and sunshine, stat.
“DOLLY P” serves as 22 seconds and a breath you get with the two queens, but just barely before…
“JOLENE.” You’ve seen the memes, I’m sure, that Beyonce is the one showing up with a gun for Jolene and isn’t begging her to leave them alone – she’s stating it and no one should cross her. This is a warning, not a begging. Don’t take the chance because you think you can. DAMN Jolene, just don’t go there.
In what feels like a flawless transition musically, we head into “DAUGHTER,” another sinister (I dare say more so because at least we get Dolly levity in the previous) sound. Anyone remember the movie of Carmen that Beyonce starred in years back? I believe it was shown on VH1. If you remember her handling of opera then, you will be reminiscing about it during this song. It’s almost a haunting element as the girl has done all she was required to do and it has, well, affected her grately.
Linda Martell and Shaboozey are quite a paring to open “SPAGHETTII,” and we are not done reminding the world that this girl cannot be caged into one genre (what the hell even is a genre y’all? I give up on that dirty word.). Rapping on a “country” track? You bet’cha. This is a journey, not a sprint, and we are hitting every stop along the way.
I almost missed “ALLIIGATOR TEARS” because it just fell so naturally into this listening session. You want gorgeous? Yup. You want to question yourself and/or others? Yup. It wasn’t till Willie came back for “SMOKE HOUR II” that I was snapped out of it to remember I’m not just drifting in life here, I’m experiencing something real.
“JUST FOR FUN” is a quickly sobering feeling. I just… I need to get through this. Never a more true feeling expressing on a song, I think. Willie Jones adds this element of fullness to the song and relatability to anyone and everyone listening. There’s almost a meditative quality as you try to breathe through these feelings and trying to heal by music. This is the one we can be grateful for, that we can ground ourselves in, that was can live through.
Miley Cyrus joins in on “II MOST WANTED” in a surprisingly gentle and encouraging song, leaving you feeling a little less alone as these two powerful voices seem to genuinely be there for you.
The next “country” crossover artist, Post Malone, joins Beyonce for “LEVII’S JEANS” in one of the sexiest songs I have heard without being uncomfortable in a long freakin’ time. I am blushing a little just listening, but wow this is… this is good. I hate how much I love Post Malone more every time he does something new.
“FLAMENCO” does indeed hold piece of the sound within in, but it’s like a very unique take on it. Nothing is overbearing on it, just moves really pleasantly and sweetly. The Spanish guitars aren’t abrasive, they are just right. It straddles being an interlude and a song, not too long, not too short. Justttttt right.
Linda Martell gives us a new intro on, of course, “THE LINDA MARTELL SHOW” as we are about to hear…
“YA YA” – a song that I think my mom would have loved. It’s got that old surf-60’s feel that’s just damn fun, but brings along a hip hop vibe alongside some sick harmonies with the girls. Destiny’s Child was often called a new Supremes, and this plays on that feel just enough. Oh man, she calls out dance moves. My mom used to do the Jerk in the kitchen all the time, so excuse my while I break out into a fit of giggles. And congrats to The Beach Boys on the “Good Vibrations” interpolation in there too.
We devolve into “OH LOUISIANA.” A pallet cleanser if you will.
“DESERT EAGLE” pushes into the downswing of this album. It’s like the end of the night when the DJ is going to get you out on the floor with your last bit of energy. Partnered with “RIIVERDANCE,” we are for sure pushing out just a little more before we’re done. And WOW what a meshing of traditional sounds into something entirely difference. The amount of times I’ve reminded myself throughout this album that we are not bound to a genre is astounding. Love this breaking.
One last spin of beauty with “II HANDS II HEAVEN.” You are literally being called to join the dance floor and lift your hands up. We are taken to church wherever we may be, being ourselves with our people and living in, well, as Beyonce sings, bliss.
“TYRANT,” I think is safe to say has a little underlying message. But we had to have some statements made, and I’m not hating an ounce of it. Also, just totally lost my place typing when I noticed Dolly Parton is also on this track. And check out that fiddle in there. Do what you want queens, we’re here for the ride.
We’re coming to the end here soon, but one more build up in “SWEET * HONEY * BUCKIN’” because we need one more shot and reminder that country harmonies and high hop beats truly belong together. Shaboozey, I don’t even know who you are but I want to because of your work throughout this album.
“AMEN,” appropriately, closes this out. Is this one last plea of acceptance? Or tolerance? Because I don’t believe Beyonce would want such a thing, I think it’s just a reminder to those listening that shut her out before to just show compassion. Say a prayer for what has been; we’ll be the ones that purify our father’s sins.
I heard “BLACKBIIRD” at midnight when the album was released, knowing I wasn’t going to be able to wait until morning, or a week later when I got to sit down like this. I was already seeing articles saying this was like a part two to McCartney’s classic, and immediate took the “II” within the title to mean that. Something amazing about music is that while sure, the songwriter can tell their story, the next artist to sing it can tell theirs too. Tannder Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts join on this to create a chorus of rising women, completing an ascention.
“16 CARRIAGES” is light on-coming, reminding us that Beyond has a truly lovely voice. The drums impact her points, telling a story of change and growth, moving the heartbeat of this along. How are you not going to feel this with each beat? Your heart gets carried through this, and if you’re not feeling this up and down in your soul I don’t need to know you.
What does make a song “country”? Is it the guitar strums? Is it the storytelling (if so I have some questions about some radio hits…)? Is it family? Ah gotcha on that last one, as does the child’s voice (hi Rumi Carter) leading into “PROTECTOR,” which has all of these elements. I’d argue this is more country than at least half of what charts now by definition of the genre. There’s a perfect loveliness to it, a lullaby for the heart of the home.
“MY ROSE” might be the first place I’m lost. Don’t get me wrong – lovely harmonies, but grateful it’s an interlude and well-fit to its place. Perhaps a reminder of the origins needed to make it to this point.
Willie Nelson being involved in this project has us all a twitter, and his little bit into “SMOKE HOUR * WILLIE NELSON” (sorry, I don’t know how to get a star into that title other than an asterisk) is just a cute touch as we launch into…
“TEXAS HOLD ‘EM,” the – I’m calling it – earworm of 2024. Sure, let’s line dance, or maybe break some norms and not plan it out? I mean this is a fun and even insightful song. All the problems just feel dramatic. Now we’re running to the first bar we can find. Sounds like my kind of people, and the fact I could sing-sing on the dance floor makes this everything I would have wanted at the Honkey Tonks when I used to actually venture out.
What is this 90’s pop style coming into “BODYGUARD”?? I don’t believe the credits – you’re telling me that Sheryl Crow didn’t co-write on this? I need a Cadillac and sunshine, stat.
“DOLLY P” serves as 22 seconds and a breath you get with the two queens, but just barely before…
“JOLENE.” You’ve seen the memes, I’m sure, that Beyonce is the one showing up with a gun for Jolene and isn’t begging her to leave them alone – she’s stating it and no one should cross her. This is a warning, not a begging. Don’t take the chance because you think you can. DAMN Jolene, just don’t go there.
In what feels like a flawless transition musically, we head into “DAUGHTER,” another sinister (I dare say more so because at least we get Dolly levity in the previous) sound. Anyone remember the movie of Carmen that Beyonce starred in years back? I believe it was shown on VH1. If you remember her handling of opera then, you will be reminiscing about it during this song. It’s almost a haunting element as the girl has done all she was required to do and it has, well, affected her grately.
Linda Martell and Shaboozey are quite a paring to open “SPAGHETTII,” and we are not done reminding the world that this girl cannot be caged into one genre (what the hell even is a genre y’all? I give up on that dirty word.). Rapping on a “country” track? You bet’cha. This is a journey, not a sprint, and we are hitting every stop along the way.
I almost missed “ALLIIGATOR TEARS” because it just fell so naturally into this listening session. You want gorgeous? Yup. You want to question yourself and/or others? Yup. It wasn’t till Willie came back for “SMOKE HOUR II” that I was snapped out of it to remember I’m not just drifting in life here, I’m experiencing something real.
“JUST FOR FUN” is a quickly sobering feeling. I just… I need to get through this. Never a more true feeling expressing on a song, I think. Willie Jones adds this element of fullness to the song and relatability to anyone and everyone listening. There’s almost a meditative quality as you try to breathe through these feelings and trying to heal by music. This is the one we can be grateful for, that we can ground ourselves in, that was can live through.
Miley Cyrus joins in on “II MOST WANTED” in a surprisingly gentle and encouraging song, leaving you feeling a little less alone as these two powerful voices seem to genuinely be there for you.
The next “country” crossover artist, Post Malone, joins Beyonce for “LEVII’S JEANS” in one of the sexiest songs I have heard without being uncomfortable in a long freakin’ time. I am blushing a little just listening, but wow this is… this is good. I hate how much I love Post Malone more every time he does something new.
“FLAMENCO” does indeed hold piece of the sound within in, but it’s like a very unique take on it. Nothing is overbearing on it, just moves really pleasantly and sweetly. The Spanish guitars aren’t abrasive, they are just right. It straddles being an interlude and a song, not too long, not too short. Justttttt right.
Linda Martell gives us a new intro on, of course, “THE LINDA MARTELL SHOW” as we are about to hear…
“YA YA” – a song that I think my mom would have loved. It’s got that old surf-60’s feel that’s just damn fun, but brings along a hip hop vibe alongside some sick harmonies with the girls. Destiny’s Child was often called a new Supremes, and this plays on that feel just enough. Oh man, she calls out dance moves. My mom used to do the Jerk in the kitchen all the time, so excuse my while I break out into a fit of giggles. And congrats to The Beach Boys on the “Good Vibrations” interpolation in there too.
We devolve into “OH LOUISIANA.” A pallet cleanser if you will.
“DESERT EAGLE” pushes into the downswing of this album. It’s like the end of the night when the DJ is going to get you out on the floor with your last bit of energy. Partnered with “RIIVERDANCE,” we are for sure pushing out just a little more before we’re done. And WOW what a meshing of traditional sounds into something entirely difference. The amount of times I’ve reminded myself throughout this album that we are not bound to a genre is astounding. Love this breaking.
One last spin of beauty with “II HANDS II HEAVEN.” You are literally being called to join the dance floor and lift your hands up. We are taken to church wherever we may be, being ourselves with our people and living in, well, as Beyonce sings, bliss.
“TYRANT,” I think is safe to say has a little underlying message. But we had to have some statements made, and I’m not hating an ounce of it. Also, just totally lost my place typing when I noticed Dolly Parton is also on this track. And check out that fiddle in there. Do what you want queens, we’re here for the ride.
We’re coming to the end here soon, but one more build up in “SWEET * HONEY * BUCKIN’” because we need one more shot and reminder that country harmonies and high hop beats truly belong together. Shaboozey, I don’t even know who you are but I want to because of your work throughout this album.
“AMEN,” appropriately, closes this out. Is this one last plea of acceptance? Or tolerance? Because I don’t believe Beyonce would want such a thing, I think it’s just a reminder to those listening that shut her out before to just show compassion. Say a prayer for what has been; we’ll be the ones that purify our father’s sins.
Love, accept, allow, even though we shouldn’t have to ask for any of that. Do it. We can be better.
Stuff I Wouldn’t Mind Hearing Again:
Small side note – as I went to post this, I realize the last album I posted a review for was Beyonce’s Lemonade. Wow. Something about this woman really calls me back, huh? Promise to fill in the blanks and see y’all for more here more often.
- AMERIICAN REQUIEM
- BLACKBIRD
- 16 CARRIAGES
- PROTECTOR
- SMOKE HOUR * WILLIE NELSON
- TEXAS HOLD ‘EM
- BODYGUARD
- DOLLY P
- JOLENE
- JUST FOR FUN
- II MOST WANTED
- LEVII’S JEANS
- FLAMENCO
- YA YA
- RIIVERDANCE
- II HANDS II HEAVEN
- TYRANT
- SWEET * HONEY * BUCKIN’
- AMEN
Small side note – as I went to post this, I realize the last album I posted a review for was Beyonce’s Lemonade. Wow. Something about this woman really calls me back, huh? Promise to fill in the blanks and see y’all for more here more often.
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