By: Charlie St. Dennis

Weeks ago, I wrote in anticipation of Beyoncé’s new album. The singles “Texas Hold ‘Em” and “16 Carriages” had just been released, and producer Killah B was quoted as saying, “Let’s just say, she’s (Beyoncé) on the approach of shocking the world.”

One month later, I can confirm that Killah B was right. ‘Cowboy Carter’ is currently occupying the top 27 slots on the Apple Music Country Charts, all the songs are charting on Global Spotify, became the most streamed album in a single day in 2024, occupies the top spot on Billboard Country Albums, and is headed for a third week at the #1 spot on the Billboard 200 at press time.

In her announcement post, Beyoncé writes that the album “[W]as born out of an experience that (she) had years ago where (she) did not feel welcomed… and it was very clear that (she) wasn’t.” This is in reference to when the Country Music Association Awards invited Beyoncé and The Chicks to perform “Daddy Lessons” from her sixth studio album, ‘Lemonade’. While the performance was acclaimed by critics and also gave the CMAs their highest viewership, many country music fans and audience members criticized Beyoncé’s attendance claiming she wasn’t country enough. As a result of this, CMAA deleted all promotional material and footage of Beyoncé’s performance, succumbing to the hate.

Unlike the Country Music Association, Beyoncé did NOT succumb to the hate, and researched the history of Western culture and country music and its African-American roots. And from that, we were blessed with ‘Cowboy Carter.’

I’d argue that despite having the blessings of country legends, including Dolly Parton, Willie Nelson, Linda Martell, Reba McEntire, just to name a few, this is much more than just a country album. This is not ‘country’, this is a rebirth. For so long, so many music listeners have been blind to the history of country music and the songs that define it. Beyoncé has opened eyes and exposed things that many listeners never knew. For example, Beyoncé covers The Beatles’ “Blackbird” on the album. She features 4 up-and-coming black women in country music: Tanner Adell, Reyna Roberts, Tiera Kennedy, and Brittany Spencer. When people heard the original version, it was said that the song was inspired by the call of a blackbird in India. Paul McCartney, the writer of the song, revealed in 2022 that the “Black bird” of the song should be “interpreted as ‘black girl’” as the song was intended to be a waking call in the Civil Rights movement. It is poetic that Beyoncé is choosing to spotlight black women in an environment that doesn’t always welcome them for this song, considering that is exactly what McCartney was going for.

In the opening track, “Ameriican Requiem,” Beyoncé declares that “there’s a lot of talking going on, while I (Beyoncé) sing my song” and that “there’s a lotta chatter in here, but let me make myself clear.” This sets the perfect tone for the album. It’s a tone of pride and relentlessness. It’s a tone that says “say what you want, but I’m not gonna listen.” We hear songs like “16 Carriages,” “My Rose,” and “Protector,” which affirm Beyoncé’s love of her family, and how she balances her family life. We hear interludes from Dolly Parton, Willie Nelson, and Linda Martell, who give their blessings and introduce some of the album’s more fun tracks, like “Texas Hold ‘Em,” “Jolene,” and “Ya Ya.” We also get a speculated sequel to “Jolene” in “Daughter,” which as of right now, is my favorite song off the album. We hear genre-bending tracks like “Bodyguard,” “Spaghettii,” “Riiverdance,” and “Tyrant,” that playfully explore different genres and mash them together. The album also includes features from industry stars such as Miley Cyrus, Post Malone, Shaboozey, and Willie Jones.

Lots more could be said about the lyrical depth of this album and the deep meaning and thought behind each track, and I think it’s all a very worthy and necessary conversation. I also think this is just really good music. Whether you are a casual Beyoncé fan, or a casual country music fan, you can listen to this album and acknowledge the work and genius behind it, while also acknowledging the beautifully catchy music right in front of you.

‘Cowboy Carter’ serves as a melodious homage to home, to welcoming, and to origin. It’s a perfect 10/10 for me, maybe even an 11/10. I hold the controversial belief that this might just be Beyoncé’s magnum opus. Not because all of the songs are perfect, but because she stepped into an environment where she knew she wouldn’t be fully welcomed, and made room for herself, all while making music that can appeal to everyone.

My favorite tracks as of current are: “Ameriican Requiem,” “Daughter,” “16 Carriages,” and “Tyrant.” If those tracks are all tied for first, all the others are tied for second. Even the interludes aren’t worth the skip. That’s how you know there’s no one in the game quite like Beyoncé.