DEEP DIVE: Beyonce’s ‘Cowboy Carter’ album
- kmilatos165
- Apr 27
- 38 min read
Brief History of Country Music & Beyoncé’s background:
To help provide context for the corresponding deep dive on Beyoncé’s ‘Cowboy Carter’ album below is a brief history of the country music genre.
The Country music genre was developed in America’s Southern states and is intrinsically linked to the American identity as it was founded there. It stems from several other genres/ styles of music including gospel, western, folk and blues. These genres heavily influenced by the large populations of African American folks living in those southern areas. “The songs in the genre are generally romantic or melancholy ballads, accompanied by acoustic or electric guitar, banjo, violin and harmonicas.” (Picken, 2024) Country music is often sung with a twang or drawl indicative of the diction of those who have grown up or live in America’s South. It first grew in popularity around the 1920’s, with notable country musicians being the ‘Carters’ and Jimmie Rodgers. If we examine the social, economic context of the time, it’s clear that racial segregation and the great depression are factors that infiltrated the everyday lives of all American’s. This environment of struggle and oppression meant that everyday individuals needed an outlet for their frustrations, which was achieved with country music and other popular genres of the time, such as jazz. Schneider noted that the amalgamation of genres to create country music was better established and closer to the country music we know today in the 1940’s and 1950’s. Post WW2, segregation and systemic discrimination was still very present in the US, shaping the musical landscape. We can therefore surmise that musicians of any genre, but especially Country Music; who were not the cultural ideal did not get the opportunity to record music or have their music distributed unlike their white counterparts.
With this background laid out, let’s briefly look into Beyoncé’s history and how her personal identity is successfully represented through the mode of a Country Music album. According to Empire Online, Beyoncé Giselle Knowles, now Carter was born in 1981, in Houston Texas. She was part of the girl group ‘Destiny’s Child’, which formed in 1990, and signed to Colombia records in 1997, with the group disbanding in 2006. At this point Beyoncé started her illustrious solo career. Hudak at Rolling Stone noted that, to this day she has created 8 Studio albums with her first nod at the Country music genre and her Southern roots is in her album ‘Lemonade’ in the song ‘Daddy Issues’. As reported by Paul, at Rolling Stone, her 2016 performance at the CMA’s and its backlash is clearly linked to the misogynoir she has faced, this being furthered by the fact that she was snubbed of any nominations by the CMA awards this past season. Her latest album ‘Cowboy Carter’ integrates many of the characteristics of Country Music as outlined above.
References:
Beyonce Knowles News & Biography - Empire. (n.d.). Www.empireonline.com. https://www.empireonline.com/people/beyonce-knowles/
Hudak, J. (2016, December 8). Beyonce’s Country Song “Daddy Lessons” Rejected by Grammys. Rolling Stone; Rolling Stone. https://www.rollingstone.com/music/music-country/beyonces-country-song-daddy-lessons-rejected-by-grammys-119339/
Paul, L. (2024, September 9). Beyoncé Country Music Album Being Snubbed at CMA Awards Is No Surprise. Rolling Stone. https://www.rollingstone.com/music/music-features/beyonce-cma-awards-cowboy-carter-1235097718/
Picken, J. (2024). Music Genres Explained: Country | Blog | Startle Music. Startlemusic.com. https://www.startlemusic.com/blog/music-genres-explained-country
Schneider, J. (2024, May 28). Radio and the Roots of Country Music. Radio World; Radio World. https://www.radioworld.com/columns-and-views/roots-of-radio/radio-and-the-roots-of-country-music
Album Name breakdown:
The title of the album, Cowboy Carter is not only direct but contains so many layers of meaning. The use of ‘Cowboy’ to describe herself in the title is a nod to the Southern roots of cowboys as a people and lifestyle. It also alludes to the fact that Cowboy ballads and music were also a key inspiration in the development of the Country Music genre. Timmons from Indie Pulse Music notes that “Music has always been a way for people to tell stories, express emotions, and pass the time. For cowboys who often found themselves on long and lonely cattle drives, singing became essential to maintain morale and build camaraderie. These songs, often referred to as “cowboy ballads,” were not just about a cowboy’s life but also about love, tragedy, adventure, and encounters with nature. Cowboy ballads naturally evolved into what we recognize as early country music. While the themes expanded, the essence remained the same: telling genuine stories about real people and their experiences.” Using her married surname, ‘Carter’ in the title is indicative of her current identity, how she identifies herself, but is also a nod to a prominent family who contributed to the origins of country music; The Carter Family. Their significance in the Country Music genre is noted by the Country Music Hall of Fame Museum. It is clear that the title of the album is well thought out and heavily hints at the fact that this album is linked to the concept of identity.
References:
Carter Family. (n.d.). Country Music Hall of Fame and Museum. https://www.countrymusichalloffame.org/hall-of-fame/carter-family
Carter Family. (2020, October 20). Wikipedia. https://en.wikipedia.org/wiki/Carter_Family
Timmons, J. (2024, February 13). The Connection Between Cowboys and Country Music. IndiePulse Music Magazine. https://indiepulsemusic.com/2024/02/13/the-connection-between-cowboys-and-country-music/
Album Artwork analysis:
Looking externally, the album cover and artwork is very clearly nationalistic with the use of ‘red, white and blue’, colours often associated with the American flag. The bottom of the American flag is also present on the cover, alluding to the American centric themes that are present in the album. Hunt, from the UK publication ‘The Standard’ flags that, The breed of horse Beyonce is riding on the album cover is a Lipizzaner which is a breed of horse that is born with a black coat that turns white as they age which we could speculate represents the parallels between the birth of country music as something started mainly by black people and culture and it has slowly been only really associated with white artists, another nod to the purpose of the album potentially being a reclamation of culture and or/ genre. Beyonce is wearing a Cowboy hat which is a signifier of country and western culture. She is also wearing a red, white and blue bodysuit and chaps (chaps being a visual signifier of cowboy aesthetic/ culture, according to the Texas State History Museum). All of these visual signifiers create a clear message to the potential listener that this album will examine what it means to be ‘American’.
![Beyoncé. (2024). Cowboy Carter album cover [photograph]. Wikipedia. https://en.wikipedia.org/wiki/Cowboy_Carter](https://static.wixstatic.com/media/47b781_08b35da027ca40398ec95f34ae532697~mv2.jpeg/v1/fill/w_640,h_640,al_c,q_85,enc_avif,quality_auto/47b781_08b35da027ca40398ec95f34ae532697~mv2.jpeg)
References:
Hunt, E. (2024, March 28). Cowboy Carter: Why we shouldn’t be surprised that Beyoncé is going country. The Standard; Evening Standard. https://www.standard.co.uk/culture/music/beyonce-cowboy-carter-country-music-black-history-album-b1147988.html
Rodeo Chaps | Bullock Texas State History Museum. (n.d.). www.thestoryoftexas.com. https://www.thestoryoftexas.com/discover/artifacts/rodeo-chaps
Individual Track Breakdowns:
Track 1:
‘AMERIICAN REQUIEM’ is a track that encapsulates many of the themes that are present throughout the album. It utilises vocal harmony to emphasise the message and to represent the community aspect that Beyoncé is trying to speak throughout this body of work. It begins and ends melodically aligned with a religious hymn which parallels the title of the song, with a requiem being a religious song that honours the dead. The middle of the song is reminiscent of the anti-war songs present in the 1960’s, particularly ‘For what it’s worth’ by Buffalo Springfield. The lyrics ”looka here” repeated further emphasises the call-to-action present in many songs of that era. Beyoncé also touches on her experience growing up in the South and the rejection she experienced being ‘too country’ then later on not being ‘country nuf’. Beyoncé strongly embodies the genre through her use of slang and vernacular common to the region. This song also cleverly closes with the lyric ‘amen’ to close off the song the same way prayer is ended. Sonically, the song ends with the crackle of a fire and sound of crickets, auditory signifiers that create a clear atmosphere reminiscent of camping or being outside in the American south.
Track 2:
‘BLACKBIIRD’ is a cover of the Beatles song Blackbird and is the second track on this album. As many of the tracks on this album blend together with no clear end to the tracks the sentiments from American Requiem as a song about systemic injustice and sonically aligning with the ‘anti-war’ songs of the 1960’s, the cover of blackbird is also painted with the same brush. An article by ‘exclaim’ touches on the importance of this cover and notes that in an interview Paul McCartney confirmed that the song was written during the time of the civil rights movement in America, with the title and content of the song being for and about black women in America, aka ‘black birds’, with bird being a British slang word for women, according to Collins dictionary. The song was a cover and not reimagined, this is significant as it was originally written during the civil rights movement and the anti-Vietnam war sentiment of the 1960’s. Beyoncé cleverly groups these songs together as a musical tableau, with the songs themselves individually holding meaning but also amplifying each other's meaning when considered together.
This cover of blackbird is sung by five black women, a sort of reclamation of the song by its intended recipients and subject matter. It’s a song thematically about hope. Other than the utilisation of harmony throughout the song, it doesn’t stray drastically from the source. This cover, in a broader sense could represent the amplification of the voices of black women in America whilst simultaneously amplifying new country artists through the actual recording and producing of this song cover.
Track 3:
The third track of album, ‘16 CARRIAGES’ is the first track on the album that looks at a more personal perspective on Beyoncé’s lived experience as a black woman in America, as a person in the spotlight at a young age, a wife and a mother. Melodically, this piece is driven by the percussion that propels the narrative. The percussion is reminiscent of the wheels of a train propelling forward with the rate of the vocal delivery also running. These sonic elements when married with the lyrical content paints the story of a young woman thrust into the spotlight from a very young age, working hard, with the lyrics;
“Overworked and overwhelmed I might cook, clean, but still won't fold Still workin' on my life, you know”
This track explores the pressure Beyoncé has personally felt throughout her life. This song is important as it gives insight into the self-critical side of the artist. We can also consider it from a broader perspective as it is not uncommon for young people, especially those in the entertainment industry to feel pressure to help support their families. This track also touches on the universal pressures felt by busy working mothers. Though this track is deeply personal, many of the themes could be reflective of the lived experiences of other people in her community.
Track 4:
With track three being a rumination and reflection of personal lived experience, especially with how young Beyoncé was when her career started, she seamlessly filters into the fourth track of this album that begins with a voice recording of her child Rumi asking her for a lullaby. The title of this track is ‘PROTECTOR’ and utilises minimal instruments, with the acoustic guitar really shining. The vocal delivery and lyrical content create a warmth, clearly reflective of the warm and caring bond between mother and child. This song notes the purpose Beyoncé feels in her life due to the fact that she is a mother and her children rely on her for guidance;
“I feel proud of who I am because you need me, yeah (yeah)
And I will lead you down that road if you lose your way, uh Born to be your protector, 'tor, mm Even though I know someday you're gonna shine on your own I will be your projector, mhm”
The song ends with the sounds of children playing, reflective of the message of the song being deeply connected to her identity as a mother.
Track 5:
‘MY ROSE’ is the first songlet of the album, an extension of ‘PROTECTOR’. It sounds like the lullaby Rumi asked for at the start of the previous track. The name ‘MY ROSE’ could be a nickname for her child with the lyrics and melody emulating a lullaby or an ode to her. This songlet is meandering and has beautifully heavy layered vocal harmonies, accompanied by acoustic guitar.
Track 6:
The sixth track is, ‘SMOKE HOUR ★ WILLIE NELSON’, as the title suggests features Willie Nelson and is the second songlet of the album. It begins with the static sounds only made when moving a dial between radio stations to try and find a frequency that is playing music. This soundscape creates an atmosphere and introduces the idea of the made-up radio station (KNTRY, Texas). The static sound pauses a few times, allowing for a line from each song to ring through the speakers.
“(People grinnin' in your face)”
This lyric is from the song ‘Don’t You Mind People Grinnin' In Your Face.’ by blues artist called ‘Son House’. This line could allude to the experience Beyoncé had at the Country Music awards, where she felt judged and unwelcome.
“(That’s why I'm going to the river to wash my sins away)”
Is a line from Sister Rosetta Tharpe’s ‘Down by the River Side’. Dawson, at the National Women's History Museum noted that she was a key figure in pioneering the rock music genre. Tharpe was also considered the ‘Godmother of Rock and Roll’ music as she influenced many pivotal musical figures such as Johnny Cash, Little Richard, Elvis Presley, and Jerry Lee Lewis. By referencing this song, Beyoncé is highlighting Tharpe’s use of spiritual lyrics, which clearly influenced her lyrical decisions throughout this album.
Again, Beyoncé pays homage to many of the Black musicians who paved the way for her in the business, especially in the rock and roll and country genres.
“(Maybellene, why can't you be true?)”
This lyric and sample are from Chuck Berry’s “Maybellene”. Wegman from NPR noted that Berry was a significant figure in the music sphere, considered the originator of rock and roll. He is also featured later on in the album, (in track 21). The genres of this song are rock and roll and rockabilly. By selecting a line from this track, Beyoncé may be bringing to light another genre that was originated by black musicians and later co-opted with no credit to the original source.
“(Come on, baby, it’s time to rock) (Don't let go, don't let go)”
This is a line from the song “Don’t let go’ by Roy Hamilton that came out in 1958. Decter from ‘Billboard magazine’ touching on the fact that Hamilton was a gospel and blues singer, who’s singing greatly influenced artists such as Elvis Presley.
Lang, from Time magazine expressed, “these songs were performed by Black artists who were pioneers in their genres but were largely overlooked by music history. A major theme of Cowboy Carter and Beyoncé's larger three-act project has been to shine a light on representation in music history.”
Before the formal interlude begins, we hear a lighter and the exhale of smoke creating a clear picture in the mind of the listener.
“Welcome to "The Smoke Hour" on KNTRY Radio Texas You know my name, no need to know yours Now for this next tune, I want y'all to sit back, inhale And go to the good place your mind likes to wander off to And if you don't wanna go, go find yourself a jukebox Thank you”
![Beyoncé. (2024). TEXAS HOLD'EM single artwork. [photograph]. https://beyonceonline.org/gallery/displayimage.php?album=5147&pid=233772#top_display_media](https://static.wixstatic.com/media/47b781_132cc68a75c54b0b8593d605d7b6e0ba~mv2.jpg/v1/fill/w_600,h_600,al_c,q_80,enc_avif,quality_auto/47b781_132cc68a75c54b0b8593d605d7b6e0ba~mv2.jpg)
Track 7:
‘TEXAS HOLD’EM’ her lead single from this album and begins with the banjo, played in clawhammer style, (common in bluegrass music) and a key instrument in the country music genre. It is then propelled forward by acoustic guitar and the accompanying percussion. This song evokes a visual of line dancing in a bar in Texas. Lyrically the song includes many slang terms and phrases common to the South along with references to the experiences of those people who live there, such as a tornado or heatwave, both common to the Texas area. According to Becquet at ‘The Bend magazine’, the song title itself refers to a gambling game with the same name, originated in Texas, beginning in the early 1900’s. Beyoncé also refers to a ‘hoedown’ which is a common gathering of people that generally includes folk and square dancing. Nearing the end of the song, Beyoncé incorporates whistling, a common addition to country songs. She also mentions spurs and boots, a common visual moniker for cowboys and as an extension anyone who may own large stretches of land, (a ranch) or live in that part of the country. By creating a song so strongly linked to the common experiences of Texans it’s clear Beyoncé is emphasising her roots having grown up in Houston.
Track 8:
'BODYGUARD’ is thematically about her identity as a wife and partner, with strong elements of devotion and protectiveness. It begins with a count in, clearly separating itself sonically and thematically from the previous track. This song is fairly stripped back, with acoustic guitar and piano present. She expressed this devotion clearly through lyrics such as;
“I could be your bodyguard”, “I could be your Kevlar”, “I could be your lifeguard”.
Beyoncé references two professions that save people and the material used to create bullet proof vests. She also makes reference to the Western Film star and hero when she sings, “I’m ‘bout to lose it turn around and John Wayne that ass”. It’s clear that her affection for this individual is shown through acts of protection. Unlike track 4, this track demonstrates a different side to Beyoncé’s sense of protectiveness and how she shows up for the people in her life.
Track 9:
‘DOLLY P’ is the third songlet of this album, once again beginning with a count in. This clearly connects track 8 and 9. The guitar sonically mimics the Dolly Parton song Jolene, with a taster of the variation created by Beyoncé, which is directly after this track in the album. It includes a voice over by Dolly Parton, a renowned Country music artist.
“Hey, Miss Honey B, it's Dolly P You know that hussy with the good hair you sang about? Reminded me of someone I knew back when Except she has flamin' locks of auburn hair, bless her heart Just a hair of a different color but it hurts just the same”
The content of the voice over in this songlet/ interlude clearly shows the listeners that Beyoncé has Dolly Parton’s blessing to use her song and make it into her own. It also demonstrates that Beyoncé is paying homage to such as significant figure within the genre and broader music industry. It sets the listener up for a track that will be thematically connected to the original, about a wife defending her husband against a potential interloper in their relationship.
Track 10:
Track 10 is titled ‘JOLENE’ and directly flows on from the songlet of track 9 and therefore should be considered as one. The acoustic guitar riff is the same as the original song by Parton but diverges slightly at the beginning with the use of an echoed vocalisation ‘Jolene’, repeated twice before Beyoncé starts singing. Lyrically Beyoncé’s version is a sterner and more threatening approach to this interloper ‘Jolene’.
“I’m warning you, don’t come for my man”.
“Jolene, Jolene, Jolene, Jolene I'm warnin' you, woman, find you your own man Jolene, I know I'm a queen, Jolene I'm still a Creole banjee bitch from Louisiana (don't try me)”
Beyoncé refers to her ‘Queen Bee’ identity which illicits a sense of composure and regality, which she quickly squashes by highlighting the multi - dimensional nature of her identity by making note of her heritage on her mother's side, emphasising her willingness to fight for her man by referring to herself as ‘banjee’, someone who is tough. We could classify this rendition as an iteration of a country murder ballad.
This iteration of the song also diverges from the original with the use of choir vocals at the end of the song. This song also utilises male vocals to reiterate a sense of loyalty between her and her husband; finishing with the repeated lines:
“I'ma stand by her, she gon' stand by me, Jolene
I'ma stand by him, he gon' stand by me (I'ma stand by her, she gon' stand by me) I'ma stand by him, he gon' stand by me, Jolene”
Track 11:
'DAUGHTER' is a track that stylistically splits from the majority of tracks on the album. Lyrically it hints at her relationship with her own father, with the ‘daughter’ in question being herself, one of her identities/ labels explored throughout the album.
“They keep sayin' that I ain't nothin' like my father But I'm the furthest thing from choir boys and altars If you cross me, I'm just like my father”
The graphic imagery throughout is also remnant of the defensiveness against infidelity and protective characteristics she frames herself with in previous tracks such as ‘BODYGUARD’ and ‘JOLENE’. These themes are woven together through the use of religious imagery. The lyrical complexity is bolstered at the beginning by a more simplistic melody, driven by acoustic guitar and rapid plucking. Beyoncé contrasts the darkest thoughts or expressions of the human experience with that of religious salvation, with Christian faith being predominant throughout the US, and especially in the South. This track is also reminiscent of the country murder ballads.
"Help me, Lord, from these fantasies in my head They ain't ever been safe ones I don't fellowship with these fake ones So let's travel to white chapels and sing hymns Hold rosaries and sing in stained-glass symphonies Cleanse me, Holy Trinity, from this marijuana smoke smell in my hair”
After this plea the melodic complexity of the song deepens with the introduction of violin, cello and other orchestral strings. Later in the song, Beyoncé introduces an interesting element with the use of an operatic tone, whilst singing in Italian. There is also a choir of voices that emphasise this singing.
“Caro mio ben Credimi almen Senza di te Languisce il cor Il tuo fedel Sospira ognor Cessa, crudel Tanto rigor”
We can surmise that the use of Italian opera is a nod to the Roman Catholic Church as an institution with its roots in Italy. The meaning of this part of the song can roughly translate to a plea to a lover to remain together and for fidelity. The bridge that is sung in Italian comes from the popular aria “Caro Mio Ben.” Ultimately, the song examines how the parental figures in our lives shape our ability to receive love and how we show up for the people we love.
Track 12:
'SPAGHETTII’ is a significant track as it includes Linda Martell and Shaboozey. The title of the track could be a nod to spaghetti westerns, a film genre synonymous with the country lifestyle. This track begins with strong cello and Linda Martell’s voice saying;
“Genres are a funny little concept, aren’t they?
Yes, they are”
“In theory, they have a simple definition that’s easy to understand
But in practice, well, some may feel confined”
Beyoncé’s use of Linda Martell’s voice is significant as she was widely considered a pioneer in the country music genre. Time Magazine noted that, “The inclusion of Martell is especially significant, as she was the first female Black artist to enter the Top 25 on Billboard's country charts, back in 1969, as well as the first Black woman to perform at the Grand Ole Opry;”
The use of Linda Martell’s voice was purposeful as the brevity and meaning of her words hold weight as she is a significant country music figure. By collaborating the Martell, Beyoncé is asking listeners and the broader music community to reflect on their own notions of genre and consider that innovation and the pushing of genre boundaries is the future of music as a creative expression. This voice over also sets us up for a genre bending in this track. The inclusion of someone like Shaboozey on this track along with Linda Martel represents the blending of the old and new of the country music genre.
The first part of the track is more akin to the songs on her Lemonade album, with strong rap elements; (rap music being synonymous with the African American community as they originated it). It highlights her willingness to acknowledge her standing as a significant musician in the industry. With this status comes gossip and at times unsavoury discourse, which Beyoncé touches on but notes she will not actively give her energy to.
“When they know it's slappin' then here come the yappin' All of the snitchin' and all of this bitchin'”
“Ain't gon' get no clout addiction, my attention I ain't no regular singer, now come get everythin' you came for”
After her reprise of the hook, Beyoncé includes the sound of a crowd with the sounds of camera’s flashing, like paparazzi. She then uses an interesting vocalisation that sounds like the ticking of a clock, accompanied by acoustic guitar strumming. These sounds act as a transition into another genre soundscape and the inclusion of Shaboozey. The calmer expression in this part of the song stylistically aligns more closely with other guitar driven tracks on this album. It creates a clear image of Beyoncé and Shaboozey as ‘cowboys’;
“Outlaws with me, they gon' shoot Keep the code, break the rules (break the rules) We gon' ride for every member that we lose (yeah)”
“Know the lawman watchin' me every time I move (move) Bounty on my head, can't go west, they on my shoes No matter what the charges is, we ain't gon' tell the truth” The representation of camaraderie is reminiscent of the usual cowboy story but could also contain another meaning, being as cowboys are considered outlaws and targeted by police which could parallel the lived experience of black people in America with law enforcement. Sonically, this sense of community is also highlighted through the layered vocals present throughout. This track encompasses key themes including an acknowledgement of past to help shape the future, (Linda Martell and Shaboozey), the commentary on genre and how it was important for Beyoncé to stretch outside the confines of traditional country music to best express her personal identity and lived experience.
Track 13:
‘ALLIIGATOR TEARS’, or ‘crocodile tears’ is a common expression for tears disproportionate to the reason for crying and is sometimes used to manipulate others. For this track, the plucking and strumming style present alongside the percussion sonically reflects ‘classic country music’. Thematically, it appears this track explores the dynamic of manipulation in a romantic relationship with one individual willing to look past the ‘alligator tears’.
“You say move a mountain, and I’ll throw on my boots
You say stop the river from runnin’,
I’ll build a dam or two
You say change religion, now I spend Sundays with you”
It’s clear in this dynamic there isn’t much compromise and from the outside we may pass judgements on the health of this relationship, however, the use of Beyoncé’s layered vocals and her repetition of ‘I adore’, throughout may leave listeners with the fervent impression that this song is romantic.
Track 14:
'SMOKE HOUR II' is the fourth songlet of this album and acts as a segue between the themes and facets of identity explored in the earlier parts of the album and those moving forward. Willie Nelson returns as the host of the fake country radio station ‘KNTRY Radio’. Before he speaks, the distinct sound of harmonica rings through, setting the scene. The purpose of this songlet is to reiterate the fact that many notable country music musicians, including Willie Nelson have accepted and welcomed Beyoncé into the genre.
“You're turned into KNTRY Radio, Texas Home of the real deal And if there's one thing you can take away from our set today, let it be this Sometimes you don't know what you like Until someone you trust, turns you on to some real good shit And that, ladies and gentlemen, is why I'm here Up next on the smoke hour is, "JUST FOR FUN" by Beyoncé You're welcome”
This dialogue and songlet emulate real radio stations in Texas. Beyoncé uses this as a device to remind listeners that she belongs in the genre having grown up in Houston. It also introduces the next track on the album.
Track 15:
‘JUST FOR FUN’ begins with long and solemn piano chords, immediately creating a sonic atmosphere, this is at odds with the song title. Lyrically and thematically, Beyoncé marries the idea of making music with faith and religious imagery. Perhaps she is suggesting that being in the music industry for so long is at times tedious but,
“... time heals everything”
“I don’t need anything
Hallelujah
I pray to her”
At the end of the first verse and leading into the pre-chorus there is the introduction of a strumming acoustic guitar and later strings after the pre-chorus. Her featured artist on this track is Wilie Jones, a newer country artist who also grew up in the South. Interestingly, when returning to the chorus there is an increase in vocal layers and the introduction of clapping reminiscent of gospel performances which hammers home the religious undertones in this song. The last “I pray to her” is also sung by a choir. This track clearly links the persistence and devoutness of faith with personal healing when overcoming adversity in our lives.
Track 16:
'II MOST WANTED' features Miley Cyrus, country music royalty. The title evokes an image of a ‘most wanted poster’ for an outlaw/ cowboy, which aligns thematically with the broader country music genre. The track begins with both acoustic and electric guitars then dives into a duet between Cyrus and Carter, their distinct vocals seamlessly melting into one another. Thematically, this track is an ode to young love, which is clearly present in the bridge.
“I know we're jumpin' the gun and we're both still young But one day, we won't be I'd go wherever you take me, seems kind of crazy”
This sentiment is also emphasised by the repeated phrase in the chorus;
“I'll be your shotgun rider 'Til the day I die”
From the final chorus and into the post chorus there is a crescendo of their vocals and the accompanying backing vocals and instruments. Driving home the message that young love can be enduring.
Track 17:
'LEVII’S JEANS' is a track that features rap and country music artist Post Malone. It begins with the sound of coins going into a jukebox, setting the scene for the imagery present in this track. It is sensual duet rampant with innuendo. The vocal phrasing undulates between drawn out and short and the instrumental is flavoured with the same cheekiness. The consistent visual parallel in the chorus between the snug fit of Levi jeans and physical proximity cleverly evokes an understanding of intimacy by listeners.
“You call me pretty little thing And I love to turn him on Boy, I'll let you be my Levi's jeans So you can hug that ass all day long (That ass all day long)”
Levi’s as a brand are also synonymous with farmers and cowboys as they require durable fabrics for their work environment. This title choice clearly taking into account the connection between the brand and it’s cross over with country music listeners.
The echoed and repeated vocals throughout also emphasise the connection between the lovers. This track ultimately feels like a couple reminding each other that despite being together a long time, there is still a strong attraction and connection.
Track 18:
FLAMENCO is the fifth songlet of the album and dives right into beautifully layered vocals with the acoustic guitar strumming taking a back seat. Thematically we can surmise that this track is mainly about personal doubts. A reflection on life up until this point, with Beyoncé asking for guidance, through the lens of religion.
“I hope that God knows that I'm in need of help right now (Ooh) Right about now”
From verse two there is an introduction of strings, which accents the revelation made about the fleeting nature of success in the final chorus.
“I hope that you know once it's over And take what you love, so hold me closer Realize that you don't know what you got until it's gone Right about now”
Though short, as with the nature of a songlet, this track examines Beyoncé’s deeply personal experience of self-doubt. This reflective piece speaks to a universal experience among artists and the wider community. The universality of self-doubt as an experience creates a level of relatability bringing Beyoncé from a star persona to more of an ‘every man’; with the experiences of regular people common to the Country music genre.
Track 19:
'THE LINDA MARTELL SHOW', as with track 14, SMOKE HOUR II, is a songlet/ album interlude. It contains a voice recording of Linda Martell and is a segue to introduce the next track called ‘YA YA’. As with her previous voice over Linda Martel becomes synonymous with the concept of creativity and genre bending. It begins and ends with the applause of a crowd.
“Haha, okay, thank you so very much
Ladies and gentlemen
This particular tune stretches across a range of genres
And that's what makes it a unique listening experience
Yes, indeed
It's called "YA YA"
The structure of this interlude could be interpreted as Martell introducing Beyoncé as a performer at an awards show. The applause present at the end of this interlude leads into the next track, which also links to two together.
Track 20:
‘YA YA’ begins with the crowd applause of track 19 and a descending guitar, like the guitar in Nancy Sinatra’s ‘These boots are made for walkin’. The decision to use a sample from this song brings listeners to the time period it was created, around the 1950’s and 1960’s, which was the height of segregation and civil rights movement. Beyoncé’s vocals begin in a conversational call and response.
"Hello, girls (Hello, Beyoncé) Hello, fellas (You're pretty swell)”
Beyoncé cleverly utilised this call and response as it transcends genre, common in country music but also present in other genres such as blues and rock and roll. This track is one of her most political and poignant on the album. This is clear in her reference to the Chitlin Circuit. Which as expressed in a Time magazine article was a series of venues that many black artists performed at in spite of segregation. “Artists such as Ray Charles, Ella Fitzgerald, Aretha Franklin, Little Richard, The Jackson 5 and Tina Turner all had their time on the Circuit.” This song pays homage to those artists that fought against adversity.
“My family live and died in America, hm Good ol' USA, shit (Good ol' USA) Whole lotta red in that white and blue, huh History can't be erased, ooh You lookin' for a new America? (America) Are you tired, workin' time and a half for half the pay? (Half the pay) Ya-ya (Ooh-ooh) I just pray that we don't crash, keep my Bible on the dash We gotta keep the faith (Ya)”
The sentiments expressed in the first verse and throughout this track are emblematic of the lived experience of many Americans especially immigrants and people of colour. The encouragement of ‘keeping the faith’ is a motif throughout this track and embodies the lived experience of the faith driven folks of the South. This track also makes connections to Beyoncé’s heritage as in both the chorus and bridge she refers to “B-E-Y-I-N-C-E", which was her mother's maiden name and therefore her namesake, (another facet of her identity). She also directly tells us that she and her family have a long lineage in America.
Beyoncé criticises the systems in place that oppress, specially making note that for many Americans their hard work isn’t sufficient to support even a modest lifestyle. This sentiment is reiterated later on in verse one when Beyoncé sings:
“Wildfire burnt his house down Insurance ain't gon' pay no Fannie Mae, shit So hold this holster, pour mo' liquor, please Hard workin' man ain't got no money in the bank”
Sonically, this track is high energy, propelled forward by an almost shopping list of commentary on economic and racial inequity. As mentioned in track 19, this song diverges from a single genre and incorporates elements common to roots rock, soul and funk. The use of clapping and several of her vocalisations are akin to the soul genre, this is particularly present near the end of the song. This track embodies many of the core concepts of this album, with more of a focus on the macro aspects of Beyoncé’s identity, as an African American woman from the South.
The track ends with a call to action, Beyoncé asks listeners to consider what they want for their own lives and to;
“Ah, vote...”
We can speculate that Beyoncé utilised several musical signifiers cross genre to reiterate that not one kind of sound could successfully encapsulate the lived experiences of the citizens in the wider USA.
Track 21:
‘OH LOUISIANA’ is a songlet/ interlude that samples Chuck Berry’s song of the same name. Production wise, it is connected to the previous track on the album as they seamlessly integrate into one another, hinting at a connection thematically between the tracks. When comparing this excerpt sampled, lyrically this track doesn’t diverge from the original other than Beyoncé’s vocalisations at the start that originated at the end of the previous track.
“Oh-woah, woah Oh, Louisiana I stayed away from you too long Oh, Louisiana How can a true love go so wrong? She put me in shame and in sorrow And I come home tomorrow Oh, Louisiana”
However, it is clear that Chuck Berry’s vocals have been distorted and pitched up, making him sound more like a cartoon character. The decision to sample Mr Berry could be that both him and Beyoncé grew up in the South and with country music but spent most of their careers pioneering, (Chuck Berry) and or reshaping genre, (Beyoncé). As her mother is from Louisiana the direct interpretation could be that this track is about her connection with her mother as this was touched on in the previous track. It is clear this songlet evokes a sense of longing for connection, whether it be familial in Beyoncé’s case or something else entirely.
Track 22:
‘DESERT EAGLE’ begins with the caw of an Eagle and a funky riff from a bass guitar, stylistically more aligned with funk or rhythm and blues. This interlude/ songlet is rife with innuendo expressing desire for a lover.
“Do-si-do, do-si-do Do-si-do, do-si-do (ooh) Do-si-do, do-si-do
Soft to the touch, let you hold somethin' Let you get a handful Baby, she's a whole lot of woman”
It acts as a segue into the next part of the album.
TRACK 23:
‘RIIVERDANCE’ begins with lively acoustic guitar which really propels this track forward. Stylistically the guitar, as expressed by HER CAMPUS, “pays homage to Dolly’s iconic nail trick during the percussion” Conceptually, it leads off the previous track as it highlights a romantic relationship. Beyoncé weaves what appear to be autobiographical elements of a relationship throughout. These sentiments are only broken up by the refrain which encourages a sense of joy through dance despite hardships. Cycles of discord and reconnection.
“We fight but we must make amends Arrest me and read me my rights I plan to steal your heart again On Saturday and Sunday nights Bounce on that shit, dance (Dance) Bounce on that shit, dance (Dance) Bounce on that shit, dance (Dance) Bounce on that shit, no hands”
The mention of Sunday on this track could allude to a religious connection as Sundays are synonymous with attending church. It could also be a callback to the track ‘ALLIIGATOR TEARS’ when the expression of love is so strong that a change of religion wouldn’t deter their bond.
The title of this track at face value would infer an Irish link as River dancing is a pastime from Ireland. However, an alternative suggestion might be that ‘RIIVERDANCE’ is a metaphor for a flowing, ever-changing dance, (relationship), between the two people. The water at times may be rough but they endure.
After the fourth refrain, the high energy and high-spirited nature of the track heightens further with the addition of backing vocals repeating and accenting Beyoncé’s delivery. This is especially present across the delivery of ‘DANCE’, really hammering home the idea that music and movement through dance can be healing and help overcome difficulty.
Track 24:
‘II HANDS II HEAVEN’ sonically leads on from the previous track with the last lyric sung on track 23, being ‘hands’. The title of this track could represent the common gesture made during prayer and worship, with the palms of both hands facing upwards. Once again, as it is intrinsic to the identity of the South, Beyoncé introduces religious imagery to reiterate her point. Thematically, this track covers the notion of seeking guidance and comfort, whether it be through family, faith or a lover. This track, as indicated by the title is also split into two parts and is the longest track on the album. Part one is percussion lead and focusing moreso on self-reflection and reconciling with personal actions and decisions.
“Bottle in my hand, the whiskey up high Two hands to Heaven, wild horses run wild, oh God only knows why, though (Yeah, yeah, yeah, yeah)”
“Don't judge me, baby (Ha) You would never judge me, baby”
“Ever since I went to Marfa, ain't no trouble on my mind (On my mind, on my mind)
Singin' sweet songs to Las Vegas, singin', "I will carry on"
Carry on, carry on, carry on, carry on
Singin', "I will carry on"
The repeated phrasing throughout this track of ‘God only knows why’ solidifies the idea that there are times in life where the outcome may be out of our hands. Holding on to prayer or faith may be seen as a comfort. Beyoncé also touches on visiting Marfa, a city in Texas and no longer having troubles on her mind. Though she grew up in Houston, going back to the state or area where she grew up may also be viewed as a comfort, giving the strength to persevere.
Before the advent of part two, there is a sonic segue with drawling electric guitar and soft percussion, leading into the second theme of this track. The drawn-out phrasing is more reminiscent of R&B and soul music. It intertwines a sense of tenderness and affection for a partner with more innuendo and desire;
“Wherever you wanna go, that's fine with me I'll never stop you, you'll never stop me From bein' whatever we need to be And in these dark times, I'm so glad that this love is blinding 'Cause all I see is the best of you, and all you see is the best of me And you bring out the best of me And all I see is everything”
Ultimately, ‘II HANDS II HEAVEN’, is about self-reflection and finding comfort in the familiar, either place, (Texas) or people. By incorporating the country genre alongside R&B and soul, we can infer that Beyoncé feels most represented by and comfort in those genres. As with many other tracks on the album, this song ends with a clapping sequence that travels into the next song on the album, sonically linking the two.
Track 25:
‘TYRANT’ is a track that briefly features Dolly Parton. By including Dolly on this track Beyoncé is making a clear connection between the themes in the other tracks that include Parton. This song further explores the side of Beyoncé’s identity that is extremely protective of her partner and how she shows up for others that she loves, including herself. It also formally introduces this persona of ‘Cowboy Carter’.
“Cowboy Carter
Time to strike a match
And light up this juke joint”
Similarly to II HANDS II HEAVEN, this track incorporates elements from multiple genres, country music and R&B. The track starting with a strong clapping sequence, common to country music. Later incorporating the fiddle, (a common country music instrument) with a booming bass sound more aligned with R&B. Thematically it touches on key concepts of power, control and desire. As indicated by the title, someone who is a Tyrant or tyrannical is power hungry and may use any means to gain said power. The tonality and vocal delivery throughout this song is extremely didactic and reaffirms this sense of command and power.
“Just relax, I got this, I got that exotic Hips are so hypnotic, I am such a tyrant” “Send me some shots, are you with me or not? Throw it back”
Adverse to the traditional perception of a tyrant, Beyoncé reimagines this expression simply as a person reclaiming their power, through their relationships and by defending their relationships. The repetition of ‘giddy up’ throughout this track is a sentiment to encourage or propel forward, it is also delivered with a lot of diction as it is a directive. This kind of expression clearly demonstrating the sense of control and power. This track as a whole is an aerial examination and reflection of one's power within the interpersonal dynamics in their lives.
TRACK 26:
‘SWEET ★ HONEY ★ BUCKIIN’’ is another track that features Shaboozey and also includes some vocals from Pharell in the HONEY and BUCKIN’ parts of the track. As the name suggests this track is split into three distinct sections, lyrically and sonically differing from one another. It includes elements of country music, trap, soul and R&B. On this this track, Beyoncé makes some poignant commentary about staying true to her roots, the music industry and as an extension fame. As this song has distinct sections they will be analysed as such.
SWEET:
The song begins with an introduction from Beyoncé asking her lover how he has been. The vocal delivery being sensual and drawn out against soft percussion that crescendo's right before verse one.
“I fall to pieces Each time I see you there And I miss all our secrets So tell me how you've been”
There’s a conversational aspect to this section of the song, after the introduction Shaboozey sings the first verse, Beyoncé taking the second and vice versa, joining together at the pre-chorus and chorus. It appears to be between ex-lovers as there is an element of bragging in the tone of the life updates being expressed. This is riddled with imagery emblematic of the South.
“Lucchese the boots, check (Check) You can hear when I step (Step), step (Step) Bought a Chevy and painted it red Money long, it can't fit in the bed It don't matter what nobody says Country boy 'til the day that I'm dead (Yee-hoo) Who want smoke? I'm the Marlboro man”
Lucchese a high-end Texan brand that sells cowboy boots and by highlighting that ‘Money long’ it is clear that this person is bragging about having money/ doing well for themselves. The emphasis on being a ‘Country boy ‘til the day that I’m dead’, reiterates a sense of pride from being the South. Another key lyric indicative of Souther pride is when Shaboozey sings;
“This ain't Calabasas, we don't need highways We can take backroads (Take backroads)”
Other key signifiers of life in the South are the mentions of ‘grits and ‘cornbread’ which are foods common to that area. By including these very specific examples of food and clothing Beyoncé is expressing pride of her upbringing in Houston.
This pride is also evident in the pre-chorus and chorus with the repeated phrase;
“I'm coming home (I'm coming home, I'm coming home) I'm coming home (I'm coming home, I'm coming home)
We've come a long way from the rough ride From the railroads to the rodeos, sweet country home”
Before moving into the second part of the song, Beyoncé emphasises her pride in her home, whilst also acknowledging the history and lived experiences of black people in the American South. The mention of railroads could reflect the ‘underground railroad’ which was a network of tunnels used to free enslaved people. The rodeos could be a nod at the black cowboys who were part of cattle ranching. With ‘sweet country home’ being representative of the now. The sense of pride and feeling of home in Texas. With part one of this song being under the title of SWEET, and when considering the themes present, it feels like Beyoncé is saying ‘home sweet home’.
HONEY:
In this part of the song, Beyoncé sings the first verse and Pharell joins at the Chorus with accenting vocals. In the first verse the osculating and dreamy vocal delivery is accompanied by low bass and virtually non- existent drums. This combination creating a sensual atmosphere.
“So come (So come) with me (With me) To new life (Sticky, sticky, sticky, sweet) (New life) You're stuck (You're stuck) to me (To me) All night (Sticky, sticky, sticky, sweet) (All night)”
As honey is sticky, the repeated use of ‘sticky’ creates an understanding that these individuals are close; stuck together.
“Honey (We're), hey (Ridin') Hey (Through the), ooh (Night) Honey (We're), yeah (Ridin')”
This section of the track is referred to as honey for several reasons. From the vocal cadence to the specific term honey, it appears to be a term of endearment. We can also gather that perhaps it’s a nod at Beyoncé’s ‘Queen Bee’ persona as bee’s produce honey.
‘BUCKIN’:
The sweet and alluring melody in the HONEY section of this track is abruptly shifted with the introduction of a descending bass riff and the shift in Beyoncé’s vocal delivery. Her vocals now holding a sharper and sterner emphasis to them. Backing vocals throughout this section repeat several phrases and act as emphasis for Beyoncé’s messaging. The title of this section could imply several different meanings. The most obvious being the action of a bull when riding in a rodeo or on a mechanical bull, a past time which is more common in the South. Buckin’ is also dance, often seen in Memphis. Or perhaps it could imply rebelling against law enforcement which is another definition. During the chorus, there is also the use of a bull horn in the background which emphasises the bull/ buckin concept.
“Buckin' (Yeah), buckin' (Yeah) Buckin' (Yeah), woah (Yeah) Buckin' (Yeah), buckin' (Yeah) Buckin' like a mechanical bull”
This section of the track, unlike the others is brazen even with Beyoncé calling out the Grammy awards for not having won the Album of the Year category, (as of the album's release), despite being the most awarded artists of all time.
“Fuck it, do it again (That's cool) AOTY, I ain't win (That's cool) I ain't stuntin' 'bout them (Woo-woo) Take that shit on the chin Come back and fuck up the pen (Yeah)”
“Say the things that I know will offend (Huh, yeah) Wear that shit that I know start a trend (Uh)”
It is clear in the section of the track that Beyoncé is expressing that at this point in her established career that she isn’t afraid to speak her mind. If we consider all three definitions of buckin’ this part of the track is Beyoncé’s way to pushing against (buckin’) the music industry, the confines of genre and the biases of the awards shows. This track also ends with the sound of hooves running, emulating a bull.
Track 27:
AMEN, the closing track of the album is titled in this way as it is a word used to close prayer. This, alongside the consistent religious imagery throughout the album gives rise to the understanding that the album itself conceptually is one large prayer or religious service. This track has strong gospel and country music influence. It has emotive and evocative vocal delivery and uses layered vocals that create the impression of a church choir. The sparce use of piano also adds to the emotional soundscape of this track. This concluding song is an ode to community and personhood, highlighting the importance of having patience and compassion for one another in the face of both personal and collective pain.
“Mercy on me, baby, have mercy on me (Mercy, mercy) Hurtin' badly, I can see you're hurtin' badly (Hurtin', hurtin', hey) Mercy on me, baby, have mercy on me (Mercy, mercy) I see you hurtin', see you, please, have mercy on me (Oh-oh, ooh) (Mercy, mercy)”
It reiterates many concepts explored in the opening track ‘AMERICAN REQUIEM’ touching on the flawed foundations (slavery and exploitation) that America was built on.
“This house was built with blood and bone And it crumbled, yes, it crumbled The statues they made were beautiful But they were lies of stone, they werе lies of stone Trumpets blarе with silent sound I need to make you proud Tell me, can you hear me now?”
It’s clear that there is a plead for acknowledgment of the past. The concluding message this track is that if we rely on community and work together there is a greater possibility of a brighter future.
The outro to the album is a reprise of the track one outro, closing the album, like in prayer with ‘amen’.
“Say a prayer for what has been We'll be the ones to purify our Fathers' sins American Requiem Them old ideas (Yeah) are buried here (Yeah) Amen (Amen)”
This outro is sonically aligned with its track one counterpart with layered vocals and solemn piano. The final vocals become distorted, and a whirring sound begins, the final sonic device being a ‘blip’ reminiscent of a radar.
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Overall Album critique:
Beyonce’s Cowboy Carter is an amalgamation of everything that makes up Beyonce; it thematically osculates between the micro and macro elements that make up her identity. The varying intersections of her inherent identity as an African American woman, living in America, a singer/ pop star with her ‘Queen Bee’ persona, her identity as a mother and wife, her identity as a person who grew up in Houston Texas. With many of these identities viewed by some in the public as subversive. This album touching on her position within the wider African American community. Beyonce makes pointed nods to the violence that was utilised for the United States to become the country it is today, “Whole lot of red in that white and blue, history can’t be erased.” From a historical perspective many of the oppressive structures that impact the lives of minorities are linked to white supremacy, with colonialism and chattel slavery being by-products of that. These larger systems are deeply ingrained in the American psyche and therefore impact the lives of everyone living there, including Beyonce. One point of criticism thematically is that Beyonce touches on the everyday struggles of working-class people in America, (a common theme across the country music genre) “working man ain’t got no money in the bank”, however it is clear that she has not had to deal with these kinds of financial struggles for most of her life, joining the wildly successful all girl group Destiny’s Child at such a young age. Though an acknowledgement of this widespread issue isn’t out of her remit, it can be argued that it is not within her personal experience and may be seen as performative.
The importance of Beyonce touching on the current and historical context of the United States cannot be understated. As with anything, our personhood and the art we create to reflect that cannot be made within a vacuum.
Like the genre of country music, as a symbol of music from the South, Beyoncé's other identities blend in this well-crafted, genre bending ode to personhood. The construction of this album with tracks blending into each other encourages listeners to absorb this media as one piece, rather than specific tracks or one-off hits. Noting that she incorporates songlets between her more complete tracks as a way to further her artistic narrative. The cohesion of this album certainly does not detract from the range of moods and soundscapes, like walking down a hallway of one house, with each door being a different track. Beyonce carefully selected key figures in country music to accompany her voyage into the genre, simultaneously bolstering some new talent.
Some have criticised the amount of people listed as credits on this project, however it is clear that Beyonce took the time to really understand the history of the genre, giving credit to her predecessors such as Linda Martell, (whose voice was utilised in two of the songlets of the album talking about the absurdity of genre), and generously giving credit to her contemporary collaborators.
The first and last tracks of this album are pivotal as they establish that the purpose of this album is a requiem of America, the deliberate choice to examine America in this way is entirely referential to the deeply religious veins that run through the country, especially in the south. It is further acknowledgement of the blood shed to create America. The final track, titled Amen, cleverly closes out the album, the way amen is utilised to close out a prayer. There is a clear narrative and purpose to this album.
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