‘COWBOY CARTER’ is a Dense but Rewarding Feat of Storytelling

By Justin Kemp

Introduction

On February 2nd, 2025, Beyoncé finally won Album of the Year in one of the most competitive Grammy seasons in recent history, also taking home Best Country Album and Best Country Duo/Group Performance. The internet immediately erupted, with some celebrating Beyoncé’s achievement and others claiming that “COWBOY CARTER” wasn’t good enough (or country enough) to deserve any Grammys.

I want to begin this review by emphasizing that I am a white man who rarely listens to country music and who has never actively listened to Beyoncé. That being said, the scale of “COWBOY CARTER” is nothing short of impressive. Beyoncé tackles the history of Black Americans in the South through her magnificent voice and Western-style storytelling in an epic that feels momentous from the first note. 

This is not an album made for casual enjoyment but one that wows the listener with a level of intent and artistry rarely seen in an era of music driven by TikTok-ready soundbites. Let’s dive into why COWBOY CARTER is so significant.

Thematic Analysis

Released on March 29th, 2024, Beyoncé’s country-Americana epic immediately makes bold statements. “Nothin’ really ends / For things to stay the same, they have to change again… / American Requiem / Them big ideas, are buried here / Amen,” she sings on “AMERIICAN REQUIEM,” signaling that this album has something to say about the status quo. “Genres are a funny little concept, aren’t they?” says Linda Martell, the first Black female singer to play the Grand Ole Opry, in the introduction to “SPAGHETTII.” “In theory, they have a simple definition that’s easy to understand,” she continues, “But in practice, well, some may feel confined.” In Beyoncé’s own words, “This ain’t a country album. This is a Beyoncé album.”

COWBOY CARTER adopts country-western aesthetic markers, from the album cover image of Beyoncé in American flag-themed cowboy gear to live instruments to acrylic nails as percussion instruments ala Dolly Parton, to explore the history of Black musicians in country music. 

Some tracks lean more heavily into country, such as “TEXAS HOLD ‘EM”, while “SPAGHETTII” and “TYRANT” recall Beyoncé’s R&B roots. “16 CARRIAGES” has the epic feel of a Broadway number, “II Most Wanted” incorporates Miley Cyrus in an outlaw country ballad, and “YA YA” is ready to light up a rodeo or arena stage. Few songs slot easily into a particular genre, emphasizing the breadth of Beyoncé’s artistry and the ripe opportunities for experimentation within country music.

Throughout the album, Beyoncé highlights the hitmakers of country music while providing a leg up to upcoming Black country musicians. The cover of the Beatles’ “Blackbird,” stylized in all caps as “BLACKBIIRD,” sees her acting as mother hen, bringing Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts under her wings. Later, she hops on a rewritten “JOLENE” with Dolly Parton, putting her own spin on one of the most well-known country songs ever written. Shaboozey’s two features helped propel his song to 27 weeks at number 1 on Billboard’s Radio Songs chart, and country music trailblazers Linda Martell and Willie Nelson stamp their seal of approval on the album via spoken word interludes, setting up the “COWBOY CARTER” universe as a radio broadcast celebrating Black music. By honoring the past, Beyoncé shows that she belongs in the conversation and that her experiences as a Black woman are a much-needed perspective in a genre space typically dominated by white storytelling.

Track Ranking

“COWBOY CARTER’s” scope unfortunately creates an issue—it’s too long. 27 tracks totalling 78 minutes is a project to listen to (and review). The album starts with a strong run of tracks that becomes cluttered and unfocused by the final quarter. Several songs are either too similar sonically or cover the same thematic ground without adding to the conversation. 5 to 7 cuts (I’m looking at you “JOLENE,” “LEVII’S JEANS,” “OH LOUISIANA,” “DESERT EAGLE” and “RIIVERDANCE”) would have created a superior listening experience and further highlighted the album’s strongest tracks.

That said, most tracks punch above their weight. The lowest score I gave out was a 7/10, and 5 tracks blew me away enough to receive a 10/10. Ranking my top 5 was especially challenging, but the songs I found myself returning to most often capture the album’s essence well enough to be their own statement. “YA YA” in particular feels like a miniature version of everything “COWBOY CARTER” wanted to accomplish, which is why I made it my top track. Full track ranking below.

1. YA YA
2. AMERIICAN REQUIEM
3. 16 CARRIAGES
4. II MOST WANTED
5. DAUGHTER
6. TYRANT
7. SPAGHETTII
8. FLAMENCO
9. PROTECTOR
10. AMEN
11. BLACKBIIRD
12. II HANDS II HEAVEN
13. MY ROSE
14. SWEET HONEY BUCKIIN
15. JUST FOR FUN
16. RIIVERDANCE
17. ALLIIGATOR TEARS
18. DESERT EAGLE
19. BODYGUARD
20. JOLENE
21. TEXAS HOLD ‘EM
22. LEVII’S JEANS
23. OH LOUISANA

Conclusion

By turns grandiose and deeply personal, “COWBOY CARTER” breaks down the saloon door clad in the trappings of country music and demands a seat at the bar. Beyoncé’s take on the genre advocates for an openness to experimentation and greater recognition for Black singers. While many have argued that “COWBOY CARTER” is not a country album, the album is far more concerned with telling its story through whatever genre communicates it best, creatively combining and recombining the familiar until it becomes strange enough to be appreciated anew. Ultimately, at its heart, “COWBOY CARTER” is a story of struggle that uses music to create a path toward freedom.

I give “COWBOY CARTER” a 9.1/10.

“COWBOY CARTER” is available on all music streaming platforms.

Justin Kemp is a senior Linguistics student interested in library science. When not lost in the Centennial Library’s depths stressing about his capstone, you can find him reading, listening to pop music and writing poetry.

Images courtesy of Genius, Netflix, and Spotify.