Beyoncé‘s Cowboy Carter may not be a full-fledged country album, but she's pretty good at this whole country music thing.
The album is full of big swings. From Beatles and Dolly Parton covers to “Texas Hold ‘Em,” Cowboy Carter is the singer's most ambitious project to date.
There are some notable pacing issues — and the album is full of segues. But overall, it's an enjoyable range. Unlike most pop artists, Beyoncé is at least trying to evolve and not remain stagnant.
Cowboy Carter review
The album begins with “American Requiem,” a sci-fi-like space opera of a song. It's almost as if Beyoncé is warning her fans and critics alike that Cowboy Carter is a different sonic journey than what's come before — “It's a lot of talking going on while I sing my song/Can you hear me?” she sings.
Much has been made of Beyoncé's country era. Even some country music stations resisted playing “Texas Hold ‘Em.” When she commits to it, she's actually quite apt with the genre. “Texas Hold ‘Em” and “16 Carriages” have already been written about ad nauseam. But they were the lead singles for a reason — they are absolutely the album's highlights.
Under cover
The covers performed by Beyoncé vary. There are three covers on the album — the Beatles' “Blackbird”; Dolly Parton's “Jolene”; and Chuck Berry's “Oh Louisiana.” However, the cover of “Oh Louisiana” is a brief 52-second snippet. It retains the iconic bass part of Berry's song but features a high-pitched vocal part.
Similarly, “Blackbird” is almost like a karaoke performance. Beyoncé's version still features Paul McCartney's iconic guitar part. It sounds like it's ripped straight from the Beatles' White Album. Her version does feature a beautiful vocal harmony in the chorus, which sets it apart. But still, I was looking forward to a new arrangement of the iconic Beatles tune.
Dolly Parton's “Jolene” is done justice on Cowboy Carter. The song is the tenth track on the album and sounds similar to the original song. But Beyoncé's vocal performance is haunting — even more so than Parton's original.
Love letters and personal songs
A standout track is the fourth, “Protector.” The song is credited with Beyoncé and Rumi Carter, her daughter, and opens with the young child talking. Beyoncé sings about being the guiding light in her child's life and that she was “born to be a protector.” Even when her child has moved on and begun her life, she will always be there.
Behind the poignant lyrics is a twangy guitar part. A gospel choir-like group backs Beyoncé in the choruses. Not every country song is as rowdy as “Texas Hold ‘Em,” and “Protector” proves that. It's one of her finest works. “Daughter” is similarly haunting like Beyoncé's cover of “Jolene.”
Country and pop music are blending perfectly on “Levii's Jeans.” The song is credited to Beyoncé and Post Malone, who somehow doesn't completely ruin the song. Most modern country is pop music, let's be honest, but Beyoncé finds a balance between the two.
There are some misfires, but those are few and far between. “Spaghetti” isn't one of the stronger tunes on Cowboy Carter. Nor is “Bodyguard” — it's catchy, I'll give it that, but it also veers into mall music territory.
Should you listen to Cowboy Carter?
Beyoncé is the queen of pop, and now, country music. Cowboy Carter proves that she isn't just one of the world's biggest pop stars. She can do this whole country thing, too.
The album is versatile, beginning with a warning to critics as to what's coming next in “American Requiem” and ending with a benediction, “Amen.”
Cowboy Carter does suffer from being overstuffed. Its 27 tracks consist of songs, segues, and snippets of other artists or TV programs like “The Linda Martell Show.” The 80-minute runtime is at least justified, unlike something like Greta Van Fleet's Starcatcher, which featured several prolonged songs.
Grade: B-
Cowboy Carter is out now.
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