{"id":46869,"date":"2024-04-15T00:00:00","date_gmt":"2024-04-15T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/cowboy-carter\/"},"modified":"2024-04-15T00:00:00","modified_gmt":"2024-04-15T00:00:00","slug":"cowboy-carter","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/cowboy-carter\/","title":{"rendered":"Cowboy Carter"},"content":{"rendered":"

Like so much of Black contemporary pop art, Beyonc\u00e9’s music has found itself implicated in the ongoing culture wars that seek to erase marginalized voices which are claiming their space. No longer merely a pop star, Beyonc\u00e9 is a cultural force and a social critic, using her art to celebrate the Black contribution to American culture. Her previous album, 2022\u2019s\u00a0Renaissance<\/i>, spotlighted the history of Black queer and ball culture. With her latest release,\u00a0Cowboy Carter<\/i>\u00a0(the second in a trilogy of albums), Beyonc\u00e9 uses her fame and platform to right the misconceived notion that country, Americana, folk, and country-western music are white genres. With roots in gospel and church, many of the forefathers and foremothers of country music have been Black performers. Though Beyonc\u00e9 isn\u2019t the first contemporary pop artist to center Black voices in country music, she has the highest profile, and on\u00a0Cowboy Carter<\/i>\u00a0pays tribute to peers like Rhiannon Giddens, Tanner Adell, Brittney Spencer, Reyna Roberts, who appear on the album.<\/p>\n

In her book,\u00a0Black Country Music: Listening for Revolutions,\u00a0<\/i>scholar Francesca Royster points out that \u201cBlack women have almost always had a complex relationship to countryness and, with that, country music, whether they are from the North\u2026 or still living in the South.\u201d She adds that \u201cpleasure in [country] music is always in tension with the lived experience of racial and gendered violence.\u201d The hostility Beyonc\u00e9 faced, first with her appearance at the 50th Annual Country Music Association Awards and then with the rash of country stations that refused to play her music (not to mention the bigoted social media posts), speaks to that tension, as her work has been rejected in some circles because of Beyonc\u00e9\u2019s expression of her Blackness.\u00a0<\/p>\n

Beyonc\u00e9 places herself into the tradition blazed by pioneers like Big Mama Thornton, Jessie Mae Hemphill, and Linda Martell. The album engages with that history, pulling in influences and sounds while innovating sounds, creating a wholly original work of pop art. Perhaps speaking to the media hype to her shift in music, Beyonc\u00e9 bluntly announced, \u201cThis ain\u2019t a Country album. This is a \u2018Beyonc\u00e9\u2019 album<\/a>.\u201d Cowboy Carter<\/i>\u00a0isn’t the first time Beyonc\u00e9’s orbit intersected with contemporary country. She famously performed \u201cDaddy Lessons\u201d (from her\u00a0Lemonade\u00a0<\/i>album) with the Chicks (then known as the Dixie Chicks) at the Country Music Association Awards on 2 November 2016. The performance was an affirming and powerful rebuke of country music\u2019s conservative values: Beyonc\u00e9\u2019s presence represented a much-needed diversity among the evening\u2019s performers, while the Chicks historied ostracization by country, added to the subversive nature of the performance. Unfortunately, the union faced controversy, with a sustained racist backlash against Beyonc\u00e9.\u00a0<\/p>\n

The hostility spoke a larger, more insidious notion that country music is a primarily white domain, to which Beyonc\u00e9 was a threat. Despite being from Texas and speaking with a pronounced Texan drawl (which she refers to in the album\u2019s first track), Beyonc\u00e9’s discography of urban-pop and R&B was held against her. Actor (and sometimes country singer) John Schneider went on a strange rant<\/a> when asked about the country radio backlash against Beyonc\u00e9, likening it to a dog urinating on a tree. He then complained of \u201cLefties in the entertainment industry\u201d not leaving \u201cany area alone,\u201d explicitly suggesting that country music is a conservative space.\u00a0It\u2019s as if country music was a nation that wanted a wall erected. Bob the Drag Queen astutely pointed out that Beyonc\u00e9 is being asked for her \u201ccountry credentials\u201d despite being authentically Southern, as opposed to country stars like Shania Twain, Keith Urban, and Orville Peck.<\/p>\n

Beyonc\u00e9\u2019s cool reception from some circles in country music has some precedence, namely with Olivia Newton-John\u2019s success as a country-pop singer in the 1970s. A British-born Australian, Newton-John outgrew Australia and set her sights on the American pop charts, scoring several country hits and even being named the Country Music Association Female Vocalist of the Year in 1974, prompting a backlash among other country musicians. One name who came to Newton-John\u2019s defence was country singer-songwriter Stella Parton, who penned the sweet \u201cOde To Olivia,\u201d welcoming the Australian pop star to the fold.\u00a0\u00a0<\/p>\n

Another Parton has stepped up to support Beyonc\u00e9, as well. Country queen Dolly Parton immediately embraced Beyonc\u00e9\u2019s presence on country radio via social media and in interviews, intimating that the two pop legends would collaborate. When the tracklist for\u00a0Cowboy Carter<\/i>\u00a0was revealed, fans saw that Parton\u2019s classic \u201cJolene\u201d was included. (Parton is also included in an interlude, dubbing herself Dolly P, as she references Beyonc\u00e9\u2019s \u2018Becky with the Good Hair\u2019). Other mainstream, crossover country singers welcomed Beyonc\u00e9, many of whom would appear on\u00a0Cowboy Carter<\/i>.\u00a0<\/p>\n

Amid all this fury is a record that has caused a lot of noise.\u00a0Cowboy Carter<\/i>\u00a0is a precise and intricate work of towering ambition. It\u2019s a feat of audacity and artistry. The contributing artists create a multicultural, multigenerational world. Artists like Jon Batiste, Raphael Saadiq, Brittney Spencer, Reyna Roberts, Tanner Adell, Tiera Kennedy, Willie Nelson, Dolly Parton, Linda Martell, Shaboozey, Willie Nelson, Miley Cyrus, Post Malone, Pharell Williams, Cam, Paul McCartney, Robert Randolph, Gary Clark, Jr., Stevie Wonder, Nile Rogers contribute to\u00a0Cowboy Carter<\/i>, each creative making an indelible mark. It\u2019s at once joyful and poignant to see this cast of performers helping construct this work.\u00a0<\/p>\n

At this point, it feels like a given that a Beyonc\u00e9 album would be an instant classic. Since her self-titled \u2018surprise\u2019 album in 2013 she has released one brilliant album after another\u2014an impressive streak.\u00a0Cowboy Carter<\/i>\u00a0is yet another excellent entry. Though heavily influenced by country, her scope is larger, and she is not content with settling on just one type of music. She has found inspiration in folk, Americana, and bluegrass, but she also includes pop, R&B, country-rock, and dance.\u00a0<\/p>\n

She opens the record with the \u201cAmeriican Requiem,\u201d in which she plants her flag and claims her space. Referencing the backlash she faced after singing at the Country Music Association Awards, she sings, \u201cUsed to say I spoke too country \/ And the rejection came, said I wasn\u2019t country \u2019nough \/ Said I wouldn\u2019t saddle up.\u201d She then muses, \u201cIf that ain\u2019t country, tell me what is?\u201d The song\u2019s production signals the lush, dynamic work heard throughout the rest of the album. It\u2019s a swirl of soul, gospel, psychedelic rock, and pop, reminiscent of Tina Turner\u2019s rock and soul of the 1960s and 1970s. (Turner\u2019s debut 1974 album\u2014Tina Turns the Country On!<\/i>\u2014is worth a listen as a precursor to\u00a0Cowboy Carter<\/i>, as the legendary rock diva bends country music to her inimitable style just as Beyonc\u00e9 has.)<\/p>\n

The record embraces sounds of country-pop and country-soul on its single \u201cTexas Hold \u2019Em.\u201d Unfortunately, the tune has been overexposed and made into a goofy trend on social media, with content makers and civilians recording themselves dancing to the song. It\u2019s a groovy, ingratiating song that shimmies on a charming swing. The album\u2019s second single, \u201c16 Carriages,\u201d is a moving, epic country power ballad with the singer working out demons from growing up in a household with overworked parents, only to repeat those patterns as a child entertainer and pop superstar. \u201cHad to leave my home at an early age,\u201d she remembers with pain, \u201cI saw Mama prayin\u2019, I saw Daddy grind \/ All my tender problems had to leave behind.\u201d She recognizes the cycle by admitting she\u2019s \u201cOn the back of the bus with a bunk with the band \/ Goin\u2019 so hard, now I miss my kids.\u201d The song is part of a long tradition of pained, bruised story songs in country music, especially from the perspective of a touring, gigging musician paying her dues, hoping for that brass ring: of course, Beyonc\u00e9 hasn’t just grabbed a brass ring, but a platinum one, adorned with diamonds. And the latest single, \u201cII Most Wanted,\u201d is just\u00a0gorgeous<\/i>, with Beyonc\u00e9 trading verses with a deliciously throaty Miley Cyrus.\u00a0<\/p>\n

There are two high-profile covers on the record, one fairly faithful and the other imaginatively original. The album\u2019s take on the Beatles\u2019 \u201cBlackbird\u201d is understated and lovely. The production pushes Beyonc\u00e9\u2019s honeyed vocals to the forefront, and she sings with exquisite subtlety and restraint. She connects to the lyrics\u2019 inspiration from the Civil Rights Movement. Its composer, Paul McCartney (who plays guitar and takes on co-producing duties), praised the cover, calling her interpretation of the ballad \u201cmagnificent,\u201d saying the performance \u201creinforces the Civil Rights message that inspired me to write the song in the first place.\u201d<\/p>\n

The other cover reimagines Dolly Parton\u2019s \u201cJolene,\u201d spiking the country song with some pop-funk and soul. In Parton\u2019s original tune, the narrator is desperate, appealing to the titular goddess who is turning the head of every man in the town, including her husband; Parton\u2019s version is a plea, conceding to Jolene\u2019s superior beauty, hoping she\u2019d take pity. Beyonc\u00e9\u2019s reworking of the song finds a steely strength in the storyteller, which makes sense given the power in her voice.<\/p>\n

Along with her famed self-assuredness, Beyonc\u00e9 exhibits an enviable coolness, especially in the grooving \u201cBodyguard,\u201d a radio-friendly bit of funk-pop that highlights the fantastic chemistry the singer shares with Raphael Saadiq. \u201cBodyguard\u201d is one of the few songs on\u00a0Cowboy Carter<\/i>\u00a0that strays a bit from the ostensibly country-western theme. The smooth \u201cRiiverdance\u201d bonds the disco of\u00a0Renaissance<\/i>\u00a0and the country of\u00a0Cowboy Carter<\/i>, with the dance tune shimmying with a nimble strumming guitar. And just as she allows for dance, there are moments of grinding urban-pop and hip-hop soul, like the epic \u201cSpaghettii\u201d or the fiery \u201cTyrant.\u201d<\/p>\n

With\u00a0Cowboy Carter<\/i>, Beyonc\u00e9 has once again proven that she is one of the savviest performers making music today. However, the album\u2019s release comes in a divided culture where pop singers are not just entertainers but emblems of cultural and social values. Unlike many mainstream pop stars, she hasn\u2019t shied away from engaging in social critique, which makes her an even bigger target for the right, which has suggested that she\u2019s \u201canti-police\u201d or \u201cwoke\u201d or \u201canti-white.\u201d When Schneider whined about \u201clefties\u201d encroaching on country music, he was giving voice to anxiety that views performers like Beyonc\u00e9 with wariness.\u00a0<\/p>\n

So, what\u2019s left is to wonder about the third act in her trilogy. Given that her first two albums celebrated Black excellence, it could be that her final release in this three-parter could be a gospel album, jazz, or an album that chronicles Black contributions to rock and roll. One thing is sure is that it\u2019s clear that Beyonc\u00e9 is a genuine talent, and judging from the excellence of\u00a0Renaissance<\/i>\u00a0and\u00a0Cowboy Carter<\/i>, she\u2019s also the most exciting pop star today.\u00a0<\/p>\n","protected":false},"author":93,"featured_media":34997,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[10763],"rating":[5646],"class_list":["post-46869","review","type-review","status-publish","has-post-thumbnail","artist-beyonce","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/46869","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/93"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=46869"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/46869\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/34997"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=46869"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=46869"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=46869"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}