She had to tell us it was a Beyoncé album. When the first two singles came out, we didn't even have it Renaissance The full title of the sequel, however people were already making a lot of assumptions. Some country music stations refused to play “Texas Hold 'Em,” causing social media outrage. Then, despite controversy surrounding her view on the place of black artists in the genre, Beyoncé announced that Cowboy Carter Not a country album. The implication, of course, is that it is much more than that, and that is true. if Renaissance It was a celebration of the roots of black house music, Cowboy Carter It's less a tribute than a reclamation of country music's black origins, a style that seeks to push its boundaries. Beyoncé's argument was clear enough in the statement she shared about the album, but she had to repeat it in one of the album's interludes: “Genres are a funny little concept, right? In theory, they have a simple definition that's easy to understand…but in practice, Well, some may feel restricted.”
Like a lot Cowboy Carter, what matters isn't the statement itself so much as the framing and delivery: In this case, the words come from Linda Martell, the first black woman to play the Grand Ole Opry, and who serves as one of the album's hosts alongside fellow country music pioneer Dolly Parton. And Willie Nelson. Beyoncé once again brought together an impressive lineup of guests, from stars like Miley Cyrus and Post Malone to lesser-known artists like Tanner Adele and Shabuzi. But part of what he made Renaissance It was so uniquely refreshing that it prompted Beyoncé to compromise on her vocals, something less applicable in a song-driven format. Of course, her sheer vocal prowess is more than capable of handling that extra weight, even when the songs she tackles are hugely popular, but the results don't always last. Her performances of “Jolene” and “Blackbird” are unsurprisingly flawless, but while her performance of “Blackbird” — a song written partly by Paul McCartney as a response to the civil rights movement — rings true to form if not groundbreaking, The lyrical modifications in “Jolene” erase despair in a way that mitigates its impact.
With no close interest in the music, it's also easy to pile on the praises for it Cowboy Carter As is to criticize him. It's a bold, poignant and impeccably produced album. It's also bloated, disappointing at times, and although AM radio holds it together, it's nowhere near as smooth as it is New birth. It was expertly curated, but given the scope and reach of the project, the high-profile pairings could have made room for more under-appreciated talent. At times, it feels more like an opinion poll than an attempt to recontextualize the genre, especially when it caters to contemporary trends ('Levii's Jeans'). Sprawling and incoherent as it may be, though listen to it Cowboy Carter It will never be as exhausting as arguing about his ideas, structure and influence. We can all agree that Beyoncé is still very good at using these things wisely. What prevents me from experiencing the album as a masterpiece on the same level New birth These are the moments when the color fades, which happens early on with the tracks “Protector” and “My Rose”; Part of what keeps it attractive is that it doesn't last long.
What Cowboy Carter What he lacks in momentum and focus, he makes up for with theatrics and ambition. Upon its release, “16 Carriages” struck me as the better of the two singles, not only because of its strong reflection on her days with Destiny's Child, but because of the emotional dimension it adds to a ballad structure that generally tends to have little of it. Very significantly here. The “daughter” you see suddenly flies down the corridor of number 18yThe song of the century, “Caro Mio Ben,” is even more striking, and although it remains low key on “Just for Fun,” her interaction with country singer Willie Jones makes it the most interesting duet on the album. The less predictable it is, the stronger it is.
But once Beyoncé makes Martel's point on “Ya Ya,” where the intensity of her performance overpowers even the brilliantly integrated additions of “These Boots Are Made for Walking” and “Good Vibrations,” you can finally see Cowboy CarterFull potential. The following stretch is clearly very inventive, whether it's swinging between genres like “Tyrant,” blending them like “Riiverdance,” or elevating a single element like the funk bassline on “Desert Eagle.” “Ya Ya” is not only captivating because it lends credence to the rumors that it is the next installment in the series Renaissance The trilogy will be inspired by rock and roll. It holds a charge and fluidity, more than just historical and reclaiming value, at the core of its vision, which the rest of the album almost makes you forget. It makes sense that it would arrive as a unique evolution of the more classic sounds I've explored previously, but at least the soul would have been there all the way through. However, just as you think you know where this is going, Cowboy Carter Not only does it throw you down, it raises the bar. She didn't have to do that; Meanwhile, everything seems to be planned perfectly. It is a Beyoncé album after all.
