A track-by-track review of Beyoncé’s eighth studio album ‘Act II: Cowboy Carter’

Beyoncé has released Act II: Cowboy Carter, the second part of her Renaissance trilogy, as a follow-up to her 2022 album Renaissance. The album includes 27 songs and features unexpected collaborations with artists such as Post Malone and Miley Cyrus.

On social media last Friday, March 29, Bey released a trailer that confirmed the upcoming release of Act II: Cowboy Carter. The caption accompanying the trailer read:

“COWBOY CARTER OUT NOW.”

Customers across the world can purchase physical copies of Act II: Cowboy Carter on Beyoncé’s official artist website. Those who have pre-ordered the Vinyl/CD Bundles will soon receive their items, which are already on their way to them.

Beyoncé Knowles-Carter, also known as Bey, released her ninth studio album through Parkwood Entertainment LLC, with an exclusive license to Columbia Records and Sony Music Entertainment, making it available on all DSPs (Digital Streaming Platforms).

A comprehensive analysis of Beyoncé’s latest album ‘Act II: Cowboy Carter’

As we listen to Act II: Cowboy Carter, we are able to see Beyoncé taking on various roles spanning different decades and genres. While the album primarily focuses on country music, its production and musical elements incorporate a diverse range of sounds, which may deviate from the “Full Country”aesthetic that some fans had anticipated.

The runtime of 1 hour and 18 minutes for Act II: Cowboy Carter includes production credits from Pharrell Williams, Killah D, D.A. Got That Dope, and others. Grammy-winning singer, Cowboy Carter, explores themes of black and American history, media portrayals, and personal stories in this highly-anticipated album.

Beyoncé’s latest album explores several major themes, including:

• Love
• Relationships
• Marriage
• Children
• Growth
• Empowerment
• Resilience
• Beauty
• Power

AMERICAN REQUIEM remains unchanged.

The production credits for this project are attributed to Jon Batiste, No I.D., and DIXSON.

Beyoncé’s screeching ad-libs add a nice touch to this song, highlighting her impressive vocal performances.

The song’s lyrics explore themes of “moving on”and “growth,”while also utilizing the term “requiem”to commemorate someone or something after their passing. Bey may be suggesting that this album will cause listeners to reconsider their views on country music. The track opens with the following introduction:

“Nothin’ really ends / For things to stay the same, they have to change again / Hello, my old friend / You change your name, but not the ways you play pretend / American Requiem / Them big ideas (Yeah), are buried here (Yeah) / Amen.”

The word BLACKBIRD remains the same.

(Credits for production: Khirye Tyler and Paul McCartney)

The song BLACKBIIRD is a cover of The Beatles’ 1968 track, which was featured on their self-titled double album. The original song was written and produced by Paul McCartney.

Bey’s rendition of this song is a stroke of genius, as she flawlessly demonstrates her talent and ability to break away from conventional genres. At the same time, she delivers a powerful and empowering message to black women through the lyrics, inspiring them to reclaim their place in country music and rise to success once more.

“Blackbird singing in the dead of night / Take these broken wings and learn to fly / All your life / You were only waiting for this moment to arise.”

The number of carriages is 16.

The production credits for this project go to Ink and Dave Hamelin.

One of the two singles that Beyoncé released as part of the album rollout in February was 16 CARRIAGES.

The song is a country ballad that explores the idea of losing one’s innocence at a young age as a result of changes in their environment and family dynamics. It delves into themes of struggle, belief, suffering, and strength, with poignant lyrics such as:

“At fifteen, the innocence was gone astray / Had to take care of home at an early age / I saw Mama cryin’, I saw Daddy lyin’ / Had to sacrifice and leave my fears behind.”

The upcoming song “PROTECTOR”features Rumi Carter.

The production credits for this project go to Jack Ro.

The song PROTECTOR includes a brief appearance from Rumi Carter, daughter of Beyoncé and Jay-Z. Throughout the track, Beyoncé expresses her unconditional love for her children and vows to always be their “protector.”

The lyricism on PROTECTOR serves as an ode to motherhood, intimately paying tribute to the special connection between a mother and her children. Notable lines in this song include:

“And I will lead you down that road if you lose your way (Uh) / Born to be a protector, mm / Even though I know, someday, you’re gonna shine on your own / I will be your projector, hm-mm.”

MY ROSE remains the same.

The production credits go to Mamii.

Beyoncé’s “Rose”serves as a metaphor for her exploration of the complexities of love and relationships in her interlude, MY ROSE, which lasts for less than a minute.

Despite its brevity, the track remains open and alluring to listeners with its flowing melodies and lively southern production.

Willie Nelson’s performance during the Smoke Hour was exceptional.

(Credits: Production by Beyonce)

Willie Nelson introduces *SMOKE HOUR*, another interlude that brings us to the fictional “KNTRY MUSIC”radio station.

The track begins with a series of radio channels transitioning to showcase a selection of classic country songs, ranging from Chuck Berry’s Maybellene to Son House’s Don’t You Mind People Grinnin’ In Your Face, giving listeners a glimpse into the past.

One popular poker game is Texas Hold ’em.

The production credits for this project go to Killah B and Nathan Ferraro.

The release of TEXAS HOLD ‘EM, alongside 16 Carriages on February 9, 2024, marked the first single from the “Cowboy Carter”album rollout. The song quickly rose to the top spot on the Billboard Hot 100 Country Songs chart, debuting at No. 1.

The production of this track heavily incorporates Western and country influences, featuring Rhiannon Giddens on the viola. This serves as a nod to Bey’s southern upbringing in Texas and her deep love for country music, evident in the lyrics of the first verse:

“There’s a tornado (There’s a tornado) / In my city (In my city) / Hit the basement (Hit the basement) / That sh*t ain’t pretty (That sh*t ain’t pretty) / Rugged whiskey (Rugged whiskey) / ‘Cause we survivin’ (‘Cause we survivin’) / Off red-cup kisses, sweet redemption, passin’ time, yeah.”

A bodyguard was hired to ensure the person’s safety.

(Credits for Production: Raphael Saadiq)

The first track on this album, BODYGUARD, marks a departure from traditional country production as it introduces elements of pop music. The chill drum patterns seamlessly meld with Beyoncé’s vocal performances, creating a unique sound.

The song BODYGUARD references Beyoncé’s protective nature towards her loved one (Jay-Z), emphasizing how she will always stand by their side, much like a bodyguard. A few notable lyrics from the track are:

“Be your best friend / I protect you in the mosh pit / And I’ll defend you in the gossip / You know how people like to start sh*t and pop sh*t.”

DOLLY P remains unchanged.

The production credits for this project go to NOVA WAV and Jack Ro.

DOLLY P serves as an interlude before the 10th track on Cowboy Carter, with celebrated country legend Dolly Parton making a guest appearance and introducing herself. Her introduction builds excitement for the upcoming track.

Jolene

The production credits include Khirye Tyler, Jack Ro, and NOVA WAV.

Jolene discovers that Beyoncé has released a new rendition of Dolly Parton’s 1973 single “Jolene.”However, the stark contrast between the two versions lies in the fact that while Dolly’s track centers on her feelings of desperation and insecurity towards another woman named “Jolene”who is trying to steal her man, Beyoncé’s version offers a fresh perspective on the same story.

Beyoncé’s interpretation of this song emphasizes the powerful connection between her and her partner, one that cannot be broken by another woman. She showcases how there may be many women like Jolene, but her unique identity is sufficient to ward off any threat to her relationship. Some of the standout lyrics from JOLENE are:

“You’re beautiful, beyond compare / Takes more than beauty and seductive stares / To come between a family and a happy man Jolene, I’m a woman too / Thе games you play are nothing new, So you don’t want no hеat with me, Jolene / We’ve been deep in love for twenty years, I raised that man, I raised his kids / I know my man better than he knows himself.”

My daughter is a kind and intelligent young woman.

(Credits for Production: Cam, Derek Dixie, and Simon Mårtensson)

DAUGHTER is a poignant showcase that showcases Bey’s inner turmoil as she grapples with thoughts of violence stemming from infidelity and betrayal. She sheds light on how, despite her seemingly gentle demeanor, she inherited her father’s aggressive tendencies and can easily tap into them.

Beyoncé’s contribution to the song includes a performance of an Italian opera piece called Caro Mio Ben, which explores the themes of “loneliness”and “absence”that she relates to, as evident in this track and her previous works on Cowboy Carter. This is most evident in the following lyrics:

“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 / I am colder than Titanic water.”

SPAGHETTII (Featuring Linda Martell and Shaboozey)

The production credits for this project are attributed to Khirye Tyler and Swizz Beatz.

The track SPAGHETTII deviates entirely from traditional country music production, instead opting for a more intense hip-hop drum beat and synths. This results in a dynamic record that stands out on the album for its originality and musical brilliance.

The use of lyricism emphasizes Bey’s disregard for genres, as her vast versatility and creative brilliance allows her to seamlessly transition into any genre of her choosing. Some notable lyrics from this track include:

“I ain’t in no gang, but I got shooters and I bang-bang / At the snap of my fingers, I’m Thanos, da-na, da-na / And I’m still on your head, cornrows, da-na, da-na / They call me the captain, the catwalk assassin (Come on).”

ALLIGATOR TEARS

The production credits for the project go to Khirye Tyler and The-Dream.

“ALLIGATOR TEARS delves into the concepts of “love”and vulnerability, with Beyoncé utilizing the phrase “Alligator Tears”as a symbolic representation of the insincerity and manipulation she has observed in her personal connections.”

The track showcases strong vocal deliveries and meaningful lyrics that explore the dishonesty and uncertainty experienced in a lengthy relationship. These themes are most evident in the following lines:

“High tides in the city, I’m in too deep / And I’m runnin’ on fear / Oh, dear, you and your alligator tears / Works me over and through.”

The second installment of SMOKE HOUR, featuring WILLIE NELSON.

(Credits for Production: Dave Hamelin)

In SMOKE HOUR II, Willie Nelson makes a comeback as the fictional host of KRTNY Radio Texas. He introduces the 15th track on Cowboy Carter and reveals that his show is called “Smoke Hour.”In addition, he shares some advice with all the listeners who are currently tuned in:

“Sometimes you don’t know what you like until someone you trust turns you on to some real good sh*t.”

This paragraph is about the song “JUST FOR FUN”featuring Willie Jones.

Production Credits: Dave Hamelin

The track JUST FOR FUN has a solemn and contemplative tone, emphasizing the tendency for people to engage in activities solely for the sake of enjoyment. Beyoncé wants her listeners to understand that even actions that were met with criticism can eventually be forgiven, as “time heals everything.”

Willie Jones also makes an appearance on this track, contributing similar themes and adding a vibrant country vibe to the song. This makes JUST FOR FUN stand out as one of the most notable tracks on the project. Some of the most captivating lyrics on this record include:

“I’m goin’ down south just for fun, I am the man, I know it / And everywhere I go, I hide my face / From the cowboys in Clovis and the rodeo circus / I came here for a reason, but I don’t know the purpose, it’s all under the surface.”

MOST WANTED II (Feat. Miley Cyrus)

The production credits for this project go to Shawn Everett, Michael Pollack, and Miley Cyrus.

II MOST WANTED is a poignant production that showcases Miley and Bey’s heartfelt declarations of standing by their loved ones until the very end, serving as their unwavering “shotgun rider”.

It is evident that the track heavily intertwines the themes of ‘Forever’ and ‘Love’, which is particularly notable in lines such as:

“I’ll be your shotgun rider / ‘Til the day I die, smoke out the window flyin’ / Down the 405 (Yeah) / I’ll be your backseat baby, drivin’ you crazy, anytime you like.”

JEANS BY LEVII (Featuring Post Malone)

The production credits for this project are attributed to The-Dream.

“LEVII’S JEANS”is a track that explores the themes of love and relationships, blending together elements of country and pop music in its production. The collaboration with Post Malone showcases his impressive growth as a country singer, as he delivers standout vocal performances throughout the song.

Beyoncé’s words showcase her sensuality and physical attractiveness, while also hinting at the impact she has on those who regularly engage with her. This is most evident in the following lyrics:

“I’m lookin’ super hot, I got the perfect pose / I’m a fu*kin’ animal, I’m a fu*kin’ centerfold / Saddle up, I love to go / Too tough, no primadonna / Possess too much persona / He said, “Whеre you get that from, uh? / You need to meet my mama.”

Flamenco is a type of dance.

Credits for production: Mamii

FLAMENCO is a brief performance that centers on Beyoncé’s thoughts about the individuals she chooses to surround herself with and the challenges she encounters while striving to maintain these connections.

Bey’s verse emphasizes her desire for these people to understand that she truly did care for and love them, but their actions have caused her to seek solace in God for guidance. This sentiment is most evident in her chorus, as she sings:

“I hope that you know that once I loved you (Oh) / I wish that I’d known you’d let me wonder (Oh) / I hope that God knows that I’m in need of help right now (Ooh) / Right about now.”

The show featuring Linda Martell.

(Production Credits: Leah Nardos Takele)

Acting as an interlude to the 20th track on Cowboy Carter, THE LINDA MARTELL SHOW features a spoken word introduction by Linda Martell.

The introduction emphasizes that the upcoming tracks, like many others on this album, will redefine the boundaries of their respective genres.

The phrase “YA YA”remains unchanged.

The production credits include Cadenza, Harry Edwards, Khirye Tyler, and The-Dream.

What sets YA YA apart is its genuine country production and Bey’s powerful vocals, combined with her gentle spoken-word interactions with the crowd.

This track is a true game-changer in terms of genre, not only due to its one-of-a-kind production, but also because of Bey’s powerful lyrics that delve into a variety of themes and sentiments such as civil unrest, strength, romance, frustration, and perseverance. Some of the standout lines from this song include:

“My family live and died in America, hm / Good ol’ USA, sh*t (Good ol’ USA) / Whole lotta red in that white and blue, huh / History can’t be erased, ooh / You lookin’ for a new America?”

Oh, Louisiana.

(Credits for Production: The-Dream)

OH LOUISIANA is a brief song, with a duration of less than a minute, serving as a connection between the 20th and 22nd tracks on Cowboy Carter.

This song is inspired by Chuck Berry’s OH LOUISIANA and serves as a reflection on Beyoncé’s southern roots. It also pays homage to her mother, whose family hails from Louisiana.

The DESERT EAGLE is unchanged.

(Credits for Production: BAH)

As the album nears its end, the songs become briefer and more unconventional. The production of DESERT EAGLE also incorporates a greater amount of Bey’s signature pop elements into its composition.

In this track, Bey showcases her use of double entendres in her lyrics to convey intense yearning for her significant other, mirroring the style of her 2013 self-titled album’s track No Angel. Some notable lyrics from this song include:

“Soft to the touch, let you hold somethin’ / Let you get a handful / Baby, she’s a whole lotta woman / Soft kisses on some fat lips / It’s yours, baby, you can crash here, come here.”

RIVERDANCE.

The-Dream is credited for production.

In this project, RIIVERDANCE masterfully blends traditional dance music with country music to create a one-of-a-kind production. The song’s structure is truly remarkable, with eight distinct verses seamlessly flowing into a chorus and refrain that are repeated over 10 times.

Beyoncé explores topics of relationships, love, and fear in this song. The lyrics are straightforward yet captivating, with its infectious melodies and harmonies drawing listeners into its production. Memorable lines from this track include:

“You press your ear onto my chest / You hear the speed my heart will beat / Seconds drag like days / Whenever you don’t want to talk or speak.”

TWO HANDS TO HEAVEN

The production credits for the project go to Sounwave, Jack Ro, and Dave Hamelin.

The 23rd song on this album, titled II HANDS II HEAVEN, is a metaphor for prayer. The production of this song is divided into two parts, and it incorporates various elements of pop music in its composition.

The theme of Bey’s lyrics on this track is centered on her challenges in relationships and personal growth. She portrays herself as overwhelmed by her emotional turmoil, causing her to seek guidance and forgiveness from God. Some noteworthy lines from this song are:

“Ten thousand steps towards the time of your life / Two hands to Heaven, my whiskey up high, oh (Oh, oh) / God only, God only knows why, though / Rhinestones and diamonds both shine in the light.”

Collaboration with Dolly Parton

The production credits for this project go to D.A. Got That Dope, Dave Hamelin, and Khirye Tyler.

Dolly Parton introduced the track TYRANT, which is devoid of any country music elements in its production. Instead, it features a heavy bass, synths, and repetitive drum sequences that are seamlessly integrated into its composition.

The song’s lyricism is captivating as it explores themes of infidelity, romantic partnerships, and love. Standout lines from the track include:

“How did you turn your heart to stone? / I don’t want him back, but I can’t let go / Hangman, answer me now / You owe me a debt, you stole him from me.”

SWEET * HONEY * BUCKIN’ (Featuring Shaboozey)

The production credits for this project go to Pharrell Williams.

“SWEET * HONEY * BUCKIN’”is an intriguing hip-hop track produced by Pharrell Williams, which is divided into three distinct segments: “SWEET”, “HONEY”, and “BUCKIN”. The song delves into Beyoncé’s perspective on handling criticism in her career and towards her artistry.

She seems to be indirectly criticizing the Grammys for not awarding her “Album Of The Year”in 2023, as she did not receive a win for it.

“A-O-T-Y, I ain’t win (That’s cool) / I ain’t stuntin’ ’bout them / Take that sh*t on the chin / Come back and fu*k up the pen (Yeah).”

AMEN remains the same.

The production credits for this work include DIXSON, 070 Shake, Dave Hamelin, Ian Fitchuk, Sean Solymar, and Tyler Johnson.

The closing track of this project is AMEN, which begins with Beyoncé’s powerful plea for mercy over a melodic gospel production. The song serves as a testament to the singer’s redemption, as she reflects on how her hardships have ultimately led to success.

To complete the loop of Cowboy Carter, the track also features the opening of AMERICAN REQUIEM. This serves as a symbol for the journey’s conclusion. Memorable lyrics from this song include:

“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.”

Beyoncé’s latest album, Act II: Cowboy Carter, is a highly thought-provoking project, as it features honest lyrics and relevant themes that are intricately woven throughout a diverse production.

Despite Beyonce’s statement that this is not a complete “country album,”the project was always intended to be a representation of her as an artist rather than fitting into one specific genre. Instead, the genre seems to be adapting to Beyonce’s unique artistry.