Recently, Beyoncé’s Cowboy Carter has re-entered the spotlight, sparking debates about what defines "country music." While country radio stations have largely refused to play her songs, it’s escalated to the point where she didn’t even receive a nomination at the CMAs.
Note: I have a feeling I’ll be covering the topic of “snubs” on this blog in the future—what qualifies and what doesn’t. But in the case of Cowboy Carter, I have to agree that Beyoncé was snubbed.
The album has been out for a while. I’d heard bits of it and enjoyed them, but it wasn’t until recently that I listened to the entire album from start to finish, no skips or pauses.
My favorite track has always been "Bodyguard," and it still is. It’s got such a great rhythm that really fits my taste. Ever since I first heard it, I’ve been saying it reminds me of some of Neil Young’s music—something off Harvest, like "Heart of Gold" or "Out on the Weekend." While the album contains more direct references later on, this one feels subtle, if it’s intentional at all.
Another recent favorite is "American Requiem," which feels hauntingly epic. It could easily serve as the score to an old Western film. I love how she declares her thesis right at the start: “If that ain’t country, tell me, what is?” What’s even better is that, by the album’s end, she circles back to that melody, bringing everything full circle. Albums that do that always stand out to me.
One thing I love from classic hip-hop albums, like Midnight Marauders by A Tribe Called Quest or 3 Feet High and Rising by De La Soul, is the use of mid-track "intermissions." In Midnight Marauders, you’ve got the AI DJ (aka the Midnight Marauder Tour Guide) introducing each track, and 3 Feet High and Rising uses a playful trivia game show format. These touches frame the album as a cohesive, thematic experience rather than just a collection of songs.
In Cowboy Carter, Beyoncé flips that concept and turns it into an old-school radio program, hosted by none other than Willie Nelson. It’s like tuning into a vintage car radio as you drive through Nashville, flipping between stations.
Note: Side note here—Bob Dylan hosted a similar radio show not too long ago called Theme Time Radio Hour. If you can track it down, it’s worth a listen. Dylan explores a lot of classic country and Americana. Definitely worth checking out if you’re into that sort of thing.
And yes, all the classic rock and country references throughout the album are fantastic—whether it’s a nod to Jolene, Blackbird, or even hints of The Beach Boys. It really makes you appreciate how lucky we are to live in an era so closely following these legends’ legacies. Artists like Dolly Parton, Paul McCartney, and Brian Wilson are still here, contributing to their craft, and now we get to witness another all-time great like Beyoncé leaving her mark on music.
The little intro track before "Ya Ya" sums it up beautifully. This album is such a fusion of themes and genres that it’s impossible to put Beyoncé’s music into any single box. It’s a blend of so many influences (and "Ya Ya" is a banger in its own right too).
And we haven’t even touched on the social and political themes she addresses throughout the album. I’m pretty sure there’s a subtle dig at Trump hidden in one of the tracks, where she references “all these trump-ets keep blowing.”
Beyoncé for president, honestly. Or maybe our first monarch if this whole “democracy” experiment goes sideways this November.
But hey, that’s just my take. The beauty of art is its subjectivity! So go listen to Cowboy Carter and let me know what you think. Thanks for reading!
-Jacob Hirsch Reviews
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