Beyoncé has already laid claim to the R&B genre a long time ago. The most awarded figure in Grammys history, there is something about this musician that says she was born to perform. Expanding her skills to production, writing, directing and more-she entered the country music sphere with her 27 track album called COWBOY CARTER. Featuring legends and upcoming virtuosos in the field, one listen can let you know why the album won “Album of the Year” at the 2025 Grammys. She’e gone hip-hop, R&B, pop and more. This is refreshing country at its finest.
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Lot of artists have been turning to country music, though it isn’t what they traditionally started with. Post Malone was last, with his album F-1 Trillion from last year. It is an incredibly expressive and emotional genre, with a lot of space for storytelling. The melodies are simple, and your focus instantly turns to the lyrics. In Beyoncé’s case, it is a bit different. For her, it is more of a homecoming than an experiment.
You see, Beyoncé was born in Houston, TX in 1981. Most of her life was spent in different Christian religious beliefs, and she has shone in choirs all throughout. It is evident that she would have had great exposure to the likes of Nelson and Parton. Her vocal ability, however, could handle much more complex vocal ranges and trills-which she has shown since the beginning of her career. Now almost 24 years later, she reflects on her roots to bring her own flavour to country.
Opening with AMERICAN REQUIEM, there is a range of harmonies and lyrical overlaps to give you a taste of what is to come. This is something she has always captured in her albums, the opening single becoming a reflection of the songs to come. The first single is Blackbiird, a cover of the Beatles classic. A fun fact, Beyoncé won her first ever music competition at age 7 covering Lennon’s Imagine. The rest of the contestants were 15-16 year olds. Harmonies in this song are a cappella, along with some simple acoustic guitar strums. A heavenly touch, with her vocal style and performance shining through in its own special way.
We reach 16 CARRIAGES, a song which I feel only Beyoncé can nail like this. Sharp with special instrumental additions, it is her way of moving through microtones that makes the song so appealing. It has a soft entrance, ambience covering her vocals and lyrical prowess. The sound of the whip and strong percussions that are spaced out bring some quality production to life with her own persona. PROTECTOR is the next single, featuring cute vocal overlaps from Rumi, Beyoncé’s daughter. Almost performed like a lullaby, the song shows a vulnerable edge to her lyrics, which isn’t typical to her performance style. To shield her child, this is where she expresses the love and pride she feels as a parent.
When we arrive at SMOKE HOUSE with Willie Nelson, she plays the radio and switches gears into some quicker country. This one is Texas Hold ‘Em, a song where she really grabs the song by the reigns. Vocal range-check, addictive instrumentals, and lyrical stickiness-all good. Beyoncé has been able to imbibe her own style to the album while exploring a genre we know she adores so much. Collaborations with Shaboozey and Parton are unique and exciting, balancing performances that shine through bright.
Miley Cyrus and Queen B do a great job in II MOST WANTED. Miley is able to perform without any frills and whistles, a style you would have not heard her perform in for quite some time. LEVII’S JEANS is another number like that, where Post Malone gets to bring his previous years country fever to a song with such a special vocalist. The range in this double album is enough to not only win the accolade of the year, but show when Beyoncé does something, she does it well. From choosing the collaborations carefully to having the time of her life singing, she has made sure these songs have the desired impact.
There have always been rumours that the Country Music Awards (CMAs) close off newcomers and artists of colour. Post her win, there were already comments on X that her music wasn’t authentic enough. What is funny is that Post Malone’s music was appreciated as country, even though it isn’t even close to wide-ranging or vocally expressive as Beyoncé’s. To choose “authenticity” for a genre that has black roots leads to some hypocrisy, obviously. Might be all that jealousy and bitterness leading to minimal outrage.
The best thing to look at is Willie Jones and the Queen performing Just For Fun. It is a beautiful track-pure country in all angles. Performed by 2 coloured artists. What seems to be the excuse to be able to not recognise good music? I’d like to reiterate: please give it up for the original, COWBOY CARTER.
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Self professed metalhead, moderately well read. If the music has soul, it's whole to me. The fact that my bio could have ended on a rhyme and doesn't should tell you a lot about my personality.
