Cowboy Carter: Beyoncé’s stinging riposte
Live MintOver the past decade or so, no major artist has done as much to expand our notion of what a pop album could do than Beyoncé Knowles-Carter. Cowboy Carter, her eighth album and the second in the trilogy, continues in the same vein, but applies Beyoncé’s critical, historically revisionist to country and Americana, both scenes with rich black histories that nonetheless remain strictly white-coded. Five years in the making, Cowboy Carter is Beyoncé’s stinging riposte, a richly annotated critique of the country music establishment. For her cover of The Beatles’ Blackbird—inspired by the struggles of black students during school desegregation—she drafts four young black country singers to accompany her, their presence a shot across the CMA’s bow. Outlaw country legend Willie Nelson gives radio-DJ style spoken word intros to two songs—the boogie and hoedown referencing stomp Texas Hold Em, and Just For Fun, a gospel-indebted track about time healing wounds that also features young black country musician Willie Jones.