If you’re anything like me, an unapologetic Beyoncé fan, the first thing you did when your alarm struck this morning was fidget for your phone and head to your favorite music streaming platform in search of Queen Bey’s much-anticipated new album, Cowboy Carter. And no surprise, Act II did not disappoint. My early-morning-remote-work-coffee-shop commute found me dancing in my car to a genre-breaking symphony of 27 tracks, most of which are an ode to the country music genre.

The revelation that this body of work was going to be the artist’s first foray into country music prompted conversations about the historical ties between the genre and Black culture. “Instruments like the banjo came from West Africa during the slave trade and that’s just one example of how country music has very deep cultural roots in African American traditions,” explains Dr. Timothy Koozin, a University of Houston professor of music theory.

With this context in mind, it’s important to note that the genre is only a small portion of what makes Cowboy Carter so groundbreaking. Here are some takeaways the album will leave you with.

Cowboy Carter is more than country

When Beyoncé said in an Instagram post 10 days before Cowboy Carter’s release, “This ain’t a country album. This is a ‘Beyoncé’ album,” she meant it. The 27-track epic defies categorization. The artist mixes various genres throughout, seamlessly blending elements of country, hip-hop, rock, and pop.

“Spaghettii” emerges as a country-hip-hop hybrid, featuring the smooth rhymes of Nigerian American rapper Shaboozey, all while Beyoncé delivers powerhouse verses that showcase her fluidity as both a singer and a rapper. The track starts with country icon Linda Martell speaking to listeners about the fluidity of music labels.

Genres are a funny little concept, aren’t they?
Yes, they are
In theory, they have a simple definition that’s easy to understand
But in practice, well, some may feel confined

The song is a reminder that Beyoncé is not just a master vocalist but also a versatile lyricist and storyteller, capable of commanding any genre with her signature style.

Similarly, “Ya Ya” is a genre-bending party anthem. Opening with a sample of Nancy Sinatra’s iconic “These Boots Are Made for Walkin’,” it quickly morphs into a pulsating dance-floor odyssey layered with elements of funk and art-pop. “Good Vibrations” by the Beach Boys is also reimagined for this foot-stompin’ dancy banger.

But Beyoncé still pays tribute to the country legends

Despite Beyoncé’s assertion that Cowboy Carter isn’t a typical country album, her reverence for the genre and its iconic artists shines through in every track.

Willie Nelson’s presence, as a narrator on “Smoke Hour Willie Nelson” and “Smoke Hour II,” is a direct homage to the outlaw country legend. Then there’s the playful “Jolene,” a rambunctious take on Dolly Parton’s classic. The legendary singer hypes up the track with the 22-second “Dolly P,” where she makes comparisons to the infamous “Becky with the good hair” from Beyoncé’s 2016 track “Sorry.” Beyoncé’s take on the classic is respectful yet infused with her own undeniable power and modern influences. She soulfully tells the lustful character that she “don’t want this smoke” and later calls her a “bird” (slang for a vain, often promiscuous woman).

Linda Martell, who made history as the first Black female country singer to perform at the Grand Ole Opry, gets lots of shout-outs throughout the album. Her voice, featured on “Spaghettii” and “The Linda Martell Show,” serves as a powerful reminder of the often-overlooked contributions of Black artists to country music. It’s a subtle yet significant gesture that acknowledges the pioneers who paved the way for Beyoncé’s own exploration of the genre.

In “Smoke Hour Willie Nelson,” the outlaw crooner Willie Nelson serves as a nod to the rich tapestry of country music history. As Nelson takes the mic to introduce the album, his gravelly voice carries the weight of decades spent on the road, while Beyoncé’s electrifying energy injects new life into the genre.

Cowboy Carter builds on Renaissance

As listeners delve deeper into Cowboy Carter, they’ll find that this album serves as more than just a standalone project—it’s a compelling and innovative continuation of Beyoncé’s previous album, Renaissance. Just as Act I marked a new chapter in Beyoncé’s artistic evolution, Act II builds upon its foundation, pushing boundaries and challenging conventions in ways that feel both familiar and fresh.

Both albums pulsate with a sense of artistic liberation, a willingness to break free from expectations and explore uncharted territory. In Renaissance, Beyoncé embarked on a journey of self-discovery and empowerment, reclaiming her narrative and celebrating her identity as a Black woman. Similarly, Cowboy Carter sees the artist continuing this exploration, but through the lens of country music—a style that has historically marginalized artists of color.

The album’s very structure echoes the thematic threads of Renaissance. Many of the songs seamlessly transition into the next track, in the same way much of Act I did. The blended nature of Cowboy Carter also allows the last track, “Amen,” to seamlessly change into the first one, “American Requiem.”

Cowboy Carter is very personal

Throughout the album, Beyoncé bares her soul, offering listeners an intimate glimpse into her innermost thoughts, emotions, and experiences. Through the stirring introspection of “American Requiem,” for example, Beyoncé confronts the complexities of her relationship with the country music establishment.

Gadsden, Alabama
Got folk down in Galveston, rooted in Louisiana
Used to say I spoke too country
And the rejection came, said I wasn’t country 'nough

Then there’s the anthemic empowerment of “16 Carriages,” which delves into her personal struggles and familial dynamics.

At fifteen, the innocence was gone astray
Had to leave my home at an early age
I saw Mama prayin’
I saw Daddy grind
All my tender problems, had to leave behind

In “Daughter,” Beyoncé delves into the complexities of her relationship with her father and the pressure of legacies, with the artist’s haunting vocals conveying a sense of longing and vulnerability. “Protector” finds Bey delivering a heartfelt message of eternal maternal guard and guidance to her six-year-old daughter Rumi. Similarly, in “My Rose,” the artist offers a tender tribute to her husband Jay-Z, expressing her love and devotion in a simple yet powerful melody.

These deeply personal moments scattered throughout the album add a surprising layer of intimacy to Cowboy Carter, one we’ll have on repeat for days, weeks, and months to come.