By Jordanne Semper-Scott
It was 10 p.m. on Saturday at the Ebert Art Studio, preparing to sketch for a homework assignment. As I gathered my art materials, I turned on my headphones to listen to the long-awaited act ii of Beyoncé’s new music era.
The opening of “AMERICAN REQUIEM” is reminiscent of an introit, or procession, of one of my church’s Sunday worship services. Beyoncé’s harmonizing vocals are accompanied by the mellow tune of the organ. It is important to note that a requiem, or Requiem Mass, is a mass offered in the Roman Catholic Church to celebrate or remember the lives of those who have passed away. Similar to a funeral, it features selections of songs or music that is associated with death or mourning. But when I heard the strum of an electric guitar, I realized that this was not intended to be a mourning song. I immediately sat up from my stool and visualized the opening credits to a Hollywood wild western film. Her repetition of “Looka there” intensified with the electric guitar as I braced myself for the second verse. It felt like an unexpected punch to the gut. Most importantly, it confirmed my expectations for this album: I was going to be in for a wild ride with “COWBOY CARTER.”
As her eighth studio album and second installment to her trilogy project following “Renaissance” (2022), Beyoncé primarily explores the country music genre while simultaneously experimenting with and blending other music genres. From opera (“DAUGHTER”) to rock and roll (“YA YA”), to folk (“TEXAS HOLD ‘EM”), this new body of work feels like an ode or a ballad to the late and current Black pioneers of country music.
10 days prior to the release of “COWBOY CARTER,” the front cover of the album was uploaded to her Instagram. Mounting a lipizzaner while wearing all-American cowgirl regalia, Beyoncé carries the American flag which pays homage to the Black rodeo queens who embody western culture while celebrating her Houston roots. According to the post, the album was developed “over five years in the making.” She added, “It was born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t.”
In 2016, she performed “Daddy Lessons” with the blacklisted trio, The Chicks, at the Country Music Awards, where she received criticism from conservative country music fans for her left-leaning politics and support for the Black Lives Matter movement. Due to the harsh treatment she received, this highly anticipated album is Beyoncé’s way of reclaiming a music genre that has been created, honed and perfected by African Americans who have largely been excluded from the country music genre.
I loved listening to this album from beginning to end. I believe it is the pinnacle of Beyoncé’s music career. Her efforts to dismantle the theory of Black artists performing in a particular genre due to their race is groundbreaking, as well as uplifting. She uses her platform to feature Black artists whose contributions to country music have been relatively obscured and highlights the new generation of Black women country artists who are forging their own path through the country music genre.
While “COWBOY CARTER” is a “Beyoncé album” (according to the artist herself), it is an album that evokes joy, sadness, pain, love and mystery — some of the traits that reflect the diverse experiences of African Americans. It is also a personal tribute to my inner little Black girl who felt ostracized and ashamed for her eclectic music taste. I have come to find peace, confidence and joy through listening to this album. I hope it does the same for you.