Heavy hitters are prominent in every genre of entertainment. In sports, you have the Chiefs, Celtics, Dodgers and Canadiens. In film, there are guys like Christopher Nolan and Stephen Spielberg. In music, you have a bunch. But the one who’s spanned multiple genres with relative success? Beyoncé.

To reach 8 studio albums is a major accomplishment. To reach that milestone with all 8 of them being certified platinum is a whole new level of superstardom. Throw in 99 (that’s not a typo) Grammy nominations and another 32 wins on top of that and you have a career of a GOAT. 

This time around, the queen took a swing in a whole new genre of music; country. In an era where the titans of the genre rule the scene with an iron fist, it’s become increasingly difficult for new artists to breakout and already established artists to break into the scene. Artist’s have tried and failed (ahem Post Malone), and other artists have tried and succeeded. Beyonce has successfully jumped Genres. 

Cowboy Carter was an album that had to grow on me. On first listen I felt the album dragged on forever. It’s 27 tracks and has a runtime of 1 hour and 17 minutes. Her longest album to date. Not to mention a lot of those 27 tracks are either duds or interludes that could’ve been tagged onto the song it was apart of.

Digging past the “Bloat” of the record you get to some overall solid diamonds in the rough.

One of those diamonds is “16 Carriages” one of the lead singles for the record. It’s a very intense country/rock mashup which we really don’t see very often in country music. Sonically, it’s got crashing drums and guitars and bass that roars in the mix. Lyrically, it’s country music. That’s all I could really say about it.

Transitioning to “Protector” which takes a new direction to the previous track. This awesome acoustic ballad goes deep into Beyonce’s life as a mother, wanting to love and protect her children but also needing to let them go when that time comes. 

Of course, we have the biggest song on the record and the song nominated for multiple Grammy’s “Texas Hold ‘Em”. The lyrics are wholesome, funny and just “don’t take yourself too seriously” energy. The banjo and acoustic guitar duo make for a very addictive instrumental 

Interestingly, Beyoncé delves into different eras with tracks like “Bodyguard,” which sonically feels like a ’90s pop-rock crossover hit—think Sheryl Crow or Shania Twain vibes. The production features groovy basslines, catchy background vocals, and sharp, focused lyrics about her instinct to protect someone she loves. 

The opening track, “American Requiem,” serves as a sweeping introduction, blending psychedelic gospel elements with stunning vocal harmonies layered over lush arrangements of synthesizers. As the track progresses, booming drums add an even greater sense of grandeur. It feels like Beyoncé’s very own Woodstock moment. Lyrically, the song sets the thematic tone for the album. The track also hints at familial struggles that will be explored more deeply later in the album. 

The song “Daughter” takes the album to new heights, showcasing its singer-songwriter essence with a moving focus on Beyoncé’s relationship with her father. Lyrically rich and deeply theatrical, the track feels almost Shakespearean at times, with operatic vocal passages adding to its dramatic intensity.

We then move to “Alligator Tears” which isn’t my favorite song on the record but an overall solid one.  The narrative of this track hits so hard, with Beyoncé detailing the exhaustion of catering to someone manipulative and demanding. 

“Just For Fun” is one of the “bleh” tracks of the record. Its lyrics lack the punch of other songs, and the instrumental and melodic elements feel underwhelming, making it one of the less memorable moments on the record. The instrumental palate is a lot blander than other tracks on here as well. 

The track “Spaghetti” featuring Shaboozey and Linda Martell, takes a surprisingly campy turn, kicking off with a Martell-inspired intro that hints at a genre shift. Beyoncé quickly breaks away from any traditional country expectations, diving into a high-energy trap banger where she raps and even references her holster, delivering pure hype. However, the album hits a somewhat uneven midpoint after this bold moment.

The album redeems itself with a strong finish, culminating in the closing track, “Amen,” which delivers a powerful ending to the project. While the record feels longer than necessary and could have benefited from a more cohesive flow, the core songs shine brightly.

Can this album win Album of the Year? Maybe. 

In short; I’d bet on it. In long; it’s Beyonce. She’s been nominated almost 100 times and won a third of them. I wouldn’t be surprised if they do end up going that route. Is it deserving of the win? No. It’s a very solid record, but not Beyonce’s best and definitely not the best of the 2024 field.