Multifaceted musical juggernaut Beyoncé has been causing some chaos in the mainstream music space. She’s bent and altered her sound to create something that is entirely authentically Beyoncé. I would not consider myself in the BeyHive; however, I know some of her more well-known tracks. But now, after hearing this album, I’m going to be paying close attention to ‘Queen Bey’ and her new work.

I am also acutely aware that I am a man, reviewing a piece of work by one of the most prolific female empowering artists of all time, and that the subject matter in songs like “PROTECTOR,”  “JOLENE,” and “DAUGHTER” will forever be far beyond my knowledge. Instead of pretending to create and mother a connection I don’t relate to, I’ll be diving into the musicality of the work while paying respect and recognizing the significance of the message at hand.

Cowboy Carter is Beyoncé’s latest release, and it’s her first full-length country album. The record takes a very refreshing take on pop country music, transforming it into a southern, soul-infused, indigo country project that, sonically, transcends the average music listener.

When listening, I visualized the music as a stage play: Bohemian Rhapsody-esque spotlighted solos, dramatic fight scenes, interludes to change the stage set, and a cohesive story of proving yourself and self-actualization.

The opening track, “AMERICAN REQUIEM,” feels like a small choir, stationed in front of the stage curtains, belting this multiple-part harmony that fills your head. As their solo concludes, the curtains throw wide, and the glowing stage emerges, contrasted by the darkly spotlighted center of the stage.

This track is outstanding. The twangy guitar, the vintage Omnichord synth keys, and the overall nostalgic soundscape make this track extremely engaging. The booming acoustic percussion and Beyoncé’s soulful vocals pair seamlessly with the other instrumentation.

Track 12, titled “SPAGHETTI,” feels like an old-fashioned cowboy shootout, posting up in the center of the street as the townspeople rush to hide from the gunfire. And just when you think you’ll hear “Draw!”, a rap battle breaks out that illustrates a shootout between Beyoncé and the music industry; she’s been pushed aside because of her predominantly hip-hop and R&B background, and the idea that she could make a good-sounding country record was non-existent.

The opening has an ominous introduction by the iconic black country singer Linda Martell, who made waves for being the first black woman to be a commercially successful country artist and to be inducted into the Grand Ole Opry. Beyoncé sings, “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 ‘boom-bap’ style drums and the constant bars make this such an enjoyable track. The only critique I give is that it ends very prematurely; however, that ending leads into an emotional melodic portion with country singer Shaboozey.

Track 18, “RIVERDANCE,” feels like a musical note around a campfire, with an acoustic guitar and people dancing and singing. Musically, this is my favorite song. The guitar picking at the beginning is extremely disorienting with its countless crashing time signatures, but as soon as Beyoncé’s voice and the bass kick in, everything starts coming into focus, and I think that’s really impressive.

Cowboy Carter was a wonderful listening experience. If I had all the time in the world, I would really love to dive into all of the bits and pieces that make this record so fun and cohesive.

Overall, I’d give it a 7.5/10.