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Beyoncé’s ‘Cowboy Carter’ Is a Sprawling, Endlessly Entertaining Tour de Force: Album Review

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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It’s almost as if Beyoncé was watching some of the evolutionary leaps and hiccups country has been experiencing as it redefines its boundaries — as the music always has — and said, “Hold my Armand de Brignac. I’ve got this.”  But it’s not just a matter of what Beyoncé can do for country music; it’s what her concept of country can do for her, in expanding her musical empire and even her already well-honed sense of self. It’s a lot.

As a whole, “Cowboy Carter” is a masterpiece of sophisticated vocal arranging, laid out on top of mostly fairly stark band tracks. It’s not as if she ever laid off that great trick of her trade, even in a dance-based album like “Renaissance.” But here her brilliance at rendering self-harmonies is pushed up to the forefront in a way that might not have been as easy to focus on for a listener since Destiny’s Child covered “Carol of the Bells” for a Christmas record. It’s bliss.

Apart from these mostly common elements, the tracks almost couldn’t be more different from one another. Who knew that her exploration of Black Country would seem so much like her White Album? Or like a countrified version of Side 2 of “Abbey Road,” once the second half of this album turns into a series of short, sometimes weirder songs that have more strength as part of a dizzying medley than they might as Spotify singles. In its own fashion, “Cowboy Carter” plays as well as a smartly sequenced album as “Renaissance” did, even though that felt like a DJ club set and the new one goes harder on eclectic songcraft.

Her decision to issue “Texas Hold ‘Em” and “16 Carriages” as the two teaser tracks two months in advance of the album turns out to have been ideal for setting expectations for two very different sides of the record. “Texas” wasn’t shy about invoking country tropes, like line-dancing; it, along with some of the attendent pre-release imagery, made some suspicious souls wonder if this album would end up feeling like country cosplay. But then there was “Carriages,” a deeply personal ballad about her misspent youth as a budding starlet, sounding nothing like either old or new country, but married to the genre somehow just by the sound of its intricately plucked strings and storytelling.

There aren’t many moments that sell the lifestyle-branding side of country as hard as “Texas Hold ‘Em” does. (That song did its job; it’s still rising on the country airplay charts, upending some people’s initial expectations.) But of course she’s tying herself to mainstream country’s coolest elders, bringing in Willie Nelson, who does a couple of faux-DJ skits, and Dolly Parton, who brings a chuckle to a spoken introduction to Bey’s “Jolene” cover by pointing out the correlation between that classic’s auburn-haired temptress and the fabled Becky-with-the-good-hair. The Dolly homage is unquestionably the most pure country number on the album, but it’s not a completely straight take, as Beyoncé has rewritten almost all of the lyrics (and added a bridge) to make the song a fiercely protective warning instead of an endangered housewife’s plea. Taking out all the vulnerability lessens the tune a little, but it’s still a kick to hear “Jolene” with a serious infusion of “Lemonade.”

Did we mention that this murder fantasy — which starts off with a classical-sounding guitar that sounds almost fit for a Marty Robbins song — eventually winds up with Beyoncé flawlessly singing an aria from the 1700s, “Caro Mio Ben,” in Italian? It’s that kind of unpredictable album, although this at least counts as probably the strangest turn on it. Unless you count “Oh Louisiana,” a much goofier number that has Beyoncé covering a Chuck Berry oldie in a sped-up voice for a mere 52 seconds.

In evangelizing for this album, it’s hard to know whether to emphasize its weirder choices or its more conventional pleasures. There are more than enough of both of them to give “Cowboy Carter” a real sense of dynamics. But when it comes to the most straightforward material, the average listener may gravitate immediately to Beyoncé’s crowd-pleasing duet with Miley Cyrus , “II Most Wanted,” which has producer Ryan Tedder building a breezy buddyship anthem over an interpolation of Fleetwood Mac’s “Landslide.” “I’ll be your shotgun rider ’til the day I die / Smoke out the window flyin’ down the 405,” they sing, putting the western back in country & Western. “II Most Wanted” is not the most interesting song here, but Bey harmonizes with Cyrus just as effectively as she does with herself. It’d be no surprise if their duet finds its way onto and sticks around the adult contemporary chart for about 18 months.

Sexy-time is a big thing on this album, too. Another superstar duet, “Levii’s Jeans,” has Post Malone in the role of Jay-Z. (Or at least we can surmise from other lyrics on the album that Beyoncé considers herself to have a very healthy marital relationship, physically and otherwise.) “Baby, let me rattle that snake with my venom / Denim on denim on denim on denim,” she sings, although it’s actually more lilting and gentle in tone than any saucy lyric excerpt is going to make it sound.

There are theories that “Act III” in her promised musical triptych will be a rock ‘n’ roll album. It could be wishful thinking; maybe she is saving an all-arias album for last in the trilogy. But if she is planning to rock, she gets a slight head start on it here with a couple of numbers here. “Bodyguard” is a strummed soft-rock number with a straight-up backbeat, sounding almost like a demo, in its sweet minimalism.

Later, she seriously ramps up the energy with “Ya Ya,” which brings out her Tina Turner side, and/or sounds like a “TAMI Show” outtake. “Ya Ya” risks extending itself an interpolation too far, as some iconic bass riffing from “These Boots Are Made for Walkin’” is succeeded by Bey twice throwing in the hook from that famous country classic, “Good Vibrations.” On paper, “Ya Ya” is overstuffed with references, but that doesn’t really matter when you can feel the wind coming off the fringe of her miniskirt.

It takes until the 12 th song on the album — at which point, remember, we’re not halfway through — till we get the first and only real hip-hop song on the album, “Spaghetti,” which has Beyoncé rapping, ever so briefly. But it does have, yes, the barest trace of a spaghetti Western feel, which is just enough to technically tie it back to the overriding concept. It also has an introducion from Linda Martell, the first Black female star in country music (circa 1970), who gives a short homily: “Genres are a funny little concept, aren’t they? … In theory, they have a simple definition, but in practice, well, some may feel confined.”

And then, after a few more essentially acoustic-based songs that pick up the tempo, there’s the final stretch of the album, where things finally get a lot looser and loopier. It may be at this late point in the album when Beyoncé loses some people. After the bonkers “Oh Louisiana” and the 1:13 paean to oral sex that is “Desert Eagle,” a few listeners might be going: What the hell was that we just heard? Suddenly, after that, it begins turning into a club album, with “II Hands to Heaven,” which has an electronic pulse we haven’t heard much of, and “Tyrant,” which flirts with trap, even though Bey is keeping the rodeo underpinnings alive with a “Giddy-up, giddy-up.”

Hearing the album finally turn into something that feels a bit closer to 2022’s “Renaissance” toward the very end could be seen as a reward for some of her faithful fans who are more into dance music for sticking through the Texas two-stepping. But in country terms, it also feels a bit like going to California’s Stagecoach Festival, where the headliner is now always followed at the end of the final night by a late-night DJ set from Diplo, since the line between line-dancing and EDM culture is being further erased these days.

Who cares if any or all of it is country or not, you might ask? Well, lots of people do — especially fellow Black artists who have a stake in how this album is received and how it might affect their futures. Martell, 82, is on board for a couple of spoken-word interludes to serve as a reminder Black country’s largely swept-under-the-rug past. But Beyoncé has brought on board here several young singers who are part of the music’s past and future, including Willie Jones, on “Just for Fun,” and Shaboozey, on “Spaghetti” and again on “Sweet Honey Buckin’,” where their interplay is as randy as the title suggests.

“You were only waiting for this moment to arrive” — that’s a key line for an album that lives up to its event status as an inherent piece of agitprop and socially significant performance art, reflecting and affecting the history of Black music and country. It obviously has been compared to Ray Charles’ landmark 1962 “Modern Sounds in Country and Western Music,” but this feels different than someone coming in and adopting the existing country songbook for their own purposes, vital as that was. Beyoncé expanding this historic catalog with her own crucial additions to it is a never-to-be-forgotten signpost, however much it does or doesn’t immediately affect the fortunes of those still trying to get a basic foothold in the genre.

And she’s not pulling this off either by unduly ingratiating herself into a scene with country customs or ignoring those hallmarks entirely. With this endlessly entertaining project, she gets to be a warrior of female and Black pride and a sweetheart of the radio. Because being Beyoncé means never having to pretend to be just one thing.

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Doja Cat at Coachella review – an electrifying tour de force

Empire Polo Club, Indio, California

Festival headliner delivered an A-game set, ignoring some of her mainstream hits yet bringing enough energy to power what some have called a middling year

D oja Cat took the Coachella main stage as the last official act to perform on Sunday’s bill, becoming the first female rapper to headline the festival. (She’s also only the second Black woman to do so, after Beyoncé in 2018.) Her closer rounded out a Sunday showcase of powerhouse female performers such as Reneé Rapp and Kesha duetting the recession banger TiK ToK – changing the opening line to “wake up in the morning saying fuck P Diddy” – and Victoria Monet grinding through a slick and ultra-sexy set, at one point receiving artfully-simulated oral sex from a background dancer.

It would be diplomatic to say that Doja maintains a distant relationship with her fans, who call themselves kittenz, though their fave does not sanction this moniker. Doja has told those who engage in parasocial relationships with the idea of her to “get off your phone and get a job” and “rethink everything” about their lives. Such boundary-setting has cost her some Instagram followers – around 300,000, to be exact, after going off on them in a social media tirade – but she could care less. “I feel free,” she wrote in an Instagram story after the snafu last year.

So it’s not surprising that Doja kept the stage banter to a minimum; about an hour in, she allowed a cursory, but seemingly genuine, “Thank you everyone.” That was about it. Still, Doja didn’t need to give us the cliched “it’s always been a dream to perform on this stage” monologue to show a deep respect for her audience. She did so by putting on a tour de force of a set, one that merged her musical talents with a clear knack for spectacle. I suspect it will become a staple on best-of-Coachella lists for years to come.

Doja first appeared by popping up on the stage’s extended catwalk, opening the night further back in the crowd, so those of us who hadn’t made it to the pit got a good look at her, too. She first wore an all-white hazmat suit. I thought it was a little Patrick Bateman; the girl next to me remarked that Doja looked like “a whole-ass sperm”.

Whatever the inspiration, she took that off pretty quickly, revealing extra-long blonde hair that went well past her butt, and a matching tunic also made of hair. Her background dancers matched in their own full hair suits, and when paired with their syncopated moves, the vibe was a little Bob Fosse meets Fraggle Rock. The South African a capella group The Joy encircled Doja during Shutcho, a diss track for haters that the group turned into a melodic, choir-like crescendo.

Though Doja is a very 2020s pop star, terminally online and well-versed in the meme ecosystem, she didn’t rely on many gimmicks to make it through her set. The stage design was sparse and industrial. Her numerous outfit changes kept the same off-white palette, very Virgil Abloh-esque aesthetic: sculptural, sleek, architectural. My favorite look was a shaggy bikini set by Entire Studios that could have been a reference to Jane Fonda as Barbarella, or just a sartorial nod to the concept of merkins.

Doja tapped A$AP Rocky, 21 Savage and a giant recreation of a T-Rex fossil for guest stars. During her penultimate song, Paint the Town Red, which samples Dionne Warwick’s 1963 hit Walk on By, I wondered for a moment if Doja was about to make my entire life and bring out the octogenarian legend herself. Instead, she did perhaps the opposite of that and rolled around in a sapphic mud pit with her background dancers for the finale, Wet Vagina.

Though Doja found mainstream success in the pop arena with early pandemic groovers like Kiss Me More and Say So, her Coachella set stuck to rap. Understandably, much of it came from her latest release, last year’s Scarlet. She described the album as a“masculine” response to her desire of moving away from pop princess-dom.

This meant that the fans who were there for Doja’s more accessible fare may have been disappointed by the exclusion of those songs – when the set ended, many mulled around the stage as if they were sure she’d come back rearing into Say So. (Again, she didn’t.)

But to me, it didn’t matter: Doja followed her gut, performed the songs she felt represented her best, all presented in an energetic, top-of-game triumph. For all the endless chatter this year about a lackluster lineup, Doja proved she’s worthy of a headline spot, so long as the people in charge – and, crucially, her fans – trust her to do it her own way.

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Taylor Swift’s ‘Tortured Poets Department’ Is Spotify’s Most Streamed Album in a Single Day

By Ethan Millman

Ethan Millman

Taylor Swift ‘s Tortured Poets Department is on pace for a massive opening, and in under 24 hours, the album already beat the record for most streams in a single day on Spotify , the service confirmed on Friday.

The record has over 200 million streams already, Spotify said, and Swift now holds the record for the top-three debuts in Spotify history. Midnights comes in second-place and 1989 (Taylor’s Version) takes third. That figure should grow further as she has several hours left before the day is done.

Come for the Torture, Stay for the Poetry: This Might Be Taylor Swift's Most Personal Album Yet

Taylor swift unveils double album ‘the tortured poets department: the anthology’, dickey betts, allman brothers band singer-guitarist, dead at 80, matty healy is taylor swift's unlikely inspiration and six other takeaways from 'ttpd'.

Rolling Stone labeled The Tortured Poets Department an instant classic in our review, with Rob Sheffield writing that it “might be Taylor Swift’s most personal album yet.”

With Swift breaking records on day one, the question now becomes what figures will look like on the charts in just over a week. Number Ones are all but assured, but just how massive will those figures be? Stay tuned.

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Fuerza Regida new album scores Pero No Te Enamores tour: How to get tickets, concert dates

Fresas y beliconas, get ready for another unforgettable Fuerza Regida tour.

The Mexican American band, hailing from San Bernadino, California, announced a 32-date U.S. arena tour produced by Live Nation on Tuesday. Fuerza Regida's Pero No Te Enamores Tour (But Don't Fall in Love Tour) will kick off June 6 in Austin, Texas, at the Moody Center, followed by a June 9 concert in Edinburg, Texas, at the Bert Ogden Arena.

The five-man group, fronted by singer Jesús Ortiz Paz, will also play dates in San Diego, Phoenix, Seattle, San Jose, Las Vegas, San Antonio and Palm Desert. In October and November, Fuerza Regida will head to Mexico for seven shows before returning to the U.S. for its last show in Inglewood, California, at the Intuit Dome on Nov. 16.

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Jesús Ortiz Paz of Fuerza Regida talks Mexican music's global rise

Fuerza Regida's upcoming nationwide tour follows a 2023 full of major accomplishments for the group.

In October, the group released its biggest album to date, "Pa Las Baby's Y Belikeada," which peaked at No. 2 on Billboard's Latin Albums chart and reached the Top 15 of the Billboard 200. Standout hits from the album include "TQM," "Sabor Fresa" and "Harley Quinn," which each charted on the Billboard Hot 100. "Harley Quinn," a collaboration with Marshmello, became the band's first-ever No. 1 hit on the Latin Airplay chart.

"Pa Las Baby's Y Belikeada" also earned Fuerza Regida a pair of awards — Top Duo/Group and Top Latin Duo/Group — at the 2023 Billboard Music Awards in November.

In a 2023 interview with USA TODAY, Paz spoke about Fuerza Regida leading the movement in expanding the global reach of Mexican music.

"We got into this business six years ago, and there was nothing like it," he said. "So, we're pioneers of this too. It took six years for us because everyone has a different career, but for us, to see Mexican music go global — there are no words. We're up with the rappers, the reggaetoneros. Mexican music's No. 1 right now."

Most recently, the band released its EP, "Dolido Pero No Arrepentido." The album debuted at No. 2 on Billboard's Regional Mexican Albums chart.

"The goal is to keep on staying on top, and like they say, 'Hard work beats talent.' So, we just don't stop working," Paz added. "And hopefully in the next six years, we're still on top, making global hits and still selling out stadiums and arenas — that's what we wish for, and hopefully it goes down."

When do Fuerza Regida tickets go on sale?

Tickets will go on sale Friday at 10 a.m. local time at livenation.com

Fans can also purchase VIP packages, which may include premium tickets, access to the VIP after-party with band members, soundcheck, a meet-and-greet, a group photo with Fuerza Regida, pre-show VIP lounge access, specially designed VIP gift items and more. VIP package contents may vary. For more information, fans can visit  vipnation.com .

Fuerza Regida's Pero No Te Enamores Tour dates:

*Not A Live Nation Date

• June 6 | Austin, Texas | Moody Center
• June 9 | Edinburg, Texas | Bert Ogden Arena
• June 14 | Oklahoma City | Paycom Center
• June 15 | Ridgedale, Missouri | Thunder Ridge Nature Arena
• June 16 | Kansas City, Missouri | T-Mobile Center
• June 21 | San Diego, California | Viejas Arena
• June 22 | Phoenix | Footprint Center
• Jun 29 | Portland | Moda Center
• June 30 | Seattle | Climate Pledge Arena
• July 6 | San Jose, California | SAP Center
• July 7 | Fresno, California | Save Mart Center at Fresno State
• July 13 | Houston | Toyota Center
• July 20 | Dallas, Texas | Dos Equis Pavilion
• July 26 | Atlanta | State Farm Arena
• July 27 | Tampa, Florida | Amalie Arena
• July 28 | Sunrise, Florida | Amerant Bank Arena
• Aug. 2 | Greensboro, North Carolina | Greensboro Coliseum Complex
• Aug. 4 | Belmont Park, New York | UBS Arena
• Aug. 16 | Milwaukee | Fiserv Forum
• Aug. 17 | Indianapolis | Gainbridge Fieldhouse
• Sept. 1 | Tinley Park, Illinois | Credit Union 1 Amphitheatre
• Sept. 6 | Salt Lake City | Delta Center
• Sept. 8 | Denver | Ball Arena
• Sept. 15 | Las Vegas | T-Mobile Arena
• Sept. 20 | San Antonio, Texas | Frost Bank Center
• Sept. 21 | El Paso, Texas | UTEP Don Haskins Center
• Sept. 28 | Anaheim, California | Honda Center
• Sept. 29 | Palm Desert, California | Acrisure Arena
• Oct. 5 | Sacramento, California | Golden 1 Center
• Oct. 11 | Leon, Mexico | Mega Velaria*
• Oct. 12 | Mexico City | Plaza De Toros*
• Oct. 31 | Monterrey, Mexico | Arena Monterrey*
• Nov. 1 | Monterrey, Mexico | Arena Monterrey*
• Nov. 2 | Torreon, Mexico | Coliseo Centenario*
• Nov. 7 | Oaxaca, Mexico | Auditorio GNP*
• Nov. 9 | San Luis Potosi, Mexico | El Domo
• Nov. 16 | Inglewood, California | Intuit Dome

This article originally appeared on USA TODAY: Fuerza Regida new album scores Pero No Te Enamores tour: How to get tickets, concert dates

"The tortured poets department" : Taylor Swift sort un nouvel album prêt à souffler tous les records

La reine de la pop Taylor Swift a sorti vendredi un nouvel album, le onzième opus de la chanteuse américaine de country devenue mégastar mondiale. Il contient notamment des collaborations avec le rappeur Post Malone et le groupe britannique Florence + The Machine.

Publié le : 18/04/2024 - 18:01 Modifié le : 19/04/2024 - 15:59

Les "Swifties" auront une double raison d'être ravis. Le nouvel album de la chanteuse américaine Taylor Swift a été dévoilé, vendredi 19 avril, à minuit heure de New York (6 heures, heure de Paris). Et si les fans de la mégastar américaine s'attendaient à un album, ils auront eu droit à deux. Deux heures seulement après la sortie de son onzième opus intitulé "The Tortured Poets Department", Taylor Swift a révélé qu'il s'agissait en réalité d'un double album. 

"Tout est juste dans l'amour et la poésie... Le nouvel album THE TORTURED POETS DEPARTMENT (Le cercle des poètes torturés) est disponible maintenant", a-t-elle d'abord écrit sur Instagram. Avant de poster, deux heures plus tard : "C'est une surprise de  2 heures du matin: The Tortured Poets Department est un double album secret".

Voir cette publication sur Instagram Une publication partagée par Taylor Swift (@taylorswift)

"J'ai écrit beaucoup de poésie torturée ces deux dernières années et je voulais tout partager avec vous, donc voici la seconde partie de TTPD : The Anthology. 15 chansons supplémentaires. Et maintenant l'histoire ne m'appartient plus... elle est toute à vous", a-t-elle dit.

Collaboration avec Florence + The Machine

La star avait annoncé sa sortie en février lors de la cérémonie de remise des Grammy Awards, les prestigieuses récompenses américaines de la musique où elle a remporté pour la quatrième fois le trophée du meilleur album de l'année.

L'album contient des collaborations avec le groupe de rock britannique Florence + The Machine et le rappeur américain Post Malone, qui l'accompagne sur le premier morceau "Fortnight" ("Deux semaines").

"Je suis une très grande admiratrice de Post de par sa qualité d'auteur, ses expérimentations musicales et ces mélodies qu'il compose et qui restent dans votre tête pour toujours", a écrit jeudi la chanteuse sur Instagram.

"J'ai eu l'occasion de voir cette magie prendre vie quand nous avons travaillé ensemble sur 'Fortnight'", a-t-elle ajouté, annonçant la sortie d'un clip vidéo tard vendredi.

À 34 ans, Taylor Swift est devenue début 2024 la première artiste à devenir milliardaire grâce aux seuls revenus tirés de sa musique.

De nouvelles références à un ex-petit ami

Parmi les théories circulant sur ce nouvel album : "The Tortured Poets Department" s'épancherait sur l'ex de la chanteuse, l'acteur britannique Joe Alwyn. Le nom de l'opus serait tiré d'une discussion de groupe nommée "The Tortured Man Club" ("Le club de l'homme torturé") que le comédien tenait avec Paul Mescal et Andrew Scott, deux autres acteurs.

La liste des morceaux, 31 au total, donne quelques indices : "So Long, London" ("Au revoir Londres"), "I Can Fix Him (No Really I Can)" ("Je peux le changer, non vraiment je peux") et "The Smallest Man Who Ever Lived" ("L'homme le plus petit qui ait jamais existé") - un Anglais semble effectivement impliqué dans l'affaire.

Annonçant la sortie de l'album, Taylor Swift a écrit : "Une anthologie de nouvelles œuvres qui reflètent des événements, opinions et sentiments d'un moment fugace et fataliste - qui fut à la fois sensationnel et triste à parts égales. Cette période de la vie de l'auteure est maintenant finie".

Revenir, sans prendre de gants, sur ses anciens compagnons est devenu une tradition pour Taylor Swift.

Son actuel compagnon est la star du football américain Travis Kelce, récent victorieux du Super Bowl . Et pour lui, le nouvel album "est incroyable".

Avec sa nouvelle victoire aux Grammy en février , Taylor Swift a fait mieux que des légendes américaines comme Frank Sinatra, Paul Simon ou Stevie Wonder.

Près de 20 ans après s'être lancée, rien ne semble pouvoir l'arrêter.

Sa tournée mondiale, "Eras Tour", devrait engranger un total de deux milliards de dollars de recettes, après avoir déjà brisé l'année dernière le plafond symbolique du milliard - une première historique.

En Chine, ses fans ont pu participer à des séances d'écoute hors ligne du nouvel album dans plus de 30 villes. Sur Weibo, l'équivalent chinois de X, la célèbre chanteuse pop Jane Zhang a partagé un lien vers l'album en commentant : "Cet album est ma tasse de thé".

Trois semaines après Beyoncé

La native de Pennsylvanie écrit des chansons depuis son adolescence et fait ses débuts dans la capitale de la country, Nashville.

En s'éloignant progressivement de ce style si américain, elle grimpe dans les classements. En 2018, elle quitte le label Big Machine et rejoint Universal, sans les droits de ses précédents albums.

En réenregistrant ses premiers disques pour en reprendre le contrôle, elle réussit à convaincre ses fans et l'industrie musicale, un tour de force de plus pour cette artiste incontournable.

Avec 283 millions d'abonnés sur Instagram, elle est si influente au sein de la jeunesse américaine que le monde politique se prend à imaginer l'impact qu'elle pourrait avoir sur l'élection présidentielle de novembre.

Son nouvel album a atterri sur les plateformes trois semaines après celui d'une autre icône américaine : Beyoncé et son "Cowboy Carter". Ce nouvel opus aux riches influences country pourrait se glisser comme concurrent pour les prochains Grammy. Avec peut-être, aussi, le nouvel album d'une autre star : Billie Eilish sort "Hit Me Hard and Soft" le 17 mai.

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