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Job for a Cowboy is an American death metal band from Glendale, Arizona. Formed in 2003, the band's debut album Genesis was released in 2007, peaking at No. 54 on the US Billboard 200 and selling 13,000 copies in its first week of release. The second album, 2009's Ruination, sold 10,600 copies in the United States in its first week to debut at position No. 42 on the Billboard 200 chart. The band comprises vocalist Jonny Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos. They have not currently announced a permanent drummer since Jon Rice's one-off appearance in 2016. Davy is the only remaining founding member. The band has played in international music festivals, including Sounds of the Underground, Download Festival, Mayhem Festival, Summer Slaughter, Graspop Metal Meeting, and Wacken Open Air.

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Job for a Cowboy  

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If a night of pounding, soul-destroying, ear-abusing hardcore and death metal is what you’re craving, Job For A Cowboy deliver the goods. The young four-piece, hailing from Arizona, garnered a following in 2004’s Myspace era, with their impressive slayer of an EP, ‘Doom’. Within a couple of years the were signed, and released their debut ‘Genesis’, which sold nearly 13,000 copies in it’s first week- the highest chat rating for a metal album since Slipknot’s 1999 debut. Job For A Cowboy’s success has only grown, and their blast-beating blend of metalcore, death metal and all-out brutality makes them a real juicy treat to see live. I caught them last year at Underworld in Camden, London, headlining the epically dark and dangerous Bonecrusher Fest, and they played a frenzied, furious set. As a venue, Underworld, with it’s nostalgically grimy charm and lingering scent of cider & black, was a perfect choice for the festival, and Job For A cowboy were preceded by four hours of non-stop metalcore, from bands like As They Burn, War From A Harlot’s Mouth and the fantastically doom-inspiring Beneath The Massacre. JFAC’s vocalist and sole founding member Jonny Davy kept everyone’s attention with his incredibly varied screams, and bassist Nick Schendzielos’ furious onslaught on songs like ‘Entombment Of A Machine’ and their latest hit ‘Nourishment Through Bloodshed’ whipped the crowd into a rabid frenzy of moshpit-diving. If you want to see some real metal of the modern age, Job For A Cowboy are where it’s at.

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• Metal Blade TV

Job for a Cowboy Returns with “The Agony Seeping Storm” Video / Single

- August 29th, 2023 –

Band Prepares To Release First New Full-Length In A Decade Via Metal Blade Records In 2024!

Photo by Tom Couture

Listen/watch JOB FOR A COWBOY’s “The Agony Seeping Storm” video HERE .

Arizona death metallers JOB FOR A COWBOY return after a near decade long hiatus with their brand new single and accompanying video for “ The Agony Seeping Storm .” The track comes by way of the band’s first new full-length in a decade, set for release in 2024 via Metal Blade Records!

JOB FOR A COWBOY released their Sun Eater full-length in 2014. The record received an overwhelmingly positive response, with Decibel Magazine confessing, “ Fuck it, I can admit when I’m wrong… while I was busy pointedly not paying attention to them, these deathcore progenitors actually became a pretty damn good band .” In a 4.5/5 review, Alternative Press championed, “ a full-on progressive death metal band… the songs have progressive sweep and epic power, at times recalling Opeth’s heavier work ,” adding, “ Sun Eater is one of 2014′s best metal albums, period ,” while Metal Injection hailed an album, “ that will be a solid brick in the foundation of the death metal genre with no gimmicks or trends to back it up .”

Ten years later, the band returns with their most volatile work to date. The as-yet-untitled full-length is at once musically multifaceted, unabashedly brutal, and compellingly conceptual. First single, “ The Agony Seeping Storm ,” is a mathematically mind-blowing hybrid of bludgeoning death metal specializing in unconventional riffing that echoes the resemblance of legendary experimentalists like Cynic , Atheist , and Gorguts . A newly refreshed and reinspired lineup – vocalist Jonny Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos, and drummer (since 2020) Navene Koperweis – seamlessly pick up the mantle where Sun Eater left off.

Issues Davy, “ ‘The Agony Seeping Storm’ gives a slice of our upcoming concept record. Regarding the video, the band collaborated extensively with director K. Hunter Lumar (Digital Mile), while our bassist, Nick Schendzielos, co-directed. The concept was inspired by a close friend who embarked on a relentless quest for profound enlightenment through the incessant abuse of hallucinogenic drugs. However, as they delved deeper into their religious-like experimentation they began exhibiting symptoms of bipolar disorder and schizophrenia. They came to believe that they could access an alternate, esoteric reality through hallucinogenic intoxication, where they encountered gnostic and biblical figures and imagery.These songs reflect their thoughts, ideas, and experiences .”

Watch JOB FOR A COWBOY ‘s “ The Agony Seeping Storm ” video HERE .

Further info on JOB FOR A COWBOY ‘s new full-length will be revealed in the coming weeks. Stay alert!

JOB FOR A COWBOY ‘s official comeback show will take place at this year’s edition of Blue Ridge Rock Fest with additional live dates to be announced soon.

JOB FOR A COWBOY Live: 9/08/2023 Blue Ridge Rock Fest – Alton, VA

JOB FOR A COWBOY hails from Glendale, Arizona. Formed in 2003, the band’s debut album, Genesis , was released in 2007, peaking at #54 on the US Billboard 200 and selling 13,000 copies in its first week of release. The second album, 2009′s Ruination , sold 10,600 copies in the United States in its first week to debut at position #42 on the Billboard 200 chart! The band has been described by The New York Times as “ an Arizona band with a guttural, brute-force sound descended (indirectly) from hardcore punk ,” and a, “ straightforwardly brutal act ,” by Rolling Stone Magazine . The band has appeared on numerous music festivals both stateside and abroad, including Sounds Of The Underground , Download Festival , Mayhem Festival , Summer Slaughter , Graspop Metal Meeting , and Wacken Open Air , among others.

JOB FOR A COWBOY: Jonny Davy – vocals Al Glassman – guitar Nick Schendzielos – bass Tony Sannicandro – guitar

https://www.facebook.com/jobforacowboy https://www.instagram.com/jfacofficial https://www.twitter.com/jfacmetal

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Interview: Jonny Davy Celebrates Job For a Cowboy’s First New Album In 10 Years

D uring The Pit on Friday’s Loudwire Nights (Feb. 16), Job For a Cowboy vocalist Jonny Davy joined host Chuck Armstrong to celebrate the upcoming release of the band’s latest album, Moon Healer .

“There was a lot of questioning as to whether or not this would ever happen again,” Davy admitted about the new Job For a Cowboy release.

“I am very happy and stoked that the stars aligned between all of us and we could finally put out another record … People still seem to be interested — if I were to tell myself that when I was 15 years old at the inception of the band, it would be hard to imagine.”

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Moon Healer marks Job For a Cowboy’s first album since 2014’s Sun Eater and Davy is happy the band never officially went on a hiatus.

“We never announced a breakup. We never said, ‘Hey, Job For a Cowboy is officially done.’ We said, ‘Hey, let’s just leave the door cracked open, just in case. And I’m glad we did.'”

READ MORE: Entheos’ Chaney Crabb Says Fans Can Expect New Music in 2024

While some bands might find it difficult to regroup after 10 years to create new music, Davy said he and his bandmates always had the “itch.”

“It’s just hard to let it completely go away,” he said. “When we were touring, it was relentless. It was nonstop. With the writing, that’s something we enjoyed probably more than anything, so we had a lot of fun just getting back together, collaborating.”

What Else Did Job For a Cowboy’s Jonny Davy Discuss on Loudwire Nights?

・Why he is unsure about making Job For a Cowboy his 100-percent focus: “I’m torn on that. I think about it all the time … We have so many other things going on in our lives, in the background, so it just takes a while for us to all get on the same page.”

・What it was like getting back in the studio with his bandmates: “It was like riding a bike, man.”

・How drummer Navene Koperweis has fit in with the band: “Navene and I personally go very far back … I think he’s an extremely underrated drummer. I think he’s one of the most impressive drummers, not just in death metal, but as a whole.”

Listen to the Full Interview in the Podcast Player Below

Jonny Davy joined Loudwire Nights on Friday, Feb. 16; the show replays online here , and you can tune in live every weeknight at 7PM ET or on the Loudwire app ; you can also see if the show is available on your local radio station and listen to interviews on-demand . Stream songs from Moon Healer at this location .

Job For A Cowboy return with first single since 2014, share music video

Marking their return after nearly ten years, Job For A Cowboy , the technical death metal ensemble, has unveiled their inaugural track, "The Agony Seeping Storm." This release heralds the imminent arrival of their highly anticipated fifth studio album, which is set to be released through Metal Blade Records . 

Listen to the track below. A K. Hunter Lamar & Nick Schendzielos -directed music video will accompany the stand-alone will premiere at 11 AM Eastern.

The Arizona deathcore/progressive metal group is scheduled to perform in two weeks at Blue Ridge Rock Festival in Alton, VA on September 8th.

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Job for a Cowboy

Job for a cowboy concert setlists & tour dates, job for a cowboy at blue ridge rock festival 2023.

• Sun of Nihility
• Buried Monuments
• Unfurling a Darkened Gospel
• Eating the Visions of God
• The Agony Seeping Storm
• Entombment of a Machine
• Tarnished Gluttony
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Job for a Cowboy at The Warehouse, Richmond, VA, USA

Job for a cowboy at the modified ghost festival 2016.

• Children of Deceit
• Imperium Wolves
• The Stone Cross
• Constitutional Masturbation

Job for a Cowboy at Mayhem Festival 2013

Job for a cowboy at expo five, louisville, ky, usa.

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• Entombment of a Machine ( 137 )
• Knee Deep ( 133 )
• Constitutional Masturbation ( 132 )
• Embedded ( 114 )
• Unfurling a Darkened Gospel ( 107 )

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925 people have seen Job for a Cowboy live.

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JOB FOR A COWBOY Plays First Official Concert In 7 Years (Video)

JOB FOR A COWBOY, made their official return to the stage for the first time since 2016 this past Friday, September 8th, at the Blue Ridge Rock Festival in Alton, Virginia

Just one day prior to this comeback, they also played a discreet show at The Warehouse in Richmond, Virginia, under the pseudonym “ ABOVE GROUND POOL .”

During their electrifying performance at the Virginia International Raceway as part of the Blue Ridge festival lineup, JOB FOR A COWBOY welcomed Will Ramos from LORNA SHORE to join them on stage for a captivating rendition of their song “ Entombment Of A Machine .” For those eager to relive the experience, fan-captured videos from the Blue Ridge performance from The Warehouse show can be enjoyed below.

In the previous month, JOB FOR A COWBOY made a remarkable return, ending a nearly decade-long hiatus with the release of a fresh single and an accompanying music video titled “ The Agony Seeping Storm .” This track is slated to be featured on their forthcoming album, scheduled for a 2024 release through Metal Blade Records .

Hailing from Glendale, Arizona, JOB FOR A COWBOY initially formed in 2003. Their debut album, “ Genesis ,” saw the light of day in 2007 and achieved notable success, reaching No. 54 on the U.S. Billboard 200 chart and selling 13,000 copies within its first week of release. Following this triumph, their second album, “ Ruination ,” released in 2009, sold 10,600 copies in the United States during its debut week, securing position No. 42 on the Billboard 200 chart.

Critically, JOB FOR A COWBOY has been described as “an Arizona band with a guttural, brute-force sound descended (indirectly) from hardcore punk” by The New York Times , and Rolling Stone magazine has hailed them as a “straightforwardly brutal act.” Their impressive live presence has graced various music festivals, both within the United States and abroad, including prominent events such as Sounds Of The Underground, Download, Mayhem, Summer Slaughter, Graspop Metal Meeting , and Wacken Open Air .

JOB FOR A COWBOY’s setlist for Blue Ridge Rock Festival:

• Sun Of Nihility
• Buried Monuments
• Unfurling A Darkened Gospel
• Eating The Visions Of God
• The Agony Seeping Storm
• Entombment Of A Machine (with Will Ramos )
• Tarnished Gluttony

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Job for a cowboy finishing up recording their first album since 2014.

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Job For A Cowboy appears much, much closer to releasing new music

There is something metal fans have been waiting on for countless years, and that’s for Job For A Cowboy to return with new music. It’s been eight years since Job For A Cowboy released their last album Sun Eater , and after that, the band went silent. The members went on to focus on their personal lives and other endeavors and left the band in limbo. Thanks to an Instagram post from Audiohammer Studios owner Jason Suecof, we learned that bass has just finished the tracking process! Jason even went to tag the band’s official Instagram in the post. This new sparked an immense amount of joy and excitement in the metal community as this indicates that we will have new Job For A Cowboy music sooner rather than later!

View this post on Instagram A post shared by Jason Suecof (@jason_suecof)

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Job for a Cowboy Announce First New Album in 10 Years, Unveil “The Forever Rot”: Stream

Moon Healer arrives February 23rd via Metal Blade

Job for a Cowboy have announced their fist new album in nearly 10 years, Moon Healer , arriving February 23rd via Metal Blade Records. The LP’s closing track, “The Forever Rot,” can be streamed now.

Following a long hiatus, the technical death metal act recently returned with the single “The Agony Seeping Storm,” marking the group’s first new material since 2014’s Sun Eater (and nabbing our Heavy Song of the Week honor in the process).

Like that song, “The Forever Rot” is a winding piece with serious compositional might. The prog factor is upped quite a bit compared to the first single, with riffs connecting to one another in a semi-linear fashion. The band displays a keen sense of dynamics as it traverses these dense passages of guitar, and Jonny Davy’s vocals cut through all the while.

“On Moon Healer , we explore a concept centered around a close friend who embarked on a relentless quest for profound enlightenment through the incessant abuse of hallucinogenic drugs, leading to a severe disconnection from reality due to the toll it took on their mental health,” explained Davy of the LP’s central concept via a press release. “The song ‘The Forever Rot’ touches on their beliefs that human evolution and development have somehow led to the restriction of perceiving otherworldly or inter-dimensional realities and religious entities. It delves into their disconnection from the physical world and the notion that true vitality may be found in the ability to self-destruct and recreate. That some of the drugs they consumed opened these realities that evolution has closed the door on.”

Moon Healer was recorded in Sanford, Florida, with producer Jason Suecof (Death Angel, The Black Dahlia Murder, Deicide) at his Audiohammer Studios, reuniting Job for a Cowboy with the man who helmed the board for their 2014 opus Sun Eater .

“We’ve gone through this same ritual with Jason for a multitude of reasons,” Davy said via a press release. “But the most obvious one is that he’s a masterful songwriter, guitar player, and even vocalist. He has an ear for ideas that very few seemingly have. He totally understands where we’re coming from as a band.”

As for the lengthy hiatus, Davy explained that he had to “take a step back in the band for family.” A prolonged break from activity was agreed upon.

“It was the catalyst that eventually created a fork in the road for all of us,” he said. “We all drifted into our separate paths. Fatherhood, additional music projects, academic degrees, and careers outside the band took priority and life’s focus.”

Added Davy: “Everything lined up for us to collaborate on a new project together; it was time to cross the threshold for something new.”

You can pre-order Moon Healer via Metal Blade . Stream “The Forever Rot” and see the album art and tracklist below.

Moon Healer Artwork:

Moon Healer Tracklist: 01. Beyond The Chemical Doorway 02. Etched In Oblivion 03. Grinding Wheels Of Ophanim 04. The Sun Gave Me Ashes So I Sought Out The Moon 05. Into The Crystalline Crypts 06. A Sorrow-Filled Moon 07. The Agony Seeping Storm 08. The Forever Rot

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Job For A Cowboy Drop New LP Opener And Invite You ‘Beyond The Chemical Doorway’

Posted on January 31, 2024 by andrewkapper

Less than a month out from the first Job For A Cowboy album in a decade, the band have unleashed its opening track, ‘ Beyond The Chemical Doorway’ . As one of 2024’s most anticipated metal releases, Moon Healer sees the North American quintet pickup right from where they left off with 2014’s proggy and instrumentally dazzling Sun Eater – no coincidence in the similar titles too.

As one of the record’s more direct cuts, ‘ Beyond The Chemical Doorway ‘ is a perfect mood-setter for the rest of the album. With knotty riffing, complex bass lines and excellent playing from new drummer Navene Koperweis , the track brings the classic elements of the early 90s prog-death metal scene into the new age with fantastic production and an aggressive edge. Plus it also packs a very tasty guitar solo to both appease the shred-heads and add the cherry on top of an already killer single.

Lyrically the new song sets the scene for the rest of Moon Healer , as Jonny Davy growls and shrieks out tales of mind-altering experimentation, transcending reality and altered states of consciousness – a nice change from the usual blood n’ guts metal-fare.

With Moon Healer out on the 23rd of February via Metal Blade Records , and three preview tunes whetting metalhead’s appetites, Job For A Cowboy are certainly not resting on their laurels, and clearly making up for lost time on their soon-to-be-released fifth full length.

Words by  Andrew Kapper   @andrew_kapper

Stream ‘ Beyond the Chemical Doorway ‘  here

Pre-order  Moon Healer   here

Job For A Cowboy  –  Moon Healer   tracklisting

1. Beyond The Chemical Doorway 2. Etched Into Oblivion 3. Grinding Wheels of Ophanim 4. The Sun Gave Me Ashes So I Sought Out The Moon 5. Into The Crystalline Crypts 6. A Sorrow-Filled Moon 7. The Agony Seeping Storm 8. The Forever Rot

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• Entertainment
• Why Beyoncé Fans Are Asking Her to Hold Off on Announcing a <i>Cowboy Carter</i> Tour

Why Beyoncé Fans Are Asking Her to Hold Off on Announcing a Cowboy Carter Tour

R umors that Beyoncé will announce a tour to support her eighth studio album, Cowboy Carter , have been swirling online since the project came out last week. And though the singer has not announced plans for a tour as yet, the speculation has many fans already anticipating steep ticket prices.

“BRB gonna apply for a new credit card,” wrote one person on X in response to a post from a pop culture account that suggests Beyoncé will announce a tour on Friday. “I mean, we don’t have money, but we will be there,” wrote another. 

Beyoncé is rumored to announce her "COWBOY CARTER" tour on Friday. pic.twitter.com/6mQyZss0NQ — Pop Tingz (@ThePopTingz) March 31, 2024

https://t.co/cnkMzKudZI #actii pic.twitter.com/rAeLRieo6Y — BEYONCÉ LEGION 𐚁 (@BeyLegion) April 3, 2024

While there has been no official announcement of a new tour, the singer’s most followed fan accounts fueled rumors on Thursday by sharing a link on to a site called BeenCountry.com, which takes users to a page of photos of Beyoncé and one of her mother when she was younger with her maiden name, Celestine Beyince.

As rumors fly, fans are begging Beyoncé to hold off on announcing a tour, joking that they still need to financially recover from her last one. The Renaissance World Tour, which wrapped up in Oct. 2023 and was her first since the On The Run Tour II in 2018. According to Billboard , tickets for the Renaissance Tour ranged in price depending on the reseller. The average fan could expect to pay around $400 to $550, Billboard reported, with resale tickets for her Houston show going for as low as $279.

“NO TOUR UNTIL 2025,” one post said, and it was met with support from other commenters. “I ain’t going to the cowboy carter tour y'all,” another post says, “I thought I had more time. I thought I had more time.”

NO TOUR UNTIL 2025! NO TOUR UNTIL 2025! NO TOUR UNTIL 2025! NO TOUR UNTIL 2025! https://t.co/7Vm9aW1iL9 pic.twitter.com/kLXTT604JE — raymond (@Raymond_Miguel) April 3, 2024

Another person joked that they wouldn’t be able to eat real food because they knew the concert would be expensive. According to Billboard , the Renaissance Tour tickets ranged in price depending on the reseller. They report that the average fan could expect to pay around $400 to $550, with resale tickets for her Houston show going for as low as $279.

what i’m eating if beyoncé announce this tour https://t.co/CfI1Vm3XuG — 𐚁 onii 𐚁 (@__Onixivy_) April 4, 2024

cowboy carter tour becoming more and more likely pic.twitter.com/wOZSY89nYv — e! (@ethxooo) April 4, 2024

cowboy carter tour cuz half the fandom is broke pic.twitter.com/BX6qrQDmKo — 𝕯𝖆𝖒𝖎𝖊𝖓 (@6inchlena) April 4, 2024

Cowboy Carter Tour bc half of the hive is broke: pic.twitter.com/jkXwS7AjMJ — tyler carey 𓄋 (@mimiscatalog) April 4, 2024

I went to the renaissance, bought the merch, went to the movie premiere, bought more merch, bought cé nior, bought so much cécred, and cowboy carter merch. lmaoo sister hold that tour for a lil bit. — wh✩tney (@thewhitneyce) April 4, 2024

the beyhive praying for no tour is killing me 😭😭😭 — Bada$$ery 🪭 | fan account (@thebaddestbeys) April 3, 2024

The rumors of a new tour are still unfounded, but not impossible—although it would come faster than Beyoncé’s announcement for the Renaissance World Tour, which arrived several months after she released the album in 2022. It would not be unlike Beyoncé to have a few tricks up her sleeve, some that delight her fans—and some that throw them into a frenzy.

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Album review

On ‘The Tortured Poets Department,’ Taylor Swift Could Use an Editor

Over 16 songs (and a second LP), the pop superstar litigates her recent romances. But the themes, and familiar sonic backdrops, generate diminishing returns.

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By Lindsay Zoladz

If there has been a common thread — an invisible string, if you will — connecting the last few years of Taylor Swift’s output, it has been abundance.

Nearly 20 years into her career, Swift, 34, is more popular and prolific than ever, sating her ravenous fan base and expanding her cultural domination with a near-constant stream of music — five new albums plus four rerecorded ones since 2019 alone. Her last LP, “Midnights” from 2022, rolled out in multiple editions, each with its own extra songs and collectible covers. Her record-breaking Eras Tour is a three-and-a-half-hour marathon featuring 40-plus songs, including the revised 10-minute version of her lost-innocence ballad “All Too Well.” In this imperial era of her long reign, Swift has operated under the guiding principle that more is more.

What Swift reveals on her sprawling and often self-indulgent 11th LP, “The Tortured Poets Department,” is that this stretch of productivity and commercial success was also a tumultuous time for her, emotionally. “I can read your mind: ‘She’s having the time of her life,’” Swift sings on “I Can Do It With a Broken Heart,” a percolating track that evokes the glitter and adoration of the Eras Tour but admits, “All the pieces of me shattered as the crowd was chanting ‘more.’” And yet, that’s exactly what she continues to provide, announcing two hours after the release of “Poets” that — surprise! — there was a second “volume” of the album, “The Anthology,” featuring 15 additional, though largely superfluous, tracks.

Gone are the character studies and fictionalized narratives of Swift’s 2020 folk-pop albums “Folklore” and “Evermore.” The feverish “Tortured Poets Department” is a full-throated return to her specialty: autobiographical and sometimes spiteful tales of heartbreak, full of detailed, referential lyrics that her fans will delight in decoding.

Swift doesn’t name names, but she drops plenty of boldfaced clues about exiting a long-term cross-cultural relationship that has grown cold (the wrenching “So Long, London”), briefly taking up with a tattooed bad boy who raises the hackles of the more judgmental people in her life (the wild-eyed “But Daddy I Love Him”) and starting fresh with someone who makes her sing in — ahem — football metaphors (the weightless “The Alchemy”). The subject of the most headline-grabbing track on “The Anthology,” a fellow member of the Tortured Billionaires Club whom Swift reimagines as a high school bully, is right there in the title’s odd capitalization: “thanK you aIMee.”

At times, the album is a return to form. Its first two songs are potent reminders of how viscerally Swift can summon the flushed delirium of a doomed romance. The opener, “Fortnight,” a pulsing, synth-frosted duet with Post Malone, is chilly and controlled until lines like “I love you, it’s ruining my life” inspire the song to thaw and glow. Even better is the chatty, radiant title track , on which Swift’s voice glides across smooth keyboard arpeggios, self-deprecatingly comparing herself and her lover to more daring poets before concluding, “This ain’t the Chelsea Hotel, we’re modern idiots.” Many Swift songs get lost in dense thickets of their own vocabulary, but here the goofy particularity of the lyrics — chocolate bars, first-name nods to friends, a reference to the pop songwriter Charlie Puth ?! — is strangely humanizing.

For all its sprawl, though, “The Tortured Poets Department” is a curiously insular album, often cradled in the familiar, amniotic throb of Jack Antonoff’s production. ( Aaron Dessner of the National, who lends a more muted and organic sensibility to Swift’s sound, produced and helped write five tracks on the first album, and the majority of “The Anthology.”) Antonoff and Swift have been working together since he contributed to her blockbuster album “1989” from 2014, and he has become her most consistent collaborator. There is a sonic uniformity to much of “The Tortured Poets Department,” however — gauzy backdrops, gently thumping synths, drum machine rhythms that lock Swift into a clipped, chirping staccato — that suggests their partnership has become too comfortable and risks growing stale.

As the album goes on, Swift’s lyricism starts to feel unrestrained, imprecise and unnecessarily verbose. Breathless lines overflow and lead their melodies down circuitous paths. As they did on “Midnights,” internal rhymes multiply like recitations of dictionary pages: “Camera flashes, welcome bashes, get the matches, toss the ashes off the ledge,” she intones in a bouncy cadence on “Fresh Out the Slammer,” one of several songs that lean too heavily on rote prison metaphors. Narcotic imagery is another inspiration for some of Swift’s most trite and head-scratching writing: “Florida,” apparently, “is one hell of a drug.” If you say so!

That song , though, is one of the album’s best — a thunderous collaboration with the pop sorceress Florence Welch, who blows in like a gust of fresh air and allows Swift to harness a more theatrical and dynamic aesthetic. “Guilty as Sin?,” another lovely entry, is the rare Antonoff production that frames Swift’s voice not in rigid electronics but in a ’90s soft-rock atmosphere. On these tracks in particular, crisp Swiftian images emerge: an imagined lover’s “messy top-lip kiss,” 30-something friends who “all smell like weed or little babies.”

It would not be a Swift album without an overheated and disproportionately scaled revenge song, and there is a doozy here called “Who’s Afraid of Little Old Me?,” which bristles with indignation over a grand, booming palette. Given the enormous cultural power that Swift wields, and the fact that she has played dexterously with humor and irony elsewhere in her catalog, it’s surprising she doesn’t deliver this one with a (needed) wink.

Plenty of great artists are driven by feelings of being underestimated, and have had to find new targets for their ire once they become too successful to convincingly claim underdog status. Beyoncé, who has reached a similar moment in her career, has opted to look outward. On her recently released “Cowboy Carter,” she takes aim at the racist traditionalists lingering in the music industry and the idea of genre as a means of confinement or limitation.

Swift’s new project remains fixed on her internal world. The villains of “The Tortured Poets Department” are a few less famous exes and, on the unexpectedly venomous “But Daddy I Love Him,” the “wine moms” and “Sarahs and Hannahs in their Sunday best” who cluck their tongues at our narrator’s dating decisions. (Some might speculate that these are actually shots at her own fans.) “The Smallest Man Who Ever Lived” is probably the most satisfyingly vicious breakup song Swift has written since “All Too Well,” but it is predicated on a power imbalance that goes unquestioned. Is a clash between the smallest man and the biggest woman in the world a fair fight?

That’s a knotty question Swift might have been more keen to untangle on “Midnights,” an uneven LP that nonetheless found Swift asking deeper and more challenging questions about gender, power and adult womanhood than she does here. It is to the detriment of “The Tortured Poets Department” that a certain starry-eyed fascination with fairy tales has crept back into Swift’s lyricism. It is almost singularly focused on the salvation of romantic love; I tried to keep a tally of how many songs yearningly reference wedding rings and ran out of fingers. By the end, this perspective makes the album feel a bit hermetic, lacking the depth and taut structure of her best work.

Swift has been promoting this poetry-themed album with hand-typed lyrics, sponsored library installations and even an epilogue written in verse. A palpable love of language and a fascination with the ways words lock together in rhyme certainly courses through Swift’s writing. But poetry is not a marketing strategy or even an aesthetic — it’s a whole way of looking at the world and its language, turning them both upside down in search of new meanings and possibilities. It is also an art form in which, quite often and counter to the governing principle of Swift’s current empire, less is more.

Sylvia Plath once called poetry “a tyrannical discipline,” because the poet must “go so far and so fast in such a small space; you’ve got to burn away all the peripherals.” Great poets know how to condense, or at least how to edit. The sharpest moments of “The Tortured Poets Department” would be even more piercing in the absence of excess, but instead the clutter lingers, while Swift holds an unlit match.

Taylor Swift “The Tortured Poets Department” (Republic)

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history  by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?  

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex  at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence  to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .

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Beyoncé effect: Cowboy Carter album puts Levi’s on fashion hotlist

Influence of the ‘culture shaper’ is a potential goldmine for the jeans brand, but effect won’t last forever, say observers

“Denim on denim on denim on denim,” sings Beyoncé on Levii’s Jeans, one of the standout tracks of her new album, Cowboy Carter. And it appears fans are taking the statement to heart.

In the week after the album’s release, the clothing company Levi Strauss & Co noted a 20% rise in footfall at stores across the US and a 20% increase in its share price . In the UK, John Lewis report that searches for “women’s Levi’s jeans” were up 263% since the record was announced.

Beyoncé is also endorsing double – or, going by her lyrics, quadruple – denim. She posted an image on Instagram of her wearing a pair of jeans with denim shirt and a denim bag. The Instagram account @databutmakeitfashion, which covers consumer behaviour in relation to style, report that the mentions of double denim were up 14% on social media since Cowboy Carter’s release.

Double denim – sometimes known as the Canadian tuxedo – has long been a divisive look. It’s either seen as the epitome of bad taste or perfect cowboy style. It’s the latter that Beyoncé is leaning into. Lil Nas X, Lizzo and Harry Styles have also experimented with cowboy style, and Pharrell Williams’s latest collection for Louis Vuitton had a western theme. Cowboy-core, meanwhile, has become an aesthetic on TikTok.

Levi Strauss have embraced the megastar nod – temporarily changing its name on Instagram to Levii’s as a tribute. Speaking on a conference call last week, the chief executive, Michelle Gass, emphasised the brand’s position at the heart of culture. “I don’t think there’s any better evidence or proof point than having someone like Beyoncé, who is a culture shaper, to actually name a song after us,” she said.

Arguably, both the singer and the jeans are American classics. “Levi’s, the original Americana brand, feels like a natural fit” for Beyoncé to reference, said Sheena Butler-Young, a senior correspondent at the platform the Business of Fashion. “It … has just the right mix of classic and affordable – but not cheap.”

Natalie Dickson is the head of women’s luxury brand partnerships at Flannels, a retailer the singer collaborated with on the 2023’ Renaissance tour.

“Beyoncé has a really unique ability to influence trends with her work,” said Dickson. “Brands can really capitalise on riding the wave of Beyoncé’s influence – as we’re seeing with Levi’s at the moment.”

In Summer Renaissance, the last track on her 2022 album, Renaissance, the star took on handbags . “This Telfar bag imported,” she sings. “Birkins? Them shit’s in storage.” Vogue Business reported searches for Telfar on the resale site The RealReal jumped by 85% on the day the album was released.

Butler-Young warns that the Beyoncé effect will not last for ever for Levi’s. To continue “revenue success”, she said, a key task is to “excite and court younger shoppers with marketing and products, which Beyoncé certainly helps, and broaden its appeal beyond a singular staple. Beyoncé, in many ways, placed the proverbial ball in their court, it’s up to Levi’s to execute.”

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Will Beyoncé announce the 'Cowboy Carter' tour? Fans think she may be hitting the road again soon

• Beyoncé released her new album "Cowboy Carter" on Friday.
• Some fans think she's gearing up to tour again, though many say they don't have the funds to attend.
• The Renaissance World Tour wrapped last October in Kansas City. It was hailed as a must-see event.

Less than a year after the Renaissance World Tour wrapped, it might already be time for the Beyhive to dust off their boots and head back out to see Beyoncé live again.

The Renaissance World Tour was hailed as a once-in-a-lifetime event , a bona fide status symbol , and a blockbuster concert movie that awed audiences while near-singlehandedly boosting AMC's revenue . The 56-show run wrapped on October 1, 2023, in Kansas City.

On its heels, Beyoncé has released her new album " Cowboy Carter ." The triumphant country-inspired project is billed as "Act II" in a three-part "Renaissance" series.

So it would stand to reason — financially and thematically — that Beyoncé would plan another tour leg for "Cowboy Carter."

Her team seemed to hint that something is coming by launching a new website, " Been Country ." The landing page shows a photo of young Beyoncé performing at the Texas Sweetheart Pageant, as well as a childhood photo of her mother, Tina Knowles-Lawson , and an image of a banjo.

View this post on Instagram A post shared by Slayonce Avenue (@slayonce_avenue2)

A fan account on Instagram shared a rumor that the tour announcement is scheduled for Friday, exactly one week after the album's arrival. Knowles-Lawson liked the post, adding more fuel to the rumor's flame.

Beyoncé's longtime collaborator The-Dream, who produced 10 of the new album's 27 tracks, also alluded to a forthcoming tour. He celebrated the release of "Cowboy Carter" on X, writing, "This tour bout to B' Incredible!"

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Fans grabbed screenshots of The-Dream's post, though it has since been deleted.

'The-Dream' via Twitter: “This tour bout to B’ incredible!” The singer-songwriter is Beyoncé’s longtime friend, and worked on 10 songs on her new album #CowboyCarter . pic.twitter.com/KNHQOuqFI9 — COWBOY CARTER TOUR (@CowboyCarterWT) March 31, 2024

However, the six-month turnaround since Beyoncé's last concert does cast suspicion on these theories. Thanks to "Renaissance: A Film by Beyoncé," we know the Renaissance World Tour took four years to ideate and execute.

It's unclear if plans for a "Cowboy Carter" show were also in the works during that time, but if not, fans may have to wait a bit longer to watch Beyoncé perform. As she's already made clear, " A queen moves at her own pace ."

Even so, a delay may come as welcome news, even for dedicated members of the Beyhive.

Many fans have been posting about their lack of ticket funds on X, playfully begging Beyoncé to put off touring until next year.

- I don’t want https://t.co/QqyQduNfkr to be a tour because we https://t.co/icyUqbLR1L . pic.twitter.com/XZ5WHMUqyL — Rob Milton (@therobmilton) April 3, 2024

She can announce it for 2025 but in 2024 we are at capacity https://t.co/Gtg7f2jvSG — Antoinette “Asst (To The) Regional Manager” Childs (@TheFancyFriend) March 31, 2024

. @Beyonce keep the tour announcement for next year…I have trips planned for this summer pic.twitter.com/GPhRrW1GiF — Nicolas is happy (@niggaolas) April 3, 2024

what i’m eating if beyoncé announce this tour https://t.co/CfI1Vm3XuG — 𐚁 onii 𐚁 (@__Onixivy_) April 4, 2024

i'm begging beyoncé to tour in 2025 and not this summer pic.twitter.com/Nqw68434Bu — zae (@itszaeok) March 27, 2024

the whole fandom begging beyoncé not to announce a tour is HILARIOUS! we are BROKE DOWN pic.twitter.com/YXDFHuzELM — j. (@virgosgrooviest) March 27, 2024

Representatives for Beyoncé did not immediately respond to a request for comment from Business Insider.

This is a developing story. Check back for updates.

Watch: The Taylor Swift effect: How a pop star created her own economy

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