One of the most stunning aspects of the song is the way he nails those high notes at the end of some of the lines; absolutely beautiful and so full of emotion. Gossett’s talent as both a lyricist and musician really shines through, proving once again that he’s a poet in musician form. The lyrics feel intensely personal and relatable, touching on themes of growing up and still feeling juvenile, craving parental validation even as an adult. 

The line “the streetlights are turning on a little early, I don’t know if I should get home” struck a chord with me. It captures that feeling of uncertainty; wondering whether you still belong to your parents the way you used to, and whether the people who loved you when you were young still feel the same way. He also touches on the poignant contrast between childhood memories and the reality of adulthood, evoking a sense of nostalgia that’s comforting, but also a little heartbreaking. 

I had the chance to catch his free show at Omeara recently and let me tell you; this song does not disappoint live. If anything, the acoustic version was even more powerful and raw than the studio cut. Hearing it live for the first time, well, I’d be lying if I said it didn’t bring me to tears. There’s something about the stripped back arrangement and the way his voice resonates through the room that makes the emotion hit that much harder. It was one of those shows that’s going to stay with me forever. 

If you’re looking for a song that perfectly balances tenderness with a sense of longing, “Like I Do” is it. Dylan Gossett continues to prove that he’s more than just a talented musician. He’s a storyteller who knows how to make you feel every word. 

Overall, “Like I Do” is more than just a song; it’s a vulnerable confession wrapped up in a beautiful melody. Dylan Gossett’s ability to turn deeply personal experiences into universally relatable art is what sets him apart as a songwriter and musician. This track not only highlights his growth as an artist but also cements his place as one of the most promising voices of his generation. I can’t wait to see where this new direction takes him.

SCORE/Outstanding: If you want to feel like you’re in the back of your parent’s pickup truck in summer, looking through childhood photo albums, this song is for you. It’s a little sad, about wanting your parents to want you the same way they did when you were younger, but it’s not an inherently sad song. If you like bittersweet country music, check out this song!

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Hailing from Pound, VA, Brayden Mullins began his music journey at the age of 17 in his bedroom. He drew inspiration from a variety of artists, such as Keith Whitley, The Stanley Brothers, and James King. While bluegrass served as a major influence for Brayden, he also listened to artists like Pink Floyd, Korn, Alison Krauss, and Townes Van Zandt, to name a few. According to Brayden, the lyrics and stories behind songs are what makes music come alive.

In his last LP, Brayden aimed to captivate the minds and ears of his audience through his songs. He wanted his music to challenge listeners’ thinking and help them fully grasp the message behind the lyrics. Across the eight tracks of his last album, he effectively highlighted this concept with a vivid emotional palette.

While his style remains quite minimalistic, Brayden doesn’t necessarily reinvent the wheel; instead, he focuses on the storytelling aspect of his music.

So, without further introduction, let’s take a look at Brayden’s new single, “Virginia,” which hit the platform as soon as the calendar turned to 2025.

“Virginia” is a track that sits at the intersection of country music and introspective reflection. Brayden delivers a simplistic soundscape featuring just an acoustic guitar and a fiddle. From the first seconds, you can tell that Brayden has a storyteller’s voice and inflection, which may resonate with fans of the country genre. However, the track leans too heavily on its simplicity.

It feels a bit overstretched—Brayden’s delivery, which aims for emotional and lyrical impact, comes across as somewhat stale. The track doesn’t offer much dynamism, which is where it falls short. While the song showcases a solid structure, the passive yet emotional execution struggles to find balance. Instead, it demonstrates a heavy over-reliance on a slow-tempo, passive delivery.

The song feels somewhat dated. Its staleness makes it difficult to connect with on an exciting level. While the mix of drama and country instrumentation is expected, it comes across as a bit tacky and overused.

On the positive side, Brayden’s strength as a songwriter is evident. He has the potential to create songs that feel more inviting or emotionally resonant. However, “Virginia” misses the mark for me. While the instrumental is nice, as someone who listens to a lot of country music, the track feels too derivative.

Score/Mediocre: “Virginia” has its strengths, but for me, the negatives outweigh them. That said, I’m curious to see where Brayden takes his craft in his upcoming LP, and whether he’ll deliver a fresh emotional perspective.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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I’m sure almost all of us have heard a death ballad at least once in our lives. During the late 1950s and early 1960s, songs like “Last Kiss“, “Tell Laura I Love Her“, “Ebony Eyes“, “Dead Man’s Curve“, and “Leader of the Pack” set the standard for these scenarios. Here, Nashville Phil is going for something similar, delivering an affectionate yet melodramatic story. He draws hints from Marlon Brando and Lee Marvin in “The Wild One“, as well as the iconic Harley Davidson motorcycle ridden by the hell-bound womanizer, Jumpin’ Jim. With all these nods, the narrative easily unfolds with a sense of inevitability.

If you check out the music video for “Panhead Hydra Glide“, it immerses you further into the story. The groovy drums and rock base find a home within the country aesthetic. The death ballad vibe paired with an old-school American country instrumental—dynamic like a Harley Davidson on the road—works perfectly. Nashville Phil leans into the vibe with his charismatic delivery, giving you the feel of an old cowboy storyteller.

What I really like about the instrumental is how it sets the tone—you know exactly where this journey is heading, but you’re still hooked. The cheerful yet devilish accompaniment makes the narrative even more impactful and authentic. Nashville Phil’s delivery ties it all together, adding to the song’s charm.

The narrative itself is one of the strongest aspects of the track. While I wouldn’t call myself a huge fan of Phil’s execution in certain parts—especially the chorus—I can’t deny that his country-tinged delivery suits the song. His vocals don’t blow you away on the first listen, but they grow on you. With sharper mixing and mastering, this could have elevated things even further. That said, the overall execution is solid.

The aesthetic of this track really does it for me. It’s engaging, fresh, and pays homage to older ballads while maintaining its own identity. Nashville Phil’s performance, though not perfect, shapes the story in a way that feels genuine.

Score/Good: I feel good on this one. It gives you a great mix of storytelling, nice instrumental, and charisma on the same track. It is not something mind-blowing by any means but it definitely has its charm. I enjoyed this track. 

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Let me introduce you to this dynamic group if you’ve never heard of this band.

The Hot Mamas is a U.S. collective of six women wielding a junkyard bathtub of homemade instruments on roller skates. They’re known for their mesmerizing mix of folk, pop, and jazz, all with a touch of irreverent humor. Their music tells stories that resonate with audiences of all ages, drawing from their feminist experiences as hard-hustlin’ musicians. The Hot Mamas aim to create catchy melodies and lush harmonies paired with relatable lyrics. With their new single, the band slightly steps away from their standard comfort zone and dives into a quirky country sound, ready to share yet another story.

So, without further ado, let’s get into it:

“Ford Escort” is inspired by road adventures and real stories, landing in a vibrant place infused with a satirical country influence. On this track, the chemistry between the members shines as they clearly had fun during the creation process. The song begins dynamically yet remains simple, prioritizing the emotions over sonic complexity.

The track was born from lively conversations and the unexpected moments that arise during life on the road. You can hear this authenticity throughout, with snippets of live convos cleverly layered into the background. “Ford Escort” itself came to life after a storm canceled a tour show. Amidst the chaos and disappointment, Maria Leckey took her accordion, parading around while singing a chorus that sparked a creative process among the group.

The song captures the essence of their journey, filled with unforgettable characters and memories that resemble a goofy clown car—a perfect metaphor for the satirical sound. The country soundscape and humor immerse listeners into a vibrant, chaotic, and joyful adventure.

The Hot Mamas transport you to their unique party—packed with guests yet still cozy and welcoming. It’s a mix of chaos, joy, and the shared experiences we encounter on life’s adventures. The storytelling is paired with contagious group chemistry that enhances the listening experience, even if the song works better as part of their collective body of work than as a standalone hit.

While the cocky and light-hearted delivery is attractive, “Ford Escort” doesn’t bring much new after the second chorus. The track tends to stay in its initial lane, offering catchy hooks that linger but don’t progress. However, the song excels in aligning with The Hot Mamas’ signature blend of artistry and humor, making it a fun addition to their discography.

Score/Good: This song is solid. While it falters slightly in progression, the charismatic artistry of The Hot Mamas and their lively execution demand attention. Their music is less about complexity and more about atmosphere, with melodies and vibes that stick in your head and make you smile

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Not so long ago, the Long Island, New York-based band blessed us with another LP compilation, continuing the journey they began on their previous record, Passages. For those who may not be as familiar with the band, here’s a quick rundown of its members.

The main voice we usually hear on the tracks is Bob Sachnoff, who serves as both lead and backup vocalist. Then, we have Steve Ronsen, who takes on the roles of guitar, bass, drums, and keyboard, bolstering the music with lead and backup vocals, and finally, John Zynch, who primarily handles the keyboard. The band’s journey began long ago, with lead singer Bob as an integral member of bands like Black Horizon, OOIOO, Blank Stare, and Mercy Hit. Papa Satch also played on and produced the critically acclaimed album Actress, Doggin It. Before coming together, each member had already made a name for themselves, whether in production, like Steve Ronsen, or through John’s crucial involvement with keyboards, adding another layer to their sound.

With previous records like Passages and Tell Me in a Whisper, the band worked strongly to create an instant feel of good, bright energy, softened by elements that add to a well-rounded and well-mixed product. Morning Light not only continues this route of soft aesthetics but also delves into introspective moments on tracks like “Better Life” and “Meet Depressed.” While the album’s shiny, vibrant sound gets you going and immerses you in a feeling of comfort, it also distinguishes itself by how sincere and vulnerable it feels.

In my opinion, the album cover alone tells us a lot about what we can expect: a heightened sense of coziness and comfort, with songs that put you in a better place with ease. Here, we see these mild yellow and orange tones that showcase the vibrance and warmth.

Throughout the album, we hear a stronger country influence, where light chords take on upbeat instrumentals, combined with Papa Satch’s slightly raw vocals. I really appreciate how well-mixed and balanced the vocals are—they blend seamlessly with the overall sound, bolstering the album’s easygoing atmosphere.

One of the album’s strengths is how easy it is to get into. Whether it’s the intro track “It’s Been A While,” which has a laid-back, country-pop vibe that feels like relief and hope, or the more upbeat “Morning Light,” which continues the tale with catchy, prolonged vowels adding an extra layer of atmosphere, the album draws you in. Occasionally, we hear a twist on the usual country style, as with “It Was You,” which leans into a retro sound with instruments like maracas.

I genuinely enjoy this album, and I believe certain songs stand out as great standalone tracks that can even shine more outside the context of the full album. The record is cohesive and consistent, but it sometimes lacks that “kick.” Despite being short and catchy in places, some tracks just don’t feel as unique as you immerse yourself deeper into the record—they tend to blend into a cohesive whole.

Though the album’s brevity and sweetness are among its strengths, there are moments when you wish for a bit more—something that ventures beyond expectations.

Throughout the album, I sense the influence and blend of styles from bands and artists like Tom Petty, Bruce Springsteen, R.E.M., The Lumineers, and Neil Young. The laid-back, atmospheric sound mixed with catchy beats encapsulates what Morning Light has to offer.

Overall Score/Good. I like this album overall; it has a pleasant atmosphere that brings joy and happiness through out. For the next project, I’d love to hear the band develop a more defined, absolute sound. I recommend this record to lovers of country and pop-country music—I think you’ll enjoy it.

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Meet the tenacious and everlasting David Tucker.

If you’re unaware of who he is, he has already established somewhat of a name for himself in the world of country music. Hailing from Kentucky, this release marks a wonderful comeback from a turbulent and challenging period in his life, marked by the diagnosis of a rare autoimmune disease as well as a serious car accident that was almost fatal. Because of these excruciating events, he had to put his own lifeline, his music career on hold and he’s back with a vengeance through his music. This terrible period in his life left him with a newfound faith in himself and a dogged determination to give his all.

This release, self-titled, marks his debut EP. A whirlwind of emotions, including pride, mark the release as David himself had doubts that he’d ever get to this point of his life. The EP is also more than merely just releasing music, it is an auditory tapestry of opening up about his personal journey while giving listeners an authentic and intimate look into the highs and lows that he’s encountered throughout this phase of his life.

David Tucker is also praised for his skills in songwriting and as well as his prodigious multi-instrumental skills, landing him recognition from the likes of PEOPLE Magazine, CMT as well as American Songwriter.

The EP was also co-produced with longtime collaborator Jake Saghi and also features some of Saghi’s songwriting skills. Some of the songwriting credits can also be attributed to diverse individuals such as Nathan Chapman, Driver Williams and Francis Collins.

Tucker is quoted by stating that “My experiences have taught me that the toughest times in life can often give rise to the most powerful stories, and I believe this EP is full of them,” added Tucker. “From grief, love and heartbreak to tragedy and the pain of physical trauma, these are songs with themes that are relatable to so many. But they also offer a powerful reminder that inside all of us is a fiery resilience to overcome, and it’s my hope that anyone who is facing their own unique struggles will find inspiration in them.”

Upon the first few seconds of listening to this EP, it is quite clear that the motif of strength, wisery and experience truly graces the album. It is a body of work that stuns with a myriad of emotions, from sadness to strength. I can definitely sense Tucker’s skill for songwriting, as the compositional aspects of this EP is truly stunning. It’s no John Cage, but there’s a cohesiveness that I can definitely appreciate from the standpoint of the pop-country genre.

Actually, this EP goes beyond merely ‘pop-country’. It possesses cinematic aspects, as well as tinges of blues and ballads as well. Tucker’s earnest voice is complemented with the soothing croon of the background vocalists, embellishing each and every note that he utters. His vocal range is also pretty commendable, as he seamlessly glides between the highs and the lows- not just through his struggles and peaks, but also through the notes that he chooses. There is a vulnerability to his vocals, that is nicely balanced by the strength of the vocalists.

My personal favourite pick from this album is ‘Water It Down’, which is also the track that chronicles his horrible car accident and his rise from it. The whole journey plays itself out within the song, as notes of strength and rising up are uttered throughout the song- from the song structure to the mastering. It really does pack a punch, even for someone like me who usually would not gravitate to such a genre. When you have the ability to convert others into your own art form, that’s usually a sign of excellent artistry. There are also signs of cross-genre versatility within this album, through the slight Latin guitar flair of ‘Fighting Over Sheets’.

The other songs in the EP as just as powerful, as it blends aspects of hard rock with an otherwise harmonious instrumental to amp up the soul and the intensity of the track. I have to say, one of the most impressive aspects of this release is the mastering. It ties the whole EP together independently of the songwriting and the mere timbre of the instruments. It is so well-mastered that I think that this aspect truly helped the release to be universally appealing. The producers definitely had an eye, or shall I say, ear, for the way the instruments and vocal stems gel together. There’s a lot of reverb, echo and punchiness to balance each aspect up, making it where none of the tracks ‘fade into the background’. They really pop up like a three-dimensional musical world.

Overall, I think this release deserves praise. It is a very well-done body of work, with enough musical competency to appeal to both people who focus on instrumentals and people who tend to gravitate towards vocals. A wonderful job.

Score/Good: ‘David Tucker’ is a wonderful EP with a ferocity to it that marks the tenacity behind each and every track on the album. It also has splendid mastering, enough to draw anyone from any corner of their music preference to definitely stop and take a listen to the track. It also bears blissful, gliding vocals, gelling the whole body of work together to produce a competent body of work.

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Brayden Mullins is an artist with a storyteller’s narrative, singing stories about real life through struggle and strength. Hailing from the heart of Appalachia, he has a warm and broken voice, shaped with the timbre of self-awareness and wisdom beyond one year… and ears. In today’s review, he expands upon his niche in artistry with his newest single, ‘Ole River Bridge’.

The single opens with a warm and rustic welcome from the acoustic strings, accented with what I assume is a fiddle. It adds a golden flair to the song before Brayden’s familiar voice graces the track. His voice wails and weeps all in one, ending in almost a stylistic yodel at the end of each stanza. You can feel the raw emotion throughout his singing, as it almost ventures into a Blues segment at some aspect. Amid the self-aware and poignant story, the continued solo from the fiddle truly gives the song a cultural Appalachian touch. This song is simple, but there are nuances within the notes chosen and the intervallic structure of the track itself.

His voice, mastered to a crisp, cements itself as the star of the whole track: you’d have to experience it to feel it.

Just as his classic brand of simplicity continues on with the rest of his singles, I have to say once again that his songs need no further analysis or embellishment. It is pure human toil that propagates through the medium in which you’re listening, and you will feel like you’ve experienced the story and left with the heartstrings of the narrative itself.

Definitely an artist to keep an eye on.

Score/Good: ‘Ole River Bridge’ once again delivers on Brayden Mullins’ niche: simplicity with a cultural and personal authentic touch. There is no room to misinterpret the track or his artistic intent. It is direct and simply palpable.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Brayden Mullins is a singer and songwriter from Wise County, Virginia. The area birthed artists such as The Stanley Brothers and Jim & Jesse. Mullins also has roots in bluegrass and country music, modeling his compositions after that influence.

Mullins’ love for music is also influenced by artists like Keith Whitley, Dr. Ralph Stanley, and Larry Sparks. These artists paved the way for his musical style. He has a deep passion for expressing honest feelings and thoughts portrayed through storytelling that is aimed toward everyday life for the average person. This would make it so that his songs are pretty much relatable to most people, making it hard to ignore or dislike.

To finish the tapestry of what influences Mullins, he enjoyed exploring the woods with his siblings and figuring out life as it went on. He also has a deep passion for Jesus Christ and attempts to reflect that by sharing stories of times when he was on the other side of the light.

Without any further elaboration, let’s check out his latest single, titled ‘Unfamiliar Writings’.

The song starts off with earnest and hard-hitting strumming from the guitars, before being supplemented by a homely-sounding string instrument, typical of bluegrass and country music. Brayden’s voice has a clean and soulful tone, almost ending in a distant yodel towards the end. His voice remains steady and in tune throughout the phrases he sings, giving a strong direction to the almost minimalist yet stark instrumentation in the background. The notes used are definitely within the minor scale, with the string instrument giving sparks of ornamentation and musical variability to the track.

He sings like a distinct storyteller, taking you through the dark yet real story he unravels within the span of the song. The theme of the song is stylistically dark, but Brayden has a way of drawing you in like an artistic and cinematic take on an unfortunate case. The cadence of the song matches the verses of the song pretty well.

The instruments are mastered quite well, and I quite like Brayden’s voice as an instrument to unravel. You will definitely be glued to the track as it goes on, waiting for the end. I typically prefer more ornate instrumentals, but I completely understand the artistic choices in this particular track: the story has to be told, and the story has to be heard. The quality and EQ’ing of the track is also pretty excellent, with everything panned quite well.

Overall, this was a stark yet great introduction to Brayden Mullins’ artistry. I think the honesty of his artistry will definitely appeal to anyone who chances upon his tracks, regardless of what background in music you hail from. An earnest and distinct storyteller, the draws in the ends of his voice will keep you hanging as if you were reading a novel- just in the form of heartfelt music.

Score/Good: ‘Unfamiliar Writings’ is a captivating track that takes you to the depths of reality with a down-to-earth and distinctly authentic tone. It’s a song that everyone can appreciate, and relate to in one way or another, through the earnestness of the singer’s vocals.

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However, I thought there were still a few misses, but it was still much better than what we’re getting out of the country scene in the 21st Century. Needless to say, I was looking forward to what the Oklahoman was going to offer us not even a year after dropping an album and a EP.

Let’s get into it!

Like the last album, we start off with the spoken-word track “Lucky Enough (Poem)”. A criticism I’ve had towards Bryan’s fan base is that they make him out to be some sort of deep lyrical genius who has so much to say, quite similar to J. Cole’s fan base. While I don’t think he’s a bad lyricist (more on that later), I was never bought into it as many others seem to be. The same will apply to this track, which I think is far weaker than the first track of the self-titled, which I liked very much. Sure, the music and the meaning are nice, but I found it the lyricism and rhymes schemes to be very weak.

The next track, “Mechanical Bull”, can be paired with the title-track that comes right after it. I find both of these songs to be a slower burn than the first, which already sets this album at a very slow pace. The two tracks just sounds like B-sides off the last album, which does have that raw production, but it definitely felt wanting by the end of it. At this point, I was starting to get concerned, speculating that The Great American Bar Scene was going to be a repeat of what we already heard, and a more boring one at that.

However, the next track helped me start to throw those worries away.

“28” is a really nice and heartful track, which is a pattern on this album. Did it sound familiar (and a tad bit generic)? Yes, but the song has a really nice chorus and melody to it. It was short, catchy, and straight to the point. “American Nights” is similar, but in the way that both songs represent different types of sounds that Bryan is experimenting with. However, “American Nights” is a bit more of a rocker, a contrast in energy to what we have been listening to thus far.

“Oak Island” has Bryan going on a roll, with this being one of the best of this album (and possibly my personal favorite). I really love the addition of the trumpet, adding to the intensity of the song in a Zach Bryan kind of way (don’t bother asking for an explanation). “Purple Gas”, featuring nice vocals from Noeline Hoffman, is a sweet and soothing track, with not much else to ask for.

The first half of the album closes out well, even though “Boons” was a snoozefest with an irritating chorus. However, it’s hard to ignore songs like “The Way Back” and especially “Memphis; The Blues”, which features fantastic guitar work and John Moreland, who I thought outshined Zach with his performance.

The second half starts off stronger than the first with a track that has become one of my favorites, “Like Ida”. This song has a nice old-fashioned melody and good story telling, along with slide guitar done right (take note, Morgan). It’s followed by “Bass Boat”, which has an interesting piano section and an intriguing melody. It was also during this song where I started to wonder if I should take back all the things I’ve said regarding Bryan’s lyrical talent.

Needless to say, I did.

The next two tracks continue the pattern of Zach Bryan diversifying his sound, starting with “Better Days”. This might be the grooviest song we’ll ever hear from Bryan, and it caught me by surprise to say the least. Overall, the guitar work was pretty good and did the job well. “Towers” is a track with obvious gospel influences on it, which I believe to be a nod to the religious themes that Zach usually calls back to. I’ll admit that the track started off a little slow, but really picked towards the middle all the way to the end.

“Sandpaper”, featuring the legendary Bruce Springsteen, was a track I was looking forward to, but not for any good reason. I really wanted to see what this old boomer had to add, and why Bryan would even want to invite him in the first place. Unfortunately, my foresight was accurate once more. Don’t get me wrong, from a musical perspective, this song was far from being bad, actually featuring one of the more colorful instrumentals. However, Springsteen did not shine whatsoever, with his voice and Bryan’s style mixing together like oil and water.

I’ll have to admit that the last four tracks off this record were not the strongest, with it sounding as if Zach Bryan was running out of breath. “Northern Thunder” is the best song out of this whole section, though it has a bit of slow start. “Funny Man” is a song I want to love, with its wonderful and heartful meaning behind it, but the chorus might be the worst thing on this album, feeling like a rip-off of “Come and Get Your Love” by Redbone. “Pink Skies”, the hit single off the album, is honestly my least favorite track off the album. Don’t get it twisted, it’s not a bad song and I really appreciate the story-telling behind it, but I found the melody and the instrumentation to be very lackluster. The final track, “Bathwater”, was admittedly generic, but it’s very nostalgic and short enough to where I can let it slide.

SCORE/Excellent: I will say that while I prefer the raw production of Zach Bryan’s self-titled album, I like The Great American Bar Scene a little more. Sure, it didn’t have what attracted me to Bryan’s music in the first place, but it did offer me a lot more to enjoy. Most of the criticisms I have about the last album were essentially wiped away with this one. Bryan’s vocals has drastically improved here, along with his lyricism and story telling. Not to mention that the features on this album were all good (except Springsteen’s), which was a big part of what I disliked about the last record. I really look forward to see where Zach Bryan’s career goes from here, though it looks like it’s not going to stop rising any time soon. The country music genre is admittedly in a weird place right now, with several key figures wanting to take the genre in different directions. I feel like Zach Bryan offers a level of stability, with his music offering no eccentricities, just speaking the unadulterated thoughts of a man’s heart. Sure, this Oklahoman didn’t have a lot going on in his life, but he sure does have a story or two to tell.

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Starting with the intro song, AMERIICAN REQUIEM, Beyoncé immediately addresses the driving forces that inspired her to create this album and choose this particular sound, a departure from her entire discography. Citing in an Instagram post in March 2024, Beyoncé revealed that the creation of this album took over five years to make and was inspired by an experience she had years ago where she did not feel welcome and faced criticism when first entering the country genre. She is most likely citing back to her performance of “Daddy Lessons” at the Country Music Awards in 2016 in which she received backlash from country fans who found issues with her lack of country credit and liberal-leaning political undertones.

With this criticism, Beyoncé wanted to challenge herself and her limitations of herself to release an album that not only blended genres together but pushed the boundaries of the societal expectations placed on her within the music industry. With this intro song, Beyoncé clearly states her roots in Louisiana, her frustration with past criticism stating she sounded too country in old interviews and now facing criticism for not being country enough.

This intro perfectly establishes the intention behind her album, the motivation factor, and her feelings about it, and showcases in the production, lyrics, performance, and execution that she is not taking this on lightly and has instead taken the time to make a carefully curated listening experience.

The album then finds Beyoncé giving her rendition for the first of two covers within the album with “Blackbird”, originally written by Paul McCartney and performed by the Beatles, and later with her own re-working of Dolly Parton’s smash hit, “Jolene”. Between the two covers, Beyoncé excels above and beyond with her rendition of JOLENE as she re-works some of the lyricism of the original from the singer begging Jolene to not steal her man to Beyoncé threatening and defending her man and their life with a flourishing of attitude, confidence, and assertiveness that breathes fresh and modern air to the dated original.

With Dolly Parton herself included on the project twice, once in an interlude and a second time in the track TYRANT, Beyoncé includes an impressive roster of country superstars that give their blessing, essentially, to Beyoncé’s intentions behind this album with endorsements from Willie Nelson, Linda Martell, and Dolly Parton herself.

The incorporation of these particular country stars is intentional as Linda Martell was considered to be the first commercially successful Black Female country star in the 1970s despite facing discrimination throughout her career and Willie Nelson facing backlash for his Outlaw Country genre that protested the imposition of the Nashville sound. Beyond the classic country superstars, Beyoncé also includes features of modern artists who have leaned into the genre fusion of country inspired songs with Miley Cyrus and Post Malone who both lean into the country theme of the album.

As the album progresses, it becomes more and more evident that the project is very much to prove a creative point about creative license and expression as Beyoncé takes that time to not make a mockery of the genre or offer a cheap imitation but, instead, to make an album that truly does challenge her to infuse her style, attitude, and brand to a genre she hasn’t explored yet. With lyricism revolving around her life, grind, and work to reach the status she has obtained along with social commentary, romantic/dedicated love, and fun, nonsensical lyricism akin to the country scope, Beyoncé is most successful in her thematics when coming from a meaningful and grounded foundation such as in her song PROTECTOR featuring some vocals from her daughter, Rumi Carter. While each song is so uniquely different and pulls in sounds of Americana, Folk, Pop, Country, Trap, and Singer-Songwriter, there remains a cohesive feel to the album despite its 27-song track list with a runtime of 1 hour and 18 minutes. Listening to COWBOY CARTER from start to finish feels more like an experience than just another album, a rarity for releases of this magnitude from an industry superstar especially.

With this jam-packed album full of various styles, themes, deliveries, and twists and turns, this album isn’t going to be an easy/accessible listen for everyone BUT, this release isn’t going to be as limiting of a release as many people might expect it to be thanks to the unique, fresh, and surprising creative risks Beyoncé and her team made for the album.

COWBOY CARTER is an ambitious project and a huge risk for Beyoncé and her brand in many ways especially given that this is a stark departure from RENAISSANCE, an album met with much success that played within the scope of her discography. While not every song is outstanding or even excellent, it is not due to lack of effort or execution but down to a matter of taste and personal preference. While there are some lulls in the album, for a project of this size, there are surprisingly few and they are far in between.

Even in the face of a potentially dull moment, Beyoncé’s vocal performance which finds her singing, rapping, and even giving an opera-like performance more than saves the day as this album sees her giving her usual powerhouse performance her fans are accustomed to. While some of the features don’t mesh as well with her deliberate choices in the album, the addition of the features feels more fan-service and symbolic than practical for the most part.

Rating/Good – ‘COWBOY CARTER’ is Beyoncé’s most ambitious project to date that is full of creative risks that mostly payoff. Her fresh take on the tropes of the genre, sound, expectation vs reality, and effort makes this release one of her most iconic albums in her entire discography. While objectively, there are some lulls in the album, some songs that don’t particularly land, and a dash of being a bit try hard at times, there is more than enough good about the album to look past these shortcomings. While this album has the potential to be divisive amongst fans of Beyoncé and the genre, as time progresses and her final act in the trilogy comes out, I foresee people warming to the release and finding this album to be a classic down the line. For an album with such a creative point and yet no point at all, there is a lot or very little to take from this project that will vary from person to person depending on what they are looking for but overall, the effort, execution, and care is there start to finish.

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