The latest in pop-culture news, recaps, and reviews, plus close reads, profiles, interviews, and more from Vulture.com. [Brand Logo]( album review
[The Unspoken Country History of Beyoncéâs âCowboy Carterâ](
The record chronicles an artist with a voice pliable enough (and a following large enough) to crash whatever scene she pleases.
Photo: Blair Caldwell A trebly radio ambles across stations, surveying Charles Andersonâs âLaughing Yodelâ, Son Houseâs âGrinninâ in Your Faceâ, [Sister Rosetta Tharpeâs]( âDown by the Riverside,â Chuck Berryâs âMaybellene,â and Roy Hamiltonâs âDonât Let Go,â finally pausing for the Lone Star drawl of Willie Nelson, spliff ablaze, reading out a call sign: âWelcome to the Smoke Hour on KNTRY Radio Texas.â The sixth song on Beyoncéâs eighth studio album, Cowboy Carter, is a curt history lesson nestled in a massive song cycle with an undeniable rallying cry. After she [performed with the Chicks]( at the 2016 Country Music Association Awards, fusing Lemonadeâs âDaddy Lessonsâ with the Dallas trioâs rendition of bluegrass vet Darrell Scottâs âLong Time Gone,â she experienced hateful [backlash]( from racist traditionalists. âSmoke Hourâ practically screams âWeâve always been hereâ to those detractors. Itâs a sister to Solange singing â[Almeda](â â âBlack skin, black braids / Black waves, black days / Black baes, black things / These are Black-owned things!â â to a white man in the front row at one of her shows. With Cowboy Carter, the second act of a trilogy that paid homage to Black queer innovators in electronic music on Renaissance, Beyoncé sends a message to Nashville: Country music must make room for all of the people creating and consuming it. [read more]( Devour pop culture with us. [Subscribe now]( to save over 40% on unlimited access to Vulture and everything New York. The Latest TV Recaps ⢠Curb Your Enthusiasm: [No Happy Ending](
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