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Cowboy Carter
Digital cover
Studio album by Beyoncé
Released	March 29, 2024 (2024-03-29)
Recorded	2020–2024
Studio	Los Angeles (APG, Dezert Flower, Electric Feel, Kings Landing West, Parkwood West, Record Plant, The Sound Factory, The Village, Westlake) Nashville (The Cave, East Iris, The Library) East Hampton, New York (The Trailer) Dolly P's Studio
Genre	Country western country-pop
Length	78:21
Label	Parkwood Columbia
Producer	Beyoncé 070 Shake BAH Jon Batiste Cadenza Cam Miley Cyrus D.A. Got That Dope Derek Dixie Dixson Ian Fitchuk Harry Edwards Shawn Everett Nathan Ferraro Ink Tyler Johnson Paul McCartney No I.D. Nova Wav Dave Hamelin Killa B Nick Kobe Mamii Simon Mårtensson Pharrell Williams Jack Ro Raphael Saadiq Sean Solymar Sounwave Swizz Beatz The-Dream Khirye Tyler
Beyoncé chronology
Renaissance (2022) Cowboy Carter (2024)
Singles from Cowboy Carter
"Texas Hold 'Em" Released: February 11, 2024 "16 Carriages" Released: February 11, 2024 "II Most Wanted" Released: March 29, 2024

Cowboy Carter (also referred to as Act II: Cowboy Carter) is the eighth studio album by American singer and songwriter Beyoncé, released on March 29, 2024, via Parkwood Entertainment and Columbia Records. The album is the second installment of Beyoncé's trilogy project, following Renaissance (2022). Beyoncé conceived Cowboy Carter as a journey through a reinvention of Americana, spotlighting the overlooked contributions of Black pioneers to American musical and cultural history.

Mostly labeled a country album, Cowboy Carter blends together diverse musical genres such as pop, hip hop, trap, psychedelic funk, blues, soul, rock, rock 'n' roll, opera, "Irish" jig and folk music, among others. Conceptually, the album is presented as a radio broadcast by a fictitious station called "KNTRY Radio Texas", with country singers Dolly Parton, Linda Martell and Willie Nelson acting as disc jockeys. The album's songs feature lesser-known country artists such as Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Shaboozey and Willie Jones. The music is driven by a range of acoustic instruments played by musicians including Stevie Wonder, Paul McCartney, Nile Rodgers, Jon Batiste and Rhiannon Giddens. Two co-lead singles—"Texas Hold 'Em" and "16 Carriages"—supported the album, with the former becoming the first country song by a black woman to top the Billboard Hot 100 and Hot Country Songs charts, respectively.

Cowboy Carter was met with universal acclaim upon release; critics felt that the album's genre experimentation, expansive scope and eclectic references aided an ambitious reimagining of Americana and country through the lens of its Black roots. The album also ignited discussions on Black musicians' place within country music, boosted the listenership of Black country artists and country radio in general, and increased the popularity of Western wear and culture.

Background and development

I grew up going to the Houston rodeo every year. It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs. One of my inspirations came from the overlooked history of the American Black cowboy. Many of them were originally called cowhands, who experienced great discrimination and were often forced to work with the worst, most temperamental horses. They took their talents and formed the Soul Circuit. Through time, these Black rodeos showcased incredible performers and helped us reclaim our place in western history and culture.

Beyoncé was born and raised in Houston, amid the city's cowboy heritage and country and zydeco music. She listened to country music from an early age, particularly because of her paternal grandfather; her family attended the Houston Livestock Show and Rodeo every year in western clothing. She performed at the Rodeo four times between 2001 and 2007, and has continued to celebrate her country and Southern roots throughout her career.

Beyoncé's first notable association with country music came in 2007, when she performed a bluegrass-inspired version of her hit "Irreplaceable" with country duo Sugarland at the American Music Awards. She first released an original country song in 2016: the track "Daddy Lessons" on her sixth studio album Lemonade. Beyoncé, together with the Chicks (who had previously covered the song), performed the track at the 50th Annual Country Music Association Awards on November 2, 2016. The performance was largely praised by critics and gave the Country Music Association Awards their highest viewership in history; however, it was also met with backlash, with some country music fans criticizing Beyoncé's attendance and claiming she did not belong in the genre. The Country Music Association deleted all promotional posts about Beyoncé's performance, which was seen as succumbing to the pressure in an attempt to prevent backlash against the organization.

This experience led to the creation of Cowboy Carter. Beyoncé said how it was made clear to her that she was not welcome in the country music space, but instead of letting the criticism force her out of the genre, it made her push past the limitations put on her. She delved into the history of country music and Western culture and researched its African-American roots. She studied "our rich musical archive" and learned from educators who had long advocated for a re-education on the black roots of country music. She also read that historically half of cowboys were black. "After understanding where the word 'cowboy' came from, I realized how much of the Black, brown and Native cowboy stories are missing in American history", she said. This was the inspiration for her 2021 "Ivy Park Rodeo" clothing collection. Following this research, Beyoncé decided that she wanted to reclaim Americana and country music from a Black perspective, according to stage designer Es Devlin. Collaborator Rhiannon Giddens said Beyoncé did not intend to create a typical crossover country album, but instead wanted to explore her family's roots through music. Beyoncé conceived the album as a redefinition of "what is Country and Americana, and who gets to be included", with the aim of dismantling accepted false norms about American culture and paying homage to Black musical pioneers.

Cowboy Carter was over five years in the making. Beyoncé began to write the album in 2019, then recorded during the COVID-19 pandemic, which she described as her most creative period. The album forms the second installment ("Act II") of a trilogy project that Beyoncé recorded during this period. The first act, Renaissance (2022), is primarily a house and disco record highlighting and celebrating the Black progenitors of dance music, leading some to believe that each album of the trilogy would aim to explore the Black roots of a different musical genre. Cowboy Carter was originally intended to be released before Renaissance but Beyoncé changed the order as a response to the pandemic.

Between 2020 and 2024, Dolly Parton said on multiple occasions that she would like Beyoncé to cover her song "Jolene". She first said that "nobody's ever had a really big hit record on " in a December 5, 2020, interview with The Big Issue. She said that even though "the song has been recorded worldwide over 400 times in lots of different languages, by lots of different bands, always hoped somebody might do someday, someone like Beyoncé." On March 10, 2022, when asked by Trevor Noah on The Daily Show about her 2020 statement, she said "I would just love to hear 'Jolene' done in just a big way, kind of like how Whitney did my 'I Will Always Love You', just someone that can take my little songs and make them like powerhouses. That would be a marvelous day in my life if she ever does do 'Jolene'." After publicly showing her support for Beyoncé's 2024 venture into country in February, on March 8, 2024, in an interview with Knox News for the 2024 season opening of Dollywood, Parton said "I think she's recorded 'Jolene' and I think it's probably gonna be on her country album, which I'm very excited about..."

Composition

The joy of creating music is that there are no rules. The more I see the world evolving the more I felt a deeper connection to purity. With artificial intelligence and digital filters and programming, I wanted to go back to real instruments, and I used very old ones. I didn't want some layers of instruments like strings, especially guitars, and organs perfectly in tune. I kept some songs raw and leaned into folk. All the sounds were so organic and human, everyday things like the wind, snaps and even the sound of birds and chickens, the sounds of nature.

— Beyoncé on Cowboy Carter

Beyoncé recorded around 100 songs for the album. Each song is its own reimagined version of a Western film. These include Five Fingers For Marseilles (2017), Urban Cowboy (1980), The Hateful Eight (2015), Space Cowboys (2000), The Harder They Fall (2021), Killers of the Flower Moon (2023), Thelma & Louise (1991), and O Brother, Where Art Thou? (2000).

Cowboy Carter is generally described as a country and Western album, and blends together various genres including blues, soul, rock, rhythm and blues, zydeco, folk, bluegrass, opera, go-go, flamenco, funk carioca, fado, classic rock, rap, pop, house and Jersey club. The album is presented as a broadcast by a fictional Texas radio station, with country singers Dolly Parton, Linda Martell and Willie Nelson acting as radio DJs. The album features rising country artists Tanner Adell, Brittney Spencer, Tiera Kennedy, Reyna Roberts, Shaboozey and Willie Jones, and also features contributions by musicians such as Stevie Wonder, Nile Rodgers, Raye, and Jon Batiste. The album is cyclical, with the final note looping seamlessly into the beginning of the first track (which begins "Nothing really ends") in the same manner as James Joyce's Finnegans Wake (1939), according to the The Washington Post's Shane O'Neill. The album features a range of acoustic instruments played by musicians including Stevie Wonder on harmonica, Paul McCartney and Nile Rodgers on guitar, and Rhiannon Giddens on banjo.

Promotion and release

Beyoncé originally intended to release Cowboy Carter as the first installment of her trilogy project, but explained that "with the pandemic, there was too much heaviness in the world", and so released Renaissance first, because " deserved to dance." The then-untitled album was first announced on February 11, 2024, during Super Bowl LVIII, when Verizon Communications aired a Super Bowl commercial, titled "Can't B Broken", in which Beyoncé tried to "break the Internet" through increasingly outlandish means, such as releasing a jazz saxophone record, performing on top of the Las Vegas Sphere, building an artificial intelligence (AI) version of herself, launching a "BarBey" (portmanteau of Barbie and Beyoncé) collection, announcing her candidacy for a fictional political position, and flying into space for a performance. After all of the ideas proved unsuccessful, Beyoncé concluded the commercial by remarking: "Okay, they ready. Drop the new music".

Following the broadcast, Beyoncé released a teaser video for Act II on Instagram. Directed by British artist and filmmaker Nadia Lee Cohen, the video pays homage to Paris, Texas (1984), references border blasters and features Chuck Berry's 1955 track "Maybellene". The same day, the singer's official website was updated to announce her eighth studio album, with the placeholder name Act II, scheduled for release on March 29. Subsequently, the album's two lead singles, "Texas Hold 'Em" and "16 Carriages", were simultaneously made available for digital download and streaming. On March 12, Beyoncé announced the album would be titled Cowboy Carter via a teaser poster of a western saddle with a sash. With this she listed album merchandise of limited-edition CDs with a bonus track, T-shirts, and vinyl variants in red, white, blue and standard black.

On March 19, 2024, Beyoncé revealed the album cover via Instagram, and said there would be "surprises" and collaborations on the album. On March 20, she revealed a limited edition exclusive cover, wearing a sash that reads "act ii BEYINCÉ", referencing her mother Tina's generational family surname. Taglines and film stills for the album were projected onto various museums in New York City. One of these was an unauthorized projection onto the Solomon R. Guggenheim Museum, who genially responded by posting Franz Marc's 1910 painting Three Horses Drinking with the Texas Hold 'Em-inspired caption "This ain't Texas". Beyoncé also posted co-ordinates to the museum on her Instagram story.

This album has been over five years in the making. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history. The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work. I hope that you can hear my heart and soul, and all the love and passion that I poured into every detail and every sound. I focused on this album as a continuation of RENAISSANCE…I hope this music is an experience, creating another journey where you can close your eyes, start from the beginning and never stop. This ain't a Country album. This is a "Beyoncé" album.

— Beyoncé via Instagram in March 2024

On March 27, Beyoncé posted a graphic to Instagram of the album's tracklist inspired by vintage posters from the Chitlin' Circuit era. It revealed collaborations with Dolly Parton and Willie Nelson, as well as a cover of the former's "Jolene", and "The Linda Martell Show". The latter song references Linda Martell, the first Black woman to achieve commercial success in the country genre.

The CD release comes in four variants, each with a different rear cover depicting Beyoncé, namely "Snake Face", "Bead Face", "Cowboy Hat" and "Blonde Hair". It was released in Japan on March 29 and will be released on April 12 in Europe. After the album's release, fans reported that their pre-ordered physical vinyl and CD copies were missing numerous tracks, with some asking for refunds.

Cover artwork

The Cowboy Carter album cover was shot by Blair Caldwell, a Los Angeles-based photographer who is from Texas. Much like the cover for Renaissance—which saw Beyoncé sitting atop a stationary disco ball horse—the Cowboy Carter artwork sees Beyoncé atop a gray horse at a gallop. She rides the horse while sitting sideways (historically, sidesaddle riding was associated with high-status women), dressed in red, white and blue clothing, wearing a cowboy hat and a sash reading "Cowboy Carter". She holds the horse's reins in one hand and a large American flag in the other. The imagery is reminiscent of rodeo queens, who often are asked to carry the American flag in a rodeo grand entry.

The album cover was a topic of discussion and dissection by critics. Francesca T Royster, professor at DePaul University and author of Black Country Music: Listening for Revolutions, wrote: "The aesthetic choice is bold and seems to be signaling the ways that Beyoncé is putting herself into conversations about nationalism, a theme very much central to discourses about country music, patriotism and authenticity, from the times of its origins." Critics suggested a variety of inspirations and allusions for the cover, including presidential portraits, Jacques-Louis David's Napoleon Crossing the Alps (1801–1805), Marina Abramović's The Hero (2001), Kehinde Wiley's Equestrian Portrait of King Philip II (Michael Jackson) (2009), the Bill Pickett Invitational Rodeo, and Eadweard Muybridge's The Horse in Motion (1878).

Critical reception

Professional ratings

Aggregate scores
Source	Rating
AnyDecentMusic?	8.4/10
Metacritic	91/100
Review scores
Source	Rating
AllMusic
The Daily Telegraph
The Guardian
HipHopDX	4.8/5
The Independent
The Irish Times
NME
Pitchfork	8.4/10
Rolling Stone
Slant

Cowboy Carter was met with universal critical acclaim upon release, with some describing it as a "masterpiece". Critics praised Beyoncé's blending of diverse musical genres and vocal performance, and described the album as both a grand political statement and a personal ode to Beyoncé's roots. On the review aggregator website Metacritic, the album received a weighted average score of 91 from 100 based on 19 reviews, indicating "universal acclaim".

Critics lauded Cowboy Carter as an exploration and reinvention of Americana, as well as a celebration of Black southern culture and its contribution to the country music genre. The Atlantic's Spencer Kornhaber and The Evening Standard's Gemma Samways noted that the album experiments with the touchstones and musical traditions of country and Americana in order to explore its Black cultural roots. Maria Sherman of the Associated Press wrote that the "eclectic" and "epic" album "redefines American style" and requires close examination of its references, themes and messages for full enjoyment. HipHopDX's Tai Saint-Louis described the album as a reclamation of both the "deep roots from which Beyoncé has crafted her artistry" and "the many branches that have sprouted from Black music in America". Variety's chief music critic Chris Willman characterized the album as a "piece of agitprop and socially significant performance art" that both reflects and impacts the history of Black music and country.

Critics commended the album for what they described as its ambitious experimentation with genre, with Beyoncé reimagining country music in her image. Neil McCormick of The Telegraph felt the album pushed the boundaries of genres and mixed diverse musical styles as a polemic against the conservatism of the country genre. Clash's Shahzaib Hussain characterized the album as an ethnomusicological study and oral history of Southern sub-genres, while The New York Times critic Ben Sisario described the album as a "broad essay" both on popular music and on genre as a concept. The Independent's Helen Brown and The Sydney Morning Herald's Robert Moran opined that Beyoncé's genre experimentation is in the service of celebrating the overlooked pioneers of country music while spotlighting up-and-coming Black musicians.

Many critics praised the album's "ambitious" scope and "cinematic" grandiosity, likening it to a Western epic. The Financial Times's Ludovic Hunter-Tilney compared the album to a blockbuster historical epic, with its "impressive, very American aura of importance" and "the sense that history is not only being told but also made". NPR's Sidney Madden equated each of the tracks to a "full-length film full of scenic grandeur, character and conflicts" that can be dissected and discussed. Sisario opined that the album in its entirety works as film, writing that Cowboy Carter is the central character in a narrative about tackling American cultural history. Some critics felt that the album would fare better if it were split by musical style. Petridis wrote that while the album may have worked better as a double-disc, "its wild lurches into eclecticism are the point" and demonstrates Beyoncé's "impressive" ability to "bend musical styles to her will".

Commercial performance

Upon release, Cowboy Carter broke streaming records on several platforms. It became the most-streamed album in a single day in 2024 on Spotify. It garnered over 76 million streams globally in its first day on the platform, making it the 6th highest first-day stream count for any female album and the highest for any album by a black woman. The album also marks the most first-day streams for a country album by a female artist in the history of Amazon Music.

Impact

Beyoncé preserves the best of country past and evolves us into a country future that we have never seen... It's such a full-circle moment for me that I almost want to cry. I wanted to see a Black woman get to the top of the charts, and now I can retire.

Cowboy Carter had a significant cultural impact, with Stevie Wonder and Variety's Chris Willman suggesting it may be the most-discussed album of the 21st century. Cowboy Carter marked a cultural shift for country music, sparking conversations on the definition and roots of country music and the inclusion of Black artists within the genre. CNN elaborated on how the album has aided a reclamation of black country identity, while CBS News suggested it made country music accessible to a wider audience.

BBC News' Daisy Woodward wrote that Beyoncé's embrace of country music "galvanises" the reclamation of western culture by those who have felt excluded by it and subverts the traditional image of cowboys. American author and country songwriter Alice Randall, in an interview for The Washington Post, opined that Beyoncé "is spotlighting and building on a profound tradition" which started with Modern Sounds in Country and Western Music by Ray Charles, stressing that " is going to take it even further if the things she's already done in country is any indication," even if Charles was not prized by the music genre at the time. NBC News's Emi Tuyetnhi Tran felt the album has potential to redefine what it means to be a country artist "in the cultural consciousness".

The album spotlighted Black musicians in the country music space and boosted their listenership. Linda Martell, who was the first commercially successful Black female country artist, saw a 127,430 per cent increase in streams of her music after featuring on the album. Other Black female country musicians also saw a significant increase in streams due to the album, such as Reyna Roberts (250 percent), Rissi Palmer (110 percent), Tanner Adell (188 percent) and K. Michelle (185 percent). Other musicians who saw an increase in demand include Adia Victoria, Amira Unplugged, Brittney Spencer, Mickey Guyton, Rhiannon Giddens, and Sacha. Black-led country organizations such as the Black Opry also received a significant increase in followers. According to NPR's Amanda Marie Martínez writes, the album revealed the "strong demand" for country music made by Black artists and a "growing community" of Black country fans. In The Nashville Tennessean, Andrea Williams opined that Beyoncé opened the door for others in country music, proving Black songwriters, producers, and musicians belong in the genre.

Sirius XM host Mike Muse told Good Morning America that the album is sparking a "global conversation" and "social discourse" on country music and increasing public interest in the genre. Beyoncé's country music will "open the floodgates" for other country musicians, according to BBC News. Roisin O'Connor, music editor at The Independent, said that the album is "a tipping point" for country music, spreading the genre to new audiences. Programmers in a number of country stations reported that the album increased the reception of their radio stations. Country musicians such as Dolly Parton, Maren Morris, Mickey Guyton, and Brandi Carlile complimented the album and Beyoncé's venture into country music.

Beyoncé's embrace of country music and culture further ignited fashion trends and boosted sales of Western wear. Google searches for "bolo tie", "cowboy hat", and "cowboy boots" surged following the announcement of the album.

Track listing

Notes

• "Smoke Hour / Willie Nelson" is stylized as "Smoke Hour ★ Willie Nelson".
• "Sweet / Honey / Buckiin' " is stylized as "Sweet ★ Honey ★ Buckiin' ".
• Initial vinyl pressings of the album do not include "Spaghettii", "Flamenco", "The Linda Martell Show", "Ya Ya" and "Oh Louisiana".
• Initial CD pressings of the album do not include "Spaghettii", "The Linda Martell Show", "Ya Ya" and "Oh Louisiana".
• "Riiverdance", "II Hands II Heaven" and "Tyrant" are longer on the CD edition than on the digital edition.
• indicates a co-producer
• indicates an additional producer
• indicates a primary and vocal producer
• indicates a vocal producer
• indicates an additional lyricist

Samples and interpolations

• "Ameriican Requiem"
  • contains excepts from "Heart of the City (Ain't No Love)", written by Shawn Carter, Michael Price, and Dan Walsh and performed by Jay-Z, as well as Jay-Z's performance of the song on MTV Unplugged.
  • contains an interpolation of "For What It's Worth," written by Stephen Stills and performed by Buffalo Springfield.
• "Blackbiird"
  • covers the 1968 Beatles song "Blackbird", and features a sample of the instrumental from the original 1968 master recording given with Paul McCartney's blessing.
• "Smoke Hour / Willie Nelson"
  • contains excerpts from "Laughing Yodel", written and performed by Charles Anderson.
  • contains excerpts from "Grinnin' in Your Face", written and performed by Son House.
  • contains excerpts from "Down by the River Side", written and performed by Sister Rosetta Tharpe.
  • contains excerpts from "Maybellene", written and performed by Chuck Berry.
  • contains excerpts from "Don't Let Go", written by Jesse Stone and performed by Roy Hamilton.
• "Jolene"
  • covers the 1973 Dolly Parton song of the same name, with new lyrics.
• "Daughter"
  • contains elements of Violin Concerto in D Major, Op. III No. 1: II. Adagio by Joseph Bologne, Chevalier de Saint-Georges.
  • contains an interpolation of the aria "Caro Mio Ben", written and composed by Tommaso Giordani and performed by Cecilia Bartoli.
• "Spaghettii"
  • features spoken word by Linda Martell.
  • contains a sample of "Aquecimento das Danadas", written and performed by O Mandrake.
• "II Most Wanted"
  • contains uncredited elements of "Landslide", written by Stevie Nicks and performed by Fleetwood Mac.
• "Ya Ya"
  • contains excerpts from "These Boots Are Made for Walkin'", written by Lee Hazlewood and performed by Nancy Sinatra.
  • contains interpolation from "Good Vibrations", written by Brian Wilson and Mike Love and performed by the Beach Boys.
• "Oh Louisiana"
  • contains excerpts from "Oh Louisiana", written and performed by Chuck Berry.
• "II Hands II Heaven"
  • contains an uncredited sample of the Underworld song "Born Slippy Nuxx", written by Rick Smith, Karl Hyde and Darren Emerson.
• "Sweet / Honey / Buckiin' "
  • contains interpolation from "I Fall to Pieces", written by Hank Cochran and Harlan Howard and performed by Patsy Cline.

Personnel

Musicians

• Beyoncé – lead vocals (all tracks), clapping (track 10), percussion (23)
• Khirye Tyler – bass (tracks 1, 2, 7, 20), percussion (1, 20–23), drums (1, 15, 20), synthesizer (1), strings (2, 18), violin (2), piano (7), guitar (15), horns (20), programming (26)
• Ink – vocals (track 1), guitar (2)
• Tanner Adell – vocals (tracks 1, 2)
• Raphael Saadiq – drums (tracks 1, 7); bass, piano (7, 8); organ (7), guitar (8, 20), keyboards (8)
• LaMarcus Eldridge – choir (tracks 1, 10, 11, 15, 27)
• Steve Epting – choir (tracks 1, 10, 11, 15, 27)
• Brooke Brewer – choir (tracks 1, 11, 15, 27)
• Camille Grigsby – choir (tracks 1, 11, 15, 27)
• Cedrit Leonard – choir (tracks 1, 11, 15, 27)
• Chelsea Miller – choir (tracks 1, 11, 15, 27)
• Donald Paige – choir (tracks 1, 11, 15, 27)
• Dwanna Orange – choir (tracks 1, 11, 15, 27)
• George Young – choir (tracks 1, 11, 15, 27)
• Jason Morales – choir (tracks 1, 11, 15, 27)
• Jenelle Dunkley – choir (tracks 1, 11, 15, 27)
• Jerome Wayne – choir (tracks 1, 11, 15, 27)
• Kiandra Richardson – choir (tracks 1, 11, 15, 27)
• Lakeisha Lewis – choir (tracks 1, 11, 15, 27)
• Mabvuto Carpenter – choir (tracks 1, 11, 15, 27)
• Naarai Jacobs – choir (tracks 1, 11, 15, 27)
• Nava Morris – choir (tracks 1, 11, 15, 27)
• Phylicia Hill – choir (tracks 1, 11, 15, 27)
• Princess Fortier – choir (tracks 1, 11, 15, 27)
• Storm Chapman – choir (tracks 1, 11, 15, 27)
• No I.D. – guitar, keyboards, sitar (track 1); drums (15)
• Dixson – drums, vocals (track 1)
• Jon Batiste – guitar, keyboards, sitar (track 1)
• Camaron Ochs – vocals (track 1)
• Lemar Carter – drums (tracks 2, 7, 8, 20)
• Brittney Spencer – vocals (track 2), background vocals (25)
• Reyna Roberts – vocals (track 2), background vocals (25)
• Tiera Kennedy – vocals (track 2), background vocals (25)
• Dave Hamelin – organ, synthesizer (tracks 2, 27); drums, guitar, piano (2); bass (15)
• Paul McCartney – guitar (track 2)
• Robert Randolph – steel guitar (track 3), pedal steel guitar (20)
• Justus West – guitar (track 3)
• Gavin Williams – organ (track 3)
• Justin Schipper – steel guitar (track 3)
• Ryan Svendsen – trumpet (track 3)
• Ryan Beatty – background vocals (tracks 4, 8, 15)
• Jack Rochon – guitar (tracks 4, 9, 10), bass (24)
• Gary Clark Jr. – guitar (tracks 4, 11, 22, 24)
• Rumi Carter – vocals (track 4)
• Willie Nelson – vocals (track 6)
• Rhiannon Giddens – banjo, viola (track 7)
• Killah B – drums (track 7)
• Elizabeth Lowell Boland – piano (track 7), background vocals (8)
• Nate Ferraro – guitar (tracks 7, 11), piano (7)
• Hit-Boy – synthesizer (track 7)
• The-Dream – drums (track 8), clapping (10), background vocals (20, 24, 25); bass, guitar, vocals (23); drum machine, percussion (24)
• Ross Garren – harmonica (tracks 8, 14, 15)
• Dolly Parton – spoken word (track 9), vocals (25)
• Denisia Andrews – vocals (track 9)
• Jack Siegal – guitar (tracks 10, 12–14)
• Caleb Curry – choir (track 10)
• Jaden Gray – choir (track 10)
• Jamal Moore – choir (track 10)
• Jerel Duren – choir (track 10)
• Kadeem Nichols – choir (track 10)
• Michael Shorts – choir (track 10)
• Dora Melissa Vargas – clapping (track 10)
• Jay-Z – clapping (track 10)
• Stevie Wonder – harmonica (track 10)
• Willie Jones – vocals (track 10)
• Simon Mårtensson – bass, drums, guitar (track 11)
• Rod Castro – guitar (track 11)
• Jeff Gitelman – harmonica (tracks 14, 15)
• Derek Dixie – conductor (track 15), synthesizer (27)
• Adrienne Woods – strings (track 15)
• Bianca McClure – strings (track 15)
• Chelsea Gwizdala – strings (track 15)
• Crystal Alforque – strings (track 15)
• Marta Honer – strings (track 15)
• Rhea Hosanny – strings (track 15)
• Stephanie Matthews – strings (track 15)
• Stephanie Yu – strings (track 15)
• Adam Granduciel – acoustic guitar, electric guitar (track 16)
• Justin Brown – acoustic guitar, drums (track 16)
• Sean Watkins – acoustic guitar (track 16)
• Pino Palladino – bass (track 16)
• Sara Watkins – fiddle (track 16)
• Jonathan Rado – organ, piano, synthesizer (track 16)
• Michael Pollack – organ (track 16)
• Matt Pynn – pedal steel guitar (track 16)
• Miley Cyrus – vocals (track 16)
• Post Malone – vocals (track 17)
• Nile Rodgers – guitar (track 17)
• Mamii – guitar (track 18)
• Johnny May – violin (track 18)
• Harry Edwards – guitar (track 20)
• Marcus Reddick – bass (track 22)
• Bah Christ – guitar (track 22)
• Péter Kovács – violin (track 25)
• Pharrell – vocals (track 26)
• Arnetta Johnson – brass (track 27)
• Christopher Gray – brass (track 27)
• Christopher Johnson – brass (track 27)
• Crystal Torres – brass (track 27)
• Gabrielle Garo – brass (track 27)
• Jesse McGinty – brass (track 27)
• Lemar Guillary – brass (track 27)
• Omar Edwards – organ (track 27)
• Tyler Johnson – organ (track 27)
• Ian Fitchuk – piano (track 27)

Technical

• Colin Leonard – mastering
• Stuart White – mixing (tracks 1–3, 5–16, 18–22, 27), recording (1–18, 20, 22, 24, 25)
• Tony Maserati – mixing (tracks 4, 18)
• Shawn Everett – mixing, recording (track 16)
• Jaycen Joshua – mixing (tracks 17, 23)
• Mike Seaberg – mixing (tracks 17, 23)
• Chris Godbey – mixing (track 25)
• Leslie Brathwaite – mixing (track 26)
• Andrea Roberts – engineering (all tracks), recording (1, 4)
• John Cranfield – engineering (tracks 1, 2, 4–6, 8, 10–17, 19–27), recording (26, 27)
• Henrique Andrade – engineering (track 2), recording (1, 8, 12, 26
• Kuk Harrell – engineering (track 25)
• Angelica "Jeli" Dorman – engineering (track 25), recording (1, 2)
• Dani Pampuri – recording (tracks 1, 4, 10, 11, 15, 18, 19, 22, 24, 27), engineering assistance (17)
• Lester Mendoza – recording (tracks 1, 15, 27)
• Hotae Alexander Jang – recording (tracks 3, 7, 8, 13, 15, 20)
• Dave Hamelin – recording (tracks 3, 14, 15, 24, 27)
• Jack Rochon – recording (track 4)
• Mamii – recording (tracks 5, 18)
• Alex Nibley – recording (track 7)
• Brandon Harding – recording (tracks 10, 17, 20–22, 25)
• Camaron Ochs – recording (track 11)
• Kyle Huffman – recording (tracks 11, 15, 27)
• Matheus Braz – recording (tracks 11, 12, 20, 24), editing (19), engineering assistance (all tracks)
• Nick Lobel – recording (tracks 11, 25)
• Steve Chadie – recording (track 14)
• Ian Gold – recording (track 16)
• Ivan Wayman – recording (track 16)
• Piéce Eatah – recording (track 16)
• Willie Linton – recording (track 17)
• Kristen Hilkert – recording (track 25)
• Mike Larson – recording (track 26)
• Konrad Snyder – recording (track 27)
• Tyler Johnson – recording (track 27)
• Khirye Tyler – editing (tracks 4, 11)
• Patrick Gardner – engineering assistance (tracks 1, 2, 4–6, 8–27)
• Conner McFarland – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Danforth Webster – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Garrett Duncan – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Jonathan Lopez Garcia – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Nick Sutton – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Terena Dawn – engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
• Gabriella Wayne – engineering assistance (track 4)
• Julia Norelli – engineering assistance (track 4)
• Najeeb Jones – engineering assistance (track 4)
• Cameron Hogan – engineering assistance (track 11)
• Chris Bhikoo – engineering assistance (tracks 17, 23)
• Jacob Richards – engineering assistance (tracks 17, 23)

Charts

Release history

See also

• 2024 in American music
• 2024 in country music
• African-American trail rides
• Black cowboys
• List of 2024 albums

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• 2024 albums
• Albums impacted by the COVID-19 pandemic
• Albums produced by Beyoncé
• Albums produced by Dave Hamelin
• Albums produced by Paul McCartney
• Albums produced by Pharrell Williams
• Albums produced by Raphael Saadiq
• Albums produced by Swizz Beatz
• Albums produced by The-Dream
• Beyoncé albums
• Columbia Records albums
• Parkwood Entertainment albums
• Sequel albums
• Country albums by American artists
• Country pop albums
• Pop albums by American artists
• Western music (North America) albums