#blkgrlmgclwyr – blog

If Beyoncé doesn’t win Album of the Year for Cowboy Carter, then what are we even doing here? What’s the point of these awards if the Queen, herself is still getting snubbed? This is the album that proves Beyoncé is not just one of the greatest entertainers of our time, but also an artist who continually refuses to be put into any box—and frankly, that’s a problem for the powers that be. Through analyzing some of my favorite songs from the album, I explain why Cowboy Carter is not only deserving of the win but is the most revolutionary country album we’ve seen in years.

First off, 16 Carriages, a track that feels like a direct reflection of Beyoncé’s own journey. 16 Carriages is about a young, talented Black girl who’s forced to grow up too fast, all while under the harsh scrutiny of the public eye. She’s thrust into a world where she has to perform and be perfect, even though she’s just trying to figure herself out. This song is Beyoncé’s story. From a young age, she was thrust into the limelight, forced to navigate the pressures of fame, scrutiny, and expectation—all while trying to maintain her sense of self. 16 Carriages taps into that bittersweet reality of being both blessed with talent and burdened by the world’s gaze. It’s the complexity of growing up too fast and losing innocence in the process, a theme that has echoed throughout Beyoncé’s own life.

Let’s talk about my favorite song on the album Alligator Tears—a song that I listen to daily. I know I’m not alone in this because Alligator Tears is that track that stays with you, it hits different each time you hear it. If you’ve ever been in a relationship where you felt emotionally manipulated, like you’re caught in someone else’s narrative, this song is for you. And when Beyoncé sings, “You say change religion, now I spend Sundays with you,” it resonates on such a deeper level. That line? It’s a direct reflection of the relationship between Black women and the U.S. itself. It’s about being forced into systems and ideologies that never had our well-being at heart, and yet we still show up, still give so much of ourselves. Beyoncé masterfully ties the personal and the political here—only she could do that, with such grace.

Then we get to Blackbird, a song that’s chillingly timely and perfectly executed. Originally written by Paul McCartney for Black people, but when it’s sung by Beyoncé—a Black woman—it takes on an entirely new meaning. The haunting melancholy lyrics, combined with Beyoncé’s ability to make you feel every word, gives the song a life force of its own. In these hostile political times, we need songs that remind us of our strength, our survival, and the beauty of our Blackness—and Blackbird does just that. Her rendition isn’t just a cover; it’s a reclamation. If you’ve heard it, you know the weight it carries.

Just for Fun is a country track that honestly made me cry more times than I care to admit. This is a song for the soul’s healing. As I’ve driven through the streets of Los Angeles, aching from some emotional wound or another, Just for Fun has been the balm I didn’t know I needed. Beyoncé knows how to hit you in places you didn’t even know were hurting. It’s a song about acceptance, release, healing, and finding joy even when things are broken. There’s no other country song out there right now that’s doing that for Black people in quite the same way.

Next up: Levii’s Jeans. Now, this song? This one’s pure magic. It’s that playful, sexy energy that makes you want to grab your loved one. It’s got the same cheeky, flirty vibe as Afternoon Delight, but with a twist only Beyoncé could give it. It’s sexy, it’s fun, and it captures that deep, magnetic energy that’s a hallmark of Beyoncé’s artistry. And here’s the kicker: this song is about chemistry, compatibility, and the magic between two people. And I can’t help but think about how well this tracks with Beyoncé’s own star sign—Virgo—paired with the sensual, emotional depth of Post Malone’s Cancer energy. This song reminds me of my own compatibility with my husband – he’s the Cancer to my Virgo. The song is a vibe, a mood, and they nail it (metaphorically speaking 😉 ).

Now, I’m sure you’re wondering, how do we get to Sweet Honey Buckin’, a song that’s definitely up there with Alligator Tears for me? This track is pure energy, pure joy, pure Black girl magic. It’s unapologetically confident and feels like the kind of anthem we need in the world today. Beyoncé took us from the dark, introspective moments of Blackbird and Alligator Tears and transported us to a place where we could unapologetically dance and feel good in our own skin. And you know what? Sometimes we need that, too. I’m obsessed with Shaboozey, and I am thankful for the Queen’s wonderful introduction.

The bottom line is: Beyoncé is not just an artist; she’s a cultural architect – a curator. She’s got us walking through the streets of Los Angeles, a city filled with concrete and glass, shouting “look at that horse!” Beyoncé’s marketing is next-level, too. The Beyoncé Bowl had over 27 million live views—that’s power. That’s influence. And I’m not just talking about the numbers; I’m talking about how she has created a global community that follows her lead, that listens to what she says, and that feels something when she drops a new project.

Beyoncé does not fit into the typical categories that are often laid out for Black women in music. She’s never been the type to play by the rules, and that’s why she’s been overlooked in certain areas – AOTY, being just one example. Cowboy Carter is a genre-defying masterpiece, and if the music industry can’t recognize that, then it’s not just a matter of preference—it’s a racially charged issue. Beyoncé’s journey to winning Album of the Year is long overdue. As her husband Jay-Z said, it’s downright odd that she’s never won this particular award while earning more Grammy’s than anyone in history. Let’s not pretend we don’t see the pattern here. I know one thing for sure: if she doesn’t win, she will keep breaking barriers and proving them all wrong. Like she said, she will “fuck up the pen,” and we’ll be here for it.

So, no matter what happens with the upcoming award show, one thing is clear: Cowboy Carter is a triumph for Black artistry, for country music, and for the unapologetic Black woman. Whether or not she wins Album of the Year, Beyoncé will continue to shape the narrative, rewrite the rules, and continue to build her own kingdom.

Author’s Bio

Latrice Burks-Palmerio, also known by her powerful online presence as #blkgrlmgclwyr, is an expert in American politics with a deep focus on the intersection of American fascism and the decline of empire. Latrice’s academic journey began with an International Baccalaureate class on totalitarian regimes, which laid the foundation for her nuanced understanding of authoritarianism. She graduated with honors in Political Science from the College of Wooster, where her thesis examined the dynamics of Black social movements in the U.S. Further refining her expertise, Latrice earned her law degree from USC Gould School of Law, gaining invaluable insights into U.S. Constitutional law.

As an impact litigator specializing in employment law for marginalized communities and representing survivors of sex crimes, Latrice combines her legal acumen with a deep commitment to justice. She has also contributed to the public discourse through self-published articles that analyze and critique the evolving political landscape of America. Latrice’s work examines how the structures of American fascism and empire-building manifest in law, policy, and social movements, making her a critical voice in understanding the political currents shaping the nation today.