Mirror music monthly

By Tony Badawi

On March 29, Beyoncé released her eighth studio album, COWBOY CARTER. This record was Beyoncé's first country album, however her transition to country didn't happen overnight. She began work on the album in 2019, prior to starting RENAISSANCE. COWBOY CARTER is part of a three-act trilogy, act i being RENAISSANCE, and act ii being COWBOY CARTER. COWBOY CARTER was originally planned to be act i, but during the pandemic, Beyoncé believed the world needed to dance, and swapped the two releases around. With her COWBOY CARTER era, Beyoncé would become the first Black woman in history to claim a #1 debut on the Hot Country Songs chart, along with attaining several more records. She shared this win with many black country artists, and whether you like the album or not, the change it is bringing to mainstream country is undeniable.

1) AMERIICAN REQUIEM: 10/10

An opening track done right, AMERIICAN REQUIEM's heavenly vocals and soft piano will later reflect the closing track AMEN. The song is about embracing change, and the juxtaposition between being "too country" yet "not country enough" in the South.

2) BLACKBIIRD: 8/10

Sampling the Beatles' 1968 track "Blackbird", Beyoncé's rendition reinforces McCartney's reason for making the original song, that being the Little Rock Nine (the first nine black teenagers to desegregate their school in Little Rock, AR). Had only the song been longer, the featured country artists could have complimented Beyoncé with more complete verses.

3) 16 CARRIAGES: 9/10

16 CARRIAGES was one of a pair of singles released prior to the rest of COWBOY CARTER, and rightfully so. The track reflects her overwhelming life at fifteen, and her faith in God. It's swinging instrumental feels incredibly impactful as it works harmoniously with Beyoncé's radiant songwriting.

4) MY ROSE: (interlude)

Short and sweet interlude about her love for her husband in silky vocals.

5) SMOKE HOUR ★ WILLIE NELSON: (interlude)

Another interlude with Willie Nelson on the radio leading the listener into the smash hit single, TEXAS HOLD 'EM.

6) PROTECTOR: 9/10

Featuring Beyoncé's youngest daughter, Rumi Carter, PROTECTOR is a beautiful song depicting life as a mother and her devotion to always lifting her children up to be strong and shine.

7) TEXAS HOLD 'EM: 10/10

Again, another perfect choice for a lead single. The song is bouncy and fun, and Beyoncé compliments the instrumental so well. The song rose to #1 on the Billboard Hot 100 chart and took over much of the music scene during March of this year. This track begins an epic five-track run for the album, continuing through to SPAGHETTII.

8) BODYGUARD: 10/10

The song is extremely catchy and feels like peering out the window of a fast car. BODYGUARD is about wanting to protect your lover at all costs, and sonically evokes nostalgia for her earlier music, like that of 2006's B'DAY. 

9) DOLLY P: (interlude)

Interlude spoken by Dolly Parton herself giving Jolene one last sentiment before Beyoncé takes center stage and gives Jolene a proper warning. (Jolene is one of Dolly Parton's most famous songs in which Dolly begs Jolene to not take her man). Dolly Parton actually said in an interview that she wanted to hear what Beyoncé could do with "Jolene", & she delivered.

10) JOLENE: 10/10

Sampling Dolly Parton's Jolene, Beyoncé writes the song as if she was confronting Jolene in her face. Beyoncé says the connection between her and her man is unbreakable and calls Jolene a desperate bird. The addictive song has a sense of humour & left many shocked, especially after they heard the line "Jolene, I'm warning you, woman, find you your own man."

11) DAUGHTER: 10/10

The daughter Beyoncé is singing about is herself as her father's daughter, and how she got much of her strength from him. In the first half of the song, she paints a picture in the listener's mind by contrasting the smell of smoke in her hair & alcohol to shiny dresses and damsels. She repeats that she is the furthest thing from choir boys and altars, then all suddenly, she breaks out a haunting opera in Italian!? DAUGHTER is one of the most versatile and unexpected songs from the album, but the clash between this song and the next is even wilder.

12) SPAGHETTII: 10/10

The transition between the Italian ending of DAUGHTER to SPAGHETTII is phenomenal. During the successful era of American cowboy films, many Italian film directors tried creating their own cowboy films, but Americans saw the films as "low-budget" & "inaccurate," and called those films "Spaghettis" after the popular Italian dish. The sound of Beyoncé's SPAGHETTII creates a break from the sound of the earlier tracks with a hard-hitting instrumental meant to evoke a reaction in the listener. The featured artists on SPAGHETTII added so much to the song too; Linda Martell's monologue in the beginning of the song describes how genres can confine artists from branching out, and Shaboozey's warm vocals at the end softened the transition of SPAGHETTII back into COWBOY CARTER's main sound.

13) ALIIGATOR TEARS: 8/10

The swinging vocals and instrumental makes for a wonderfully catchy slow-paced song. Beyoncé's lyrics are poetic and the song is centered on a unique feeling that not many artists capture. At first, I thought ALIIGATOR TEARS was boring, but when isolated, the song is truly addictive. Its tracklist placement does the song no favors, as it can easily be overshadowed by the faster pace of the prior track, SPAGHETTII.

14) SMOKE HOUR II: (interlude)

Another radio outtake by Willie Nelson introducing the next track, JUST FOR FUN.

15) JUST FOR FUN: 8/10

Another beautiful slow song about letting time do the healing. The featured artist on the song is Willie Jones and out of the amazing features on the album, Willie Jones blended with Beyoncé's voice the best in my opinion. Some of the best features on the album are in these next few songs too.

16) II MOST WANTED: 9/10

With an amazing feature by Miley Cyrus, the chorus of the song is addictive and Miley's deeper voice harmonizes well with Beyoncé's higher range. II MOST WANTED is the highest charting non-single from the album, placing sixth on the Billboard Hot 100.

17) LEVII'S JEANS: 10/10

LEVII'S JEANS is the song that plays in the beginning of those "first day in high school" movies from 2005. The song's instrumental feels so different yet so similar to the rest of the album, likely because of the guitar. Post Malone was the most surprising featured artist on the album, yet he did exactly what had to be done with his verse. The song with the most replay value from the album easily. Crazy fact, Levi's saw their stocks increase by nearly 20% after the release of the album. Wild!

18) FLAMENCO: (interlude)

An interlude on the longer side, inspired by the flamenco style of music from Spain. The uplifting lyrics are about living your life in the moment.

19) THE LINDA MARTELL SHOW: (interlude)

Another interlude building anticipation for the next song on the album, YA YA; a unique track spanning multiple genres.

20) YA YA: 10/10

YA YA was one of the songs I was referencing in the description of TEXAS HOLD 'EM. YA YA is a fast-paced bouncy song, and Beyoncé's raspy voice makes it twenty times better. I can definitely see this song blowing up on radio & being played in commercials.

21) OH LOUISIANA: (interlude)

The only low point on this bulletproof album. The squeaky voice is nauseating and would have been fine if it did not occupy all 52 seconds of the interlude.

22) DESERT EAGLE: (interlude)

Another interlude, but unlike OH LOUISIANA, Beyoncé sings in this track. Although the interlude is confusing and its meaning is difficult to find, I can't describe why but the song sounds swampy (which is even more confusing given the song title), but it helps set the scene for my favourite song on the album, RIIVERDANCE.

23) RIIVERDANCE: 10/10

RIIVERDANCE is the catchiest song on the album, and I can't help but hum the bridge and chorus everywhere. The song feels like it came off of Beyoncé's album RENAISSANCE and the song's skeleton is so unique. In between every chorus is a shorter but effective verse, which makes the verses feel like choruses, but they do not repeat. The verses create such excellent imagery and some of the best lyrics in all of Beyoncé's discography are in those verses (the artist behind hit song "Escapism.", RAYE, cowrote these lyrics!). Pay RIIVERDANCE a listen and I promise it will get stuck in your head for weeks.

24) II HANDS II HEAVEN: 9/10

A beautiful song about faith, this long song has multiple changes in flow but maintains the underlying message about devotion to religion as a throughline. The layers of her angelic singing makes the song feel like listening to a choir and combined with the lyrics makes II HANDS II HEAVEN so enjoyable.

25) TYRANT: 9/10

Another song that went in an unexpected direction; a couple seconds into what sounded like another choir-like song the beat drops into hip-hop. TYRANT is another example of Beyoncé branching out in different genres without losing the sound of the album.

26) SWEET ★ HONEY ★ BUCKIIN': 10/10

SWEET ★ HONEY ★ BUCKIIN' sonically sounds like an extension of TYRANT. The song sounds like it has 3 parts, possibly the song was originally 3 different songs called SWEET, HONEY, and BUCKIIN'? Regardless if it was or not, the song is addictive and was an immediate favourite and when you think the album can't get any better, it's hit after hit even until the 26th track.

27) AMEN: 10/10

A phenomenal closing track to COWBOY CARTER, the song connects back to AMERIICAN REQUIEM with an interpolation of its chorus. Calling back to the underlining messages about faith throughout the album, ending it with a prayer, hence the  "Amen". The end of the song begins to sound like it is ramping up to a completely new sound, which happens to blend into the first song on RENAISSANCE (the original act ii), "I'M THAT GIRL". 

By Sophie Piro

Ariana Grande's new album Eternal Sunshine is filled with catchy, emotional songs that have groovy beats and amazing vocals. The production was so interesting and unique. One of my favorite songs on the album is “supernatural”. The key change was really cool and her voice really stood out. Ariana experimented with different types of sounds throughout the album that ended up sounding really cool. The lyrics of each song are very clever as well. I like how each of her songs leave a message. “yes, and?” stood out to me because it gave off feminist vibes. The message is not to care about what people think and say about you. This song is also super catchy and has a groovy beat. Many of the tracks were relatable as Ariana sings about her personal life, going through heartbreak but coming out stronger in the end. The only critique I have is that some of the songs sounded similar, but other than that I enjoyed listening to this album! 

1. intro (end of the world) 7/10: The lyrics of this song are relatable and the background music sounded cool. It was a slow and chill start to the album and set the tone for the rest of the tracks.

2. bye 8/10: This song gave off feminist vibes, was catchy, and had a nice beat. I thought the lyrics were funny, such as “this hook feels too hard to sing.” 

3. don’t wanna break up again 8/10: This song was catchy, soothing, and relatable. I love Ariana's voice. I can hear the emotion in her voice as she sings and I can tell the lyrics have meaning to her. Ariana wrote this album after going through a divorce which makes this song more emotional. 

4. Saturn Returns Interlude 5/10: This track was interesting because it wasn’t really a song; there wasn't any singing but instead a monologue about Saturn. It was eerie and creepy. It definitely added some spice to the album but it wasn't very memorable. 

5. eternal sunshine 9/10: The title track did not disappoint. Ariana's voice stands out in this song and I like the lyrics as well. It had a really interesting beat.

6. supernatural 10/10: I liked this track because it had a groovy beat and her voice sounded really beautiful. This was one of my favorites because it had a great melody and meaningful lyrics. 

7. true story 8/10: Ariana's ad-libs are amazing and I think this song truly shows off her singing talents. I enjoyed listening to it. 

8. the boy is mine 7/10: This song is catchy and I like how her lyrics rhyme. This song in particular was stuck in my head for a while after I listened to it, which wasn't a bad thing. 

9. yes, and? 9/10: This song, which was released before the album came out, is super catchy. The production is really cool as well. The song itself gives off feminist vibes. The message of this song is not to care about what people think or say about you. 

10. we can’t be friends (wait for your love) 9/10: One of the best songs on the album in my opinion. I like how when Ariana sings the word silence the song stops for a second. This song and “yes, and?” are the most popular songs on the radio out of the other tracks on this album. 

11. i wish i hated you 6/10: This track was boring, a little sad, and the background music gets annoying because it's so repetitive. This song is my least favorite on the album because it simply wasn't as good as the other ones. 

12. imperfect for you 7/10: This song was unique and different from the other songs on the album. It was very interesting to listen to. The beat was cool and experimental. 

13. ordinary things (feat. Nonna) 7/10: Ariana ends the album with a moving song that had a groovy beat. I really liked how Ariana had her grandmother featured in the song. It's clear that they have a close relationship.

By Jack Dowdall

Beneath a Blood Moon sees Ryan Leahan finally take his long-awaited headfirst dive into the folk genre. Back in 2020, Leahan told V Magazine, “... I also started learning guitar a few months ago, and I love writing songs with it now so I hope I can be really skilled with it by the end of this year.” His following album, 2021’s electronically charged spark! saw moments of this guitar shine through on tracks like Hibiscus and Wake Up, which hinted at this most recent stint of Leahan’s genre-bending career. On Beneath a Blood Moon, Ryan Leahan’s characteristically poetic lyrics and emotionally raw vocals are allowed to flourish in a stripped back world of acoustic guitars, cowboy hats, and sentimental love. 

The Philly born, self-taught singer-songwriter has long wished for the life that this project embodies, “I wanna work on a farm…I might move, to like, the middle of nowhere Wisconsin… I kinda want to start a side project,” he said back in 2021 during an interview for the BACKLIGHT Podcast. On the opening track, Snake Eyes, this image of laid-back rural living is vividly painted through lyrics such as “So let's burn all we got / Babe, we'll toss away our keys / We can move out our apartments and rip up each other's lease / To the cold mountain tops and the canyons, red and green / Carved by Colorado rivers deep,” and “Twist my head to the northern lights / How Polaris led me to your eyes / Over the mountain trails to the valley pines, now / Come on baby, be my cherry on life.” A youthful earnestness within Leahan’s lyricism turns this simple folk tune into an anthem about leaving it all behind and running off with your love.  

Following Snake Eyes, the second track Bats enters thoroughly steeped in nostalgia and flowery, acoustic strumming. A young love is recounted through each deeply personal lyric, “Tell me all your secrets and I’ll keep ‘em locked up / Steal your parents liquor cause they keep it stocked up,” and Leahan’s vocal performance lends an added layer to the already very playful, warm song. Bats is my personal favorite song on the project. 

Reaching the midpoint of the project, next up is The Monsters in Me and You, which lyrically diverts itself slightly from the tonally upbeat songs that preceded it. Although - even while he sings of a devil on his shoulder, monsters under the bed, and living a life of lies - Leahan maintains a heartfelt and cheery vocal demeanor. 

This is continued straight into the project’s eponymous track, Blood Moon, which is a perfect culmination of the previous songs' themes of country loving. Leahan’s adoration flares to the forefront as he laments the consequences of the titular blood moon, singing “The sky might turn to ash, the wells will dry, but take my hand / We’ll barn dance to the end.” It is a beautifully produced track, featuring similar folksy acoustic guitar and drum offerings as the rest of the album, with an especially catchy added guitar layering above the chorus of, “Who knew that a blood moon would have us like this / I’ve been dreaming of a touch just like this for years / Now the questions disappear.” 

Finally, there is Ghost, a haunting conclusion to this short but beautiful collection of songs. On the track, Leahan’s lyricism shines brightly as he once again weaves a youthful love story and at the climax of the song, a gorgeous violin solo and short verse leads into a repeated refrain of, “I'm telling you baby / I’m gonna come back for more.” 

Beneath a Blood Moon offers a handful of gorgeously written and performed folk tracks, oozing with sentimental appreciation for the genre’s conventions. This is an album of ‘campfire music’ as stated by Leahan himself, which can be demonstrated by the sprightly vocality and intimacy within the lyrics. Much of Beneath a Blood Moon’s strength comes from the earnestness with which Ryan sings about his love; be that love for his partner, love for the ideas and images of folk, or the combination of both proposed in the lyrics of Blood Moon, “...take a deep breath as I try to follow / Every square dance that you model from Alabama to Colorado / Me, you, Neil Young, and a bottle.” There is a palpable sense of honesty and vulnerability in the lyrics, which only serves to further enthrall listeners into this world Leahan has created through these five tracks. With Beneath a Blood Moon, Ryan Leahan has gone through yet another artistic migration. First, he transitioned from his Heatwave-era Indie-pop sound to the booming electronic beats of tracks like +++2c, Blue! Red! Yellow! Green! and Photophobia from spark!. Although this current leap in influences from 100 Gecs and AG Cook to Neil Young may seem a bit jarring, I feel as though it’s been incredibly successful and it has only furthered my excitement to see what genre Ryan Leahan will give his spin on next.