Produced by longtime collaborator Patrick Hyland, the album widens Mitski's palette with a return to the piano featured on her first two records alongside synthesizers, horns and the guitar that became her signature instrument.

"[4] She recorded the album with longtime producer Patrick Hyland, and stated that "for most of the tracks, we didn't layer the vocals with doubles or harmonies, to achieve that campy 'person singing alone on stage' atmosphere.

AllMusic writer Marcy Donelson stated that "rather than being a disappointment, Be the Cowboy's point of view provides a brilliant twist, one that channels all the unease, unpredictability, and intuitiveness of Mitski's previous work—even for those who don't take in the lyrics.

"[27] Laura Snapes similarly commended the album in a review for The Guardian; "Mitski's songwriting trademarks are strong enough to transcend the stylistic revamp – arrangements that are rich without being precious (Pink in the Night), plus her terrifically mordant worldview.

But there's plenty implicit, from the DIY American mythology of the title, to the way the songs validate voices that are shaky, hurting, irrational, and damaged, while also being smart, wry, powerful, and deserving of love.

Club critic Katie Rife said, "Although Be The Cowboy sees Mitski fully transformed from her lo-fi beginnings in terms of production, her post-Pixies guitar-rock tendencies still come through strong, albeit now more lush and kaleidoscopic than buzzing and raucous.