Beyoncé is back for more. Following the massive success of her “Renaissance” album, world tour and movie, the star made an unexpected ad appearance during the Super Bowl. To the delight of fans everywhere, she dropped two singles and announced a new album “Act II” out this month. The biggest surprise? Beyoncé is entering her country era.
“Act II” will be the next installment in the three-part “Renaissance” project. This time around, Beyoncé is trading in the nightclub for a dive bar as she explores the sounds of her Texas roots. Her upbeat single “Texas Hold ’Em,” released alongside the ballad “16 Carriages,” offers a taste of what fans should expect.
The song opens with an unfamiliar sound for Beyoncé: the banjo. Played by Black musician and activist Rhiannon Giddens, the banjo joins other strings and a simple drum beat to form the musical backdrop of the track. Beyoncé also opts for whistles and “ho heys” rather than grand background vocals. The stark contrast from her pop music works well. “Texas Hold ’Em” masterfully transitions the listener into the “Act II” era by establishing a brand new sound.
Not all of Beyoncé’s trademarks are gone, though. She still knows how to make the perfect dance track. The catchy beat invites boot-tapping and line dancing. The smoothly sung lyrics are crafted to get stuck in your head. Her calls to “take it to the floor” are already coming to life on TikTok, where “Texas Hold ’Em” dance trends are going viral. As someone who doesn’t love country music, I was a bit hesitant about the new single. But as someone who believes Beyoncé can do no wrong, I was proven correct.
My only gripe is that I have a hard time picturing Beyoncé in any of the scenarios she describes in this song. Seriously, when was the last time she drank from a red Solo cup? Regardless of her Houston upbringing, Beyoncé became a mega popstar at a young age, and she frequently flaunts her riches. However, I can forgive her because I don’t find her tone condescending and disingenuous here. Relatable? Maybe not, but I don’t necessarily think the point is to be relatable.
The significance of “Texas Hold ’Em” transcends its danceable rhythm and attempts to appeal to us regular people. With her first official venture into country music, Beyoncé claims a space in a community quick to shut her out. In 2016, her song “Daddy Lessons” off the “Lemonade” album was undeniably country. Yet the Grammys’ country committee barred the song from nominations. Later, she performed “Daddy Lessons” with The Chicks at the Country Music Awards and faced backlash from conservative country fans.
“Act II” is Beyoncé’s way of showcasing her Texan roots. More importantly, though, the album is her way of reminding everyone exactly how country music began — with the banjos of enslaved Africans, the hymns of Black Southern ministers and the voices of early Black country artists like Charley Pride. Today, these contributions of Black people to the country genre largely remain hidden, forgotten and denied. Beyoncé is shifting the narrative, already breaking records as the first Black woman to top country charts.
“Act II” arrives March 29 and, with it, what’s sure to be a rowdy celebration of Black art, the South and hoedowns. And possibly an Album of the Year win? That might be wishful thinking, though. Nevertheless, I know the BeyHive will show up in full force, glittery cowboy boots and all, no matter what the Academy says. I’ll be right there with them.
