In a move that has made fans around the world happy, Beyoncé has treated the Beyhive to a special surprise. The “Texas Hold ‘Em (Pony Up) Remix” it out now. This alternative version of her chart-topping hit opens with the familiar twang of the original country track before seamlessly transitioning into a lively New Orleans bounce production, complete with a fresh verse and added vocals. The remix, which arrived just days after the release of Beyoncé’s widely-praised eighth album, Cowboy Carter, showcases the artist’s versatility and innovation. With its infectious energy and irresistible beats, “Texas Hold ‘Em (Pony Up) Remix” offers a fresh take on a beloved song, inviting fans to experience it in a whole new way.
“Beyoncé is singing her freakin face off on this remix lol,” one fan commented. “Beyoncé said I’m not wait for New Orleans to bounce remix it ima do it myself!” another said. Moreover, the Queen Bey can do no wrong in whatever she puts out. In fact, Cowboy Carter has been met with widespread acclaim, with critics and fans alike praising its bold creativity and powerful storytelling. Furthermore, from its singles to its ballads, the album showcases Beyoncé at the height of her artistic creativity. She is pushing boundaries and defying expectations with each track.
Stream “Texas Hold ‘Em (Pony Up) Remix” By Beyoncé
Now, with the release of the “Texas Hold ‘Em (Pony Up) Remix,” Beyoncé continues to surprise and delight. Moreover, she is reaffirming her status as one of the most innovative and influential artists of our time. As the Beyhive eagerly embraces this latest offering, they can’t help but marvel at Beyoncé’s ability to captivate and inspire with each new release.
“II MOST WANTED,” by Beyonce and Miley Cyrus. This song has fans wanting more collaborations between Miley and Bey. Another popular track is “SWEET HONEY BUCKIIN’,” by Beyoncé, Shaboozey, and Pharrell Williams. Moreover, the 27-track project is filled with bangers. As HNHH reported last week, Billboard reported recently that Cowboy Carter is Spotify’s most streamed album in a single day. Anyway, let us know what you think of the remix? How does it stack in comparison to the other tracks on the project? Let us know on HNHH!
Quoteable Lyrics: Woke up this mornin’, my heart keeps racin’ (Woo) Straight to the bottom, we all need salvation (Come take it to the floor now, ooh) Need you to end this drought, take me downtown Gon’ leave the truck, whiskey, baby Let’s get weekend (Weekend) wasted
Beyoncé is a master manipulator of genres, and Cowboy Carter, her grandiose Western showcase, is a firm, root-stomping imposition of this fact. “Used to say I spoke ‘too country’ / And then the rejection came, said I wasn’t country enough” is perhaps the most arresting line in “AMERIICAN REQUIEM,” the album’s opener. But with Beyoncé, it was never going to be a straight line anyway. So, for those who held out hope for a country album in the style of the result of years of whitewashing, you’d be sorely disappointed. Beyoncé’s eighth album is a “Beyoncé album,” and Cowboy Carter is assisted by a confederation of sounds… Black sounds.
Vivisecting Country Music & Its Origins
“Genres are a funny little concept, aren’t they?” Linda Martell rhetorically asks. “Yes, they are. In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.” In summary, that’s what Beyoncé’s Cowboy Carter stands for: the universality of sounds as a human right. After all, what right does anyone have to “own” a genre that didn’t belong to them in the first place? The melodies that birthed the foundation of the country music genre were a result of Black ministers and enslaved churchgoers.
Beyoncé famously (or should I say infamously) got up on the Country Music Awards stage in 2016 alongside The Chicks. As a result, the Houston, Texas native was ironically blackballed from the sounds of her ancestors. This incident led to the artist diving into the genre’s rich history. Now, she’s emerged with an album several years in the making. So, in a sense, Cowboy Carter is Beyoncé’s most delicious middle finger ever. And if y’all want to contest her authenticity, you’d be fighting a lost cause. Ultimately, she proudly reminds us that she’s “the grandbaby of a moonshine man” from Gadsden, Alabama.
Cowboy Carter’s Collaborations
With Act I: Renaissance, she helped reclaim House music. In the same vein, this apprehending second act is about sounding the alarm of country music’s roots. Unsurprisingly, she’s received co-signs from a few heavyweights in the game. Dolly Parton, Willie Nelson, and Linda Martell all tip their hats at Bey, the latter being the first successful Black woman country artist ever. Altogether, their appearances not only boost the album’s credibility but elevate the overall listening experience. In radio-style format, these three country juggernauts ease the listener’s journey, guiding us just as the elders they are.
Country music darlings Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts join Beyoncé on Cowboy Carter, appearing on “BLACKBIIRD.” The cover of the iconic Beatles track was originally penned as a tribute to the iconic Little Rock Nine. This makes it especially special, considering Beyoncé enlisted the younger stirrers of the genre as featured artists. The harmonious track is a warm pat on the back, effectively encouraging other acts who feel out of place, even at home.
Beyoncé’s daughter, Rumi Carter, is heard on “PROTECTOR,” a triumphant affirmation about a mother’s love. X-Factor alum Willie Jones joins Bey on “JUST FOR FUN” as the pair croon about getting through better days. The alternative-country artist Shaboozey shines on “SPAGHETTII,” an ode to Southern Hip Hop, and “SWEET HONEY BUCKIIN.” Moreover, Post Malone and Miley Cyrus deliver in a magnificent way. While the former dons his sexiest persona so far on “LEVII’S JEANS,” Cyrus comes through guns a-blazing on “II MOST WANTED,” as she and Bey reiterate, “I’ll be your shotgun rider ’til the day I die.”
“That’s What Makes It A Unique Listening Experience”
Beyoncé’s “Jolene” cover on Cowboy Carter strays a bit from the original, giving it a huge kick. While Parton “begs” Jolene not to take her man, Mrs. Carter issues a warning. “I’m still a Creole banjee bitch from Louisianne,” she sings, channeling her mother Tina. The cover is followed by “DAUGHTER,” the haunting number that exposes some of Bey’s darkest, most violent thoughts. The apex of the aforementioned track, however, is when she blesses us with her rendition of the 18th-century Italian aria opera classic, “Caro Mio Ben.” Nonetheless, the Queen sounds right at home in country territory, touching all of country music’s bases. “TEXAS HOLD’ EM” and “16 CARRIAGES” are perhaps the most orderly tracks on the project, which served as a teaser to the foundational essence of Cowboy Carter.
But on B8, there’s more than just roots-reminders and political commentary. The icon also, and in true Beyoncé fashion, taps into the religious, romantic, and even sleazy sections of the genre. And if you thought the dance floor bumpers were left out… think again. Linda Martell introduces “YA YA” as a song that “stretches across a range of genres.” Between the Nancy Sinatra sample and the Beach Boys’ “Good Vibrations,” she throws a party on one of the album’s undeniable standouts. Fans of the dance classic Renaissance are awarded a suite of four infectious club hits, kicking off with “RIIVERDANCE,” segueing into “II HANDS II HEAVEN,” “TYRANT,” and wrapping up with “SWEET HONEY BUCKIIN.”
”History Can’t Be Erased”
At the end of the day, Beyoncé handles country music the way she’s handled her music in the past decade–in her own way. She’s tackled R&B, Pop, Hip Hop, Afrobeats, and House and emerged victorious. So, why not her musical birthright? At 27 tracks, the album still doesn’t feel long, clocking in at a comfortable 80 minutes. But in the midst of it all, Cowboy Carter is Beyonce’s deduction of her American experience, flaws and all. Amen to that.
It’s no secret that power couple Jay-Z and Beyonce aren’t one of Azealia Banks’ favourite duos. Now that the latter is gearing up to unveil Act II of her RENAISSANCE album series, the “212” hitmaker is making it known that she’s not supporting Bey exploring genres outside her usual repertoire. “Wow, we didn’t even try to put even a little effort into a more artistic title?” Banks asked on her Instagram Story. “Sis, I live for Whiteyonce Donatella Bianca Bardot DOWN, but I’m kind of ashamed at how [you] switch from Baobab trees and Black Parade to this literal pick me stuff.”
The New Yorker then called the “Halo” artist out for previously supporting the embattled Dixie Chicks, “who would never do the same for [her].” According to Banks, Bey too often shares her “platform with White women who are so jealous of [her] but have such a long history of sabotaging other Black women’s careers.” In particular, the infamous social media troll is taking issue with the “White woman cosplay” we’ve seen the Houston native in lately, such as her platinum blonde hair and themed outfits.
As for Beyonce’s husband, Banks had a message for him too. “Ugh, I’m so saddened by Jay-Z and his over strategizing everything [Bey does] to the point where it’s clearly his influence and not the real Bianca Bardot… Someone tell Jay-Z his strategies are corny and Beyonce has better ideas… We would like to see her outside without him and his pound puppy dreadlocks breathing all over herrrrrrr.”
If you’re still curious to know more about Beyonce’s COWBOY CARTER, even after Azealia Banks’ loud hate train, the mother of three gave us a few interesting details via IG earlier this week. She didn’t unveil her list of collaborators yet, but Bey did promise that she has upcoming songs with fellow artists who have earned her deepest respects. Read all about that at the link below, and check back later for more hip-hop/pop culture news updates.
The Beyhive is buzzing yet again and there is a major reason for that. On Beyonce’s latest Instagram story post, she attached a link to a pre-sale on her website. That will lead you to some merch bundles and physical album copies for her hyped-up follow-up to RENAISSANCE. Previously known simply as ACT II, that turned out be a placeholder for the new title. The new moniker for this sequel for Beyonce will be COWBOY CARTER. Of course, the R&B superstar gave us a clear-cut look at the direction she was going for with “16 CARRIAGES” and “TEXAS HOLD ‘EM” back in early February. Both tracks pay homage to her Southern roots, evoking sounds of bluegrass and country.
Fans were also very pleased with the tracks, and it looks like Beyonce will have another massive record on her hands with COWBOY CARTER. As for the items available for purchase, she has included t-shirts, vinyls, and CDs. There are two shirts and they will come in a box with a red or black CD that will include a bonus track. Unfortunately for vinyl buyers, there will be no additional cuts added, but there are four different colors.
Beyonce has provided COWBOY CARTER discs in white, black, blue, and red. Or, if you do not want to spend $30-$40, you can opt for just the CD, which is $12. Those will come in either blue or white and still include the bonus track. COWBOY CARTER pre-sale purchases will ship on the release date of the album and will only be able to be shipped to the U.S. and Canada.
What are your thoughts on Beyonce revealing the album title for her RENAISSANCE follow-up and bundles? Are “16 CARRIAGES” and “TEXAS HOLD ‘EM” still in your rotation? Will COWBOY CARTER be a better record than its predecessor? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Beyonce. Finally, stay with us for everything else going on around the world of music.
The latest obsession of the BeyHive is a theory that Beyonce is preparing to do a country album. Like the best conspiracy theories, fans have seemingly pulled this idea out of the most tenuous crumbs. First, there is Beyonce’s “country-inspired” Grammys outfit. This included a chequered duster and bright white Stetson. Then there is the fact that Beyonce’s website lists Renaissance as officially Act 1 – Renaissance. This has reignited the idea that Renaissance is meant to be the first part of a trilogy. This means there is allegedly two more albums of new music from Beyonce. Finally, there is a line that has resurfaced from her 2019 song “Black Parade. To many fans, the line “I’m going back to the South, where my roots ain’t watered down” is an indication that Beyonce is “going country” (just look at them boots).
However, there have been previous rumors about the contents of Renaissance’s second and third acts. A now-deleted tweet from Kyle Buchanan at the New York Times appeared to indicate that “Act 2” would be an acoustic album while “Act 3” would be a fully collaborative album with JAY-Z. However, neither claim was addressed by the singer’s camp. For the time being, fans will have to wait and see if Beyonce does indeed go the Lana Del Rey route and drop a surprise country album.
Meanwhile, fans are begging Beyonce to release visuals accompanying her RENAISSANCE album. The renewed requests came after footage of the singer filming in a green screen suit was released online. The BTS footage shows Beyonce wearing a bodysuit and a large coat decked in a shade of green reserved for post-production editing. Also known as a green screen, visuals can then be easily applied over the green material.
Fans were absolutely gagging for the full footage to be released. This led to much debasing on social media, begging the singer on social media to drop the full edited visuals. “RANDOM AF 2 YEARS LATER LIKE HELP MEEE WE WERE GETTING A MASTERPIECE,” the original poster of the footage wrote on X, formerly Twitter. “beyoncé i wanna see this and the rest of the renaissance visuals on youtube by the end of February,” added another fan.
BEYONCÉ — act ii: COWBOY CARTER 