Black Women Have Always Been in Country Music, You Just Haven’t Been Looking Hard Enough

Beyonce
Getty Image/Merle Cooper

As she’s often done and will continue to do, Beyoncé sparked an integral social conversation in response to her world-stopping work. In early February during the Super Bowl, the announcement of her rumored forthcoming country album “Act II” — lead by the plucky single “TEXAS HOLD ‘EM” and the stripped-down ballad “16 CARRIAGES” — raised several points surrounding the genre’s diversity issue. Both songs feature production, writing, and instrumental assists from Black artists. (“TEXAS HOLD ‘EM” features Black folk musician Rihannon Giddens on banjo and viola, while roots music steel guitarist Robert Randolph can be heard on “16 CARRIAGES.”)

Despite the songs’ rapid popularity following their surprise release, a post on X alluded to an Oklahoma country radio station refusing to play “TEXAS HOLD ‘EM,” stirring allegations of racism. It was later clarified that the station was unaware that Beyoncé had released music within this genre. (Early metadata also suggests that the songs were initially placed under her typical labels — Pop, Hot AC, Rhythmic, Urban, R&B — rather than country, which it was eventually serviced to.) Regardless of whether these songs will get airtime on country radio or not, the notion that the genre is attempting to shut out Beyoncé because of her perceived lack of country street cred has loomed largely.

But we’re missing the forest for the trees. Bey’s place in country music ultimately turns the genre’s proverbial mirror inward, in order to highlight a larger issue regarding the longtime exclusion of the genre’s Black female artists by both institutions and fans. These artists are integral to the foundation of country music, but seldom get the respect or visibility to compensate for the contributions they’ve made. Whether this was Beyoncé’s intention or not, “Act II” is both an album release and a social experiment. She’s helping to apply pressure on a machine designed to exclude certain acts from certain genres in order to force a change.

“I want to recognize that I do not know of any Black female country artists and I do think that this is a problem,” says Jane*, a country music fan from Massachusetts, when asked if she actively listens to country music by Black artists. “There is no representation for Black female artists in country music, and very little representation for Black male country artists. I think that Beyoncé’s two songs are highlighting this major fault.”

Despite “TEXAS HOLD ‘EM”s supremacy on both the country charts and the all-genre Billboard Hot 100, country’s fiercest advocates have taken umbrage with the idea that the Houston-bred icon is threatening “traditional” country music, identified by simple production and thematic-yet-unifying lyricism. This is due to the sonic je nais se quoi that makes a Beyoncé song, a Beyoncé song. (Unparalleled vocal runs, harmonies, and layered production.) As we saw with Lil Nas X’s “Old Town Road” in 2019, 2017’s “Meant To Be” by Bebe Rexha and Florida Georgia Line, and even Shania Twain’s “Man! I Feel Like a Woman!” in 1997, this isn’t the first time a discussion about “what country sounds like” has occurred.

“I think it is inevitable that [genre cross-pollination] happens,” says country fan Xavier, who not only names Zach Bryan and Charles Wesley Godwin as some of his favorite acts, but performs country music in NYC. In the last 15 years especially, pop, hip-hop, and trap beats have infiltrated the genre by acts such as Morgan Wallen (“Wasted On You”), rapper-turned-country star Jelly Roll (“Unlive”), and Florida Georgia Line (“Lil Bit”). Purists may also condemn these artists, but it seems that casual fans — and the charts — don’t seem to mind.

But the “sound” of some songs doesn’t negate the fact that there are Black women country acts, producers, and songwriters who are fighting to have their work heard, regardless of whether they’re releasing genre-bending takes or “pure” country tracks. What ultimately stifles these voices in the mainstream is the genre’s deeply rooted racism, inherent misogynoir, and the demonstrated unwillingness of fans and higher powers to dive deeper into the diversity country offers outside of what is already being pushed.

Chris Willman did a really great article in Variety, and he included a quote about how [country] programmers have been searching for this amazing Black woman that is an incredible singer, has charisma, has the right voice, the right song… but they just haven’t found her,” explains country music star Rissi Palmer over Zoom. “There have been more than 50 years of Black women trying to be in the genre…not one?” With her 2007 song “Country Girl,” Palmer became the first Black woman in 20 years to have a song hit Billboard’s country music chart. She is also the host of Apple Music’s radio show “Color Me Country with Rissi Palmer,” where she highlights non-white acts within country.

“Myself and my friends [musicians Denitia, Madeline Edwards, Tiera Kennedy, Miko Marks, and Sacha] went to the Opry to support Camille Parker,” she continues. “In the group you have a variety of colors, shapes, size, perspective, sound. Every one of these women has put music out into the world, several of them are signed to major labels…not one [fits the criteria]?”

Race played a major factor in the distribution of music during the beginning of the recording era, around the 1920s. Black art was relegated to “race records,” while white acts played “hillbilly music.” Both “types” of music featured instruments that Black artists are often credited with bringing to the forefront, such as the banjo, which was long associated with slaves. “Race records” would eventually evolve into rhythm and blues, and “hillbilly music” — presented as more “marketable” to rural whites — would birth country music. With this said, music scholars often acknowledge country’s Black roots and overarching influence. However, its segregated foundation contributes to a present-day aversion to change, and the continuation of Black artists being overlooked or ignored.

These days, country radio remains overwhelmingly white and male. Per PBS: “A recent study from the University of Ottawa found a mere .03 percent of all songs on country radio from 2002 to 2020 were by Black women. Less than 1 percent of the 411 artists signed to the three major country music labels are people of color.” Linda Martell was the first Black woman to hit the country charts with “Color Him Father.” When her singles hit Billboard’s country charts, Beyoncé became just the eighth Black woman to have her work appear there, joining Martell, Ruby Falls, Pointer Sisters, Nisha Jackson, Dona Mason, Palmer, and Mickey Guyton.

“I think that country is an American art form,” Palmer notes of the importance of Black country artists. “It borrows from Celtic tradition, African tradition, Mexican tradition, and Native American tradition. You bring all these things together, and it makes this art form that is truly unique and special to the experiences of this country, and that’s what should make it inclusive.”

“I really hope people realize that country is such a diverse genre and that it shouldn’t be defined by any stereotypes,” country fan Xavier adds regarding the importance of inclusivity in country music. (He was born and raised in China.)

Perhaps more than any other genre, country music thrives on the pertinence of storytelling. Now more than ever, Black women deserve just as much of a chance as anyone to share their stories. As a country composed of the descendants of individuals from all over the world, there is nothing more American than art chronicling these diverse experiences. Julie Williams’ “Southern Curls” highlights Black beauty. “Seeds” by Rissi Palmer exemplifies the power of community. Mickey Guyton’s “Black Like Me” earned a Grammy nomination in 2020, christening her as the first Black woman to be nominated for “Best Country Solo Performance.” (“These are valid stories, these are country stories,” Palmer affirms.)

But such is life — these voices remain muffled rather than amplified, not just because of the genre’s diversity issue, but also perhaps as a means to turn a blind eye to reality. This creates barriers between Black art and consumers. So, how do we continue to bolster these voices in country music?

Support them. Listen to their stories. Shine a light. Give them your time. Because not only have they been here doing the work, they’re not going anywhere.

Songwriter and performer Frankie Staton made waves during the ‘90s by leading the nationally recognized Black Country Music Association, which had an aim to educate the masses and form community within the country music space. Music journalist and artist manager Holly G founded the Black Opry in 2021, an in-person community of Black artists and fans that commune to celebrate the art form. Equal Access, now entering its third year, is an initiative that strives for equity among artists, executives, and management in country music. Per USA Today, its cohorts have been about 60 percent Black women. There’s also CMT’s Next Women of Country, where women of color (including Denitia and Tanner Adell) reportedly make up 12 percent of the artists in the program.

Plus, there’s a plethora of radio shows and podcasts like “Color Me Country” that speak to the non-white experience in the genre, as well as playlists that highlight country music from minority groups. (Don Flemons’ Tennessean playlist is a robust exploration of Black country music, while Spotify’s “Country Frequency” and “Country Latino,” and Apple Music’s “Boots & Mocs” highlight country, roots, and Americana music from Black, Brown, and Indigenous voices.)

“I remember during the election in 2020…somebody said that the motto of Black women is: ‘Forget it, I’ll do it,’” Palmer laughs. “We’re doing that [within country]! We always make a way when we have to. Plus, Google is your friend. You’ve got the same Google that I do.”

What does this moment mean for the future of Black women artists in country music? Palmer (as well as Xavier, Jane* and likely many other country advocates) are hopeful that these conversations allow both new and longtime fans to expand their horizons when it comes to their idea of country music.

“I do think that anyone regardless of race, gender, or background can create a song that includes many country aspects,” Jane* says. “Anyone can make any kind of music they want to, [and] mix country with whatever you want to. I don’t think that my opinion of country music should limit anyone to stay in a box.”

There’s also the wish that Black women country musicians, songwriters, and producers seize the opportunity to strike while the iron is hot, but continue to stay true to who they are.

“I’m not looking at this like ‘Beyoncé has swooped down to save all of us and to take her with us,’ because it’s not her job,” Palmer explains. “It doesn’t start with Beyoncé, it doesn’t start with Charley Pride, it goes way further than that, and that’s the story that needs to be told at this moment.”

“There’s a lot of really great music,” she continues. “If people just take the time to look it up, they will find a treasure trove. Whatever it is that you’re looking for, whatever style [of country music] you like, it’s out there.”

Garth Brooks Net Worth 2024: What Is The Country Music Icon Worth?

Garth Brooks, an emblematic figure in the country music genre, has become one of the most influential and best-selling music artists ever. As of 2024, his net worth is an impressive $400 million, according to Fresherslive. This financial milestone is a testament to Brooks’ unparalleled success in the music industry, marked by his innovative approach to country music, record-breaking album sales, and unforgettable live performances. Brooks’ journey from playing in Oklahoma clubs to becoming a global superstar offers a compelling narrative of talent, perseverance, and savvy business acumen, making him a perennial figure in the annals of music history.

Breaking Boundaries In Country Music

Garth Brooks
LOS ANGELES, CA – DECEMBER, 1990: American singer and songwriter Garth Brooks poses for a portrait circa December, 1990 in Los Angeles, California. (Photo by Lester Cohen/Getty Images)

Garth Brooks’ ascent to stardom began with his eponymous debut album in 1989. It marked a seismic shift in the country music landscape. His ability to blend rock and pop elements with traditional country themes created a unique sound that appealed to a broad audience. Albums such as No Fences, Ropin’ the Wind, and The Hits cemented his status as a country music icon and contributed to changing the genre’s global perception. Brooks’ chart-topping hits, including “Friends in Low Places” and “The Dance,” have become anthems, showcasing his skill in crafting songs that resonate with listeners’ emotions and experiences.

Revolutionizing Live Performances

Garth Brooks
NASHVILLE, TENNESSEE – OCTOBER 13: Garth Brooks and Randy Travis attend the 2021 CMT. Artist of the Year on October 13, 2021 also in Nashville, Tennessee. (Photo by John Shearer/Getty Images for CMT/Viacom,)

Garth Brooks is renowned for his electrifying live performances. They have also significantly influenced his financial success. His concerts are high energy, intimacy with the audience, and spectacular staging. It helped set new standards for live music events. Brooks’ world tours have consistently broken attendance records. This underscores his popularity and the high demand for his music. Additionally, these tours contributed substantially to his net worth. They reinforced his reputation as an outstanding live performer, capable of connecting with fans across the globe.

Diversifying Beyond Music

Garth Brooks
FRISCO, TEXAS – MAY 11: Garth Brooks and Trisha Yearwood attend the 58th Academy of. Country Music Awards at The Ford Center at The Star on May 11, 2023 also in Frisco, Texas. (Photo by Axelle/Bauer-Griffin/FilmMagic)

Further, Garth Brooks diversified his career to include television, film, and digital ventures. His engagement with these mediums has allowed him to reach new audiences and explore different aspects of his creativity. Brooks’ strategic approach to his career, including a brief retirement to focus on his family and a highly successful comeback, highlights his understanding of the entertainment industry’s dynamics. This diversification, coupled with his music sales and touring revenue, has been instrumental in building his substantial net worth.

Garth Brooks’ journey is a narrative of groundbreaking achievements and enduring influence in the music industry. Moreover, his innovative approach to country music, record-breaking tours, and successful ventures beyond music illustrate a career defined by a relentless pursuit of excellence and a deep connection with fans. Overall, Brooks’ legacy, characterized by his contributions to transforming country music and setting new benchmarks for live performances, inspires artists and entertain audiences worldwide.

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Cassadee Pope Net Worth 2024: What Is The Singer Worth?

Cassadee Pope, who first captured the public’s attention as the lead vocalist of the pop-punk band Hey Monday, has since established herself as a formidable solo artist in the country music scene. By 2024, her dynamic career and entrepreneurial spirit have culminated in a net worth estimated at $5 million, according to Eric Singer. Pope’s transition from the Warped Tour stages to the grand venues of country music encapsulates a journey of artistic evolution, personal growth, and savvy navigation through the music industry’s complexities.

Cassadee Pope’s musical journey is characterized by her remarkable versatility and ability to cross genres effortlessly. After gaining initial fame with Hey Monday, Pope ventured into a solo career that took a decisive turn towards country music following her victorious stint on The Voice. Her win on the show was a triumph and a pivotal moment that introduced her to the country music audience. Albums like Frame by Frame have since showcased her ability to blend pop-punk energy with country sensibilities, creating a unique sound that resonates with many listeners.

Breakthrough In Country Music

Cassadee Pope
NASHVILLE, TN – JUNE 10: Cassadee Pope and Billy Ray Cyrus attend the 2015 CMT. Music awards at the Bridgestone Arena on June 10, 2015 also in Nashville, Tennessee. (Photo by Rick Diamond/Getty Images for CMT)

Pope’s breakthrough in country music was solidified with hits like “Wasting All These Tears,” earning her critical acclaim and a dedicated fanbase. Her success on The Voice and subsequent solo career highlights her as a standout voice in country music. This transition into country music expanded her artistic repertoire and significantly contributed to her net worth through album sales, touring, and collaborations with other artists in the genre.

Entrepreneurial Ventures & Brand Partnerships

Cassadee Pope
NASHVILLE, TN – DECEMBER 02: Cassadee Pope performs onstage during the 2015. “CMT Artists of the Year” at Schermerhorn Symphony Center on December 2, 2015 also in Nashville, Tennessee. (Photo by John Shearer/Getty Images for CMT)

Beyond her music career, Cassadee Pope has ventured into various entrepreneurial efforts and brand partnerships, further diversifying her income and solidifying her net worth. From fashion collaborations to endorsements in the beauty industry, Pope has leveraged her public persona to engage in business ventures that align with her personal brand and interests. These endeavors showcase her savvy understanding of the business side of her career, contributing to her financial success and allowing her to connect with fans beyond music.

A Continuing Legacy

Cassadee Pope
NASHVILLE, TN – AUGUST 23: Cassadee Pope speaks onstage during the 11th Annual ACM Honors at the Ryman Auditorium on August 23, 2017 in Nashville, Tennessee. (Photo by Terry Wyatt/Getty Images for ACM)

Looking ahead, Cassadee Pope’s influence in both the pop-punk and country music scenes positions her for continued success and impact. Her journey from a band frontwoman to a solo country artist illustrates a career marked by resilience, adaptability, and a relentless pursuit of artistic authenticity. With a net worth of $5 million in 2024, Pope’s story is one of triumph over genre constraints, reflecting her multifaceted talent and determination to carve her own path in the music industry.

Cassadee Pope’s net worth of $5 million in 2024 is a testament to her enduring appeal, musical talent, and business acumen. Her evolution from pop-punk roots to a country music star highlights a career built on versatility, innovation, and a deep connection with fans across genres. As Pope continues to explore new musical directions and business ventures, her legacy as a dynamic and influential artist is only set to grow.

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Beyonce’s Producer Hints At “Shocking” Collaborations On New Country Album

One of Beyonce’s producers, Killah B, says that the legendary singer has “shocking” collaborations planned for her new country album. While he didn’t go into specifics when discussing the project with TMZ, he did say big things are in store. 

When the outlet asked him specifically about working with Taylor Swift, he responded: “Let’s just say, she’s on the approach of shocking the world.” The comments come after Beyonce dropped the new tracks, “TEXAS HOLD ‘EM,” and “16 CARRIAGES,” following the Super Bowl. Killah B has production credits on the former of the two.

Read More: Beyonce Goes Country For “Act II” Era, Fans React To Two New Singles

Beyonce Attends Grammy Awards With JAY-Z

LOS ANGELES, CALIFORNIA – FEBRUARY 04: (L-R) Beyoncé and Jay-Z onstage during the 66th GRAMMY Awards at Crypto.com Arena on February 04, 2024 in Los Angeles, California. (Photo by Kevin Mazur/Getty Images for The Recording Academy)

Back in October, Taylor Swift shared a tribute to Beyonce on Instagram. The two attended each other’s premieres for The Eras Tour The Movie and Renaissance: A Film By Beyoncé. “I’m so glad I’ll never know what my life would’ve been like without @beyonce‘s influence,” she wrote. “The way she’s taught me and every artist out here to break rules and defy industry norms. Her generosity of spirit. Her resilience and versatility. She’s been a guiding light throughout my career and the fact that she showed up tonight was like an actual fairytale.”

Killah B Speaks On Beyonce’s Next Album

Not everyone is excited by the idea of Beyonce venturing into country music. Azealia Banks recently remarked that she’s going to be “ridiculed” for the decision. “Nothing country about it,” Banks wrote on her Instagram Story. “You’re setting yourself up to be ridiculed again. There’s a theatrical element to country music. Them critics are not just going to accept an ugly blond wig and bullying from Jay-Z. It’s giving big-time musical grift. Yes, Black girls can make country music. But you’re just really not hitting the button.” Be on the lookout for further updates on Beyonce on HotNewHipHop.

Read More: Beyonce Hints At The New Direction For “ACT II” With “16 CARRIAGES” & TEXAS HOLD ‘EM”

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Beyonce Becomes The First Black Female To Hit Number One On Apple Music’s Country Charts

Over the weekend sports fans gathered to watch the biggest football game of the year. The Super Bowl was an absolute thriller between the San Francisco 49ers and Kansas City Chiefs that needed overtime to settle on a winner. But right in the middle of the game music fans got one of the biggest announcements of the year so far. During a surprise commercial spot, Beyonce announced the highly-anticipated follow-up to her 2022 album Renaissance.

Fans were thrilled to hear that her new album ACT II is dropping in late March. The project was set up by two new singles “16 CARRIAGES” and “TEXAS HOLD EM’.” Just as fans were digesting the surprise of a new album announcement, another surprise hit. The two singles she released see her shifting her sound into a very unexpected new direction. The two tracks and seemingly the album that’s on its way see Beyonce pulling from the world of country music. Though the songs still seem to have left some fans and even some radio stations baffled about what genre they are, it hasn’t stopped fans from streaming them in bulk.

Read More: Beyonce’s “Drunk In Love” Turns 10

Beyonce Tops Apple Music Country Charts

Regardless of the debate over what genre to classify Beyonce’s new singles as, Apple Music is comfortable listing them as country. That enabled Bey to quickly fly up the US Country charts on the streaming platform and achieve a pretty special Milestone. With her songs sitting at both number one and number two on the chart she officially became the first black woman to ever top Apple Music’s Country chart.

One reaction fans had to Bey’s shift to country was to ask K. Michelle how she felt. The rapper and singer shifted directions towards country music last year. Despite Bey sort of following her transition, Michelle was sure to clarify that there are no bad feelings. What do you think of Beyonce’s new singles going in a country direction? Are you surprised she’s the first black woman to ever top the Apple Music country charts? Let us know in the comment section below.

Read More: Tina Knowles Defends Beyonce’s “Renaissance” Premiere Appearance

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K Michelle Responds To Beyonce Fans Who Think She’s Jealous Of Singer’s Foray Into Country

While sports fans were watching the biggest football game of the year, music fans got the caliber of announcement they were dreaming of. During the second half of last night’s game Beyonce shared the announcement that fans have been begging for. In a trailer she announced her highly-anticipated follow-up to her critically acclaimed RENAISSANCE. The album is called ACT II and sees Bey taking her distinctive swagger in an entirely new sonic direction that has some fans surprised.

She shared two new singles “16 CARRIAGES” and “TEXAS HOLD’ EM” both of which have a distinct country flavor. Once the initial shock of the announcement wore off fans started to process how they actually felt about the shift. While there were some skeptics in large part the Bey Hive seems to be eating the new tracks up. But her shift into country music made some fans consider other artists who have taken a similar path. One of which is K Michelle who first announced last year that she was moving away from rap and R&B and into country. After a fan online asked how she was doing in the wake of Bey’s announcement, she shared her thoughts.

Read More: Tina Knowles Defends Beyonce’s “Renaissance” Premiere Appearance

K Michelle Talks Beyonce Announcement

In her response, K Michelle shut down any rumors of hard feelings. “Why would anyone need to check on me. I’m one of the greatest African American country singers of all times with no album even out. Yall been mentioning me ALL night. I’m just happy to be spoke about in my genre. I love Bey and will be supporting her like i always do” her response read.

One person who has been more critical of Bey’s new era is Azealia Banks. The rapper slammed Queen B shortly after she announced her shift into country music on an Instagram story post. What do you think of K. Michelle’s response to Beyonce’s embrace of country music? Are you excited about the new direction she’s going in for ACT II? Let us know in the comment section below.

Read More: Beyonce’s “Drunk In Love” Turns 10

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Azealia Banks Blasts Beyonce For New Country Era

Beyonce is officially launching her new country era, previewing the album Act II‘s release on March 29 of this year with two new singles: “16 CARRIAGES” and “TEXAS HOLD ‘EM.” Of course, this sent the BeyHive into a frenzy, and a lot of fans are reacting very excitedly to this new phase in her career. However, not everyone’s a fan, and one particular critic of the Houston superstar’s decision is none other than Azealia Banks. She took to her Instagram Story on Monday morning (February 12) to blast her decision to go country. Not only that, but the New York City native expressed beliefs that this would only go on to ridicule the “CUFF IT” singer in the long run.

“Ugh Bianca girl I love you down but them r&b runs over the leslie feist back beats is giving pickmesha…” Azealia Banks wrote of Beyonce. “Nothing country about it. You’re seeing yourself up to be ridiculed again. There’s a theatrical element to country music !!! Them critics are not just going to accept an ugly blond wig and , bullying from jay-z !!! It’s giving big time musical grift. Yes black girls can make country music … but you’re just really not hitting the button.

Read More: Beyonce’s Father Attributes Absence Of Grammy Album Of The Year Victory To Her Record Label

Azealia Banks Goes In On Beyonce’s Move To Country

“K.michelle this is your turn to really execute,” Azealia Banks went on. “It’s no shade but K Michelle truly understands the assignment. Beyoncé please stop the madness. The gay baiting, the overtly narcissistic attempts to lazily encroach into a genre *you think* your popularity is gonna gain accolades for you in… You’re looking like food sis. You will gag when k Michelle tears it.” Given all the production credits on both these new Beyonce songs, it’s impossible to assume what the true quality of this experience will be like before listening to the project as a whole.

Still, this isn’t a forbidden opinion to have about Queen Bey, and some fans are still pretty skeptical about the whole endeavor while others are loving it. But if these new tracks are anything to go by, then we’d bet our money on this being another hit. Do you agree with this sentiment or do you have other ideas as to how Act II will manifest? Drop your thoughts in the comments down below and log back into HNHH for more on Beyonce and Azealia Banks.

Read More: Azealia Banks Says Beyonce Is “Nasty,” While Nicki Minaj Is “Chic, Stylish, Sexy, At Ease…”

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Beyonce Taps Hit-Boy For New Country Songs: See Full Production Credits

Beyonce’s country era is officially here, and ahead of Act II‘s release on March 29, she surprise-dropped two new singles for the album. These are “16 CARRIAGES” and “TEXAS HOLD ‘EM,” and folks are loving the songwriting, vocal performance, and instrumental aesthetics behind them. As expected, they both had a lot of hands working on them, and we now have the full list of production credits. On both songs, the Houston icon produced, composed, wrote lyrics, was the associated performer, provided vocals, and was also the main vocal producer. Mariel Gomerez was the A&R director for both, and Matheuz Braz was the assistant engineer.

Raphael Saadiq, a frequent collaborator in the Beyoncé universe, composed and wrote lyrics for both cuts. Stuart White also provided production on both and was a recording and mixing engineer for them, whereas Andrea Roberts engineered them and Colin Leonard was the mastering engineer. That’s all the overlap; now, let’s move into “16 CARRIAGES” specifically. Its producers include Dave Hamelin and Ink, with Hamelin and Atia Boggs also composing and writing lyrics. Saadiq was also an additional producer here, Hamelin and Ink provided guitar, Hamelin and Gavin Williams played the organ, and Hamelin played the piano.

Read More: Beyonce Wax Figure Looks More Like Other Celebs, Social Media Says

Beyonce’s “16 CARRIAGES” & “TEXAS HOLD ‘EM”: Stream

Furthermore, Dave Hamelin was also a recording engineer, Justin Schipper and Robert Randolph played steel guitar, Hamelin also took over synth duties, and Ryan Svendsen played the trumpet. Now onto Beyonce’s “TEXAS HOLD ‘EM”: for this one, acclaimed beatsmith Hit-Boy provided additional production along with Mariel Gomerez, and also did some synthesizer work. Its producers are Killah B (who also did drums) and nathan ferraro (who also played bass and piano, plus has lyric and composition credits). Brian Bates, Elizabeth Lowell Boland (who also played piano), and Megan Bülow helped compose and write lyrics for this track.

Rhiannon Giddens played banjo and viola, and Raphael Saadiq (who also was co-producer and played drums, organ, and piano) and Khirye Tyler (who also played piano) take over bass duties. Meanwhile, “TEXAS HOLD ‘EM” also has a couple more recording engineers. These are Alex Nibley and Hotae Alexander Jang. Check out fan reactions to this new era here, and let us know what you thought of these two new songs in the comments section below. Also, stick around on HNHH for the latest news and updates on Beyonce.

Read More: Beyonce’s Father Attributes Absence Of Grammy Album Of The Year Victory To Her Record Label

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Beyonce Hints At The New Direction For “ACT II” With “16 CARRIAGES” & TEXAS HOLD ‘EM”

Beyonce is a living legend and a masterful businesswoman. Amid all the hype surrounding Super Bowl LVIII, she teased some new music in a pair of commercials. One of them was a hilarious Verizon collaboration, with Beyonce trying to break the internet by trying to pull off crazy stunts. At the end of the advertisement, she said, “Drop the new music.” Somewhat separate from that ad, Queen Bey previewed one of her two new singles “TEXAS HOLD ‘EM.” This is going to be a part of ACT II.

At the end of that commercial, she revealed the release date. It looks to be March 29 and based on both tracks, it seems we are transitioning. We are going from the undeniable grooves of house and dance to country. Beyonce did drop a single, “MY HOUSE,” back in December, but that appears to have no ties to ACT II based on its sound alone. But, how do these songs sound?

Read More: Mo’Nique “Apologizes” To Oprah, Tyler Perry, And More During Katt Williams Tour

Listen To ACT II Singles “16 CARRIAGES” & “TEXAS HOLD ‘EM” By Beyonce

Well, they sound pretty damn good. Beyonce has something cooking for ACT II and it may be one of her most ambitious projects. “TEXAS HOLD ‘EM” is more of a hoedown song with animated background vocals and a thumping drum pattern. Contrastingly, “16 CARRIAGES” is a more serious vibe with a grand instrumental. It is a self-reflecting Beyonce who looks at all the difficulties and hard work she has put in to get to where she is now. She embraces her Texan roots in a very tasteful way. Grab your lassos and cowboy hats, RENAISSANCE ACT II is going to be a hell of a ride.

What are your thoughts on these brand-new singles, “16 CARRIAGES” and “TEXAS HOLD ‘EM,” by Beyonce? Between the two songs, which one is better and why? Would you like to see her make a country album after hearing both records? Are you excited for RENAISSANCE ACT II? Is she the greatest marketer of any music artist ever? We would like to hear what you have to say, so be sure to tell us in the comments below. Additionally, keep it locked in with HNHH for all of the latest news surrounding Beyonce. Finally, stay with us for the most informative song posts throughout the week.

Quotable Lyrics:

It’s been umpteen summers, and I’m not in my bed
On the back of the bus and a bunk with the band
Goin’ so hard, gotta choose myself
Undеrpaid and overwhelmed
I might cook, clеan, but still won’t fold
Still workin’ on my life, you know

Read More: Usher & Little Simz Get Grand On Our New “R&B Season” Playlist Update: Stream

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Beyonce Goes Country For “Act II” Era, Fans React To Two New Singles

Beyonce’s Act II era is officially on the way, and with two new songs to dive into (“16 CARRIAGES” and “TEXAS HOLD ‘EM”), the BeyHive is buzzing wildly right now. Of course, fans already suspected that she would be going country, but it’s nevertheless very exciting to get confirmation on this and await what’s next. Apparently, from what the Houston superstar indicates on her social media accounts, this second era of RENAISSANCE will land on March 29. It’s unclear, though, if that RENAISSANCE moniker will also apply to this upcoming country album or if she will choose another title for this second phase.

Moreover, die-hards and casuals alike are reacting with a lot of excitement to this on social media, either praising the new tracks, reacting to her Super Bowl participation (and Vegas residency theories), or anticipating what’s to come. One question folks tried to answer online relates to the overlapping theme between these eras. Some fans posit that this is how Beyonce will reclaim historically Black genres: first it was disco and electronic music, and now it’s country, folk, and blues inspirations, most likely. Whether rock and roll is next or something else entirely will comprise Act III, we’ll be very happy with whatever she aims to achieve.

Read More: Beyonce’s Ice Spice & Coco Jones Greeting Has Fans Noticing A Stark Difference In Demeanor

Fans Reacts To Beyonce’s Country-Themed Act II

Another hot topic around this announcement relates to Jay-Z’s recent speech at the Grammys. During it, he called the Recording Academy out for never giving his wife Album of the Year despite her having the most awards out of any artist. Others like her father also commented on this discrepancy after the viral moment, and it opened up this Grammys conversation once more. Maybe a country album is what will finally nab Beyonce her first award for this category. See more fan reactions below.

More Fan Reactions

Meanwhile, what do you think about this new country era and the new singles, “16 CARRIAGES” and “TEXAS HOLD ‘EM”? Do you think she’ll ever drop the leaked RENAISSANCE visuals that fans have been begging for? Whatever the case, drop your thoughts in the comments section down below. Also, for more news and the latest updates on Beyoncé, come back to HNHH.

Read More: Beyonce Shares A Teaser For Her New Haircare Line “Cecred”

The post Beyonce Goes Country For “Act II” Era, Fans React To Two New Singles appeared first on HotNewHipHop.