Will Beyoncé’s ‘Act II’ Era Help Black Country Artists, Or will it Simply Be Another Self-Preservation Project?
Hot Takes
Some will get mad while reading this: But it’s time to call a spade a spade when it comes to the long term impact of what will happen for other Black artists once Beyoncé's country-driven, Renaissance 'Act II' era concludes.
BY DA’SHAN “NIGHTSHAWN101” SMITH
FEBRUARY 15, 2024
Digital illustration of Beyoncé posing with a cowboy hat for her ‘Act II’ era.
Update: March 27, 2024
On February 26, 2024, “Texas Hold ‘Em” reached the top spot of the Billboard Hot 100, and the No. 1 song on the magazine’s Hot Country Songs chart. She became the first Black woman solo artist to earn that position on the Hot Country Songs chart.
On March 12, 2024, Beyoncé names Act II of her trilogy Cowboy Carter presenting a photo of a saddle draped in a stash with the album’s title.
On March 19, 2024, Beyoncé revealed the album cover of Cowboy Carter , which features her on a white horse in an American flag jumpsuit imitating a rodeo star. She holds the American flag, which is partially in view. On Instagram she posted the following statement:
“Today marks the 10-day countdown until the release of act ii. Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart. That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant.
This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed…and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive. It feels good to see how music can unite so many people around the world, while also amplifying the voices of some of the people who have dedicated so much of their lives educating on our musical history.
The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. act ii is a result of challenging myself, and taking my time to bend and blend genres together to create this body of work.
I have a few surprises on the album, and have collaborated with some brilliant artists who I deeply respect. I hope that you can hear my heart and soul, and all the love and passion that I poured into every detail and every sound.
I focused on this album as a continuation of RENAISSANCE…I hope this music is an experience, creating another journey where you can close your eyes, start from the beginning and never stop.
This ain’t a Country album. This is a “Beyoncé” album. This is act ii COWBOY CARTER, and I am proud to share it with y’all!”
little over 24 hours after starring in a surprise Super Bowl commercial for Verizon, revealing that ‘Act II’ of the Renaissance trilogy’s release date is 3/29 on her official website, and uploading two country songs– “Texas Hold ‘Em” and “16 Carriages”
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on streaming services and iTunes– Beyoncé’s mission for her next era became more evident for those invested in her music. Although the global pop legend rarely speaks about the intentions of her recent discography until she feels the time is right to release a press statement, other clues do the talking for her. Aside from her Tumblr styled blog of a professional website that posts gorgeous HD shots of her adorning designer cowboy hats– or simply the swang of her latest two singles– those who closely worked on the music are starting to speak to the press.
At the time of this article being released (even in anticipation of her upcoming ‘Essence Magazine’ cover story, where she could say something official), many are assuming that ‘Act II’ is bound to be a country music album. Banjo and viola player Rhiannon Giddens appears in the credits of “Texas Hold ‘Em” – a line dancing upbeat giddy that models after the “outlaw country” subgenre and cheekily alludes to the poker game, and Beyoncé’s own home state.
‘The Washington Post’ and its reporter, Janay Kingberry, honed in on that credit– quickly interviewing Alice Randall, a songwriter, author and professor of African American and diaspora studies at Vanderbilt University. “I anticipate that this album is going to take us in a direction that both refines and redefines what country is and takes country up to another level,” Randall told the publication. She compared what could possibly happen on ‘Act II’ to what Ray Charles accomplished on his 1962 album, Modern Sounds in Country and Western Music .
On Charles’s effort, he covered popular songs by implementing his R&B sound in the traditions of country and folk music. The album’s popularity helped break down racial barriers in the music industry– while simultaneously making country the “it genre” of pop music. Soon other Black artists delved in country music– reclaiming a long history of Black diaspora being the foundations of the genre. Modern Sounds in Country and Western Music ended up being nominated for Album of the Year at the 1963 Grammys. “I Can't Stop Loving You” went No. 1 on the Billboard Hot 100. Decades later, the LP ended up being culturally and critically acclaimed for its impact.
Speaking to David Browne of ‘Rolling Stone Magazine,’ Robert Randolph– who plays steel guitar on “16 Carriages,” a rousing midtempo ballad that highlights Bey’s grind in the music industry since being a teenager, as well as her parental upbringing– told the publication “Beyoncé already had an idea of what she wanted to do. She wanted to do something with … some country fire.”
It’s safe to assume that the Houston native wants for her Renaissance trilogy to be a reclamation of Black music forms that have since been viewed as white-dominated artforms when it comes to commercial popularity. ‘Act I’ was all about representing house, electronic dance, and disco music, with its fervent representation in queer culture. Posing by disco balls– and a horse of silver mirrorball gleam– ‘Act I’ quickly became a cultural force thanks to its record breaking world tour. Even though she didn’t speak much on the musicality of the scene, her various references on the album and the tour’s creative design made her objective clear.
‘Act II’ more than seems to be heading on a similar trajectory. But here’s the thing… Will Beyoncé do more for the overall erasure of Black artists making country music, or will it be another era that sort of works as cosplay just to be abandoned for her next pop infinity stone?
There is somewhat of a danger that lurks with what’s happening in ‘Act II’ thus far. That became apparent when a fan requested “Texas Hold ‘Em” to their local Oklahoma country station, KYKC. In an email posted on that fan’s X (formerly known as Twitter) account, the station initially responded “Hi - we do not play Beyonce’ [sic] on KYKC as we are a country music station.” After outrage from the post, and KYKC’s phone lines and emails being tied up with requests demanding airplay– the station finally acquiesced by revealing “Texas Hold ‘Em” would be on their playlist queue.
Speaking to Christopher Brito of ‘CBS News,’ the station’s general manager, Roger Harris, vouched that since they are small, they don’t get serviced the large records right away. Harris and KYKC had faced accusations of not playing Beyoncé because they are racist. Harris had to respond, “We have nothing against Beyoncé … and we wish her the best in her foray into country music.” Later adding, “she’s an icon.”
While the viral discourse highlighted a major problem of Black artists not receiving the airplay exposure they need for their country music– it also highlighted that the fight can sometimes only be beneficial for one person because of their status. To make it clear, it’s not Beyoncé’s fault that she’s at the top of the game. We as a collective society have seen her work hard for that position– even sometimes when people and the industry wanted to push her out. But at the same time it’s starting to get to a point where her power should extend out to help others.
With ‘Act II,’ people are anticipating that Beyoncé will become the face of country music– specifically as a representative for Black artists, as well as women who are being shut out of the space. Just as she suddenly got thrusted into being the figurehead for Black artistry in dance music (even winning a historical Best Dance/Electronic Album Grammy) for ‘Act I.’
The complaints towards that radio station (and others) was not primarily because of racism. It was because the person attached is Beyoncé . A woman whose fanbase, The BeyHive, has inspired the hyper-surreal mini-series, ‘Swarm,’ which focused on a stan being so obsessive that she will go the lengths to kill anyone that speaks illy of her idol due to a parasocial connection.
This is not to say that fans don’t have the right to call out what’s truly going on. Lil Nas X received the same support when Billboard decided to remove “Old Town Road” from country music charts, while the genre’s stations did not spin it back in 2019. But what ended up transpiring was simply a moment just to voice a bigger injustice for a brief period of time, as Lil Nas X has never truly revisited country music in favor of obtaining more pop and hip hop success.
While Beyoncé has country influences in her sound– even facing the fury of the genre’s gatekeepers when she performed her Dixieland ode, “Daddy Lessons,” at the 2016 CMA Awards– country is not her bread and butter. In terms of her discography, “Daddy Lessons” happens to be a flash in the pan moment. This is also not to say that Beyoncé does not have the right to release a country album (or even a house one). She could release only country albums for the rest of her life, so she shall please. But we also have to be realistic about how she functions as an artist when taking up these battles.
Would the outrage just cease once Beyoncé collects her money, critical accolades, and awards (possibly even the coveted Grammy for Album of the Year, that continues to elude her)? What about the other Black country artists that have been making this music from their start? Although they are willfully supporting her on this endeavor, it seems at the moment to be veiled as false hope.
For instance, Tanner Adell went viral on X by posting a side by side picture of her profile next to the cover art of “16 Carriages.” “As one of the only black girls in [the] country music scene,” started Adell, “i hope Bey decides to sprinkle me with a dash of her magic for a collab.” That post earned over 30K likes at the time of this article’s publishing. However, someone responded “The album done baby” and earned 49K likes.
Although that response was a comedic gag– it slightly highlighted how the star’s power and popularity is defeating the larger message of what could come about. It’s not to say that Beyoncé has to collaborate with Tanner Adell. Bey still has her artistic goal to follow and barriers she wants to break for herself. And for all we know, maybe Adell is promo-ing a possible collab that will appear on ‘Act II.’
However, Beyoncé’s personal decision (and collective history) of not speaking on emerging talents that potentially inspire her– or she gives a minute resume credit to– is not leveraging her platform to the fullest. Beyoncé is at a stage in her career where she will never be replaced. Like she sings on “Alien Superstar,” “I’m one of one. I’m the only one.” But in order for an industry to thrive. In order for its legacy to continue after you make a mark. In order to fully sell the mission, you have to be vocal beyond the importance of self.
While Beyoncé is making crusades as this apparent martyr that will pick up from the uphill battle of “Daddy Lessons” (this era is bound to have plenty more KYKC moments; and genre mislabels and snubs), she has the opportunity to actually do more. In reality, it’s not like she’s setting an example for what it is to be a Black country star. That stage of her career has already passed– and the artists that came before her have already done the groundwork of establishing the genre.
At the same time, it’s also not fair to demand that Beyoncé suddenly become this advocate to save other people’s careers. Black country artists such as Kane Brown, Mickey Guyton, Rhiannon Giddens, and even K. Michelle (who has been vocal for years about planning to release her own album– but is already being pitted against Bey’s ‘Act II’) are making their own collective strides to keep the legacy intact. Just like her Verizon commercial, Beyoncé may very well get the satisfaction of simply “breaking the internet.” Maybe the thrill in doing it all is not to be broken by what people say she’s not capable of doing as an artist.
But on the flip side, it’s time for her to recognize (or at least make it known to the public) that the power of other forms of exposure will continue the reclamation forward enough where she can rest on her laurels.
