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Even before the release of Beyoncé's Billboard 200 number one album Cowboy CarterRyan Beatty had a banner in 2024. His name is on the liner notes of Bleachers' self-titled fourth album as a co-writer, and he'll be opening for Noah Kahan this summer and Maggie Rogers in the fall — all in support of his own acclaimed third album of 2023, Calicowhich won praise from Elton John, who featured Beatty on his Apple Music Radio show Rocket time last year, saying his songwriting is “beautiful, intense and meaningful.”
But his contributions to Cowboy Carter it's been quietly in the works throughout his winning streak, spanning the past four years. Beatty, a California native and teenage pop prodigy turned soulful singer-songwriter, is credited with co-writing four songs on the blockbuster, including standouts “Bodyguard” and “II Hands II Heaven.” A closely guarded secret he's kept since 2020 (Beatty, 28, says he “worked on it pretty much from start to finish”), his collaboration proved an inspirational boost. “It gave me this quiet confidence for years,” she says. “I think when you're patient with the process, you almost feel ready for everything that happens.”
Below, he explains how he scored such important co-writes and what's next for his solo career.
Ryan Beatty
Ashlan Gray
Although Calico it came out a year ago, have the last two months felt like a milestone for you?
I think when you're patient with the process, you feel ready for everything that happens. I don't want to sound tired, because everything I've done and am going to do is unreal. When I got my record out, I knew what I was in for and I knew how special it was to me. I hoped it would feel just as special to the people listening to it. I also know what I was willing to do and what I wasn't. And I'm very adamant about staying authentic in every decision I make regarding my music. And I think because I was so protective of it, it was such a nice slow burn that the discovery of the record happened so naturally and effortlessly.
I didn't realize how much that record affected the world until I started touring it. Seeing people actually show up and actually be there with me was really special. It's nice to know that staying true to yourself pays off, because it's so easy for you to bite the bullet and try things that don't work for you and think, “Oh, this worked for someone else, so maybe it will work for me.” .” But I think every artist has that feeling in their gut when they know something is right for them or not, you just have to listen carefully.
You were working Cowboy Carter and Calico AT THE SAME TIME. What was it like deciding which ideas and lyrics should be on which albums?
There was never a moment when I thought, “Does this go here or there?” Whenever I went to work on the music, it was very intentional to focus on where things were. At the end of the day, my writing will be my writing. But never mix too much; it was always “I'm making this song for Calico“, or “I'm making this song for Cowboy Carter.I really felt a push in my craft and could feel myself growing as an artist, so working on something of that magnitude at the time also helped hone my album. I always call Calico a small record because it's so close to the chest, and it's really interesting to be in both of those worlds. Knowing that [Cowboy Carter] will be heard by every person on Earth, while on my record I'm whispering into the microphone, I kind of enjoyed that.
How did you last? Cowboy Carter secret so long?
It was hard, but I kind of enjoyed it. There were people in my life who didn't know until the day it came out. I've been getting calls and texts all day, like, “What are you talking about?” All along I wanted to honor what was made and I really believe in letting the work speak for itself. Having no expectations is the best move.
Your work is usually autobiographical. How does this affect your writing for other artists?
I put my own perspective on these songs. Even in a song like “Just for Fun,” [Beyoncé] he sings about Clovis, which is the town I grew up in [in California]. So if you really look at the details of it, you can hear my point there, I think.
How easy was it to decide whether or not to reflect your own queerness in your work?
It was instant for me. What excites me about making music is talking about my own life. So it wasn't to do it or not to do it. It was like, this is what excites me, let me be very upfront about it.
What did you learn from working with Beyoncé and her team?
He makes things with so much intention, and I've always tried to do the same thing. Just seeing the work involved definitely reminded me, “Ah, this is how you do greatness.” It was incredible to be there and I felt very respected throughout the process.
What can you share? “BODYGUARD,” which seems to be a fan favorite?
The line “Sometimes I hold you closer to know you're real” is one of my favorite lines I wrote on the entire record. Melody and lyrics together can make something much more beautiful. I think this tune, the way she sings it and the line itself is cute and familiar. I love this part of the song.
What can you reveal about the collaboration on the Bleachers album? You are listed as a co-writer on “Call Me After Midnight.”
For this record, it's the one we started working on in 2017. It's a song I wrote a long time ago. Jack [Antonoff, Bleachers frontman] he was working on the Kevin Abstract record and I think they put it on to revisit it and Jack loved it and asked us if he could rework it and we said, “Yeah, put it on.” To my surprise, it was on the last Bleachers record and I'm very glad it continued there. It's such a fun, beautiful record and I've been a fan of Jack's for a long time since way before I met him, so this was a full circle moment at the same time.
Just announced that you will be opening for Maggie Rogers on her upcoming tour. Do you ever have spitball ideas with her?
Maggie is one of the smartest people I have ever met. She's just fun to talk to and wears her heart on her sleeve. I think I do the same, so I enjoy our conversations.
Do your recent experiences influence the way you write your next album?
Probably, but I wouldn't know yet. I would say I'm grateful to know that the best way to write a record is to just live life. This sounds pretty simple, but I'm trying not to go into “record mode” and to be honest, I don't even know what that means. Calico it was made in a period where I'd say, “Okay, I'm ready to write,” and then I'd stop for six weeks. Then I would go back and work on it some more. I just want to live a beautiful life, make beautiful things and whatever comes out of it, comes out of it. This sounds very simple, but I think if you take it too hard, you end up thinking about it. There must be ease and intention at the same time.
This story will appear in the April 27, 2024 issue Advertising sign.
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