Beyoncé has been a part of our collective cultural consciousness so prominently, and for so long, that it can be tempting to take greatness for granted. (Not me, even if they're safe!) Over the last decade, we've seen Beyoncé introduce the idea of visual albums to the general public with her self-titled project, embrace righteous anger and self-recovery in Lemonadedemolishes and reinvents the expectations of festival headliners in Beychella, and sends a love letter to the origins of house music in RENAISSANCE. Now, after announcing the second act of his RENAISSANCE project during the Super Bowl, the first two singles are here, and when I say yes, you better say haw.
At first glance, it might seem like a sharp turn to go from disco and club elements to country, but by keeping both projects under control RENAISSANCE umbrella, with country being the second act of three, Beyoncé offers a gentle reminder that both genres are deeply rooted in the creativity of black artists in America. Country music is inextricably linked to the blues and spirituals of the South; Despite the direction of much of modern, mainstream country music, the sonic foundation will always be there.
Country music is defined by personal stories, with an emphasis on relatability, two things that haven't always been characteristic of Beyoncé's catalog. On the contrary, Texas, in all its glory, has always been a part of Beyoncé's musical identity, but she has never embraced this part of her Southern roots in such a major way. Lemonade The “Daddy Lessons” cut, which he revamped with The Chicks, dipped a toe into this space, but now he’s diving in.
“TEXAS HOLD 'EM” and “16 CARRIAGES” offer two different paths from Club Renaissance to the countryside, one fun and danceable, the other introspective and sweeping. “TEXAS HOLD 'EM” rests on an undeniable truth, and that is that sometimes people just crave boom-clap music. It's only February, but it could be the song of the summer for me here in Nashville once the seasons officially change; the bouncy joy embedded in the track demands to be played in the kind of bar it sings fondly about. Music Row doesn't always make the right decisions overall, but this song deserves a happy home on country radio. It's Beyoncé's inimitable voice that takes it from good to great.
Meanwhile, “16 CARRIAGES” is a heavier mid-tempo cut that offers a somewhat rare glimpse into the interiority of one of our most private celebrities. Here, she plays with the balance between sadness and hope, deeply characteristic of the country genre, as she reflects on the path he has taken since signing with Columbia Records at the age of 15. “I had to leave home at a young age / I saw mom praying, I saw dad grinding,” she sings. “Sixteen dollars, working all day/ I have no time to waste, I have art to make/ I have love to create on this holy night.”
By emphasizing organ and choir harmonies, it incorporates gospel elements more characteristic of black country artists. “16 CARRIAGES” invokes some of the autobiographical value of Johnny Cash and his contemporaries, but the larger vocal moments and dramatic air recall the more soulful style of Barbara Mandrell. The scale here seems more expected from a Beyoncé single, but the contrast between the two is exciting: what Act II Does it sound like a whole, if we already have so much variety to enjoy here?
Beyoncé, of course, has nothing to prove to anyone, but she seems to be thinking about the mosaic of art she has woven throughout her entire career with this next step. Again, in “16 CARRIGES,” she says, “I had to sacrifice and leave my fears behind / The legacy, even if it's the last thing I do / You'll remember me.” I believe you, Beyoncé.
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