Over the past decade, Beyoncé has strategically positioned herself not only as a pop star but also as a custodian of musical history, meticulously weaving her personal narrative into the rich tapestry of Black musical traditions. In her 2022 album, “Renaissance,” she turned her attention to the dance floor, casting a luminous spotlight on the contributions of queer artists of color in the house music community. Now, with the announcement of the sequel, “Act II,” Beyoncé appears poised to apply a similar approach to the world of Country Music.
The album’s lead single, “Texas Hold ‘Em,” pays homage to the Black roots of the country-western genre while challenging the perception that it is not inherently dance music. Beyoncé invites us to partake in a line dance, emphasizing the rhythmic connection between country-western and dance music.
While this venture into country music may seem like new territory for Beyoncé, it’s not entirely unfamiliar ground. Her 2016 performance of “Daddy Lessons” with the Chicks at the CMA Awards showcased her earlier foray into the genre. However, she quickly dispels any notions of a straightforward return to her roots, asserting from the outset, “This ain’t Texas.” The banjo, with its West African roots, takes center stage in the opening moments, skillfully played by multi-instrumentalist folk musician Rhiannon Giddens. This intentional choice underscores the banjo’s historical journey to North America, brought by enslaved individuals in the 17th century.
Teaming up with co-producer Raphael Saadiq, “Texas Hold ‘Em” seamlessly bridges the worlds of country and soul, highlighting their historical overlaps. From Isaac Hayes’ soulful rendition of “By the Time I Get to Phoenix” to Toby Keith covering Barry White, the track navigates the interwoven history of these seemingly distinct genres.
Yet, as seen in her previous work like “Break My Soul,” Beyoncé’s attempts at relatability to the 9-to-5 experience may appear somewhat distant, given the veil of privacy and financial security surrounding her life. The spirited ho-hey stomp-clap, accompanied by an Andy Griffith whistle, treads a fine line, bordering on the cusp of music fit for car commercials, echoing the working-class sentiment for those who can afford the luxury of driving a Lexus.
