Presented by GRAMMY.com, Songbook is an editorial series and hub for music discovery that dives into a legendary artist's discography and art in whole — from songs to albums to music films and videos and beyond. This story has been updated to reflect Beyoncé’s 2023 GRAMMYs wins.

One name says so much: Beyoncé. Throughout her 20-plus-year career, the 32-time GRAMMY-winning artist has inspired awe with a divine voice, top-notch performances and thorough bodies of work, demonstrating a complete mastery of her craft.

Before she became the most-awarded artist in GRAMMY history, Beyoncé was a young Houstonian singing alongside her childhood friends in the hip-hop/ R&B girl group, Girl’s Tyme, which would later become Destiny’s Child. Under the tutelage of her father Mathew — and with legendary acts like Tina Turner, Michael and Janet Jackson as her inspirations — Beyoncé continued to hone the gifts that would eventually make her an icon.

After garnering her first two GRAMMY wins with Destiny’s Child in 2001, Beyoncé’s star continued to grow. Her first solo album, Dangerously In Love, further proved Beyoncé was a force to be reckoned with. She collected five GRAMMYs at the 46th GRAMMY Awards in 2004, a then-record for female artists that Beyoncé has since broken. (Bey received a record six awards at the 56th GRAMMY Awards in 2009, an achievement that speaks volumes of her tireless ability to outdo only herself.) At the 2023 GRAMMYs, she became the artist with the most GRAMMY wins in history.

While the accolades are a bonus, Beyoncé’s cultural impact and overall mission to serve her community are the most integral aspects of her career. She defies the artistic confines society often places on Black artists in order to highlight the community’s significance. Whether it’s joining the Super Bowl Halftime show to relay an important message about Black pride, or celebrating the African diaspora in her visual album Black Is King, she’s kept the sanctity, influence and power of the Black community intact, while creating unmatched lanes for herself as an artist. 

There’s never a wrong time to celebrate the musical achievements of "Big B," so GRAMMY.com is revisiting the "world-stop" moments of this legendary act — from her albums to her eye-popping performances, and everything in between.

Beyoncé, The Artist

B’Day (2006)

Released to coincide with her 25th birthday, Beyoncé’s sophomore solo effort B’Day invites listeners to a music party fit for a queen. The ‘70s-inspired LP was reportedly recorded in a span of three weeks, though its short gestation period doesn’t render it incomplete. 

B’Day explores the gamut of R&B, funk and pop, and signals both a turning point in Beyoncé’s personal maturity and a shift in the approach to her artistry. Recorded with live instrumentation, B’Day features production from The Neptunes ("Kitty Kat"), Rodney "Darkchild" Jerkins ("Deja Vu"), and Swizz Beatz ("Ring The Alarm," "Get Me Bodied"), and finds Beyoncé at her (then) boldest, serving as a co-arranger, writer and producer on each track.

The album also showcases solo Bey’s earliest forms of sexual liberation and autonomy, evident by party starters like "Green Light" and "Freakum Dress." She also gives listeners the balladry they’ve come to love with "Irreplaceable" and "Resentment." When you think of Beyoncé, you’re probably thinking of hits from B’Day — which is indicative of how integral it is to her discography.

4 (2011)

4 is Beyoncé’s first time creating a cohesive body of work after becoming managerially independent from her father. Through the effort, fans are gifted with something they truly want: a look into the generally-private life of Queen Bey. The album could be seen as the catalyst for the mature and vulnerable themes found in BEYONCÉ and Lemonade.

Much of the album’s material focuses on monogamous love, but there’s no shortage of empowering, women-centered anthems one now expects from Beyoncé. A showcase of her prowess, 4 marries the subjects of relationships and feminine independence without being contradictory.

4 also gives listeners a taste of Beyoncé’s ability to traverse genre through multiple sources of sonic inspiration, from the funky, Fela Kuti-inspired "End Of Time," to "Run The World (Girls)," which samples Major Lazer’s dancehall-heavy hit, "Pon De Floor." 

Read More: For The Record: The Creative Rebirth Of Beyoncé On 4

Lemonade (2016)

Perhaps her most critically and culturally-lauded body of work, Beyoncé’s sixth album Lemonade crosses genres with ease, while providing an emotional catharsis unlike any project she’d released prior. 

Through a journey of head-banging rock anthems ("DON’T HURT YOURSELF"), alternative R&B ("6 INCH") and country ("DADDY LESSONS"), Bey unleashes a warm sonic embrace for Black women aimed at collective healing. Lemonade is accompanied by a stunning visual component directed by several lauded filmmakers, and features public figures from Serena Williams to Zendaya.

While the project controversially received just two GRAMMYs out of the nine it was nominated for at the 59th GRAMMY Awards, Lemonade’s cultural impact has proven to be enormous. With the album, Beyoncé used her platform to speak directly to her community in a poetic and nuanced way. This effort didn’t go unnoticed and will be celebrated for years to come.

RENAISSANCE (2022)

Due to Beyoncé’s regression back to a rather traditional album rollout, her seventh studio album, RENAISSANCE, didn’t crash land into our headphones like her previous two solo efforts. However, the 16-track project still managed to pack a powerful punch. The first of a reported album trilogy is drenched in dance music influence, featuring tracks that carry house, disco, afrobeats, dancehall and bounce vibes.

According to a note Beyoncé shared on her website upon releasing RENAISSANCE, she made the album to honor the "fallen angels" of the music scene and her beloved Uncle Jonny, who died as a result of AIDS-related complications. Much like the dance music and club scene that sparked a revolution in the 20th century, the album urges listeners to choose life, love and freedom despite the calamity found in the world. 

One of the major hallmarks of the album is Beyoncé’s reclamation of the Black and brown, queer and trans beginnings of dance music. With LGBTQ+ friendly tracks like the ballroom-inspired “PURE/HONEY” and the self-love anthem “ALIEN SUPERSTAR,” Beyoncé reconfigures the sounds and spaces that became became integral to the communities that needed them most throughout RENAISSANCE.

COWBOY CARTER (2024)

A powerful claim on the impact of Black culture in country music and beyond, Cowboy Carter is Beyoncé's eighth studio album and the second act in a musical trilogy that began with Renaissance. The 27-track opus reinforces her power as a centrifugal cultural force in music and beyond.

Before Cowboy Carter was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. This reckoning is an evolution of the conversation that carries through her entire body of work and fortifies the role of Black culture not only in country music, but as the backbone of all pop culture today. 

Cowboy Carter is the result of a five-year creative effort, and the release is nothing short of a triumph. Beginning with "AMERICAN REQUIIEM," Beyoncé sets the tone for the entire album with introspective lyrics that speak to the evolution of history and her career, emphasized by a church organ and choir-like vocals. The album moves through a moving tracklist with "BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women — which Beyoncé covers backed by a flock of Black female country songbirds. 

Blending features and collaborations with legacy country legends, including Dolly Parton ("JOLENE" and "DOLLY P"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Linda Martell ("SPAGHETTII and "THE LINDA MARTELL"), the album also includes popular artists from a different generation. Miley Cyrus joins her on "II MOST WANTED" and Post Malone on "LEVII'S JEANS," while Nigerian American singer/rapper Shaboozey, known for his blend of hip-hop and country music, shows up to the rodeo on "SPAGHETTII" and "SWEET HONEY BUCKIIN." 

Cowboy Carter's eclectic mix of voices and melodies form a vibrant anthology that transcends time and musical styles, crafted by an icon whose influence reverberates across the industry.

Beyoncé, The Visual Artist

The "Self-Titled" Era (2013)

While Beyoncé’s eponymous fifth solo album made headlines for its out-of-nowhere release, the self-titled era is also revered for its 17 music videos, all of which were released simultaneously.

The feat was unparalleled, as each video was (seemingly) filmed in secret with different directors at the helm. The Hype Williams-directed "Blow" features a neon-lit roller skating rink befitting from the funky Pharrell, Timbaland and J-Roc-produced beat; the "Haunted" video was made by Jonas Åkerlund, and features Beyoncé entering a spooky, sexy mansion.

"It’s more than just what I hear. When I’m connected to something, I immediately see a visual or a series of images that are tied to a feeling or an emotion," Beyoncé said in the self-titled mini-documentary about crafting a visual album. "I wanted people to hear the songs with the story that’s in my head, because that’s what makes it mine."

Formation (2016)

Beyoncé dropped the song and video for "Formation," the first single from her then-unannounced album Lemonade, at the start of Black History Month and makes strong points about the importance of Black pride and self-love. ("I like my baby hair with baby hair and Afros," she sings.) 

The video was shot by Melina Matsoukas — director of the visual for Bey’s image-conscious anthem "Pretty Hurts" — and largely pertains to protecting Black lives and abolishing police brutality. Near its conclusion, the words "Stop Shooting Us" are seen spray painted on a wall, while a young Black boy’s fearless dancing prompts police to put their hands up (a powerful flip of the "Hands Up, Don’t Shoot" slogan and gesture coined in 2014 following the death of Michael Brown by police). Her performance of the song at the Super Bowl Halftime show just a day later features several pro-Black moments, such as dancers donning Black Panther berets and choreography featuring the Black Power salute. 

While the performance and video were criticized by those who didn’t understand its overall point, they were both praised by many who did. And even better? Beyoncé announced the Formation World Tour immediately after leaving the Super Bowl stage.

Black Is King (2020)

Disney’s The Lion King received the live-action treatment in 2019, featuring Beyoncé as the voice of lioness Nala. Bey curated the soundtrack accompanying the film, The Lion King: The Gift, which showcases how far-reaching Africa’s influence spreads in music.

Tying everything together, Beyoncé released a visual component to The Gift in summer 2020. A musical "thank you" to Africa, Black Is King puts a modern twist on The Lion King. A diverse cast and crew were billed alongside Beyoncé, who starred in, co-directed and co-wrote the project. 

Stunning landscapes, traditional African hairstyles and ornate costumes were crucial to the film’s storytelling. Upon its release on Disney+, it was universally praised for uplifting the African diaspora, as well as placing an importance on maintaining and celebrating Black culture’s distinct roots.

Read More: Inside The Visual World Of Beyoncé And Black Is King, Her "Love Letter" To Black Men

Beyoncé, The Performer

GRAMMYs

Beyoncé is no stranger to the GRAMMY stage, performing multiple times over her illustrious career. One of her most memorable GRAMMY moments is her duet with Prince, which opened the 2004 ceremony. Beyoncé croons along as Prince shreds his signature purple guitar to a medley of hits, from "Purple Rain" to Bey’s "Crazy In Love." 

A few years later at the 52nd GRAMMY Awards ceremony, Beyoncé proved her performance prowess with a rendition of "If I Were A Boy" from her album I Am… Sasha Fierce. She took total control of the moment with a powerful strut down the aisles, pairing her unmatched vocals with hair-swinging choreography. She also interwove GRAMMY winner Alanis Morissette’s breakup hit "You Oughta Know" into the performance.

Her most recent performance on the GRAMMYs stage occurred during the 2017 ceremony. Although she was several months pregnant with twins, Beyoncé made sure to put on a show while singing "LOVE DROUGHT" from Lemonade. From the dancers and choreography, to the ornate set and costumes, to the layered intention behind the performance, the visually stunning spectacle was one to remember.

Read More: Beyoncé Created A Space To Celebrate Black Culture At Coachella & More Things Homecoming Taught Us

Breaking Ground

Several times in her career, Beyoncé has been "the first" to do something. She was the first solo female artist to headline the legendary Glastonbury Festival in 2011, performing a 90-minute set of her biggest hits including "Baby Boy," "Single Ladies (Put A Ring On It)" and "Sweet Dreams." Did we mention she was  also pregnant during this performance with her first child, future GRAMMY winner Blue Ivy Carter?

No performance, however, compares to her Coachella Music Festival set in April 2018. Now known as "Beychella," Beyoncé not only broke ground as the first Black woman to headline the festival, but she completely set a new bar for live performances. The superstar’s entire set was an homage to HBCUs (historically Black colleges and universities), complete with a full band, majorettes, Greek letters and more.

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Since Post Malone burst onto the mainstream nearly a decade ago, he has continued to flaunt his genre-defying brand of musical brilliance. For his latest venture, it’s time for gold grills and cowboy hats: Posty’s going country.

Though his musical origins are in rap, Malone has seamlessly traversed pop, R&B, and blues, always hinting at his deep-seated country roots along the way. In the last year, his long-standing affinity for country music has moved to the forefront, with appearances at the CMA Awards, a country-tinged Super Bowl LVIII performance, and a feature on Beyoncé’s COWBOY CARTER. Next up, he’ll make his debut at California's Stagecoach Festival alongside some of country music’s biggest names — and pay tribute to some of the genre greats.

While it’s unclear exactly what the Texas-raised hitmaker will be singing, his 45-minute set on Saturday, April 27 is labeled “Post Malone: Performs a special set of country covers.” After years of performing covers for and alongside country stars, the performance is arguably one of the most full-circle moments of his career thus far.

Ahead of his Stagecoach premiere, read on for some of Posty's biggest nods and contributions to the country music scene over the years — that could culminate in his own country album soon enough. 

A Slew Of Classic Country Music Covers

Malone has a history of channeling his musical heroes, often pulling on his boots to deliver heartfelt covers. He's paid tribute to country icons many times, including covers of Hank Williams Jr.'s classic, "There's A Tear In My Beer” in a 2018 fan-favorite video. 

During a 2022 Billy Strings tour stop at The Observatory in Los Angeles, Malone made a surprise appearance and used the moment to honor Johnny Cash alongside Strings. The pair delivered an acoustic duet of Cash's infamous murder ballad, "Cocaine Blues."

And just this year, Malone covered Hank Williams Sr. during a surprise performance at Nashville's Ryman Auditorium. On April 3, he closed out the annual Bobby Bones' Million Dollar Show with a rendition of Williams' "Honky Tonk Blues." 

A Longtime Kinship With Dwight Yoakam

Malone has long collaborated with Dwight Yoakam, marking a friendship and professional partnership that spans his career. Yoakam is a GRAMMY-winning trailblazer known for his pioneering blend of honky tonk, rock and punk that shook up the country scene in the 80's with his blend of "cowpunk." 

The pair frequently joined forces on Yoakam's SiriusXM Radio spot "Greater Bakersfield," where one standout 2018 appearance features Malone covering Yoakam's own “Thousand Miles From Nowhere” as the two laugh, strum and belt out the lyrics together in perfect harmony. 

On April Fool's Day in 2021, they playfully teased fans with the prospect of a double country album release — which may not seem so far-fetched three years later.

It's fitting that Malone would find such deep inspiration in folks like Yoakam, a man who first rode onto the country scene with a new take on a traditional sound. Much like Yoakam bridged generations with his music, Malone brings a new yet familiar energy to the country scene, embodying the spirit of a modern cowboy in both style and sound.

A Country Tribute To Elvis

Malone teamed up with Keith Urban for a duet rendition of "Baby, What You Want Me to Do" during the "Elvis All-Star Tribute Special," which aired on NBC in 2019. Originally written and performed by blues musician and songwriter Jimmy Reed, "Baby, What You Want Me to Do" was famously covered by Presley and commemorated through Urban and Malone's unique blend of modern guitar-slapping country-rock charisma. 

That wasn't Malone's only country collab that night, either. He also covered Presley's "Blue Suede Shoes" alongside Blake Shelton, Little Big Town and Mac Davis.

A Celebration Of Texas With Country Legends

In March 2021, Matthew McConaughey and his wife, Camila, hosted the "We’re Texas" virtual benefit concert, to help Texans coping with that year's disastrous winter storms during the Covid-19 pandemic. 

Following performances by George Strait, Kacey Musgraves, Willie Nelson, and Miranda Lambert, Malone — who moved to Dallas when he was 10 — served as the night's final entertainer. He performed Brad Paisley's "I'm Gonna Miss Her" followed by Sturgill Simpson's "You Can Have The Crown" backed by Dwight Yoakam.

A Rousing Tribute At The 2023 CMA Awards

At the 2023 CMA Awards, Malone joined country stars Morgan Wallen and HARDY on stage to cover late icon Joe Diffie‘s “Pickup Man” and "John Deere Green." Malone's first-ever performance at the CMAs felt more like a reunion than a debut, with Malone right at home among his collaborators.

“I’ve manifested this for years," HARDY told Audacy's Katie Neal. "Slight flex here, but I started following [Post Malone] when he had like, 300k Instagram followers. I was on the 'White Iverson' terrain, like the first thing that he ever put out and I was like, ‘this is dope,’ and I've been with him ever since.” 

After the performance, Malone hinted to Access Hollywood that it might be the start of a new chapter. When asked if a forthcoming country album would be in the works, he answered, “I think so. Yes, ma'am.” (More on that later.)

A Countrified Appearance At Super Bowl LVIII

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Before Beyoncé announced COWBOY CARTER in a Verizon Super Bowl ad, Malone offered Super Bowl Sunday's first country-themed clue at the top of the night with his tender rendition of "America The Beautiful." Sporting a bolo tie and brown suede, Malone delivered his patriotic performance with a characteristically country drawl while strumming along on acoustic guitar before Reba McIntire's star-spangled rendition of the national anthem. 

Malone's performance followed in the footsteps of a long line of country artists who have kicked off the national sporting event, which started with Charley Pride in 1974 and has included Shania Twain, Faith Hill and Garth Brooks. 

A Tip Of The Hat To Toby Keith

During a performance at the American Rodeo in Arlington, Texas, on March 9, Malone paid tribute to the late Toby Keith, who passed away in February. After pouring one out and taking a sip from a red solo cup (an homage to Keith's playful hit of the same name), Malone performed a cover of "As Good As I Once Was" for the Texas rodeo crowd.

His TikTok video of the performance quickly garnered over 4 million views, sparking enthusiasm among fans for more country music from him. "Sir. I'm now begging for a country album," wrote one user in a comment that has received over 11,000 hearts.

A (Potential) Full-On Country Album

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His much-teased country album may not be too yonder. After confirming that a country album was in the works during a live Twitch stream on his channel, Malone has spent much of this year teasing forthcoming new work. There is no scheduled album release date as of press time, but Malone has shared snippets of new songs including “Missin’ You Like This” and dropped sneak peeks of collaborations with Morgan Wallen, HARDY, Ernest, and Luke Combs. 

In February, Malone posted a sample of a collaboration with Combs, "I Ain't Got A Guy For That," the first in a series of song snippets shared across his social channels. 

On March 20, Malone posted a reel to Instagram featuring a video of himself seated on a stool, smoking a cigarette and singing along to a track that opens with Wallen singing, “It takes two to break a heart in two,” as Malone comes in to deliver a blow with the line, “Baby you blame me, and baby I’ll blame you." The track, shared with the caption (and supposed song title) "I had some help," was first announced in a now-deleted social media post by Wallen at the end of 2023. 

No matter when the album may come, Post Malone’s Stagecoach set will only up the anticipation for some original country music from the star — and from the looks of it, fans and genre stars alike are more than ready for it.

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"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

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When Beyoncé released RENAISSANCE in July 2022, she revealed that the album would be part of a "three-act project." One year and eight months later, she delivered on her promise in a big, bold way with act ii: COWBOY CARTER.

The expansive 27-track project finds the star experimenting with country, folk and Americana, pushing the boundaries of genre in a way she never has before — and, in classic Bey fashion, serving up a poignant response to naysayers.

"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," she shared in an Instagram post the week before the album's release. "But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive."

From thoughtful cameos to old-school instrumentation, COWBOY CARTER is the culmination of everything that makes Beyoncé one of the most influential artists of her time, flexing her knack for statement pieces as well as her versatility. 

Here are five key takeaways from Beyoncé's long-awaited new album, COWBOY CARTER.

It's Not Country, It's KNTRY

Beyoncé revealed the COWBOY CARTER track listing in a rodeo-inspired concert flyer posted to Instagram on March 27. The artwork shared an important tag at the bottom: "Brought to you by KNTRY Radio Texas."

KNTRY Radio is a fantasy station with a wide open format created for COWBOY CARTER, and hosted by Willie Nelson in two short "SMOKE HOUR" interludes. Throughout the album, you'll hear samples of old songs by Chuck Berry and other classic artists. 

As Beyoncé stated in another pre-release Instagram post, COWBOY CARTER isn't a country album. Instead, popular styles are blended together in surprising ways to create a new sound that's purely Beyoncé. (There's even a moment, on "DAUGHTER," where she sings a verse from a famous Italian opera called "Caro Mio Ben.")

Whether through an intro, an interlude or a powerful verse, it's clear that Beyoncé and her guests are trying to open minds musically with these songs. "If there's one thing you can take away from our set today, let it be this," Nelson said in the second of his two "SMOKE HOUR" radio-style interludes on the album. "Sometimes you don't know what you like and someone you trust turns you on to some real good s—. And that, ladies and gentlemen, is why I'm here."

It's A Unique Continuation Of Her Mission

COWBOY CARTER begins the same way as it ends, with Beyoncé proclaiming, "Them big ideas are buried here, Amen," in the intro of opener "AMERICAN REQUIEM," and then "Them old ideas are buried here, Amen" in the last line of closer "AMEN."

Those statements reflect exactly what Beyoncé set out to do with COWBOY CARTER: celebrate the Black community's roots within the country space, while addressing the lack of cultural acceptance of it. The album celebrates Blackness in the way she's always done, but in a way that feels even more revolutionary.

This is perhaps best exhibited in the trap-infused track "SPAGHETTII." "Genres are a funny little concept, aren't they?" asks Linda Martell — who was the first Black woman soloist to appear at the Grand Ole Opry — on the song's intro. "In theory, they have a simple definition that's easy to understand/ But in practice, well, some may feel confined."

As Beyoncé adds in the first verse, "Now we on a mission, tried to turn me to the opposition/ I'm appalled 'bout the proposition/ Y'all been played by the plagiaristic, ain't gonna give no clout addiction my attention."

Beyoncé has long been at the forefront of honoring Black culture, and COWBOY CARTER is her most boundary-pushing addition to the conversation yet — and she hopes to change the "old ideas" into "big ideas."

It Takes Her Cinematic Love To The Next Level

It's no secret that Beyoncé loves her visuals. Though COWBOY CARTER isn't a visual album like some of her previous releases, a press release revealed that each of the songs on the album are inspired by Western films. In a statement, Beyoncé named five specific films as primary influences: The Harder They Fall, Killers of the Flower Moon, Urban Cowboy, The Hateful Eight, and Five Fingers For Marseilles. 

Several of the COWBOY CARTER visuals have elements of Western films, from the desert and mountainous landscapes of "AMERIICAN REQUIEM" and "OH LOUISIANA" to the rainy ashtray in "AMEN." And it's likely not a coincidence that a track called "SPAGHETTII" ended up on an album inspired by Westerns. 

Beyoncé even made a new catchphrase out of the most famous Western movie actor of all time on "BODYGUARD," where she declares she'll "John Wayne that ass."

It's Her Most Organic Sound Yet

Pivoting from the electronic landscape of RENAISSANCE, Beyoncé favors analog instruments over digital sounds on COWBOY CARTER. As "TEXAS HOLD 'EM" foreshadowed, there's plenty of banjo, boot-stomping beats and guitar plucks — and even Beyoncé's fingernails as percussion — across the album.

Raw instrumentation is also sprinkled throughout, particularly on "FLAMENCO" and her stunning cover of the Beatles' "Blackbird" (whose title is given an act ii twist as "BLACKBIIRD"). And if anything sounds a little unpolished, Beyoncé wants you to know it was completely intentional.

"With artificial intelligence and digital filters and programming, I wanted to go back to real instruments, and I used very old ones," Beyoncé explained in a press statement. "I didn't want some layers of instruments like strings, especially guitars, and organs perfectly in tune. I kept some songs raw and leaned into folk. All the sounds were so organic and human, everyday things like the wind, snaps and even the sound of birds and chickens, the sounds of nature."

It's Another Family Affair

Now that Beyoncé's first-born daughter, Blue Ivy Carter, has played a prominent role in her mom's career — winning a GRAMMY in 2021 for her part in "Brown Skin Girl" and famously dancing on the RENAISSANCE World Tour — it was time for her little sister to shine.

Six-year-old Rumi Carter contributes an intro on "PROTECTOR," by asking Bey if she can "hear the lullaby." Though Rumi isn't featured in the rest of the track, hearing her voice at the beginning makes the song's sweet sentiment all the more impactful: "And I will lead you down that road if you lose your way/ Born to be a protector," Beyoncé sings on the chorus.

With so much to uncover in COWBOY CARTER, Beyoncé already has the anticipation high for the final part of her album trilogy. Will act iii feature Rumi's twin brother, Sir Carter? Will the rumors of Beyoncé exploring her rock side be true? We'll hopefully find out soon enough, but for now, get lost in the world of COWBOY CARTER — a testament to Beyoncé's prowess as an ever-evolving trailblazer. 

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Beyoncé's act ii is upon us — say hello to COWBOY CARTER.

On March 29, the 32-time GRAMMY winner unleashed the follow-up to her acclaimed 2022 album, RENAISSANCE. While COWBOY CARTER hints "Bey goes country," the LP is more of a psychedelic opus, with glimmers of country twang and style.

Across a sprawling 27-song tracklist of inspired originals flecked with covers and interpolations, Queen Bey takes us on a rodeo ride through so many musical universes, paying homage to the Beatles, Chuck Berry, Willie Nelson, Dolly Parton, Linda Martell, and more.

Clearly, there's a treasure trove here — more than enough to keep the Beyhive abuzz throughout 2024. GRAMMY.com is here to help you pore over every twangy lick, mega-guest star and lyrical implication. 

As you dive into Beyoncé's astonishing new album, read on for some of the fundamentals of COWBOY CARTER.

The Tracklisting

Two days prior to COWBOY CARTER's release, Bey released the tracklist — fittingly, in the form of a rodeo poster. And much to the delight of the Beyhive, it's nearly double the length of its 16-track predecessor, RENAISSANCE.

Check out the rodeo poster, as well as the complete track listing, below.

1. AMERIICAN REQUIEM

2. BLACKBIIRD

3. 16 CARRIAGES

4. PROTECTOR

5. MY ROSE

6. SMOKE HOUR WILLIE NELSON

7. TEXAS HOLD 'EM

8. BODYGUARD

9. DOLLY P

10. JOLENE

11. DAUGHTER

12. SPAGHETTII

13. ALLIGATOR TEARS

14. SMOKE HOUR II

15. JUST FOR FUN

16. II MOST WANTED

17. LEVII'S JEANS

18. FLAMENCO

19. THE LINDA MARTELL SHOW

20. YA YA

21. OH LOUISIANA

22. DESERT EAGLE

23. RIIVERDANCE

24. II HANDS II HEAVEN

25. TYRANT

26. SWEET HONEY BUCKIIN'

27. AMEN

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The Cover Songs

Among two dozen dazzling Beyoncé originals, COWBOY CARTER features covers of the Beatles' "Blackbird," Dolly Parton's "Jolene" and Chuck Berry's "Oh Louisiana."

"BLACKBIIRD" (retitled from "Blackbird," with an act ii flavor) is a Paul McCartney song, credited to Lennon-McCartney and featured on 1968's The Beatles, commonly known as The White Album. The song's civil rights inspiration makes it more than a worthy selection: the use of McCartney's original guitar and foot-tapping track makes it especially ear-grabbing.

"JOLENE" is a Dolly Parton classic, similarly given symphonic heft by Bey; Parton offers a radio-like intro on the COWBOY CARTER rendition.

In Parton's pre-"JOLENE" intro, "DOLLY P," she connects "Jolene" to Bey's immortal line "Becky with the good hair" from the Lemonade track "Sorry": "You know that hussy with the good hair you sing about? Reminded me of someone I knew back when, except she has flamin' locks of auburn hair. Bless her heart. Just a hair of a different color, but it hurts just the same."

"OH LOUISIANA" is a Chuck Berry deep cut from 1971's undersung San Francisco Dues; a flicker of Berry's "Maybellene" appears in "SMOKE HOUR WILLIE NELSON," which also features interpolations of Roy Hamilton's "Don't Let Go" and Sister Rosetta Tharpe's "Down By The River Side."

Similarly, "YA YA" contains glimmers of Tommaso Giordani's "Caro Mio Ben," Lee Hazelwood's "These Boots Are Made For Walkin'," and the Beach Boys' "Good Vibrations."

The Guests

Beyoncé has always displayed razor-sharp intent with her collaborators, and COWBOY CARTER is no exception.

The featured guests highlight a slew of rising Black stars in the country scene. "BLACKBIIRD" spotlights four budding female artists, Brittney Spencer, Renya Roberts, Tanner Addell and Tiera Kennedy; Willie Jones shows off his chops on "JUST FOR FUN"; and country-rap fusionist Shaboozey stars on two tracks, "SPAGHETTII" and "SWEET HONEY BUCKIIN.'"

She also welcomes two country-loving pop stars, Miley Cyrus and Post Malone, who make appearances on "II MOST WANTED" and "LEVII'S JEANS," respectively. And along with Parton, Beyoncé honors two more country greats with two aptly titled homages: fellow Texan Willie Nelson appears on "SMOKE HOUR WILLIE NELSON" and "SMOKE HOUR II," and trailblazer Linda Martell "The Linda Martell Show"

Perhaps Beyoncé's cutest collaborator is her six-year-old daughter, Rumi Carter, who makes her adorable debut on "PROTECTOR."

With that, venture forth into COWBOY CARTER — another quintessentially Bey statement of purpose and prowess.

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