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Listen to all of the R&B 2023 GRAMMY nominees.

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Listen: All Of The R&B Music 2023 GRAMMY Nominees In One Playlist

Celebrate ahead of Music's Biggest Night on Feb. 5, 2023, with this spirited playlist of every R&B nominee at the 2023 GRAMMYs.

GRAMMYs/Jan 12, 2023 - 04:17 pm

R&B's passion and potency can set a mood instantly. The 2023 GRAMMY nominees embody the genre's effervescence with a unique blend of classic and contemporary sound — and now ​​you can hear all of the nominees in one playlist.

Nominated for Best R&B song, Beyoncé's "CUFF IT" electrifies and invigorates the dancefloor, and Mary J. Blige's smooth "Good Morning Gorgeous" supports self-love. Best New Artist nominee Muni Long hits a sweet, sultry spot with "Hrs & Hrs," Jazmine Sullivan poignantly chronicles the confusion of a toxic relationship on "Hurt Me So Good," and PJ Morton's "Please Don't Walk Away" glitters with hope and serenity.

For Best R&B Album, nominees include Mary J. Blige's Good Morning Gorgeous (Deluxe), Chris Brown's Breezy (Deluxe), Robert Glasper's Black Radio III, Lucky Daye's Candydrip, and PJ Morton's Watch The Sun.

Across the R&B five categories, Mary J. Blige and Beyoncé lead with the most nominations in the genre this year. The other categories for the genre include Best R&B Performance, Best Traditional R&B Performance and Best Progressive R&B Album.

Listen to all of the above songs and albums in this comprehensive playlist of the 2023 Rap Music GRAMMY nominees.

Check it out on Amazon Music — we'll see you at Music's Biggest Night on Sunday, Feb. 5!

Playlist powered by GRAMMY U.

2023 GRAMMY Nominations: See The Complete Nominees List

Tanner Adell Press Photo 2024
Tanner Adell

Photo: Chase Foster

interview

Tanner Adell's Big Year: The Country Newcomer Talks Stagecoach, "BLACKBIIRD," & Meeting Her Childhood Idols

As Tanner Adell continues making waves in country music, she shares some of the most monumental moments from her career so far — from featuring on Beyoncé's critically acclaimed 'COWBOY CARTER' to making space for Black women at the CMT Music Awards.

GRAMMYs/Jun 6, 2024 - 02:48 pm

With one bold tweet, Tanner Adell's life changed.

"As one of the only Black girls in the country music scene, I hope Bey decides to sprinkle me with a dash of her magic for a collab," she wrote, minutes after Beyoncé premiered "TEXAS HOLD 'EM" and "16 CARRIAGES" during this year's Super Bowl in February.

At first, Adell was mocked for her pitch. "You're trying too hard, love," one user said. Another chimed in, "Baby, that album is finished with all the songs cleared. I don't know about this one. Maybe, open for the tour," another user remarked.

But she wasn't bothered by the chatter: "Those people said I look desperate, I'm like, 'You must not know me, b—!" Adell reveals to GRAMMY.com with a hearty laugh. 

Confidence is the inner core of the Tanner Adell ethos. And her boldness paid off because shortly after when Beyoncé approached her to feature on COWBOY CARTER.

In Adell's first music release of 2024, she appeared alongside Brittney Spencer, Tiera Kennedy, and Reyna Roberts in Beyoncé's cover of "BLACKBIIRD" by The Beatles. It was a full-circle moment for Adell in more ways than one, as her father used to sing the song to her as a child. Little did she know, decades later, she would popularize the track's backstory — the plight of Black women in the American South — alongside one of her heroes.

But before Adell became one of Beyoncé's songbirds, she was also the Buckle Bunny. On the 11-track mixtape, Adell traced the provocative tales of an acrylic nail-wearing, lasso-wielding heartbreaker. But for every Black girl that listens, it's more than a country project. It's also a reminder that it's okay to be feminine and girly, just like Shania Twain, Carrie Underwood or Taylor Swift.

Among her rodeo of exciting firsts, Adell tacks another on June 8, when she makes her debut at Nashville's Nissan Stadium during CMA Fest. She'll perform on the Platform Stage at the stadium; the next day, she'll play a set at the Good Molecules Reverb Stage outside of Bridgestone Arena.

Below, hear from Adell about her most memorable firsts thus far, from having her debut daytime television performance on "The Jennifer Hudson Show" to bonding with Gayle King behind the scenes at Stagecoach Music Festival.

Seeing Her Breakthrough Single, "Buckle Bunny," Have A Second Life

I released "Buckle Bunny" on the Buckle Bunny EP in July 2023. I actually teased it on social media first. Almost nine months before that, I had gone super viral with it. It was doing incredibly well, so my plans were to release it in January or February of last year. But, I ended up signing a record deal in December of 2022. There were plans for it at that time, but the timeline kept getting pushed back. It turned into a fight to get that song back into my hands, which was what prompted me to go independent. Eventually, I was able to work with my label, shake hands, and mutually part ways.

I started this year as an independent artist with this song that everybody loves. It's become a huge part of my brand, but it's really my life story. People might think it's a dumb song that was easy to write, but I was called a "buckle bunny." As a teenager growing up between Los Angeles and Star Valley, Wyoming, I was into glam country, and "Buckle Bunny" is the pinnacle of that. 

"Buckle Bunny" was my first single that charted. I felt like I finally had broken through that invisible box that Nashville put me in as a country musician. It was me saying, I'm not going to follow any rules. I'm going to be as true to myself as possible.

We, as Black women, have been fighting our whole lives. We've been fighting for space. I'm purposely trying to bring softness into the picture, allowing women who listen to my music to know that it's okay to feel that way. We don't always have to have our walls up.

"Buckle Bunny" is aggressively confident, but I think that's the door to softness. You have to be self-assured to let your walls down. My newest single, "Whiskey Blues," is my next step into that. I have another song on my social media, "Snakeskin," that people want me to release. "Buckle Bunny" is like the girl who protects those softer moments.

In a way, I look at all of this as a relationship between Tanner Adell, the artist, and Tanner, the person. For me, Tanner Adell is the buckle bunny. Then, you have Tanner, who's on the inside, writing all of these songs.

Serving A Bold Fashion Statement On Her First Major Red Carpet

I wore Bantu knots! I've always loved Bantu knots in all styles, the really small ones and the larger ones. There were ideas about whether I should do a certain number of them that was significant to me in some way.

I work very closely with Bill Wackermann, who was the CEO of Wilhemina Models. He does a lot of styling and has a close relationship with my manager. So, my manager was like, "You would love him!" At the time, I was trying to hone in on what myself is. What's the message I'm trying to convey through my fashion, hair, and beauty? 

Bill sat down with me, and I told him I wanted Natalia Fedner to do my dress, which is that stretchy chain metal dress. Originally, I thought I would do my long blonde hair, but Bill was the one who told me, "This is your first major red carpet as an invited artist. Think about what you want your hair to say." As a Black woman, our hair tells 1,000 stories with whatever it is, and the lightbulb went off in my head.

I knew I wanted my hair to say everything I needed to say without having to say anything at all. I also knew there would be a lot of people who didn't know the significance behind it or just thought it was some extreme hairstyle.

I've looked very deeply into my heritage. It turns out I have a bit of Bantu heritage in my DNA. I thought that was so cool because I do love the knots so much.

The CMT Awards were a big thing at my school, Utah Valley University. Everyone would get together in the dorms and watch the show. It's crazy that a couple years ago, I was watching it, and I'm here now. I feel very respected and loved. People I've looked up to would come up to me, and I was like, "I'm a huge fan." And they're like, "No! I listened to you."

I got to meet Gayle King, who I absolutely love. I remember watching her from afar while she was doing "CBS Mornings." She saw me from across the room, and I kid you not, in the middle of her interview, she started walking towards me. She was like, "I just want to tell you that you're so beautiful. The Bantu knots are stunning." That was my favorite moment of the night.

I also had the chance to see Tiera Kennedy. She's so sweet. We got matching blackbird tattoos before that. Being on the red carpet for the first time, it was comforting to see a familiar face. It really reinforces that idea that I belong here.

Being A Part Of COWBOY CARTER

So, I'm adopted. I have four siblings. We're all biracial, but our adoptive parents are both white. Obviously, my dad is a white man with five Black children. My parents always wanted me to understand that I am a Black woman, and he was very educational when it came to music. He taught me about the Black female power players and the buzz in the industry. But The Beatles were his favorite. So, when I finally told them the news, my dad immediately got choked up. He told me that "Blackbird" was one of his favorite Beatles songs.

My dad isn't the best with words when it comes to expressing his emotions, especially in front of people. He's a quiet, reserved dude. So, he eventually texts me, sending me screenshots about the meaning behind "Blackbird." The reason why it was his favorite song was because he had Black girls, and he told me, "This is special. This is not a burden to carry, but it might be a bit of weight on your shoulders. Keep your head up high and walk knowing that this is why he wrote this song."

I can remember going to a recital as a kid and being so nervous, but my dad was so confident and excited about my abilities. Was that strategic? Was it quiet strength? Maybe. It feels like this song has been a part of my whole life. So, to be on it, on such a massive album, feels very divine.

The whole process was a surprise. It took a few weeks to set in. But I always knew I would work with [Beyoncé], and I always said it's a matter of "when," not if. 

On the day of the Super Bowl, I saw that black-and-white picture of her, and I thought it looked a lot like a photoshoot that I took the week before. Let me make a tweet, just to put it out there. I don't know — she's magical! She has her way of knowing everything that's going on all the time. 

I think that tweet has almost 10 million views. It was fun to go back to that tweet to see the people who were supporting me. And also getting to say "I told you" to the people who didn't. It kicked off a Renaissance — pun intended.

Performing At Her First Stagecoach Music Festival

I have bad social anxiety, and I get nervous in front of crowds and people. So, festivals were never something that interested me, but Stagecoach was always one I felt like I could go to. And I was not disappointed.

I had the first slot of the day, which is a s—ty slot for anyone, but you have to pay your dues in country music. It's how you build your cred with these festivals, to show you're a hard worker and will perform like you're at a sold-out show in Madison Square Garden. And I did.

Mentally, I prepared for no one. I told myself it was okay if nobody came, and I'll perform like I always do. I'll figure out where the camera is and perform it for the jumbotron, so if no one comes to the pit, the people watching the livestream will have a great show. 

Well, I didn't have an empty pit! People showed the f— up and out. I heard people in line thought they were going to miss it because the gates opened late. Within the first 10 minutes, the VIP pit was half-filled with people screaming and running in their sweet little cowboy boots and hats. That never happens at Stagecoach or Coachella, but it's a testament to the relationship I built within my listeners. It was eye-opening for me. I don't think I'm ever going to play to a dead crowd again.

Before, Levi's reached out and said I was the first artist they wanted to collaborate with for Stagecoach. So, they custom-made my outfit. I told them I have these ribbons, inspired by my mom, who was a rodeo queen. I also told them if they can't incorporate them, I probably won't do it. But they loved it! And it was special because it came back to my mom. She was a winner, so when I wear the ribbons, I'm also a winner.

My mom has competed in over 1,000 competitions and probably places in half of those. In Wyoming, we had a big wall, covered in those IQHA (International Quarter Horse Association) ribbons. She gave me a strong sense of competition.

Making Her Debut On Daytime TV

I have overcome very serious, debilitating stage fright. I don't get nervous anymore, and performing live is my favorite thing. But I was not prepared for what a television show taping looks like.

We had a soundcheck, and there were a bunch of suits in groups of threes and fours standing everywhere. There were all these cameras and lights. Then, I start realizing I'm about to meet J. Hud, who I made little custom Crocs for. It was a dream come true.

I know a lot about her story. We have very different upbringings, but we're similar in the sense of trying to stand on ground that isn't steady. I see her as someone who is a great example. She's reached so many different avenues. For me to be able to sit down with an EGOT winner is a great honor. 

I kind of like to keep my manifestations as quiet as possible. I don't tell anybody anything, but an EGOT is something I wouldn't mind having, you know?

I look at her as a woman who exceeded greatness. So, it was just amazing — and for my first television debut. I felt like this is right for me.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

Post Malone holds and acoustic guitar and looks at the crown during his Super Bowl LVIII performance
Post Malone performs during Super Bowl LVIII in February 2024.

Photo: Perry Knotts/Getty Images

list

Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations

Ahead of Posty's upcoming performance at the Stagecoach Festival, catch up on the many ways he's been dabbling in country music since the beginning of his career.

GRAMMYs/Apr 24, 2024 - 07:25 pm

Editor's Note: This article was updated on May 20, 2024 with information about Post Malone's collaboration with Morgan Wallen, "I Had Some Help."

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

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

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. 

Malone and Wallen have been teasing a collaboration since the end of 2023. After building plenty of anticipation, they debuted “I Had Some Help” during Wallen's headlining set at Stagecoach in April. Officially releasing the track on May 10, the song didn't just prove to be a banger — it debuted at No. 1 on the Billboard Hot 100, and broke the record for most streams in a single week with 76.4 million official U.S. streams, according to Luminate and Billboard.

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.

12 Must-See Acts At Stagecoach 2024: Tanner Adell, Charley Crockett & More

Beyoncé accepts the Innovator Award onstage during the 2024 iHeartRadio Music Awards at Dolby Theatre in Los Angeles, California, on Monday, April 1.
Beyoncé accepts the Innovator Award onstage during the 2024 iHeartRadio Music Awards at Dolby Theatre in Los Angeles, California, on Monday, April 1.

Photo: Kevin Winter/Getty Images for iHeartRadio

feature

Beyond Country: All The Genres Beyoncé Explores On 'Cowboy Carter'

On 'COWBOY CARTER,' Beyoncé is free. Her eighth studio album is an unbridled exploration of musical genres — from country to opera and R&B — that celebrates the fluidity of music and her Texas roots.

GRAMMYs/Apr 3, 2024 - 08:50 pm

"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. 

Enter The World Of Beyoncé

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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Beyoncé Is The Genre-Bending Queen On 'Cowboy Carter': 5 Takeaways From Her New Album

On 'act ii' of her three-part album trilogy, Beyoncé explores the world of country and beyond — and makes a statement with every track.

GRAMMYs/Mar 29, 2024 - 09:12 pm

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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