Beyonc\u00e9<\/a> has stirred excitement by announcing the release date for her album, Act II, which is set to drop worldwide on March 29, 2024<\/b>. The announcement came after a dramatic reveal during a Verizon commercial at the Super Bowl, followed by the release of two new singles, ‘Texas Hold ‘Em’ and ’16 Carriages’, both of which are country songs.<\/p>\nNew Singles Revealed<\/b><\/h2>\n
The two new tracks, ‘Texas Hold ‘Em’ and ’16 Carriages’, mark a distinct shift towards the country genre for Beyonc\u00e9, showcasing her versatility and artistic evolution. These songs were shared shortly after the Super Bowl commercial<\/b>, sparking widespread anticipation among fans.<\/p>\nThe Mystery of Act II’s Title<\/b><\/h2>\n
Speculation about the title of Act II has been rampant, with fans and media speculating that it could be called ‘Echoville,’<\/b> based on several clues scattered throughout Beyonc\u00e9’s recent works and public appearances. However, the official title is yet to be confirmed.<\/p>\nCollaborations and Songwriting<\/b><\/h2>\n
Beyonc\u00e9 collaborated with a range of artists and songwriters for the new singles<\/b>. ‘Texas Hold ‘Em’ was co-written with Brian Bates, Nathan Ferraro, Elizabeth Lowell, Megan B\u00fclow, and Raphael Saadiq, while ’16 Carriages’ saw contributions from Atia Boggs, Dave Hamelin, and Raphael Saadiq. The full tracklist and additional collaborations for Act II remain under wraps, with fans eagerly awaiting more details.<\/p>\n
This comprehensive update on Beyonc\u00e9’s Act II showcases her dynamic approach to music<\/a>, blending genres and engaging with her audience through innovative releases and strategic announcements\u200b.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":10028,"featured_media":170158,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[398],"tags":[],"class_list":["post-170150","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"acf":[],"_links":{"self":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170150"}],"collection":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/users\/10028"}],"replies":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/comments?post=170150"}],"version-history":[{"count":0,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170150\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media\/170158"}],"wp:attachment":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media?parent=170150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/categories?post=170150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/tags?post=170150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}