THE RUNDOWN
In the days leading up to the Grammys, Beyoncé sparked rumors that she could be teasing Act III of Renaissance with her Valentine’s Day collection—particularly in her description of its choker, which she called “a little rock ‘n’ roll with a whole lotta sexy.” But the star didn’t fuel any more speculation this evening. She wasn’t seen at the 2026 Grammys.
Beyoncé is not a presenter or performer this evening, and she didn’t release any new music during the eligibility period for this year’s awards. Last year, she took home Album of the Year for Cowboy Carter.
During her acceptance speech, she said, “I just feel very full and very honored. It’s been many, many years. I just want to thank the Grammys, every songwriter, every collaborator, every producer, all of the hard work. I want to dedicate this to Ms. [Linda] Martell [the first commercially successful Black female country artist], and I hope we just keep pushing forward, opening doors. God bless y’all. Thank you so much. Thank you.”
Backstage, Beyoncé did a rare interview with Entertainment Tonight, addressing her feelings about winning the prestigious award after many years in the industry.
“It’s very surreal [winning Album of the Year], and it’s been 25 years of just working really hard and trying my best to keep growing, keep opening up doors,” she said. “So I’m just very honored, very honored. And I’m happy that my daughter [Blue Ivy, who attended the ceremony] got to see that.”
In October 2024, she spoke to GQ about her trilogy, in which she is exploring different genres on each album. Renaissance and Cowboy Carter were her first two acts.
“From the start of my career and on every album, I have always mixed genres,” she began. “Whether it is R&B, Dance, Country, Rap, Zydeco, Blues, Opera, Gospel, they have all influenced me in some way. I have favorite artists from every genre you could think about. I believe genres are traps that box us in and separate us. I’ve experienced this for 25 years in the music industry. Black artists, and other artists of color, have been creating and mastering multiple genres, since forever.
“This is why it was so important for me to sample the composer Joseph Bologne, known as Chevalier de Saint-Georges, in the song ‘Daughter’ on Cowboy Carter. Violin Concerto in D Major, Opus 3, No. 1: II. Adagio was created in the 1700s. This is a testament to Chevalier’s vision. I hope it inspires artists, as well as fans, to dig deeper and learn more about the Black musical innovators who came before us. Some of the most talented artists never achieve the mainstream praise they deserve, especially when they defy the norm.”
She didn’t share any details about the third act’s direction but did discuss her approach to music—and why she doesn’t frequent big industry events in between projects: “I create at my own pace, on things that I hope will touch other people,” she said. “I hope my work encourages people to look within themselves and come to terms with their own creativity, strength, and resilience. I focus on storytelling, growth, and quality. I’m not focused on perfectionism. I focus on evolution, innovation, and shifting perception. Working on the music for Cowboy Carter and launching this exciting new project feel nothing like prison, nor a burden. In fact, I only work on what liberates me. It is fame that can at times feel like prison. So when you don’t see me on red carpets, and when I disappear until I have art to share, that’s why.”
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