Ever since Beyoncé called Renaissance the first part of a three‑act project and followed it with Cowboy Carter, fans have been treating every outfit and Easter egg as proof that Act III will be full‑on rock in USA TODAY’s rundown of the “rock allegations” around her next album. Halloween looks inspired by funk‑rock icon Betty Davis, electric‑guitar emojis in captions, and recent Levi’s spots that end with her in denim on a motorcycle have all been read as hints that she’s about to barrel into guitars and distortion. A Facebook rumor that an untitled rock‑inspired Act III could arrive in the first half of 2026 has only poured more fuel on the fire, even though nothing is confirmed.
What makes the possible pivot feel bigger than a one‑off genre experiment is the way she’s already used Acts I and II to redraw the map. Renaissance re‑centered Black and queer roots of dance and house, while Cowboy Carter pushed country to reckon with the artists and sounds it sidelined, turning stadium tours into history lessons and reclamation projects. A rock‑driven Act III would give her space to do the same thing with a genre built on Black innovation but long marketed as white and male, from Sister Rosetta Tharpe and Little Richard straight through to Betty Davis and Prince.
@lexcienesheee BEYONCE CONFIRMED ACT 3 IS ROCK N ROLL??? #beyonce #act3 #valentinesday
♬ Valentine's Day - LEXCIE
The speculation is already shaping how 2026 looks. As one of the few artists who can still bend the entire release calendar around her, Beyoncé’s next move will collide with award campaigns, festival lineups, and what younger pop stars feel emboldened to try. Whether Act III is a purist rock record or just borrows its attitude and instrumentation, the expectation is that she’ll treat the genre the way she’s treated everything else lately: something to study, crack open, and then re‑own on her terms.