Texas Hold ‘Em Ukulele Chords by Beyoncé. The chords used in this song are D, G, A, Bmin, and G7. You can change the key of the song for FREE if needed.
Texas Hold ‘Em Ukulele Chords by Beyoncé
CHORUS 1:
This ain’t DTexas (Woo) ain’t no hold ’em (Hey)
So lay your cards down down down down
So park your GLexus (Woo) and throw your keys up (Hey)
Stick aDround ’round ’round ’round ’round (Stick around)
And I’ll be Adamned if I can’t slow dance with you
Come Gpour some sugar on me honey too
It’s a Dreal life boogie and a real life hoedown
Don’t be a bitch come take it to the floor now (Woo, ha, woo)
VERSE 1:
DThere’s a tornado (There’s a tornado) in my city (In my city)
In the basement (In the basement), that shit ain’t pretty (Shit ain’t pretty)
Rugged Gwhiskey (Rugged whiskey) ’cause we survivin’ (‘Cause we survivin’)
Off red cup Dkisses, sweet redemption passin’ time yeah
BminOoh Gone step to the right
DWe headin’ to the dive bar we always thought was nice
BminOoh Grun me to the left
Then Dspin me in the middle boy I can’t read your mind
CHORUS 2:
This ain’t DTexas (Woo), ain’t no hold ’em (Hey)
So lay your cards down, down, down, down
So park your GLexus (Woo) and throw your keys up (Hey)
Stick aDround ’round ’round ’round ’round (Stick around)
And I’ll be Adamned if I can’t slow dance with you
Come Gpour some sugar on me honey too
It’s a Dreal life boogie and a real life hoedown
Don’t be a bitch come take it to the floor now (Woo ha woo)
And I’ll be Adamned if I can’t slow dance with you
Come Gpour some liquor on me honey too
It’s a Dreal life boogie and a real life hoedown
Don’t be a bitch come take it to the floor now (Woo)
INTERLUDE:
D Woo-hoo
G G7 Woo-hoo
D
VERSE 2:
There’s a Dheatwave (There’s a heatwave) coming at us (Coming at us)
Too hot to think straight (Too hot to think straight), too cold to panic (Too cold to panic)
All of the Gproblems just feel dramatic (Just feel dramatic)
And now we’re Drunnin’ to the first spot that we find yeah
BminOoh Gone step to the right
DWe headin’ to the dive bar we always thought was nice
BminOoh Gyou run to the left
Then Dspin me in the middle boy I can’t read your mind
CHORUS 3:
This ain’t DTexas (Woo), ain’t no hold ’em (Hey)
So lay your cards down, down, down, down
So park your GLexus (Hey) and throw your keys up (Hey)
Stick aDround ’round ’round ’round ’round (Stick around)
And I’ll be Adamned if I can’t slow dance with you
Come Gpour some sugar on me, honey too
It’s a Dreal life boogie and a real life hoedown
Don’t be a bitch, come take it to the floor now
And I’ll be Adamned if I can’t slow dance with you
Come Gpour some liquor on me honey too
It’s a Dreal life boogie and a real life hoedown
Don’t be a [blank] come take it to the floor now Bmin/A Emin/A
BRIDGE:
Take it to the floor now D6ooh Emin/D
Hoops spurs boots
To the floor now Bmin/Aooh Emin/A
Tuck back D6oops
Emin/DShoot
Come take it to the floor now Bmin/Aooh
And I’ll be Emin/Adamned if I cannot dance with D6you
Baby Emin/Apour that sugar and liquor on me Bmin/Atoo
Furs Emin/Aspurs boots
D6Solargenic photogenic shoot.
This and more ukulele songs are available here.
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Beyoncé’s “Texas Hold ‘Em” represents a notable exploration into the realm of country music, symbolizing a fusion of genres that highlights the interconnectedness of musical styles and cultural histories. The song, as analyzed by American Songwriter, is part of Beyoncé’s broader venture into country music, continuing the thematic exploration she began with “Daddy Lessons” on her album “Lemonade.” “Texas Hold ‘Em,” alongside “16 Carriages,” was one of two singles released during the Super Bowl, hinting at Beyoncé’s country turn, which she had previously foreshadowed at the 66th Annual Grammy Awards by wearing a cowboy hat.
The track was co-written by Canadian artist Lowell, Beyoncé, Bülow, Brian Bates, Nate Ferraro, and Raphael Saadiq, with Beyoncé leading the production efforts alongside Killah B and Ferraro, and additional contributions from Saadiq, Stuart White, Hit-Boy, and Mariel Gomerez. The inclusion of Rhiannon Giddens on banjo adds a layer of authenticity and acknowledgment of the black origins of country music’s instruments, reflecting Giddens’ advocacy for recognizing the African roots of the banjo, which was introduced to America through the slave trade.
Beyoncé’s engagement with country music is more than a mere genre shift; it is a deliberate act of cultural and musical historiography, linking her work to a broader dialogue about race, heritage, and the origins of American music. By incorporating elements of country music, Beyoncé is not only revisiting and reviving historical musical roots but also positioning herself as a trendsetter who transcends current musical fads to forge a future deeply ingrained in the past. Her work, especially evident in the “Renaissance” project, is an educational endeavor that cements her legacy as both a caretaker of black performance history and a visionary artist who continually redefines the boundaries of pop music.
Through “Texas Hold ‘Em,” Beyoncé invites listeners to reconsider the boundaries of country music and to acknowledge the interconnectedness of musical genres and cultural histories. The song and its accompanying visual elements underscore Beyoncé’s role as a bridge between past and future, challenging conventional narratives about genre and race in the music industry.
