When Beyoncé’s Cowboy Carter won big at the Grammys earlier this month, it wasn’t just a win for her. It was a historic moment for Black artists in country music and for the creatives behind the scenes who helped shape the album’s sound.
Among those Grammy-winning contributors were two Chicago-rooted producers: Shawntoni Ajanae “Mamii” Nichols and Brian “Killah B” Bates. Their work on the album highlights the city’s enduring influence on music — a legacy that now extends to one of the most groundbreaking country albums in recent history.
With Cowboy Carter, Chicago’s presence is stamped on Black music history once again.
“Our people have it locked on R&B and rap,” said Mamii, who also earned a Grammy nomination for Best Progressive R&B Album for her work on Kehlani’s 2024 album Crash. There, she contributed to “GrooveTheory,” “Sucia” and “Chapel.” “But we also thrive in pop, country, EDM, literally everything, because we are the blueprint,” she added.
Mamii — a singer-songwriter and producer originally from Gary, Indiana — described working on Cowboy Carter as a learning experience. She contributed to “My Rose,” “Flamenco” and “Bodyguard” on the album. Although she worked on these tracks in Los Angeles, Mamii calls Classick Studios in Chicago her home; it’s where she creates her original music.
“The creative process was fun because I don’t get to work with a lot of people,” Mamii told The TRiiBE. “Even with the songwriting, I was able to learn different things with different tools I had never seen before. It was fun because it was purely an educational process.”
Growing up, Mamii was inspired by Black Midwestern legends like Prince, The Clark Sisters and Michael Jackson — who also hails from Gary. She found herself drawn to the Windy City’s music scene at an early age, due to being active in church in Chicago and performing at talent showcases across the city like Sofar Sounds.
“I feel like I fit into the Chicago alternative side since I don’t make normal music,” Mamii said. “When I first started performing in Chicago, I didn’t think people were really familiar with my style, and it came off as weird. But the more I shared my music, the more receptive locals were.”
The singer-songwriter says her production style is deeply rooted in her gospel and R&B upbringing, which played a role in her creative process on the country album.
“‘My Rose’ was literally influenced by Donald Lawrence and the harmony styles,” she said. “I grew up listening to choir music, and the way I structured that was based on the songs I heard growing up.”
Although Cowboy Carter was her first time working in the country genre, Mamii had plans to step into that space before she was invited to collaborate with Beyoncé and her team.
“I always wanted to do something country-related,” she said. “Before I knew about Cowboy Carter, I was going to do a country EP because something needs to be done over here.”
Mamii is currently working on visuals for her 2024 EP Phantasmagoria and has plans to release an album later this year. The singer-songwriter credits Classick Studios, on West Chicago Avenue, for being a hub of creativity and talent that provides an encouraging space for like-minded individuals to bring ideas to life.
“At Classick, people don’t judge and [they] allow you to create,” she said. “They will listen and give you your flowers.”
Both Killah B and Mamii’s additions to Cowboy Carter underscore Chicago’s ability to push music forward, even in genres where the historical contributions of Black artists were systemically “forgotten.”
“When you live on the coast, you stick to this one sound,” Killah B told WBEZ Chicago. “But I feel like it’s something special about being in the middle of the country. We get all the influences, put it in the pot, stir it and we’re able to do so many different things.”
Killah B has built an iconic career creating hits for artists like Ariana Grande, Usher, Summer Walker, Chris Brown and Tinashe. But Cowboy Carter marked a new era for the Chicago native, similar to Killah B, as it was his first time producing a country record.
His production work on “Texas Hold ‘Em” helped the lead single for the album debut at No. 1 on Billboard’s Hot Country Songs chart, making Beyoncé the first Black woman to ever top the chart. This also made both Killah B and Raphael Saadiq the first Black producers to hit No. 1 on the country chart.
For Killah B, music has always been in his DNA. He credits his grandfather — a local jazz musician — for recognizing his talent and investing in his future. The TRiiBE reached out to Killah B for an interview, but he hasn’t returned our request.
“My grandfather was a jazz musician in Chicago,” Killah B told USA Today. “He had a family, and he couldn’t focus on his music career. So he saw that I had musical abilities, and he invested into me and poured into me.”
Even though country music wasn’t a genre he had worked in before, the seasoned producer was ready when the opportunity came.
“I studied so many country songs in the past that when it was time to make this song, I had it in my DNA,” Killah B said to USA Today. “I had the ingredients ready, even though I hadn’t made it before. The way that I study music, I’m able to capture the essence and authenticity, and the instruments and the style that’s used to create each genre. So that’s a gift of mine that God gave me.”
For both producers, Cowboy Carter isn’t just a milestone in their careers. It crystallizes what is possible when Black artists reclaim genres and take up space.
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