I think it's not really a country album actually.
I think it's a Black Americana album that is branding itself as country because it is actually an album ABOUT country as a genre. It's an examination of what country is, and how it's defined, both in terms of its past and its present. It's an exploration and an excavation of genres and styles and forms in two spaces: the kinds of music that historically informed what country is by having a genealogical relationship with it (gospel, folk, etc), and the kinds of music that currently stand adjacent to country and have somewhat overlapping boundaries with it. So she is probing what country is in terms of both its origins and its current boundaries. And she is also very much examining the relationship, both past and present, that country music has with Black artists and Black music (and remember that the first time that the word "Black" was used broadly to describe African Americans was literally as a marketing label for music when early record labels were trying to sell blues and early country to White audiences). And she is doing it in a way that is both informed and intelligent but also just really good music. And on top of all that the album is "contemplating" in this sense, it also manages to be a really innovative album with a bunch of songs that actually sound like Beyoncé songs and are really good.
And I also think she legitimately felt rejected and excluded by the country music community and that this is to some degree a flex in which she is basically saying, "I am big enough and important enough and powerful enough that I can single handedly change the genre of country music to accommodate me."