This is more familiar, less vulnerable and less exploratory territory than the zones where Beyoncé and Jay-Z ventured on “Lemonade” and “4:44.” Neither is alone now; they have each other’s unequivocal support, despite a few argumentative moments. Their musical impulses converge, too, with Beyoncé often rapping as well as singing. As they have done before, they toss around luxury brand names and cite the facts of their prosperity: houses, cars, designer clothes, extravagant watches.

In “713” (a Houston area code) and other songs, they insist they’re still connected to the places they grew up, yet they don’t pretend to be anything other than rich and famous: “No need to ask, you heard about us/Already know you know about us,” Beyoncé sings in “Heard About Us”; soon, Jay-Z adds another metric, noting that he is “every-day-I’m-getting-sued famous.” In “Salud!,” they toast their own affluence with Champagne and enumerate their houses while laughing off adverse comments.

The video for “Apes**t” was made in the Louvre, including the Carters’ own selfies in front of the Mona Lisa and the Venus de Milo; the location is one more prize for Jay-Z to boast about in “Heard About Us.” But with the Carters and a dance troupe taking over the Louvre’s palatial spaces, the video also places an unapologetic, physical black presence in a citadel of European culture.

And that has become part of Beyoncé’s and Jay-Z’s shared project: to remember, amid their indisputable yet anomalous success, how much has been denied to others by systemic racism. The chorus of “Nice,” sung by its co-producer Pharrell Williams, is “I can do anything,” but the song pours on sarcasm in a track full of edgy, shifty polytonal chords. Jay-Z raps about getting a subpoena while on tour, snickering that he’s getting dragged into court now after “years of drug trafficking” in his youth: “Time to remind me I’m black again, huh?”

Wealth generation is the best revenge. In “Boss,” Beyoncé reaches down to a low-register yowl to sing, “My great-great-grandchildren already rich/That’s a lot of brown children on your Forbes list.” Cultural memory has a place, too: The song’s coda features a riffing horn section like the brass bands Beyoncé deployed for her remarkable performance this year at Coachella, which celebrated the marching bands and drumlines of historically black colleges and universities. Conscious of hip-hop history, in “713” Beyoncé’s chorus harks back to lines from “Still D.R.E.,” a song Jay-Z helped write for Snoop Dogg and Dr. Dre: “We still got love for the streets,” she declares. And in “Black Effect,” Jay-Z promises, “I’m good on any M.L.K. Boulevard.”