Black women in country music have often felt marginalized within an industry that refuses to fully acknowledge their contributions. Despite being integral to the genre’s roots and traditions, they have struggled for recognition. This dynamic was starkly demonstrated when the Country Music Association (CMA) announced the nominations on September 8 and did not acknowledge Beyoncé’s album “Cowboy Carter,” sending a clear message that in country music, legitimacy often seems reserved for straight, white males.
Nonetheless, “Cowboy Carter” achieved remarkable success, breaking barriers for Black women in the industry. It propelled Beyoncé to become the first Black woman to top Billboard’s Hot Country Songs Chart and to lead Billboard’s Top Country Albums chart. This album sparked increased streaming for artists like Mickey Guyton and ignited a surge in interest in Western-inspired fashion. Prominent figures, including former First Lady Michelle Obama and Vice President Kamala Harris, praised Beyoncé for the album’s impactful messaging.
Beyoncé’s journey in country music traces back to the 2016 CMAs, where she highlighted her struggles during a performance with The Chicks. A CMA nomination could have indicated a much-needed change in the genre’s long-standing exclusionary practices.
Country music has a deeply ingrained hierarchy influenced by race, gender, and class. Despite claims of being a tight-knit community, many artists and insiders fail to acknowledge the lack of diversity amongst the genre’s leading figures. Historical moments, such as President Reagan celebrating country music as a distinctly American art form in the 1980s, expose the industry’s reluctance to embrace a varied narrative.
The overwhelming white and male representation among top earners raises questions about the sincerity of the industry’s claims to inclusivity. Existing inequalities mirror the effects of outdated economic policies, restricting opportunities for those without access to power and resources. The music industry continues to operate under a system that resembles a new era of segregation, favoring Black sounds only when performed by white artists.
The challenge for Black women in country music remains daunting. Will advocates emerge for artists like Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts, who are striving for recognition? Their rightful frustrations highlight the need for systemic change within the industry.
Celebratory moments exist, like The War and Treaty receiving a Vocal Duo of the Year nomination at the CMAs, and anticipation builds around the upcoming GRAMMY Awards Nominations. “Cowboy Carter” may yet receive the recognition it deserves.
However, envisioning a future where “Cowboy Carter” would have been nominated for a CMA raises poignant questions about legitimacy and inclusion. Would such recognition have opened doors for Beyoncé and other Black women in the genre?
Regardless of institutional acknowledgment, Black women in country music will continue to forge their own paths. They do not need validation from a system that has often dehumanized them; instead, they can assert their legitimacy based on their humanity and contributions to the genre.