In a decision both shocking and entirely predictable, the Country Music Association has not nominated Cowboy CarterBeyoncé's iconic country music project, in any of its 2024 categories. In the second part of its current Renaissance project, used the first track to ask a direct question: “They used to say I talked too much country/ Then the rejection came, they said I wasn’t country enough/ They said I wouldn’t get on, but if that ain’t country, tell me, what is?”
Cowboy Carter Not only was it successful, but it debuted at number one, making Beyoncé the first black woman to land that spot on the top country albums chart. Dolly Parton and Willie Nelson appear on the album. The LP, while blending genres, is deeply heartfelt and personal in a way that feels urgent and refreshing.
Beyoncé also didn't hold back when it came to talking about her mindset surrounding the project. Cowboy Carter It's not just about one thing, as she drew inspiration from her own life and background, stories about her family, her home in Houston and its connections to country and zydeco, and classic country and zydeco tracks like Dolly Parton's “Jolene.” But Cowboy Carter It was also conceived as a response to Beyoncé’s experience at the 2016 CMA Awards, which she called “an experience I had years ago where I didn’t feel welcome… and it was very clear that I wasn’t.” She continued: “My hope is that years from now, the mention of an artist’s race, in relation to the release of musical genres, will be irrelevant.”
For now, though, it sadly still seems relevant. Beyoncé's genre shift was praised, but still not enough for the Country Music Association's voting body, which is made up of a mix of industry professionals. In some ways, though, Post Malone's jump to country with his 2024 album, F-1 billionIt was enough; the rapper woke up to four nominations, including one for his duet with controversial figure Morgan Wallen, “I Had Some Help.” Wallen, who was captured on video three years ago shouting racial slurs, leads this year’s nominations with seven nods.
Like many other organizations, the CMAs are proudly touting their “commitment to inclusion” on their website with a statement that asserts a vague dedication “to creating lasting change by fostering an inclusive and equitable culture.” Interspersed with photos of BRELAND, Maren Morris and Brandi Carlile, they say, “We celebrate the dedication of our staff, our members and the industry to moving country music forward and are committed to offering education and resources to help ensure an equitable pipeline of opportunities continues for years to come.”
The CMAs managed to award two nominations to “A Bar Song (Tipsy)” singer Shaboozey, who appears in Cowboy Carter song “SWEET HONEY BUCKIN',” but made sure to redirect the conversation. “Thank you Beyoncé for opening a door, starting a conversation, and giving us one of the most groundbreaking country albums of all time!” she said in a statement. Twitter In response to the claims, the Country Music Association and Beyoncé's Parkwood Entertainment have been contacted for comment.
The reaction of the CMA to Cowboy Carter —or, more appropriately, the lack thereof—seems rather emblematic of the glacial pace at which Nashville organizations like this one tend to move. It's been more than a decade since “Tomato-gate,” when a Nashville radio executive characterized men as the lettuce in the salad and women as the tomatoes in terms of their preferred radio distribution, and yet, very little has changed. Marissa Moss, author of Her Country: How Women in Country Music Achieved the Success They Were Never Supposed torecently expressed his disappointment Lainey Wilson has stepped up to the plate in her fight against the free fall of radio. “It’s a really fun single and Lainey is amazing, but Music Row makes money off of men and will do so until the end of time if there isn’t some fundamental change,” she observed. “One woman at a time, with the hourglass ticking.”
In May, Lainey Wilson was named Entertainer of the Year at the Academy of Country Music Awards, the most prestigious award of the night. If even one of Nashville’s favorites can’t get any more radio play, what hope do up-and-coming women have? What hope do up-and-coming women of color or queer artists breaking through in country music have? If Beyoncé can’t score an Academy of Country Music Awards nomination, who can?
Despite what these sorts of gatekeepers would have us believe, Nashville’s music scene—and even its country scene—is far more varied and colorful than many people expect, and not every organization is dragging its feet as much as the CMAs. Consider CMT (Country Music Television), which this month hosted an Equal Access presentation that highlighted eight excellent artists, all of whom are part of the LGBTQ+ community. Nearly all of the artists on stage throughout the evening were also people of color. The event was co-hosted by Black country artist Mickey Guyton and CMT’s Leslie Fram, both longtime advocates for the Equal Access program. One of the artists, Carmen Dianne, became emotional when she recalled watching Guyton perform the national anthem at a Tennessee Titans game many years ago. “Look, there’s a Black girl doing country music,” her mother had told her; she remembers the moment as a turning point that told her what she wanted to do with her life.
The reception at Cowboy Carter It was a joyous day, and nights like CMT's Equal Access performance make it seem like anything is possible in country music. People are ready to embrace things that may seem a little different than usual. Y'all means everyone, and organizations like the one behind the CMAs need to embrace this, or they'll be left by the wayside very soon as this gap between voting bodies and the general public widens.
“Can we stand for something?” Beyoncé asked in “American Requiem.” It’s time for the people in power in country music to step up and answer the question.
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