The country-infused album, a unique blend of genres, received mere cursory promotion on country radio stations, its triumphs fueled primarily by streaming platforms and digital downloads. As the Country Music Association unveiled the nominations for its prestigious 58th CMA Awards on Monday, the list was replete with anticipated names, each vying for the spotlight.
Morgan Wallen, the pop-country sensation who has captivated audiences with his streaming prowess, led the charge with an impressive seven nods, including a shot at the coveted Entertainer of the Year award. Cody Johnson and Chris Stapleton, two stalwarts adorned in their Stetson hats, each garnered five nominations, while Lainey Wilson, an ascending star in both songcraft and style, and Post Malone, the rap-rock-folk artist who gracefully transitioned into country this year, secured four nods apiece.
Yet, amidst this star-studded lineup, there loomed a glaring omission: Beyoncé, whose groundbreaking "Cowboy Carter" album, a fusion of country and beyond, shook the music world this spring. Her song "Texas Hold 'Em" soared to the top of Billboard's Hot Country Songs chart, igniting debates and extensive media coverage surrounding the historical role of African Americans in country music and their ongoing struggle for acceptance within Nashville's elite circles.
A fervent Beyoncé fan account swiftly voiced its discontent on social media: "Once again, the CMAs have turned a blind eye to Black artists deserving of recognition." This snub, however, was not unforeseen. Eight years prior, Beyoncé faced a chilly reception at the 2016 CMAs when she performed "Daddy Lessons" alongside the Chicks (then known as the Dixie Chicks). This experience seemingly fueled her determination to create a country album, as she revealed that "Cowboy Carter" was "born from an encounter years ago where I felt unwelcome... and the message was clear: I didn't belong. But that encounter propelled me to delve deeper into country music's rich history and archives."
Despite its widespread success – the album boasted the second-largest debut of the year and reigned atop the charts for two weeks – "Cowboy Carter" received limited airplay on country radio, a platform often used by the industry to signal its preferences. While "Texas Hold 'Em" ascended to the top of Billboard's main country chart and even the all-genre Hot 100, its triumphs were primarily driven by streaming and downloads. On the country airplay chart, a more indicative measure of success within Nashville's inner circle, "Texas Hold 'Em" stalled at No. 33, and her rendition of Dolly Parton's classic "Jolene" failed to surpass No. 56.
Beyoncé, through her album, not only demonstrated her resolve to prove her country credentials and expose Nashville's double standards – "Used to say I spoke too country/And then the rejection came, said I wasn't country enough," she laments in "Ameriican Requiem" – but also made it clear that her project transcended mere country crossover attempts. "This ain't a Country album," she proclaimed on social media prior to its release. "This is a 'Beyoncé' album."
Yet, "Cowboy Carter" may have inadvertently accomplished something remarkable: it shone a brighter light on Black artists navigating the country music landscape. Perhaps the most notable beneficiary is singer-songwriter Shaboozey, who featured on two tracks on Beyoncé's album and subsequently scored one of the year's biggest hits with "A Bar Song (Tipsy)." This song has reigned as the No. 1 country song for 12 consecutive weeks and also topped the Hot 100 chart for eight weeks. At the CMAs, he is a contender for Best New Artist and Single of the Year with "A Bar Song."
As the CMAs approach on November 20 at the Bridgestone Arena in Nashville, the music industry eagerly awaits to see how Beyoncé will fare at the upcoming Grammy Awards, where she holds the record for the most wins but has been denied the Album of the Year accolade four times.
