Released in March 2024, Cowboy Carter was Beyoncé’s bold step into the world of country music—a genre she had previously dabbled in with her song “Daddy Lessons” on the Lemonade album. At the time, her performance at the 2016 Country Music Awards with The Chicks (formerly the Dixie Chicks) was met with some excitement but also a fair amount of skepticism from country purists. It seems those skeptics have now become full-blown gatekeepers.
“I’m honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé said in a statement following her album’s release, referring to her breakout track “16 Carriages.” “This album isn’t about labels. It’s about music bringing people together.” And indeed, Cowboy Carter did just that—uniting Beyoncé’s fans from all genres under a banner of inclusivity, with a dash of twang.
But while Beyoncé was busy turning the world’s attention to the rich history of Black artists in country music, the CMA was seemingly hard at work plotting her downfall. As the 2024 CMA Award nominations were announced, many were shocked to see that Beyoncé’s name was entirely absent from the list, despite her undeniable chart success and critical acclaim.
The snub alone was bad enough, but the real bombshell came in the form of a shocking statement from the CMA itself, released mere hours after fans began to express their outrage on social media.
“While we respect Ms. Knowles-Carter’s talents and contributions to the music industry,” the statement read, “we must maintain the integrity of the country music genre. Her latest album does not align with our vision of traditional country, and as such, we have made the difficult decision to ban her from all future CMA events and considerations. She can never be country.”
The statement, which has since been dubbed the “Nashville Declaration of No-Beyoncé,” sent shockwaves through the entertainment world. Fans of country music and Beyoncé alike flooded Twitter (or X, as the tech overlords now demand we call it) with hashtags like #JusticeForBey and #CMAIsCancelled.
One particularly passionate fan wrote, “Y’all are really out here saying BEYONCÉ isn’t good enough for country music? The same Beyoncé who just gave us ‘Texas Hold ‘Em’? The same Beyoncé who covered Dolly Parton’s ‘Jolene’? Y’all tripping.”
Speaking of Dolly Parton, the country icon herself weighed in on the controversy, and as always, she did not disappoint.
“I’ve been a fan of Beyoncé for years,” Parton said in an interview just days after the CMA’s announcement. “She covered my song ‘Jolene’ on her new album, and let me tell you, she did it justice. Anyone who says that woman isn’t country doesn’t know what they’re talking about. I reckon she’s more country than half of Nashville these days.”
With Dolly’s endorsement in hand, you’d think Beyoncé would have the genre on lockdown. After all, when the Queen of Country gives you her blessing, it’s a pretty big deal. But the CMA remains unfazed by both Beyoncé’s talents and Parton’s support.
“We appreciate Ms. Parton’s contributions to country music,” said a CMA spokesperson, “but our decision is final. Country music has specific traditions and values, and we don’t believe Ms. Knowles-Carter’s work adheres to those.”
It’s unclear which traditions the CMA is referring to—whether it’s their aversion to inclusivity or their strange obsession with ensuring no one has too much fun—but it’s clear that Beyoncé’s attempts to break into the genre have rubbed Nashville the wrong way.
This entire debacle has reignited long-standing conversations about who exactly gets to “own” country music. For decades, country has been dominated by white artists, but the genre’s roots in Black music run deep. From the influence of the blues on early country to the contributions of Black pioneers like DeFord Bailey, the harmonica player who helped shape the Grand Ole Opry, the history of country music is anything but monolithic.
Yet, in 2024, it seems the CMA would rather ignore that legacy than embrace it. By banning Beyoncé, they’ve essentially drawn a line in the sand—a line that says country music is for some people, but not others.
In response, several high-profile country artists have spoken out in defense of Beyoncé. “This is ridiculous,” tweeted Kacey Musgraves. “Country music is supposed to be about storytelling, and no one tells a story better than Beyoncé.”
Meanwhile, rising star Mickey Guyton, one of the few Black women in mainstream country today, expressed her frustration in an interview. “Country music should be for everyone. We can’t keep putting up these walls and pretending that certain voices don’t belong here. If Beyoncé isn’t country, then what does that say about the rest of us?”
As for Beyoncé, the artist has remained characteristically graceful in the face of the CMA’s decision. Sources close to her say that she’s focusing on her music and her fans, undeterred by the industry’s rejection.
“She’s Beyoncé,” said one of her collaborators. “She doesn’t need the CMA. They need her. If they can’t see what she’s brought to country music, that’s their loss.”
And with that, it seems Beyoncé will continue to blaze her own trail, CMA be damned. While the Nashville establishment might not be ready to embrace her, the rest of the world has already crowned her the queen of country. Or at the very least, the queen of whatever genre she decides to conquer next.
One thing is certain: Beyoncé’s not leaving the country stage quietly. She’s going to saddle up, ride off into the sunset, and make sure the rest of us know what country really sounds like.
