At the 2024 Country Music Association (CMA) Awards, the absence of nominations for Beyoncé's acclaimed album Cowboy Carter has stirred discussions about race, genre politics, and industry standards. Despite the album's groundbreaking impact, particularly as it made Beyoncé the first Black woman to reach number one on the Billboard Top Country Albums chart, it failed to secure any nominations at the prestigious ceremony. The snub is particularly surprising to many fans who had speculated she could be nominated for album of the year, marking a historic moment for Black representation in country music.
Announced on September 9, the nominations for the 58th CMA Awards saw Morgan Wallen dominating the field with seven nominations, including for entertainer of the year. Other artists such as Luke Combs, Chris Stapleton, and Jelly Roll also bagged multiple nominations, yet Beyoncé's landmark work was noticeably absent. The CMA Awards, which take place live from Nashville on November 20, are highly regarded within the industry, and the lack of recognition for Cowboy Carter raises eyebrows.
This album, released on March 29, 2024, sparked significant conversations about the contributions of Black artists to the country genre. Beyoncé herself has shared her own experiences related to country music, reflecting on feeling unwelcome within the industry. Back in 2016, her notable performance of Daddy Lessons at the CMA Awards, shared with The Chicks, received backlash, highlighting her struggles for acceptance within this space. This history likely plays a role in the perceived disconnect between her artistic contributions and the industry's conservative norms.
Cowboy Carter can be seen as not just another album, but as part of Beyoncé's mission to redefine what country music can encompass. She explained on Instagram, “This album has been over five years in the making. It was born out of experiences where I did not feel welcomed,” illustrating how personal encounters shaped her artistic direction. Her album not only blends various musical styles but also seeks to reclaim country music's roots, emphasizing Black influences on the genre.
Some industry experts suggest Beyoncé's approach may have worked against her. Amanda Marie Martinez, who researches anti-Blackness within the country music industry, noted how central the Nashville scene is to career advancement. Most successful country artists are expected to build their careers within Nashville's confines, adhering to its musical norms and participating actively within its local community. This has historically excluded artists who do not fit the typical mold, particularly women and people of color.
To highlight the disparity, Martinez pointed out Pop star Post Malone, whose recent foray is more aligned with mainstream country music, received multiple nominations. His album features collaborations with prominent Nashville artists, setting him on the path to CMA recognition. This duality underlines the challenging balance between authenticity and the genre's commercial expectations, illuminating the difficulties faced by artists like Beyoncé who are pushing for broader recognition without conforming to traditional standards.
Beyond the CMA's nominations, the album has, nonetheless, received accolades elsewhere. For example, Cowboy Carter garnered the title of most-nominated artist at the 2024 People’s Choice Country Awards, where Beyoncé scored twelve nods — highlighting her significant impact and popularity among fans. Yet, it seems the CMAS' voting members, composed largely of industry professionals who operate within more conventional boundaries, have different criteria.
The stark reality remains: Black female artists still encounter significant hurdles when trying to secure their place within the country music community. Historically marginalized, they are often confronted with barriers not only relating to race but also to the industry's preferences for certain genres and styles deemed more “authentic” to the country experience. These issues come to the forefront for both industry experts and ardent Beyoncé fans, prompting some to label the snub as emblematic of broader cultural problems.
Dean of Africana Studies at Berklee College of Music, Emmett Price III, noted, “The CMA Awards reflect what the industry believes are the great representers of the culture.” His comments highlight the often narrow view the CMA holds about who embodies country music and what their contributions should look like.
Interestingly, Cowboy Carter had achived notable success prior to the nominations announcement. Its lead single, Texas Hold ’Em, climbed to number one on the Billboard Hot Country Songs chart for ten consecutive weeks but appeared to lack traction on country radio, which is predominantly controlled by white male artists. This disparity speaks volumes about the challenges of cross-genre collaborations and marketing within country music.
It’s also worth mentioning the systemic barriers creating these disparities. Reports indicate Black artists saw negligible representation on country radio, particularly female country artists who experienced historically low airplay numbers. This presents challenges for potential nominations, as radio play often informs voters' perceptions of popularity and visibility.
The issue of representation is pressing. Beyond merely recognizing Beyoncé’s talent, it questions the industry's approach to diversity. Artists like Shaboozey, who collaborated with Beyoncé on Cowboy Carter, received nominations this year for his single A Bar Song (Tipsy) as well as newcomer status, showcasing acknowledgment of talent but perhaps not for the collaborative works taking genre-bending formations like Cowboy Carter.
The wider conversation ignited by Beyoncé's snub calls for reflection on what country music can and should represent. How can the industry evolve to embrace a fuller, richer view of the genre's roots, which undoubtedly include diverse backgrounds? Experts urge for us to examine these underlying issues and how they impact aspiring and established artists alike.
The CMAS this year present not only awards but potential recognition of the gaps present within the industry. The conversation around Cowboy Carter challenges existing norms and questions how the regionally dominated Nashville industry can shift to include the voices of artists who contribute richly to its legacy.
All eyes are now on how future nominations and awards will evolve. The tension between traditional expectations and groundbreaking contributions from artists like Beyoncé highlights the urgent need for change within the industry. The hope is not just for recognition of one album but establishing pathways for all artists to shine within the country genre, irrespective of race or background.
