A Woman Left Lonely: Exclusion of Black Women in Country - Case Study: The Labeling of Beyoncé as "Not Country"

Music labels often tell us more than just what we’re listening to; they unveil the intricate web of race, gender, and culture behind the sounds. Take Beyoncé’s 2016 hit “Daddy Lessons.” Her attempt to cross into country music was met with skepticism and backlash, while artists like Lil Nas X and Nelly didn’t face the same level of scrutiny. This raises crucial questions: Who gets to define a genre, and why are Black women often judged more harshly than their male counterparts?

The Roots of Country Music and the Exclusion of Black Artists

Country music has deep roots in African American traditions, blending Appalachian folk, gospel, and blues—genres significantly shaped by Black musicians in the South. For example, the banjo, often perceived as a quintessentially Appalachian instrument, originates from Africa. However, due to racial segregation in the recording industry, this history has frequently been overlooked, presenting country music as a predominantly white genre.

In the 1920s, while Black women were key figures in the blues scene, they were often recorded by white male producers only if they fit into specific molds. This dynamic pigeonholed Black women into certain genres, sidelining their broader contributions—a trend that still impacts the industry today.

Additionally, Mahmassani (2022) highlights how the folk revival movement of the 1940s, led by figures like the Lomaxes, Dave Van Ronk, and Woody Guthrie, marginalized women’s contributions, particularly those of Black women like Odetta. This created a cycle where male artists received most of the recognition while female artists struggled to have their voices heard.

Beyoncé’s “Daddy Lessons” and Country Music’s Resistance to Black Women

Beyoncé’s, “Daddy Lessons” (2016), beautifully blends traditional country sounds with her rich storytelling and Southern roots. You’d think it would be celebrated for its authenticity, right? Instead, her entry into country music was met with skepticism. When her song was released, discussions often shifted to whether Black people belong in country music, typically focusing more on Black men.

This highlights a frustrating reality: when we zoom in on one form of oppression, we can overlook others. Historically, Black men have had more opportunities in country music than Black women, which underscores significant gaps in this conversation. The societal expectation that Black women must constantly prove their legitimacy in spaces dominated by white men adds another layer of complexity.

The Double Standards: Lil Nas X and Nelly

In contrast, when Lil Nas X and Nelly entered the country scene, their journeys were less contentious. Lil Nas X’s “Old Town Road” faced its own battles—initially removed from Billboard’s Hot Country Songs chart before gaining acceptance, especially after his remix featuring Billy Ray Cyrus. Nelly’s collaboration with Florida Georgia Line on “Cruise” had a smoother ride without the heavy scrutiny Beyoncé faced.

This discrepancy is striking. Both Lil Nas X and Nelly are men, and the country music scene has historically been more accommodating to Black men. For instance, DeFord Bailey was the first Black performer at the Grand Ole Opry. While he later faded into obscurity, his initial success illustrates that Black men have often been tokenized in country music, while Black women have faced even greater exclusion.

People often miss the bigger picture: the unique exclusion of Black women. If they want to enter the country genre, they must follow a stricter set of rules compared to their male counterparts, who can navigate between genres more easily. Conversations about country music's Black roots often lead back to male artists like Charley Pride, but where is the long list of Black female artists? This once again highlights how Black women face stricter codes and fewer welcoming spaces. While white women may have more access, they also must adhere to a stricter moral code and appearance than their male counterparts.

The Policing of Black Female Artists

Beyoncé’s experience shines a light on broader issues around the policing and sexualization of Black women in music. When Black women assert themselves in spaces dominated by white men—whether in country, hip-hop, or pop—they often encounter resistance. This reality is rooted in respectability politics, where Black women’s bodies and voices are scrutinized, reinforcing racial and gender hierarchies. The empowering themes often associated with women in music—like being true to oneself—stand in stark contrast to the challenges they face in gaining acceptance (Rebeka, H.B.).

Conclusion

When Beyoncé is labeled as "not country," it’s about more than music—it speaks to who has the power to define genres and whose voices matter. While Lil Nas X and Nelly also navigate challenges, Beyoncé’s “Daddy Lessons” exclusion reflects deeper issues of race, gender, and power in the music industry. Recognizing this history helps us understand the systemic barriers that continue to shape the genre.

In addition to Beyoncé, Black male artists like Jimmie Allen and Kane Brown have recently made strides in a space that hasn’t always been welcoming. Their success highlights the ongoing need for discussions about inclusivity and representation in country music.

References

Dowling, M. K. (2021, August 3). Reflections From Bristol: Being in the Birthplace of Country Music on Juneteenth 2021. The Boot. https://theboot.com/bristol-birthplace-of-country-music-in-2021/

Mahmassani, A. (2022). Folk feminism: The women of the American folk revival [Doctoral dissertation, Rutgers, The State University of New Jersey, Graduate School-Newark]. Retrieved from https://rucore.libraries.rutgers.edu/rutgers-lib/68034/

Rebeka, H.B. (2024). Shake Ya Ass, but Watch Yourself: An Intersectional and Decolonial Approach to Exploring the Sexualization of Female Recording Artists and the Empowerment of Women in the United States. National Louis University.