Strings Attached: Country Music's Reckoning with Its Roots

By Josiane N’tchoreret-Mbiamany

Dec. 11, 2024

RECLAIMING COUNTRY MUSIC

RECLAIMING COUNTRY MUSIC

THE NIGHT COUNTRY MUSIC WAS CONFRONTED

On Nov. 2, 2016, the air inside Nashville’s Bridgestone Arena crackled with anticipation. It was the 50th Annual Country Music Association (CMA) Awards — a night meant to honour the genre’s legends and its legacy. But when Beyoncé stepped onto the stage, the night shifted. The crowd fell silent as she emerged, draped in a sparkling gown, her presence magnetic. Flanked by the Chicks, she held the room with an undeniable energy that hinted at something transformative. She wasn’t just there to perform — she was there to remind country music of the parts of itself it had tried to forget.

The first notes of “Daddy Lessons” rang out, punctuated by a harmonica and the rhythmic heartbeat of unified claps. The song, pulled from her Lemonade album, unfolded like a love letter to the South — its landscapes, its origins, its stories. Beyoncé’s voice carried it further, weaving the soul of gospel with the grit of blues, both musical traditions deeply rooted in African American communities. Accompanied by the Chicks’ country prowess, the performance wasn’t just a fit for country music — it was its essence, distilled.

Yet, as her voice climbed and harmonized with the Chicks, filling every corner of the arena, the reaction in the room was far from unified. Some rose to their feet, clapping and swaying in appreciation. But others stayed planted in their seats, their expressions hard, their discomfort visible. They saw her presence as a challenge — not just to the night’s lineup, but to the very idea of what country music should look and sound like.

Beyoncé had brought country music face-to-face with its roots, a legacy entwined with Black creativity and storytelling. But instead of celebrating this homecoming, murmurs of scepticism rippled through social media. Within hours, the CMAs quietly erased mentions of her performance from their official accounts, as though trying to undo what had already been done.

Although representatives denied scrubbing their social media of her performance following the backlash, the message was clear: Beyoncé’s presence had unsettled a genre unwilling to reconcile with its full history. That night, Beyoncé didn’t just sing — she confronted a genre. Her performance dared country music to acknowledge part of its true heritage, forcing it to confront the presence of Blackness in a space that had long sought to erase it. In doing so, she challenged the genre to reckon with a history its silence had buried, leaving behind a question as she exited the stage — a question that still lingers: When will country music truly embrace the truth of its roots and the artists who shaped them?

This question remains pressing to this day, eight years later. Why does a genre built on the backs of Black artists continue to deny them the recognition they so clearly deserve? The answer is both complex and painfully simple: the gatekeepers of country music have long resisted change, holding onto an image of the genre that excludes the very people who helped create it.

The roots of country music are deeply intertwined with Black creativity, from the banjo’s African origins to the contributions of trailblazing artists like DeFord Bailey and Charley Pride. Black contributions are not confined to the past—modern trailblazers continue to reclaim their rightful place in the space they helped build. These stories reveal the enduring challenges Black artists face, the systemic barriers they confront, and the triumphs they achieve against all odds — illuminating the past, present, and future of Black artistry in country music.

THE INSTRUMENTS THAT BUILT A GENRE

When you think of the quintessential sounds of country music, the fiddle and banjo come to mind — two instruments that seem to encapsulate the soul of “America’s genre.” However, much like the country itself, these instruments are the products of a complex history of migration and borrowed cultural elements. Both the fiddle and banjo were brought to America through the painful legacies of colonization and the transatlantic slave trade. Making the origins of these instruments in America deeply entwined with the experiences of African immigrants.

The banjo, in particular, stands as a testament to African ingenuity. Its design traces back to West African lutes, brought to the Americas by enslaved Africans who crafted early versions from gourds and animal hides. For Black communities, the banjo became a vessel of connection and resilience, preserving and reinterpreting their musical traditions amid unimaginable hardship. However, its popularity surged in the 19th century through minstrel shows, where white performers in blackface appropriated and mocked Black culture. While this exposure propelled the banjo into mainstream American music, it simultaneously obscured its African roots, recasting it as a symbol of rural white Americana.

The fiddle’s history is similarly layered. Though often associated with European folk traditions, African Americans played a significant role in shaping its place within country music, particularly during the slave era. Fiddles were a fixture at plantation gatherings, serving as a key element of social and cultural life for enslaved people. Over time, as music became segregated along racial lines, the fiddle was largely confined to white cultural narratives, erasing its prominence in the diverse traditions it once represented.

Instruments like the banjo and the fiddle are just small examples of white Americans “borrowing” from African American to help shape the roots of country. Together, the banjo and fiddle highlight the diverse origins of country music. These instruments underscore how the genre is fundamentally a blend of African, European, and Indigenous influences — a legacy that continues to resonate in the music we hear today.

Beyond these instruments, African American influences like the Blues — often dismissed as “race music” and segregated as music created by and for Black people — played a critical role in laying the foundation of the genre’s early days.

The following three videos encapsulates how blues and African American influences helped form the foundations of the early days of country.

Jimmie Rodgers’ “Blue Yodel” from Country Music, directed by Ken Burns, 2019.

Jazz and Blues in Western Swing from Country Music, directed by Ken Burns, 2019.

Elvis Presley’s Blues-Country Synthesis from Country Music, directed by Ken Burns, 2019.

These examples highlight how country music’s origins are deeply entwined with the cultural and creative contributions of African Americans, even as these contributions were marginalized within the broader musical landscape.

THE HARMONICA WIZARD DEFORD BAILEY

African Americans brought more than just influence to country music — they brought talent, innovation, and resilience, shaping the genre’s identity in profound yet often overlooked ways. Among these trailblazers was DeFord Bailey, a harmonica virtuoso whose music captivated audiences and whose story reflects both the promise and heartbreak of being Black in country music.

DeFord Bailey's origins, background, and rise in the music scene highlight his journey from humble beginnings to becoming a trailblazing figure in country music from Country Music, directed by Ken Burns, 2019.

Bailey’s performances were nothing short of magic. With his harmonica, he could mimic the haunting whistle of a train or the rhythmic hum of nature, weaving blues, folk, and country into a sound uniquely his own. In 1926, he stepped onto the stage of the Grand Ole Opry, breaking barriers as the first African American to perform on the show. More than just a performer, Bailey was instrumental in the Opry’s rise to prominence. His regular appearances weren’t merely popular; he helped cement the Opry as the heart of country music. Known as “The Harmonica Wizard,” Bailey had a gift for conjuring melodies that resonated deeply with listeners, proving that the language of music transcends race.

Despite his talent, systemic racism cast a long shadow over Bailey’s career. By the late 1930s, the Opry began shifting its focus toward string bands, leaving little room for harmonica players. In 1941, Bailey was dismissed from the show. The official reason cited was a licensing dispute over his songs, but the deeper truth lay in prejudice. As a Black man in a white-dominated industry, Bailey was seen as expendable — a devastating reality for someone who had helped build the Opry’s legacy.

The Grand Ole Opry honours former member and Country Music Hall of Famer DeFord Bailey, celebrating his profound legacy on the Opry stage and his enduring impact on country music during Black History Month.

After his dismissal, Bailey’s life took a turn. Despite his extraordinary talent and the acclaim he had once enjoyed, he spent much of his later years shining shoes in Nashville, far removed from the stage that had celebrated him. In 1967, the Grand Ole Opry invited Bailey to return for a special appearance, marking his first time back on its stage in over two decades. However, the invitation did not come with an apology for his dismissal or the injustices he had faced. It wasn’t until August 2022 — more than 80 years after his departure — that the Opry formally acknowledged the wrongs done to Bailey, recognizing both his mistreatment and his significant contributions to its history.

DeFord Bailey performed his iconic piece, Fox Chase, at the Grand Ole Opry in 1967, marking a significant return to the stage that had once celebrated his groundbreaking talent.

Bailey’s story is more than a tale of triumph; it is a stark reminder of the systemic erasure Black artists have faced in country music for generations. His legacy challenges the genre to reckon with its diverse roots and to honour those who have been overshadowed for too long. By recognizing figures like DeFord Bailey, we ensure that his music — and his story — remain an integral part of country music’s past, present, and future.

THE VOICE HEARD BEFORE IT WAS SEEN: CHARLEY PRIDE’S LEGACY

When Charley Pride stepped onto the stage at the height of his career, he carried more than a guitar and a rich, resonant voice. He carried the weight of history. In a genre that had long excluded artists who looked like him, Pride’s presence was nothing short of revolutionary.

In the mid-1960s, country music was an arena of universal stories but one dominated by white faces. Then came Pride, with a baritone voice so smooth and unmistakable that it could move a room to tears or celebration. His breakout single, Just Between You and Me, catapulted him to stardom in 1967, earning him his first Grammy nomination and forcing audiences to confront a question many hadn’t considered: Could a Black man become the face of country music?

For some, the answer was yes—provided his face stayed out of view. Early in Pride’s career, record labels often avoided using photos of him in promotional materials, allowing his music to speak first. But as the world began to see the man behind the voice, reactions were polarizing. While many admired his talent, others responded with hostility. Pride’s undeniable talent and rise to prominence challenged deeply ingrained notions of what country music could and should look like.

By the early 1970s, Pride was no longer just accepted—he was celebrated. Hits like “Kiss an Angel Good Mornin’” cemented his status as a country music powerhouse. In 1971, he achieved a historic milestone, becoming the first—and still only—Black artist to win the Country Music Association’s Entertainer of the Year award. Yet even at the peak of his success, Pride bore the quiet burden of being an outlier. His achievements were often framed as exceptional rather than indicative of a genre ready for inclusivity.

Despite these challenges, Pride remained unwavering in his focus on the music. He once said, “Music is supposed to make you happy, make you sad, make you think.” His songs accomplished all three, resonating across racial and cultural lines. Fans saw him as a master storyteller, his music reflecting the joys and heartbreaks of life for anyone willing to listen.

When Pride passed away in December 2020, his legacy was firmly established. He had not only broken barriers but redefined what was possible for Black artists in country music. Yet, his journey also left unanswered questions: Why, decades after his rise, does country music still struggle to make space for Black artists? And how can the genre truly embrace its roots without acknowledging the exclusions it has perpetuated?

Charley Pride’s story is more than a tale of triumph—it is a call for country music to reckon with its past and strive toward a more inclusive future.

Brief overview of Charley Pride's early days, which led him to become the first African American artist to record a No. 1 country record, despite significant social and political barriers.

THE RHYTHM OF RECLAMATION

For decades, Black artists like DeFord Bailey and Charley Pride have helped shape country music, breaking systemic barriers and enriching the genre despite efforts to erase or revise their contributions. While gatekeeping persists, the tides are shifting as modern artists reclaim the country space, reminding the world that country music belongs to everyone who has helped build it.

Beyoncé’s Super Bowl commercial with Verizon revealed her unexpected singles, “Texas Hold ’Em” and “16 Carriages,” introducing a bold new chapter in her musical journey: country.

On an unsuspecting Super Bowl night in 2024, Beyoncé shocked the world by releasing two new country songs, “Texas Hold ’Em” and “16 Carriages,” while announcing her upcoming album, Act II: Cowboy Carter. The songs debuted at number one and two on the Hot Country Songs chart, marking a historic achievement as Beyoncé became the first Black woman to claim the top spot. In an Instagram post, she reflected on the journey that led her to this project:

“This album has been over five years in the making. It was born out of an experience that I had years ago where I did not feel welcomed… and it was very clear that I wasn’t,” she wrote, referencing her experience at the Country Music Association Awards. “But, because of that experience, I did a deeper dive into the history of country music and studied our rich musical archive... The criticisms I faced when I first entered this genre forced me to propel past the limitations that were put on me. Act II is a result of challenging myself and taking my time to bend and blend genres together to create this body of work.”

Beyoncé’s reclamation of the country genre through her singles and album has sparked renewed curiosity about Black artists within the space, past and present, amplifying their voices and expanding their audiences. Tanner Adell, one of the Black women featured on Beyoncé’s Cowboy Carter, has been making waves in country music since 2022. Reflecting on the impact of Beyoncé’s spotlight, Adell told PEOPLE magazine:

“I saw a lot of growth and, I mean, a lot of interest, but I think mostly it just kind of opened the door for people to go, ‘Oh, this girl’s been here,’ because my dedicated fan base is like, ‘We’ve been here! We’ve been following her for the two years she’s been doing this!’ Which is so funny to me.”

Beyoncé’s efforts extend beyond highlighting rising stars like Tanner Adell, whom she featured in the song “Blackbiird” alongside other Black women country artists Tiera Kennedy, Brittney Spencer, and Reyna Roberts. She has also shone a light on trailblazers who paved the way, including country icons Willie Nelson and Dolly Parton. Linda Martell, another trailblazing artist, was the first Black woman to release a major country album with her groundbreaking 1970 record Colour Me Country. Following her feature on Cowboy Carter, Martell experienced a 127,430 per cent increase in streams and a 1,145 per cent rise in first-time listeners. For Martell, who had long been omitted from the genre’s mainstream narrative, this resurgence is a long-overdue acknowledgment of her pioneering contributions.

This exchange of recognition—between trailblazing legends and rising stars—reflects the essence of country music: a shared tradition of storytelling that transcends generations and identities. Icons of the genre stand alongside newer voices, proving that country music, at its best, is about connection and collaboration. Beyoncé’s Cowboy Carter is not just an album; it’s a movement—a bold reminder of what country music can, and should, be: a genre that celebrates diversity, honours its roots, and embraces the voices that make it whole.

SHABOOZEY: FROM RECORD-BREAKING CHARTS TO CMA SNUBS

Black artists in country music continue to break barriers and shatter records, but their triumphs are still met with the stark reality of exclusion. Shaboozey, one of the artists featured on Cowboy Carter, is a prime example. His record-breaking hit “A Bar Song (Tipsy)” tied Lil Nas X’s “Old Town Road” — another track by a Black artist — for the longest reign at No. 1 on the Billboard Hot 100. While his innovative blend of country and sampled hip-hop lyrics captivated audiences and highlighted the genre’s evolution, the response from country music’s gatekeepers has been far less welcoming.

Coming into the 2024 CMA Awards, Shaboozey was riding high. His hit song, which fuses the nostalgia of J-Kwon’s “Tipsy” with country storytelling and instrumentation, had dominated both pop and country radio, making him the first Black solo artist to achieve such a feat. Yet, despite nominations for New Artist of the Year and Single of the Year, the night became a glaring reminder of the microaggressions and dismissals Black artists still endure. Offhand jokes about his name peppered the evening, including a crude quip during the acceptance speech for a category he wasn’t even nominated in. Shaboozey’s wins seemed preemptively snatched away, leaving fans to question whether his inclusion was genuine or merely performative.

The irony is hard to ignore. While artists like Shaboozey and Beyoncé are creating genre-defying work that draws from country’s deepest roots, they are still met with resistance from an industry reluctant to acknowledge their impact. Beyoncé, whose Cowboy Carter album elevated both rising stars and legends, wasn’t even nominated by the CMAs despite the record’s historic commercial success. Critics argue her album isn’t “country enough” because of its genre-blending — yet white artists who infuse hip-hop, R&B, and pop into their country songs are celebrated in the same breath.

Shaboozey’s snubs, coupled with the microaggressions he faced, underscore a painful truth: no matter the talent or the triumph, Black artists in country music are often reduced to being Black first and artists second. The barriers they face are not just systemic but deeply cultural, rooted in a history of exclusion that continues to cast its shadow over the genre.

The infographic on the left summarizes data I collected and calculated, using Beyoncé's CMA performance year as the starting point through to the most recent CMA Awards in 2024. The data highlights how few Black country artists are recognized by the Country Music Association, despite the significant Black talent in country music spaces.

LOOKING TO THE FUTURE: A STAGE FOR EVERY VOICE

So where do we go from here? The answer lies in embracing the full tapestry of country music’s history and future. This means recognizing and amplifying the stories and voices of Black artists — pioneers like DeFord Bailey and Charley Pride, and modern trailblazers like Beyoncé, Shaboozey, and Tanner Adell. It means creating space for these artists to thrive, supporting their efforts to break barriers and reclaim a genre they helped build. By educating ourselves and others about the history that has been erased, and advocating for a more inclusive and equitable industry, we can ensure that no artist is diminished or dismissed because of their race.

A playlist featuring songs highlighted in this article, along with tracks from other Black country artists, showcasing the past, present, and future of their contributions to the genre.

An interview with Josiane N’tchoreret- Mbiamany and Dr.Francesca Royster on black artists reclaiming country.

The goal is not just reclamation but normalization. Black artists should not have to fight for acceptance or recognition in a space that is inherently theirs. They deserve to stand on equal footing, celebrated as contributors to country music’s past, present, and future — not as outsiders, but as integral members of the genre.

Country music’s greatest strength has always been its storytelling — its ability to bridge divides, foster connection, and illuminate shared experiences. To truly honour that legacy, the genre must confront its exclusions, acknowledge its full history, and celebrate the diversity of voices that have always been part of its foundation. Only then can country music move forward — not as a fractured or exclusive space, but as a genre that fully embraces its roots and welcomes a richer, more inclusive future.

ATTRIBUTIONS

ACADEMIC SOURCES

IMAGES

  • Image Group LA/Disney General Entertainment Content/Getty Images Source: Rolling Stone article.
  • Album Cover for Where I've Been, Isn't Where I'm Going. Photographer: Michael Putland/Getty Images. Source: PBS Learning Media.
  • Blair Caldwell from Parkwood Entertainment.
  • Michael Ochs Archives. Source: Getty Images.
  • Photographs by César Buitrago Via Elite Daily.
  • Bettmann Archive, Source: Getty Images.
  • Jason Kempin, Source: Getty Images for Lifetime.
  • Getty Images
  • Chris Beyrooty

ARTICLES

VIDEOS

  • Country Music Directed by Ken Burns, produced by Florentine Films and WETA, 2019. Available at: PBS Country Music Film