Opinion – Beyoncé’s new music is a nod to country’s Black roots

 

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Beyoncé also marks a convergence of traditions and influences in her new singles that was present in the Renaissance album. Embracing the country genre with her signature pop and R&B influence invites audiences to reimagine the possibilities of musical expression and celebrate the diverse voices that have defined the industry across American history.

As was the message of her previous album, our expectations of a genre or artist should not be defined by narrow misconceptions or ostensible ‘traditions’. Ultimately, music is a tool for embracing difference and inviting transformation. It’s also a means of transcending boundaries and bridging cultural and historical divides.

In this way, Beyoncé’s country moment marks an era of education – of re-writing the same history that has silenced Black voices for centuries.

This isn’t to say that everyone in the country music industry is pushing a false narrative. As an article on ‘Saving Country Music’ points out, many celebrate a painting by Thomas Benton as one of country music’s ‘most valuable asset[s]’. The image features a Black figure playing the banjo amongst a group of musicians, which the article suggests is adequate acknowledgement of the genre’s Black cultural roots.

Arguably, this reference constitutes the bare minimum, and – ultimately – is not widely recognised in the mainstream. In fact, nearly every pop culture reference to country music depicts it as an overwhelmingly white genre.

Divided reactions to Beyoncé’s foray in county music proves these complex perspectives still define the genre. Many fans have pointed out that this isn’t the first time she’s explored cowboy aesthetics.

Her track ‘Daddy Lessons’ from 2016 album ‘Lemonade’ was widely associated with country and Beyoncé even performed the track at the Country Music Awards. But many country music fans felt the track didn’t belong in the genre, and the Recording Academy seemed to agree, rejecting it from consideration in the country music categories at the Grammys.

It’s eye-opening that despite releasing two new overtly country inspired tracks, Beyoncé’s position within the genre is still being questioned. In vocalising their surprise at her latest sound, even Beyoncé’s fans are inadvertently highlighting the historic exclusion of Black voices from country music.

Alice Randall, author of ‘My Black Country’, has outlined the origins of the genre and its co-option by white Americans after it arrived in the county with slaves during the 17th century.

‘As I understand Black country music, it goes back to the arrival of the first Black child to an enslaved African woman in these Americas’ Randall says. But she’s hopeful that when it comes to her new country songs, Beyoncé will get her flowers.

Just as Black queer and ballroom culture was saluted in Renaissance, Randall hopes a new country album would highlight Black artistry within the genre to a wider audience.

‘She’s a true cultural curator,’ Randall said. ‘Even going back to ‘Lemonade,’ and ‘Daddy Lessons,’ many people forget that a significant portion of cowboys were people of colour. Beyoncé’s album and video helped some people remember that or provoked them to learn that.’

If the country frenzy she’s already sparked is anything to go by, Beyoncé’s country songs will be both a nod to the genre’s roots and a bold affirmation of its future.