In the realm of music, genre boundaries have become increasingly fluid, with artists venturing beyond traditional confines to explore new sounds and styles. Recently, the music world was abuzz with news that global superstar Beyoncé, renowned for her prowess in R&B and pop, has delved into the realm of country music, leaving fans and industry insiders alike curious about the reception her foray will receive on country radio. As speculation mounts and anticipation builds, the question remains: How will country radio handle Beyoncé’s country hit?
Thank you for reading this post, don't forget to subscribe!Beyoncé’s decision to dip her toes into the country music waters is not without precedent. The genre has a long history of attracting artists from diverse backgrounds who bring fresh perspectives and innovative approaches to its sound. From collaborations between country legends and pop icons to the emergence of genre-bending acts that defy traditional categorization, country music has proven itself to be a welcoming and inclusive space for experimentation and artistic exploration.
During the early hours of a recent Friday, as country radio programmers were finding their places in a hotel ballroom for a scheduled presentation at the yearly Country Radio Seminar, a cautionary note was offered to them.
“Before we dive into the figures, I have to warn you: what we’re about to look at isn’t going to sit well. The current state representation is far from encouraging,” remarked Jada Watson, an assistant professor at the University of Ottawa who dedicates her research to the realm of country music.
However, the reception of Beyoncé’s country endeavors on country radio may be met with both excitement and skepticism. While her immense popularity and influence are undeniable, Beyoncé’s status as a crossover artist from the realms of R&B and pop could present challenges in garnering airplay on country radio, which tends to prioritize artists with established roots in the genre.
Upon the release of a video by Beyoncé during the Super Bowl, which captivated audiences with the sound of a banjo and led into two tracks with a country vibe named “Texas Hold ’Em” and “16 Carriages,” enthusiasts across the web were buzzing with excitement. Beyoncé seemed to be nodding to her Texan heritage and hinted at venturing into country music with an album poised for release on March 29, after years of speculation. However, controversy quickly brewed just two days later. A fan’s attempt to request “Texas Hold ’Em” at a local Oklahoma radio station sparked an online backlash when the station, KYKC, which strictly plays country music, responded with, “We do not play Beyoncé on KYKC.”
Upon sharing the email publicly on social media, KYKC received a deluge of angry communications accusing the episode of exemplifying racial discrimination within a predominantly White musical category that has historically marginalized African American vocalists, tracing back to when music charts distinctively categorized “hillbilly music” and “race records” in the early 20th century.
The station manager from Oklahoma, during interviews with the press, admitted to overlooking the announcement that Beyoncé had dropped a country track. Witnessing the intense public reaction prompted him to include the song in the station’s rotation. (On that same day, Sony Music Nashville, which is under the same corporate umbrella as Beyoncé’s label, Columbia Records, commenced with the formal promotion of the track to country radio stations.) However, this event set off a widespread online debate that echoed discussions professionals in the field have engaged in for years, concerning the minimal progress made by artists of color in country music, a genre deeply intertwined with African American heritage.
At the Country Radio Seminar (CRS), discussions for three days consistently mentioned Beyoncé’s situation, labeling it at one point as “the elephant in the room.” To outsiders, “Texas Hold ’Em” has been celebrated as a country music success; it ascended to the top of the Billboard Hot Country Songs chart the previous month, distinguishing Beyoncé as the first African American woman to achieve this milestone. (Prior to her, the chart saw merely seven Black female country artists in its entire history.) But, industry insiders are aware that country radio—which exclusively measures airplay—poses a distinct challenge compared to the chart, which combines radio play, sales, and streaming data.
Certainly, being of Beyoncé’s calibre, relying on country radio isn’t a necessity – thus, her song “Texas Hold ‘Em” charting at No. 42 on the Billboard airplay chart isn’t merely for her benefit. Rather, it spotlighted a wider issue concerning African American country musicians in Nashville, especially females, who’ve toiled in the genre for periods. Moreover, there’s speculation around whether Oncé’s involvement might shine a spotlight on their work. This is particularly significant given the revelation at a radio-focused conference that their contributions constitute less than one percent of the music played.
Radio consultant Jaye Albright has expressed skepticism about Beyoncé’s chances of securing a top spot on the country charts. According to Albright, a select number of stations may opt out of playing her music due to her background and story, which can significantly impede her progress to No. 1. For a song to dominate the country radio charts, it’s almost essential for the majority of stations to participate and play the track.
Albright remarked, “Missing out on that opportunity, especially for such reasons, is regrettable.” She continued, emphasizing that while the music industry is predominantly profit-driven, leading to cautious and conservative decisions, this mindset can be detrimental. “In essence, without embracing creativity, our survival is at stake,” she noted.
Despite the inherent challenges and the industry’s cautious stance, Albright’s comments highlight the important balance between commercial success and creative innovation.
Jada Watson, an academic, highlighted that the benchmarks and instruments utilized in country music originate from a “segregated framework” that asserts “country music is this” and “it isn’t that.” Hence, even when decisions aren’t intentionally made based on gender, identity, race, and ethnicity, she remarked, these ingrained mechanisms have, over time, sidelined many.
She pointed out, “The fanbase of country music is incredibly diverse in all aspects more than we’re aware,” adding, “As we begin to understand who those listeners are, we’ll likely see shifts that mirror a broader diversity in the sector itself.”
