Beyoncé’s Country Music Celebration by Black Women Artists

Tanner Adell’s love of country music began early, shaped by a childhood spent between Los Angeles and Star Valley, Wyoming. The contrast between city life and the country landscape made a lasting impression on her, but it was the music itself that stayed with her. She remembers being moved by Keith Urban’s “Somebody Like You” and crying on car rides as her family left Wyoming each summer and returned to California. That early connection helped guide her toward a career in country music.

Today, Adell is emerging as one of the genre’s rising stars. At the Grammys on February 2, she participated in a major moment for Black women in country music when Beyoncé won album of the year for “Act II: Cowboy Carter,” with Adell featured on the reprise of “Blackbiird.” Beyoncé’s album also won best country album, underscoring the growing visibility of Black artists in a genre that has long been dominated by white men.

Beyoncé’s move into country sparked debate when “Cowboy Carter” was announced in March 2024. Some critics questioned her place in the genre, and an Oklahoma radio station briefly refused to play her music, saying it was a country station. The backlash led the station to reverse its decision and intensified discussion about who country music is for and who gets to define it. In her announcement, Beyoncé said the album was inspired by feeling unwelcome in the genre and by her effort to study country music’s history and Black roots.

For artists like Adell and Tiera Kennedy, Beyoncé’s success has amplified a conversation they have long been part of. Kennedy, who is also featured on “Blackbiird,” said she did not find country music so much as it found her. She began writing songs in high school and was drawn to the genre through storytelling and personal experiences. Moving to Nashville was an important step in her career, and she said she was surprised by how warmly she was received by many people in the industry. Adell also said relocating to Nashville three years ago helped accelerate her career and connect her with other Black women in country.

Both artists emphasize the importance of community. Adell said Black women in the genre support each other through a group chat and reject efforts to pit them against one another or against Beyoncé. Their experiences also reflect broader tensions in country music, which has faced criticism in recent years over racism and sexism. Some artists and commentators have pointed to moments when prejudice became more visible in the genre.

At the same time, Black artists have always been part of country music’s history. Prana Supreme Diggs, who performs with her mother Tekitha as O.N.E the Duo, said country is deeply connected to Black culture, especially given the South’s place in Black American history. Tekitha said Beyoncé has become the champion many Black country artists had been waiting for, someone with the power to open doors and elevate voices that have long been present but underrecognized.

For Adell, Kennedy, Diggs, and others, Beyoncé’s country era represents more than a commercial success. It signals broader recognition for Black women who have been building careers in the genre for years and pushing for a fuller, more inclusive understanding of what country music can be.