Country music reckons with racial stereotypes and its future

Country music reckons with racial stereotypes and its future

NASHVILLE — When nation singer Rissi Palmer was engaged on her debut album, she wished a track like Gretchen Wilson’s “Redneck Woman,” a track that might introduce her and inform her story to followers.

On her 2007 debut single, “Country Girl,” she celebrated her nation roots whereas explaining that she didn’t must look or discuss a sure strategy to name herself a rustic woman.

“I said that I am not white in the first verse, and the label was like, ‘No, no, no,’” mentioned Palmer, who then rewrote the lyrics to make it really feel extra common. “It was very intentional when I wrote that song to talk about all the women, or all the people, that might not necessarily fit in the box, but are still of the same mindset.”

The nation music business has lengthy been hesitant to deal with its lengthy and difficult historical past with race, however the dying of George Floyd in police custody and the protests it sparked within the U.S. and around the globe grew to become a sound too loud for the style to disregard.

Over the previous weeks, nation artists, labels and nation music organizations posted about Black Lives Matter on social media, participated within the business huge Blackout Tuesday or denounced racism outright. On Thursday, Grammy-winning nation group, The Dixie Chicks introduced it could drop “dixie” from its title. The group mentioned in an announcement that it wished to satisfy “this moment.”

But Black artists say the business nonetheless wants to deal with the systematic racial obstacles which were entrenched in nation music for many years. Stereotypes that nation music is only for white audiences, written by white songwriters, and sung by principally white males are bolstered day by day on nation radio, playlists, label rosters and tour lineups. In latest years, nevertheless, the conversations about nation music have shifted to a broader acknowledgement that non-white artists have all the time been within the style, even when they aren’t all the time acknowledged.

Artist/scholar Rhiannon Giddens obtained a MacArthur Foundation grant for her work to reclaim Black contributions to nation and folks music. And artists like Darius Rucker, Kane Brown and Jimmie Allen have all had No. 1 nation hits lately, whereas Mickey Guyton simply launched an unflinching track referred to as “Black Like Me.” But that ingrained tradition of exclusivity stays a battle to vary.

“You can look at the reviews of my first album. I was called colored, like, ‘I didn’t know colored people like country music,’” mentioned Palmer, who had three singles attain the Hot Country Songs Chart. “I used to get messages all the time on MySpace, saying, ‘I am so sick of you. Why are you trying to be white?’ or ‘Why are you trying to take over country music?’”

Change hasn’t been straightforward. After Grammy-winning nation group Lady Antebellum introduced they had been altering their title to Lady A, they later needed to apologize to a Black singer who had been utilizing that stage title for years.


Atlanta-based nation rapper Breland additionally wished to deal with, with a wink and a smile, nation music’s racial blinders with his TikTok-fueled track “My Truck.” The music video begins with a white man in a black cowboy hat singing as smoke billows throughout a dusty panorama, then Breland abruptly shoves him out of the body to announce, “Don’t touch my truck.”

“I just felt like it was time for people to change their perspective on what country music is and what country music can be, because there is an audience of country music listeners under 30 who believe Black Lives Matter,” mentioned Breland, whose track reached No. 26 on Billboard’s Hot Country Songs chart and has been remixed with Sam Hunt.

Like Lil Nas X’s style bending “Old Town Road,” Breland playfully fuses entice rhythms with nation tropes about horses, do-si-dos and beer on his self-titled EP and sings with nation artists Chase Rice and Lauren Alaina. Breland mentioned nation music labels can’t simply proceed to concentrate on one kind of viewers.

“There’s a group of country listeners who love country music because of the way it sounds, but don’t love some of the politics that they know are going on behind the scenes,” he mentioned.

Historically nation music was created by and performed in each white and Black communities within the South, however the music grew to become marketed alongside racial traces within the Jim Crow period, mentioned Amanda Marie Martinez, a historian and author who’s learning nation music and race. White nation music was stigmatized early on as “hillbilly music” so the business began pushing it towards the rising white center class as a strategy to make the style extra revered and vastly worthwhile.

“In the process, they’ve also prioritized the white, middle income, relatively conservative listener as their demographic, kind of the opposite of youth culture,” Martinez mentioned.

But there have been intervals of variety, such because the post-Civil Rights period, when Black artists like Charley Pride, Linda Martell, O.B. McClinton and Stoney Edwards had been having success, alongside Johnny Rodriguez and Freddy Fender, who had been singing in English and Spanish.

Black artists at this time are additionally reclaiming areas which were overwhelmingly white domains.

Claude Kelly and Chuck Harmony, who work as a duo referred to as Louis York, had been already hit-making songwriters and producers behind pop songs like “Party in the USA” by Miley Cyrus and “Grenade” by Bruno Mars after they moved to Franklin, Tennessee, a Nashville suburb that’s dwelling to historic websites of a serious Civil War battle and plantations the place slaves had been as soon as held. There they arrange their Weirdo Workshop artist collective and have labored with Jimmie Allen and famous creator/poet Caroline Randall Williams.

“We knew that if we were to make our mark in this town as musicians and as Black musicians that playing the Grand Ole Opry would be the pinnacle for that,” Harmony mentioned.

They received a standing ovation on the Opry, however extra importantly for Harmony, he wished the viewers to study nation music’s roots.

“I just wanted their unbiased, undivided attention, so that they can make the correlation between the music that they came to see and the music that we make as Black people,” Harmony mentioned.


Both the Academy of Country Music and the Country Music Association began variety job forces greater than a 12 months in the past when nation music was being criticized for an absence of feminine voices and ladies had been being neglected of main classes like entertainer of the 12 months.

Becky Gardenhire, a high govt at expertise company WME in Nashville who leads ACM’s variety job power, mentioned they’re taking a look at methods to recruit and retain various voices, each within the boardroom and on the stage, with efforts like mentorships, networking and outreach to construct up a pipeline of future leaders and artists.

“We’re hungry for diversity. We want the candidates to come and knock on the door, but we have to also show them that the door is open for them,” mentioned Damon Whiteside, CEO of ACM.

But simply as nation artists outwardly mirror a predominantly white picture, there are few Black nation music executives working behind the scenes. Candice Watkins received one among her first large breaks in nation music working because the day-to-day supervisor for Keith Urban between 2009 and 2011.

“That changed my life because obviously he’s a superstar,” mentioned Watkins, who’s now the vice-president for advertising and marketing for Big Loud Records, whose roster contains Jake Owen and Morgan Wallen.

But in that supervisor’s function, she realized that she was typically the one Black individual on the boardroom desk. Watkins mentioned her label helps her and values her opinion, however she is aware of that may not be the identical for different minorities and their corporations.

“How is a young A&R person empowered to come back to the table and maybe pitch a Black artist or person of colour? Culturally speaking, do they feel free to do that or do they automatically know this is dangerous ground for them to even bring up?” Watkins mentioned. “There’s a dismantling of culture that needs to happen.”

Palmer, who’s recording a podcast that focuses on the experiences of ladies of color in nation music, mentioned she feels optimistic that the present discussions about race and nation music can result in progress, if actual adjustments are applied.

“I love country music, always have, always will. It’s healing music. It’s beautiful music at its core. It’s heartfelt. It’s spiritual,” Palmer mentioned. “And it would be a shame if not everybody got to enjoy it because of the outward package.”

Kristin M. Hall, The Associated Press

About the author

Sheila Hawkins

Sheila Hawkins is a 27-year-old Entertainment blogger and content writer, who enjoys camping, worship, and football. She is considerate and energetic, but can also be very dull and a bit unstable. She is an American Christian who defines herself as straight. She has a degree in Information Technology. Physically, Sheila is in pretty good shape. She is average-height with walnut skin, brown hair, and brown eyes. She grew up in an upper-class neighborhood. After her mother died when she was young, she was raised by her father.

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