Michelle presented this topic at the APME 2024 Graduate Student Conference. You can find her presentation linked here.
In recent years, there has been a growing awareness and concern about the increasing presence of racism within the country music industry. Country music has lately faced scrutiny for its lack of diversity and the perpetuation of racial stereotypes. Critics argue that the genre has been slow to embrace artists of color, hindering the representation of diverse voices and experiences. (1) Additionally, instances of racially insensitive comments or actions by some prominent figures within the industry have further highlighted the need for introspection and change. (2)
As conversations around racial equality and inclusion gain momentum across various sectors, including the country music industry, there is a growing call for more inclusivity, representation, and a dismantling of systemic barriers within country music. Efforts have been made to address the lack of racial diversity in the country’s music industry, but progress has been slow. Several black artists have achieved success and critical acclaim in recent years, challenging stereotypes and broadening the genre’s appeal. However, systemic barriers, including racial bias and limited representation, continue to hinder diversity in the industry. For instance, some black artists have faced resistance from radio programmers, struggling to receive airplay and reach wider audiences along with receiving less pay as a result. (3)
Furthermore, the country music industry’s reliance on a narrow definition of what constitutes “authentic” country music has marginalized artists who incorporate diverse influences and musical styles. (4) In 2023, two country songs by Jason Aldean and Luke Combs topped the charts and reignited a debate about racism and diversity within the genre. Aldean’s song “Try That In A Small Town” sparked controversy due to its music video, which juxtaposes real-life footage of city vandalism and clashes between Black Lives Matter protesters and police with provocative lyrics. Benchetrit wrote that some “critics have said the music video threatens vigilantism and promotes racial violence, pointing to the use of Black Lives Matter protest footage — and the fact that part of the music video was filmed in front of a courthouse known for being the site of the 1927 lynching of a Black teenager.” (5) Meanwhile, Combs’ cover of Tracy Chapman’s “Fast Car” has topped country charts, prompting discussions about the success built on a Black woman’s artistry. (6) These incidents highlight ongoing issues of racism in country music, with critics emphasizing the genre’s historical failure to recognize the impact and influence of Black artists. That same year, country and pop singer Maren Morris, known for hits like “The Middle” and “The Bones,” announced that she was distancing herself away from country music, citing the genre’s refusal to address sexism and racism among some artists and songs. (7) Morris, a progressive artist, expressed concerns about biases becoming more apparent during the Trump era and the genre’s failure to grapple with misogynistic and racist sentiments. (8) Her decision came amidst controversies surrounding far-right and racist messages in recent country hits.
The success of such songs raises questions about the genre’s willingness to address long-standing issues related to race and gender, including radio play disparities and problematic lyrics. An Oklahoman-based radio station received backlash after a fan requested Beyoncé’s country song, “Texas Hold ‘Em.” After a request to play the song, the station responded: “Hi — we do not play Beyonce on KYKC as we are a country music station.” (9) The station eventually added the song to their playlist, saying they didn’t know the song was out and that they don’t typically play songs until they chart higher. (10) Despite Beyoncé’s successful genre-bending foray, the radio incident illustrates the ongoing complexities of genre expectations and representation within country music, leaving questions about its future inclusivity.
This incident, combined with Morris’ experience, underlines the urgent need for the genre to confront its internal biases and embrace diversity, both on and off the airwaves. Stopping racism in country music requires a multifaceted approach that challenges ingrained biases and promotes inclusivity. Acknowledging the historical roots of Black artists in the genre is essential, ensuring their contributions are recognized and celebrated. The industry must actively dismantle discriminatory practices, fostering equal opportunities for BIPOC musicians.
Country music, like any other cultural form, can contribute to addressing racism through several key strategies:
Representation and Inclusivity: Promoting diversity and inclusivity within the genre by actively supporting and showcasing BIPOC artists. This involves equitable representation in record labels, radio play, music festivals, and award nominations.
Challenging Stereotypes: Country music can work towards dismantling racial stereotypes perpetuated by lyrics, imagery, and industry practices. Encouraging artists to create music that challenges preconceived notions and embraces a more nuanced representation of diverse experiences can be instrumental.
Education and Awareness: Country music can play a role in educating its audience about the rich history of the genre, acknowledging the contributions of BIPOC musicians, and fostering a deeper understanding of the cultural roots of the music.
Community Building: Creating spaces for dialogue and collaboration among artists from different racial backgrounds can foster unity and break down racial barriers. Collaborative efforts and shared experiences can contribute to a more inclusive country music community.
Industry Accountability: Holding the country music industry accountable for discriminatory practices, both historical and contemporary, is crucial. This involves addressing issues such as biased radio play, unequal representation, and erasure of BIPOC artists from industry narratives.
Promoting Multiculturalism: Embracing a multicultural approach that celebrates ethnic differences, acknowledges diversity, and encourages alliances among artists, industry professionals, and audiences can be a powerful tool against racism.
Addressing Systemic Issues: Recognizing and addressing systemic issues within the industry, such as gatekeeping and institutionalized whiteness, is essential for creating a more equitable environment for all musicians.
Social Commentary: Country music has a tradition of storytelling. Artists can use their platform to address social issues, including racism, through their lyrics. This can help raise awareness and stimulate conversations within the genre’s audience.
Ultimately, the key lies in a collective effort from artists, industry leaders, and the audience to actively participate in creating a country music landscape that is inclusive, diverse, and actively working against racism.
About the Author: Michelle is a music therapist and Program Manager for the Thornton Community Engagement Program at the University of Southern California. She obtained her Master of Music in Sacred Music at Duquesne University and studied organ with Dr. Ann Labounsky. While at Duquesne, Michelle was accepted into Pi Kappa Lambda and presented with the Jean Langlais Sacred Music Award. Michelle is also a graduate of Seton Hill University where she received her Bachelor of Music in Music Therapy along with the Sacred Music Certificate, Pastoral Ministry Certificate, and psychology minor. There she studied organ with Mr. Edgar Highberger and piano with Mr. Edward Kuhn. During her studies, Michelle was named the Presser Scholar and was accepted into the International Psychology Honor Society, Psi Chi. Michelle is attending the University of Southern California to pursue a Doctor of Musical Arts in Sacred Music studying organ under Professor Cherry Rhodes and conducting under Dr. Tram Sparks.
Bibliography
1. Jenna Benchetrit, “As Aldean and Combs Top Country Music Charts, the Genre’s Black History Reemerges,” CBC News, August 4, 2023, https://www.cbc.ca/news/entertainment/jason-aldean-luke-combs-country-music-1.6924323. 2. Aja Romano, “What’s Going on with These Viral, Right-Wing Country Music Hits?,” Vox, August 28, 2023, https://www.vox.com/culture/23842173/oliver-anthony-rich-men-controversy-morgan-wallen-jason-aldean-small-town-political. 3. Jada E. Watson, “Redlining in Country Music: Representation in the Country Music Industry (2000-2020),” SongData, March 12, 2021, https://songdata.ca/wp-content/uploads/2021/03/SongData-Watson-Redlining-Country-Music-032021.pdf, 17. 4. Romano, “What’s Going on with These Viral, Right-Wing Country Music Hits?” 5. Benchetrit, “As Aldean and Combs Top Country Music Charts.” 6. Benchetrit. 7. Li Zhou, “Maren Morris Distancing Herself from Country Music Underscores Its Existential Crisis,” Vox, September 19, 2023, https://www.vox.com/culture/2023/9/19/23880804/maren-morris-country-music. 8. Zhou, “Maren Morris Distancing Herself from Country Music.” 9. Ayana Archie, “A Radio Station Is Now Playing Beyoncé’s Country Song After an Outcry from Fans,” NPR, February 14, 2024, https://www.npr.org/2024/02/14/1231301265/beyonce-country-radio-station. 10. Archie, “A Radio Station Is Now Playing Beyoncé’s Country Song.”