Analysis of the Country Music Awards Nominations: Beyoncé's Snub and Morgan Wallen's Controversial Recognition

1. Introduction

This morning, the nominations for the upcoming Country Music Awards were announced by Mickey Guyton, a Black country artist, and professional wrestler Xavier Woods. Just last month, Nas X paid homage to Beyoncé's connection to the genre with lyrics to the song, "Bigger Picture." Guyton was nominated in the Best New Female Artist category, which puts her in competition with Alberta, Canada native Lindsey Ell, the daughter of a legendary rock musician. Like Guyton, Ell is also African American—a fact that was highlighted in tweets today. Of course, what’s already capturing attention is the selective recognition of who is considered to "belong" and who is deemed not to. Beyoncé, in the unlikeliest of sorts, is quite a regular at the awards ceremony in their usually crossover-minded attempts to attract viewership to the annual event. This year, however, some spectators say that without a country album or song eligible for competition, Beyoncé doesn't deserve a nod.

Most of the ongoing public conversation about the 55th CMAs, hosted again this year by Carrie Underwood, Reba McEntire, and Dolly Parton, has surrounded the controversial restoration of country crooner Morgan Wallen to the competition. The singer, who was captured on camera drunkenly yelling racist slurs in public, was declared ineligible for 2021 because he would have been considered for the promotional category before his disqualification was enforced. Instead, Wallen recorded ten nominations, making him the most-nominated artist this year, although Luke Bryan and Chris Stapleton also received double-digit nods. As with Beyoncé and Guyton, it's worth exploring the public narratives of these appeals as well as the procedural manners and practices of the industry which rarely, if ever, guide the finalists' rosters. To engage with these final nominations without the accompanying context is to view a chasm rather than delving into distressing portrayals of society at large, though it is often that latter perspective that motivates our engagement with them in the first place.

1.1. Background of the Country Music Awards

The Country Music Awards were created in 1967 after moving to Nashville, Tennessee. The Country Music Association started in 1958 as a non-profit trade organization. The awards were created to bring the acclaim of music to the same level as other music awards. There are twelve major categories: Entertainer of the Year, Female Vocalist of the Year, Male Vocalist of the Year, Vocal Group of the Year, Vocal Duo of the Year, Album of the Year, Single of the Year, Song of the Year, Musical Event of the Year, Video of the Year, and the Horizon Award. Winners are announced in ceremonies held in Nashville, Tennessee, and nationally televised along with performances from the artists. Nominations are sent to a Blue Ribbon Committee where the top five nominees are placed on a ballot and sent to the industry professionals who are members of the CMA.

CMA nominations and awards have also caught up with current trends. The Musical Event award has grown to the enigmatic name of Vocal Event of the Year. This captures those artists who may not have sold enough albums or had a charting top single yet, but have made a name for themselves through their dueling or group appearances. Critics claim you are a big brother sneaking into a talent show while overcoming stresses. Developing these award shows has been a relentless effort for many necessary people. While the awards bring credibility and spotlight to an artist, they can also help to better their career with a broader fan base. Having a CMA can erase the blanket of hokum that has been in place and least comforting to the close-minded critic. The majority of the consensus believes that the top five nominations in each category are truly representative of the best talent in their respective field. In turn, the winners become household names, and the nominations give aspiring artists a pat on the back.

2. Beyoncé's Absence from the Nominations

Fans have mixed feelings about Morgan Wallen's Album of the Year nomination for "Dangerous." But at least he's a country singer, right? This week’s release of the Country Music Awards nominees brought some expected names, such as Miranda Lambert and Kacey Musgraves, and a few unexpected ones, such as Chris Stapleton and Eric Church. Beyoncé’s presence on the list was unexpected for a few reasons. Many industry experts expected Beyoncé's name to make an appearance, especially after being nominated in the genre directly after collaborating with the Chicks on the track "Daddy Lessons" back in 2016. Following the release of that song, The Chicks invited the single to join them on stage at the CMA Awards, and controversy ensued.

That controversy speaks to why Beyoncé’s absence is worth discussing. Country is a genre closely associated with whiteness, despite the long legacy there of Black artists and composers. There is as much variety within the genre as there are its white artists, of course — we even dedicated a special week to covering that fact not too long ago — and it’s in knowing this that the CMA Award nominations being announced this week seemed notable. Who gets nominated for awards and why is always somewhat a black box based on membership in organizations that never seem to disclose exact information on how much any individual project may have been passed over, but Beyoncé’s absence isn’t just about one snub. It signifies a long history of exclusion and erasure of Black country fans and artists. Whether the Beyhive or CMA voters are in the wrong will never be answered, because nominations are not a competitive field but rather decisions based on the ballots from the same set of music professionals. It’s about the career-making showcase of artistry and craft, an honor to even be considered, according to the powers that be. Now, as then, though, Beyoncé’s glowing tribute to country comes at an interesting time. It’s benevolent. And also a little bit ironic.

2.1. Beyoncé's Impact on Country Music

Few mainstream artists can lay claim to their music transcending genres quite like Beyoncé does with her contributions to country music. In her catalog, traces of pop, R&B, hip-hop, and country have been layered into her songs, tied together by her undeniable voice, powerful artistry, and influences as diverse as the range of emotions her music captures. Her "Daddy Lessons" took the spirit and sound of Houston's Third Ward and mixed it with the slide guitar stylings of New Orleans brass bands. The song has echoes of an artist like Dolly Parton, who built her music on a combination of Appalachian folk, mountain music, and gospel. Like folklore, legend has it that Parton got into country by singing on local television and building a regional record following.

Parton was known for employing her skillful narrative abilities and mixing them with a pop melody. While the song captured the imagination of several country artists and fans, it hasn't quite paved the way for her to be welcomed into the genre as a whole. Nor did her appearance on the song with the Chicks mixtape, which landed on the Chicks' album. Co-written by Beyoncé, the song was a mirror to her experience as a Black woman navigating the mostly white world of show business. Beyoncé is in rare company, and for Beyoncé, her country collaborations are an expression of the generous way she shares her musical love. Country, of course, has had a complicated relationship with Beyoncé, her music, and the expression of her Black womanhood as it has been poured into her genre-crossing songs. Given the way country institutional forces behave, it's not altogether curious that the Recording Academy has passed over Beyoncé's work in favor of lesser accomplishments. It's not exactly surprising that Beyoncé's work might be overlooked, but her passionate infatuation with country and her cooperative spirit towards the genre warrants attention for showing the many sounds, styles, and stories that cross-pollinated in this specific cultural moment.

3. Morgan Wallen's Controversial Nominations

Following the publication of the nominations for the Country Music Awards on Thursday, stark reactions arose to the recognition of two specific artists: Eric Church, with a leading five nominations for Entertainer, Male Artist, and Album of the Year, and little-known country singer Morgan Wallen, who garnered nominations for Album, Single, and New Artist of the Year. The controversy surrounding his appearance nominated in three categories traces back to an incident that occurred earlier this year.

If the nominations themselves came as a surprise, what followed was doubly unexpected: the annual "snub" controversy that often arises following awards nomination announcements centered not on someone who was overlooked, but on someone many thought should never have received the recognition in the first place. Wallen was captured on video in early 2021 using a racial slur, resulting in a powerful backlash, but also an immediate outpouring of support from fans in Nashville who, according to reports, streamed Wallen’s music in record numbers. He disappeared from the industry’s radar in the following months, only to resurface as the best-selling artist of 2021 so far, with the most popular album of the year. Wallen and his predicament embody the gap between popularity and accountability that is a hallmark of contemporary stardom and social media culture, where old-fashioned apologies are less effective than an adamantly unapologetic presentation of 'authentic self' and 'personal struggle.'

The music industry has struggled with delineating which actions or statements are enough to disqualify artists from consideration for awards; does inclusion validate harmful behaviors as industry practices, or are cancellations actually the industry’s attempt at drawing a line in the sand that public feelings about Wallen disrupted? Is the country music industry obliged, or even incentivized, to adhere to racial sensitivity to thrive in the broader Hollywood landscape, and reflect Americans’ sentiments regarding race, or to make its norms conform to the prevailing views on the issue at large? If the latter, what exactly does that say about the genre and its many straight, white, conservative fans? In short, the CMAs had many reasons to be wary of inclusion on Thursday, and many fans agreed.

3.1. The Incident and Its Aftermath

The general public learned of Morgan Wallen’s behavior on January 31, 2021. In a widely circulated video, Wallen was shown to be celebrating a night out with friends in his Nashville neighborhood. The details were supposedly innocuous. However, Wallen had used a racial slur in reference to one of the people in the group. Red flags should have been raised by the behavior from the night Wallen dropped a drink from his car window and then left it in the street as he exited the SUV. While driving away, Wallen’s parting words were a shout of 'pussy ass, nigger.' The following day, fans disavowed the country music artist. Members of the industry distanced themselves. The morning after, it had become clear that condemnation would ensue. The swift consequences, however, pointed to a different sort of sugar coming from the music industry.

Wallen had been enjoying the most popular week for a country album since 2018 with the release of his sophomore record, Dangerous. His upward trajectory crashed with swift speed. Radio conglomerates dropped Wallen’s music. His record label suspended his contract. In an effort to show unity, a coalition of country music organizations publicly barred him from awards shows. Wallen receded from social media and public view. He issued a written apology and later participated in interviews. As the immediate blowback dissipated, I was most curious about the aftereffects. Where did the career of a country music artist recovering from a self-inflicted racial epithet go from here? More specifically, how did this moment fit into the discourse of race within the country music genre? The CMA Music Awards voted Wallen back into their good graces months later. They either did so believing his actions were worthy of forgiveness, or they wanted to keep a keen eye on the sophomore numbers for Dangerous and see if Morgan Wallen could succeed in the problematic category standings: a long-term artist and white exploitation of Caribbean music flexing an accountability response of perennially top-grossing tours for mostly white crowds.

4. Racial Dynamics in Country Music

Country music was developed in the American South and has always been influenced by the musical expressions of African Americans. With its roots in the African musical tradition of call and response, country music immediately married the distinctive vocal styles and instrumentation of European, African, and American music, very often under the same bluegrass bandstand. This has been the reality of country music, and yet for many people, it is still deemed a “white” genre, a genre where—aside from one or two names—the actual proceeds, or academia, were published, Black artists are a rare exception. Country music as we know it has a long history of racial conflicts, and as recently as a national survey, nearly 74% of the participants believed that “most” country artists are white, 25% said “about half,” and the rest were unsurprisingly mistaken about the genre in question.

The history of this genre and the marginalization of Black artists, such as Charley Pride, Darius Rucker, and Rissi Palmer, is built on systemic barriers that keep Black artists from even earning recognition that is overdue, or keeps them from producing music at all. Country artists who identify as Black country creators find unlikely audiences in the country world because their music is not even considered by radio stations and the ACMs and CMAs until it is certified that a substantial white audience can “handle” it. Morgan Wallen, an album asset holder who grew rich for recording and releasing music about giving money to another artist, is a “darling” of the neoliberalization of the music industry. Black women such as Beyoncé, as well as Black people who have not historically created and do not work within the tradition of country music, are considered “too much” for audiences of country music.

4.1. Historical Context

Every generation of country musicians pushes the genre closer to pop music, and it leaves more artists of color standing in line to claim what their musical ancestors did. Country music is always evolving, and some of the genre’s most important historical figures have always been Black, though the genre was largely defined by white music executives for much of the 20th century. Defining “country music” as “a white genre” was a marketing move during the 1930s as the record industry was finding new ways to make money on Black folk music. Ever since, country singer and frequent collaborator Linda Martell has been unfortunately classed as “the Black woman” of country music, despite the genre’s other Black royalty of yesteryears like Charley Pride and Ray Charles having more fame during their respective heights than Martell commanded in her prime. The Civil Rights movement turned the 1970s into the Gen X heyday for Black country musicians. But even now, over fifty years removed from the “Takes Over” news of 1978, the pain of Black country musicians is readily apparent.

The spate of Black artists nominated for the Country Music Awards this week earned praise from plenty of people, including various media outlets quoting the Academy of Country Music’s picks for some of their favorite records this year, like Mickey Guyton. However, some snub-tempered fans found themselves annoyed by Texas crooner’s noticeable absence from the CMA record this year, particularly given that the awards show actually snubbed her for a win when she reimagined her pop duet with the Chicks for their performance. Since ancient times, one of the best ways to engage more people is by actually giving a shit—an observation that also derives from time-honored, species-defining concepts like “empathy” and “politeness.” And when hosts of an overwhelmingly white country radio awards show appear to be holding an opening slot open for certain artists while another plays the Christmas show and stage names like Gabby Barrett, Kelsea Ballerini, and—musicians and contemporaries who have infamously switched on—Maren Morris and Ryan Hurd walk out, there are non-economic rewards to reap.

5. Institutional Bias in Awards Nominations

Institutional bias can manifest by overlooking the work of independent artists who cannot afford to invest in costly awards campaigns; ignoring emerging talent in favor of the industry's established stars; institutional reluctance to move, change, or adapt with the times; or a desire to continually reward the acceptable faces and sounds of the music industry while steering clear of controversial or unknown quantities, particularly those with the very real potential of affecting the genre's reputation with an awards nod. For all the trappings of independence and artistic originality, with core fans and industry gatekeepers embracing as much of both for show, at its core, the music industry is deeply averse to change and has long cast its net far too narrow. It's a bias that many institutions, including the Grammys and the very awards now under the microscope, are actively working to rectify, but it's a problem that remains systemic, deep-rooted, and harmful to the careers of many.

Music industry professionals play no small part in the draw of concert halls, the sales counts of newsstands, and the television ratings. At the end of the day, top-line sales, packed houses, and industry popularity, however true a symbol of success, still don't equate to critical reflection. But they do affect the way that new fans and future historians of the genre view any signal of success, be it at the cash register or by way of an accolade. Awards nominations can be reflections of that, sure. But more than that, they serve as a historical record, a sign that what we've taken to be the highlights are the same highlights that mean something to the world tethered to and away from the genre. The country music awards are a tiny blip in the grand history of country music, but they are a sign that the style is worthy of highlight before and outside the bounds of our little corner of the musical world. And so when an artist who has collaborated with three country artists on the country charts isn't listed at all under any category in the nominations, it gives you pause. It sends a message that one artist's work within the genre isn't important or impactful. The signal is reductive in that it's so symbolic of a larger issue. It's a sign that different interpretations of the same genre do not stand shoulder to shoulder. That the mass consumption of what is billed as country music, be it by radio play or by influence, does not stand outside the bounds of class and race. And those with impact profiting most from those differentiations quite honestly don't care.

6. Public and Industry Reactions

The public response to the two artists believed to be snubbed by the CMA Awards, as well as to Morgan Wallen’s nominations, both inside the industry and out, presents a stark contrast between appreciation for one artist’s contributions to musical diversity and anger over the continued acknowledgment of an artist who has been both caught on camera and banned from industry events shouting racial slurs. Fans and critics alike raised their virtual voices on social media, specifically on Twitter, to air their grievances about Beyoncé’s lack of nominations commensurate to her contributions to country music. Some expressed skepticism of this year’s nominations in general, arguing that Wallen’s inclusion reflected poorly on the musical tastes, not to mention the decision-making power, of the CMA.

Industry executives and artists, while also expressing opinions about the choices in general, proved to be torn on this issue. Some shared public posts decrying the lack of Beyoncé nominations, vowing to boycott the event until she was nominated regularly. However, singer and recording artist Chris Lane told a swath of TikTok watchers that the nominations should honor music without favoring style or stance. He and some initial members of this conversation also expressed displeasure over the public denunciations that had led them to block upwards of 50,000 accounts. In response to all of these outcries, the head of the CMA sought in-depth discussions with critics and practitioners about the awards’ criteria and the future of Wallen’s nominations moving forward. Critics and fans indicated that, should Wallen win any of the three awards for which he is nominated, the resulting backlash will primarily affect the singer’s reputation more than the award’s. However, it becomes clear in the face of the current controversy that neither public esteem nor music industry perceptions exist in a vacuum.

6.1. Social Media Outcry

Social media has served as a way for the mobilization of many outraged fans, calling on the Country Music Awards to right its wrongs, whether the snub of an artist or the recognition of another. For the first time in CAA history, the R&B and pop superstar was not nominated for her LP. One out of nine multi-genre nominations in this year’s release category went to the Alabama artist for his 2021 release. Despite being deemed ineligible for the CMA, he has received multiple nominations. His eligibility was confirmed last month.

The online outrage did not subside despite the calls from Music Row to not let social media dictate nominees or the awards shows. Posts have emerged on various platforms, increasing in average volume in the millions with the inclusion of such hashtags. One user added in one such post, accompanied by repurposed original artwork, “Country Music Awards always pick sellouts over real country artists. Just as one artist has zero reason or connection to a country award. Same goes for another artist. How about we the people make a real country award show that pays tribute to the great ones?” The response to the criticism towards eligibility and nominations was the rise of a campaign, which took place on a social media platform, being the #1 trending topic on the platform over a week after the eligibility and nominations scoops had been broken.

7. Intersectionality in Country Music

The concept of "intersectionality" is both a buzzword and a commonplace, referenced by artists, scholars, and activists in countless discussions. Grounded in legal and feminist scholarship, the term was used to emphasize the way diverse identities and differences overlap, through race, gender, class, sexuality, nationality, and other markers. In our world of country music – an industry that is predominantly white, male, and straight – the concept of intersectionality easily points toward issues of identity. A more nuanced explanation of intersectionality implicates gender, race, class, age, education, religion, and more. An artist's gender, for example, will inform her experience in country music; indeed, she may experience sexism. But her experiences as a woman in country music will differ based on other complex and intersecting factors.

Similarly, a narrow discussion of diversity in country music and the nominations for its annual awards show focuses on race. But whether it's bringing an entirely different genre to the table or experiencing a backlash from an executive for speaking out, we must also consider the nuance of multiple intersections. To focus solely on race and to the exclusion of gender, or to focus on gender and to the exclusion of race, glosses over the complexities of being Black, Brown, or queer and being a woman in a field in which that experience is sidelined. Being a man of one of these same races or sexual orientations introduces its own challenges in the industry. For example, while one artist has been both celebrated and marginalized for bucking country norms – his music touches on trap and R&B themes – another group faced a backlash from country industry gatekeepers in the 1990s. The group's Black lead singer and country-leaning, rock-adjacent sound faced skepticism from industry gatekeepers and charted on the now-defunct country chart. The group was ultimately taken off the chart because their music was "not even close to anything of country nature". This phenomenon is what I refer to as the "double" and "triple whammies" of racism, sexism, and homophobia.

8. Conclusion and Recommendations

The results of analyzing the nominations for the Country Music Awards indicate that Beyoncé's exclusion and Morgan Wallen's recognition are not anomalies but symptoms of a systemic problem. In response to Beyoncé's single and accompanying music video, the country industry demonstrated an unwillingness to acknowledge Blackness as authentically country. In contrast, the white country singer in Beyoncé's video represented an extension of the white norm reinforced through excluding artists with similar Black roots from nominations and a general unwillingness to acknowledge the contributions of Black artists to the genre. Addressing these issues requires a partnership between the country industry, specifically its awarding bodies, and Black country critics, fans, and listeners, who often exist outside the country music mainstream. The Grammy nominations, while still predominantly white, demonstrated a willingness to entertain new music-race paradigms. Meaningful change will garner support and favor from many music fans, providing the potential for new audiences.

Appeals to diversity and token inclusion do nothing to address the major problems in our institutions. Women and people of color in country routinely face erasure by commercial country radio, and the diversity of country music is not reflected in award nominations. Recurrent snubs for artists underscore the enduring narrow ways country conceptualizes diversity, often with an emphasis on what fans and consumers will accept. There is no clearer indication that Black women remain outside the boundaries of country, as pop awards have featured performers of color, including women of color, in historic nominations. Country audiences have shown little hesitancy in consuming, voting for, and requesting music from a multiracial and diverse cadre of artists and genres, and as such, awards need to directly address this gap in representation. Music's popularity is not necessarily indicative of its representational value. Given these findings, we recommend the following:

- Develop anti-racism education and training, which likely necessitates bringing in outside trainers. - Appoint a diversity officer or council dedicated to addressing race, diversity, and inclusion at CMA. - Develop, with the assistance of an independent team or working group, more transparent and comprehensive nomination processes. The working group should include listeners and audiences that are currently underserved by country award shows, as well as professional music journalists and historians. - Create permanent or perpetual jury pools that reflect the current diversity of country music listeners, not just industry insiders or peers. - Increase accountability and transparency around award processes. This could be a published statement about how the nominees emerged and whether those artists who qualified under stated rules are being reflected. - Hire an outside individual or team, perhaps a human resources consultant with a background in diversity, to investigate the leak regarding Wallen's reinstatement and subsequent questioning of the person who submitted Wallen's nomination. A spokesperson indicated that voting will all be recast, but that the new round of voting will not affect the already decreed nominees. - Address the Confederate flag and other racist iconography within association materials and, on a state level, at association events and festivals. The policy and materials are confusing, so such conversations are essential to provide historical context and meaning. - At both the national award shows and regional festivals, make public and commit to ongoing activities centered on diversity, equity, and inclusion in country music and history. These can include, but are less important, panels at festivals to discuss current events, ongoing activities, listener and artist priorities, and any additional collaboration on educating CMA volunteers and staff.