Word on the street is that country is cool again. The industry is, indeed, in the midst of a surge in popularity, indicated as much by the flow of noncountry artists into the genre as current sales and streaming numbers. In 2024 alone, we’ve gotten new country music from Lana Del Ray and Post Malone, as well as an album announcement from R&B star Monica.

And then there was Beyoncé, whose release of singles “Texas Hold 'Em” and “16 Carriages” during the Super Bowl last February shook the internet and appeared to usher in a new era for both the international icon and the country music industry itself.

Since then, her success in the genre has been unparalleled and unprecedented: “Cowboy Carter,” which rose to No. 1 on the Top Country Albums Chart, spawned four top-five entries on the Hot Country Songs chart: “Hold ‘Em,” “II Most Wanted,” “Jolene” and “Levii’s Jeans,” the latter featuring the aforementioned Malone.

But last week, when the Country Music Association announced the nominees for its 2024 awards ceremony, to be held in November, Beyoncé had none. It’s a reality check for everyone who credited “Cowboy Carter” with busting down industry doors that had previously been locked to Black artists, Black women in particular.

Because if you truly thought Beyoncé would be celebrated by the same CMA that didn’t give a Black woman an award until 2023 – and for a white man’s cover of a 35-year-old song, no less – you haven’t been paying attention.

The CMA has long been able to exclude most Black creatives, and all Black women not named Tracy Chapman, because of eligibility rules that function as intangible gatekeepers, silently reinforcing those of flesh and blood.

Single of the Year nominations must have reached the top 10 of Billboard’s Hot Country Songs, Billboard’s Country Airplay or Country Aircheck’s charts. Song of the Year is “eligible based upon the song’s activity during the eligibility period.” And while Album of the Year, Musical Event of the Year and Female Vocalist of the Year are less........

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