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Beyoncé’s Country Pivot Illuminates the Genre’s Black History (and Present) — But Don’t Call It a ‘Reclamation’
As Beyoncé's country era makes history, we can't forget the Black artists who have been taking up their rightful space before "Texas Hold 'Em."
Last year, when Queen Bey requested that attendees of the last few shows of her historic Renaissance World Tour wear their “most fabulous silver fashions,” they packed stadiums dressed in outfits shinier than a disco ball. It’s like she croons in “I’m That Girl,” the opening track on Renaissance, “Touching everything in my plain view/ And everything next to me gets lit up too.” This isn’t reclamation, this is one of the most important entertainers in history using her platform to highlight artists – often those who share some of her social identifiers – who may never experience a fraction of her reach or recognition. Rising country singer Tanner Adell – best known for the spunky “Buckle Bunny” — experienced a 188% increase in official on-demand U.S. streams for her catalog in the weekend following the release of “Texas Hold ‘Em,” according to Luminate.
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