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Beyoncé is bringing her fans of color to country music. Will they be welcomed in?

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Beyoncé is bringing her fans of color to country music. Will they be welcomed in?

NEW YORK (AP) — Dusty, worn boots. Horses lapping up water. Sweat dripping from the foreheads of every shade of Black skin as country classics blare through giant speakers. These moments are frequently recreated during Tayhlor Coleman’s family gatherings at their central Texas ranch. For her, Beyoncé’s country album, “Act II: Cowboy Carter,” was the granting of an unlikely wish.

“There is something to be said about the biggest artist in the world coming home to the genre that… we all kind of love but never really felt welcome into — it’s really hard to put that to words,” said the 35-year-old native of Houston’s Third Ward, the same area Beyoncé lived in as a child. Loving artists like Miranda Lambert and Shania Twain, Coleman hoped this moment would come. “I was praying then that one day she would make a country album…Beyoncé is more country than a lot of people making country music today.”

Beyoncé’s latest project is not only No. 1 on the Billboard 200 for the second consecutive week, but she became the first Black woman to top Billboard’s country album chart.

“There’s nothing that that girl can’t do….that’s inspiring to me,” said country superstar Lainey Wilson, who took home the country album Grammy in February. “I’m excited to see the fans that didn’t know they liked country music find out that maybe they like it a little bit.”

Beyoncé’s steamrolling into country music – and her motivation behind it — has reignited discussions about the genre’s origins and its diversity. But with increased interest from Beyoncé’s fans at a fever pitch, is Nashville prepared and willing to welcome them in? And will these new listeners of color and others curious about the hoopla stay or will their interest in the genre wane?

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POWER PLAY

“I will be honest with you: I think that it’s a Beyoncé thing. I don’t know that it’s a country music happening because that would mean the industry would have to do something…I think it’s one of those cultural moments for Black people, specifically Black women,” said country artist Rissi Palmer, host of the Apple Music radio show Color Me Country which has created a centralized community where fans of color can enjoy the genre.

“It’s really funny to me to see a lot of country radio programmers trying to take credit for what just happened with Beyoncé. That wasn’t country radio…that was her power, her money and…the acknowledgment of her brand. The fandom did that,” Palmer said.

From AP’s archives: Beyoncé spoke with The Associated Press in a 2003 interview about her faith. The superstar made history this week by becoming the first Black woman to top the Billboard country albums chart.

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Tanner Davenport, co-director of Black Opry — and proud BeyHive member — worries the massive achievements of “Cowboy Carter” could have unintended consequences, such as country music executives not feeling an urgency to platform existing and future Black artists. Black Opry was founded by Holly G in April 2021, as she examined her relationship with the genre during the social justice movement sparked by the murder of George Floyd. The organization aims to amplify Black voices in country, Americana, blues and folk music.

“Once ‘Act II’ has ran its course and gone away, there are going to be programmers… looking back at this moment and saying, ’We’ve already done this. We’ve given a Black woman a No. 1,” said Davenport. “If they can really start to dial into the audience a bit more, I think they can start to see progress within this and capitalize on this moment because I think there’s a huge undermining of the Black dollar and how far it can go.”

NOT AN ANOMALY

Reyna Roberts’ parents filled their house with music. Roberts, a rising country artist featured on “Cowboy Carter” with vocal credits on “Blackbiird” and “Tyrant,” said some questioned her musical aspirations.

“People are always so surprised. But I’m like my parents played country, they played trap, they played rock, they played classical, they played blues…Anything that I’m creating is all truly authentic,” said Roberts, who hit a career breakthrough in 2020 after shout-outs from superstar Carrie Underwood and Mickey Guyton, who in 2021 became the first Black woman to co-host the Academy of Country Music Awards. ( Charley Pride, who died in 2020, was the first Black co-host of the CMA Awards in 1975.)

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Roberts is part of a new generation of artists, like Shaboozey, Tanner Adell and Willie Jones, who are fusing country with other genres like hip-hop.

While Wilson, one of the biggest artists in the genre, hopes some Queen Bey fans will explore country, a significant percentage of Black listeners already exists. A 2021 Country Music Association self-commissioned study, “Country Music’s Multicultural Opportunity,” examining potential audience expansion opportunities, revealed that 26% of Black respondents said they listen weekly.

“I don’t think they have gotten to the point where they feel as safe to be at country shows… the broad listenership in country music is going to be reflected in the streaming world,” said Davenport. He says the Black Opry is strategizing ways to capitalize on Beyoncé’s momentum so curious fans can find spaces “where they can exist and not feel threatened.”

FEELING UNWELCOME

Safety and feeling comfortable in a country music environment is often on the minds of Black country musicgoers. Davenport was in the audience during Beyoncé’s 2016 CMA performance with The Chicks which sparked a much-documented racist online backlash, and is widely believed to be the genesis for “Cowboy Carter” with the superstar expressing in an Instagram post, “I did not feel welcomed.”

During the performance, Davenport says a woman near him yelled, “’They need to get that Black b—- off stage,” adding, “I started to realize, OK, this is truly a space in which I don’t feel comfortable in, and I don’t feel safe in.”

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That same CMA multicultural study found that 20% of concert attendees of color experienced racial profiling or harassment. The polling also included non-country music listeners, and up to 31% of that segment noted that they don’t listen because they “wouldn’t be safe/comfortable at live events.”

Monica Wisdom understands.

In the early ‘90s, the St. Louis native attended a concert by one of her favorite artists, Reba McEntire. Wisdom, 55, says McEntire’s performance was on fire, but the atmosphere and crowd were ice cold.

“They were very unwelcoming…You saw the eye rolls and you heard the comments and the whispers, like, ’What are you doing here?’” recalled Wisdom, the founder of Black Women Amplified, a women’s empowerment group. “I said if this is what country music is, I don’t want any parts of it. So, I stopped listening to it.”

And Wisdom hasn’t attended a country music concert since.

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While popular artists like Wilson, the legendary Dolly Parton, Maren Morris, Jason Isbell and more have publicly voiced the need for inclusion, their allyship can sometimes be overshadowed. In 2021, Morgan Wallen, then already a huge star, was caught on camera using the N-word as his “Dangerous: The Double Album” record sat at No. 1 on the Billboard 200 for three consecutive weeks. Although there were repercussions, many fans rallied around him boosting his popularity. Jason Aldean’s “Try That in a Small Town” also experienced a surge last year as the music video swirled in controversy.

“That’s the problem that the industry has in trying to retain and foster a real Black country audience,” said Palmer, whose first meetings with major labels in the early 2000s were sight-unseen due to her team’s concerns that her race might present an obstacle. In 2007, Palmer became the first Black woman in 20 years to reach Billboard’s Hot Country Songs chart with “Country Girl.” She remembers performing at shows with Confederate flags in the crowd but singing anyway as a form of resistance. Concerns from music labels included her hairstyle and even the ethnicity of her love interests in music videos.

Palmer says the perception of racism is a “hard connotation to overcome, and you have to do a lot of work. You have to do a lot of answering for that and possibly asking for forgiveness…I don’t know that the industry is prepared to do that.”

IDENTITY

“I do think that there is this sense that country music is white music,” said Coleman, who didn’t always express her love for country music as a teen. “It was not cool to be country…for the longest time, especially growing up, I was trying to fit in with everybody else. ” It’s a sentiment many Black fans have echoed, including Palmer.

The genre might not seem relatable to fans of color because they don’t see themselves. In the CMA multicultural study, respondents noted feeling that country music isn’t interested in attracting them and not seeing enough Black, Latino or Asian artists.

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“It’s hard to be in a space if you don’t see a representation of yourself,” said the 26-year-old Roberts, whose song “Louisiana” was inspired by Beyoncé’s “Daddy Lessons.” “My mindset was even though I don’t see representation, I will make sure that there’s representation.”

In a frequently cited 2021 study published by Jada Watson, a University of Ottawa musicologist, data revealed artists of color received just 1.5% of country radio airplay between 2002-2020. During that period, with nearly 15,000 songs played within the format, only three of the 13 Black artists were women. No songs by Black women reached the top 20 on country radio charts.

“There’s so much unloving in the world of Black people, especially Black women, that you have to find the spots where you’re loved,” said Wisdom, who grew up loving Parton and Kenny Rogers and watching McEntire’s “Reba” TV sitcom. “I didn’t find that in country music.”

THE BEYONCÉ BOOST

Fans and experts seem to agree that Beyoncé has created an education on Black country trailblazers like Linda Martell and Rhiannon Giddens, and is providing an immeasurable amount of attention toward existing artists.

“It’s really great for them…The rising tide lifts all boats,” said iconic singer Wynonna Judd, who mentors several established and rising Black female singers. “What I think of professionally is how this has to be a blessing to so many women in the business that are… wanting to be heard.”

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Before “Cowboy Carter” officially announced featured musicians, searches, streams and social media impressions rose exponentially for many current Black country artists such as Roberts, Guyton, Adell, Tiera Kennedy, Brittney Spencer, Shaboozey and others due to media stories and curiosity. Since the album has dropped, the numbers have risen even more.

“The fact that Beyoncé has been able to create this conversation for more people to be included in this space and talked about, it’s been really cool,” said Shaboozey, who’s featured on “Spaghettii” and “Sweet Honey Buckin.’” “To see her just kind of coming in here has been honestly beneficial to me and plenty of other artists.”

But Davenport, who noted the Black Opry will honor pioneering songwriter Alice Randall for the organization’s anniversary this month, says while country is more diverse, progress has been too incremental, and Nashville hasn’t made good on promises made following the social justice uprising.

“I don’t think things are going to change overnight… at this point now, it feels like a repeat of what happened in 2021 after George Floyd was murdered,” said Davenport, referring to the current backlash against diversity and inclusion efforts. “There’s been no progress. I mean, you can see it on the charts. You can see it on the (festival) lineups.” While fans say country music has a lot to fix, they realize they have to do their part.

“Fans, though, have to take a responsibility and support the artists,” said Wisdom, whose love for country music was rekindled after watching the Peabody-award winning series “High on the Hog: How African American Cuisine Transformed America,” which featured a Black cowboys episode. “We have to go to these shows, we have to buy their music.”

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DISAPPEARING ACT / RECLAMATION

The scope of Beyoncé’s country music impact might not be realized for years, but there’s an optimism that the curiosity about Black country artists will continue.

“I hope that when Beyoncé moves on to ‘Act III’ that some of the people are going to stay… There are women that we stand on the shoulders of, and I want to make sure that we acknowledge all of them,” said Palmer, whose Color Me Country Artist Grant fund provides micro grants to artists of color pursuing careers in country, Americana and roots music. “I’m glad everyone is excited about Beyoncé. I’m glad that she’s having the milestones that she’s having — all of that. Also, just remember there were people that were here before.”

Despite Beyoncé never explicitly saying so, many fans believe “Cowboy Carter” — as well as her previous album, the dance-themed “Renaissance” — are meant to reclaim genres whose foundations are rooted in Black culture. But with the passage of time, along with systemic inequalities, is reclamation even possible?

“Hope springs eternal, right? I mean, that’s what my entire career at this point is focused on, making sure that the whole story is told,” said Palmer. “This is a big moment of visibility for Black artists in country music that have been here — the past, the present and the future. But I think Nashville has got a lot of self-introspection and a lot of self-examination to do.” ___

Associated Press journalist Leslie Ambriz in Los Angeles contributed reporting.

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Follow Associated Press journalist Gary Gerard Hamilton at @GaryGHamilton on all his social media platforms.

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Inside the Bondi Beach Attack at a Hanukkah Event in Australia: Maps and Videos

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Inside the Bondi Beach Attack at a Hanukkah Event in Australia: Maps and Videos

Witness accounts and videos verified by The New York Times show how gunmen killed at least 15 people on Sunday at a Jewish celebration at Bondi Beach in Sydney in what the authorities called a terrorist attack.

Two suspects opened fire from a footbridge at hundreds of people who had gathered for a Hanukkah celebration. At one point, after one of the shooters walked down from the bridge, a bystander grabbed the gunman from behind and wrested his gun away before pointing it back at him, according to videos and witness accounts.

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Police arrived and opened fire at the gunmen, videos show. One of the shooters was killed, the police said, and the other was wounded and in custody.

When the gunmen arrived, they emerged from a small silver hatchback parked by the footbridge. They fired on people nearby and killed at least two, according to a witness who tried to help the victims.

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The gunmen then proceeded to the high ground of the bridge with three long guns, visible in several videos, and fired into the crowd in the park.

After about a minute, one gunman wearing white pants descended from the bridge, videos and witnesses confirmed. He continued shooting as he walked toward the crowd gathered for the Hanukkah celebration, which featured free donuts and music.

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The gunman on the bridge wearing black pants kept firing. He waved away beachgoers swearing at him, telling them to go, witnesses said, as he shot at the crowd that had gathered for the holiday festival.

A man who had been sheltering between parked cars is seen in one video rushing toward the gunman with the white pants, who continued to draw nearer to the Hanukkah event. The man wrestled the rifle from him and aimed it at the gunman, who retreated to the bridge.

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Shortly afterward, the police began to fire at the gunmen. In videos, they can be seen ducking to avoid incoming fire before the man in white pants appears to be hit, and collapses.

The man in black pants kept firing at the police for another minute, videos show and witnesses confirmed, shooting from both sides of the bridge before he appears to be shot as well.

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“He’s down, he’s down,” a witness yelled in a video that captured most of the incident.

In the area where the Hanukkah festivities were held, several victims could be seen in witness video lying on the ground, apparently lifeless. Witnesses described a scene of sadness and sudden triage. Civilians, security guards for the Hanukkah event and lifeguards administered CPR as ambulances carried away those who had been killed and wounded.

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US and Ukraine target 1,000-vessel ‘dark fleet’ smuggling sanctioned oil worldwide

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US and Ukraine target 1,000-vessel ‘dark fleet’ smuggling sanctioned oil worldwide

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A 1,000-strong “dark fleet” of rogue oil tankers skirting sanctions has emerged as a new target for the U.S. and Ukraine, a senior maritime intelligence analyst claims.

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Michelle Wiese Bockmann warned the aging fleet poses geopolitical risks and threats of $1 billion oil spills, with the recent U.S. seizures in Venezuela and Ukrainian drone strikes in the Black Sea marking a turning point for both nations in their efforts.

“There are about 1,000 vessels worldwide that are trading sanctioned crude tankers containing sanctioned Iranian, Venezuelan and Russian oil,” Bockmann told Fox News Digital.

“These vessels are a lifeline for these regimes, because they’re used for shipping oil to fund the war in Ukraine, and also give money to the illicit Maduro regime,” she added.

IRAN BACKS MADURO TO KEEP LATIN AMERICA FOOTHOLD AS TRUMP INCREASES PRESSURE ON VENEZUELA

U.S. seized the Skipper, a Venezuelan oil tanker.  ( Planet Labs PBC/Reuters)

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“This is a brand-new problem for the U.S., and now Ukraine has signaled they are going to target these vessels the same way,” she said. “There is a new strategy to deal with this dark fleet, which is the lifeline of sanctioned oil revenues, and now under attack by the U.S. and Ukraine. The strategy is all to counter what we call gray-zone aggression.”

US ESCALATION WITH MADURO HALTS DEPORTATION FLIGHTS TO VENEZUELA

White House press secretary Karoline Leavitt was questioned about the U.S. seizing an oil tanker off the coast of Venezuela. (Planet Labs PBC/Handout via Reuters )

Recent Ukrainian naval drone strikes have disabled several tankers in the Black Sea, including the Dashan, part of Russia’s so-called shadow fleet that Ukraine says helps Moscow export oil in defiance of sanctions, according to Reuters.

“It is dangerous and could be interpreted as a form of gray-zone aggression in order to continue to keep oil revenue flowing,” Bockmann said.

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“This is all a billion-dollar oil spill catastrophe waiting to happen,” she added, pointing to the environmental and navigational risks posed by poorly maintained, uninsured ships.

VENEZUELA MOBILIZES TROOPS, WEAPONS IN RESPONSE TO US WARSHIP BUILDUP IN CARIBBEAN

Footage of the Dashan tanker, purportedly part of the Russian shadow fleet hit by Ukraine. (Security Service Official/Handout via Reuters)

She said a subset of “about 350 to 400 vessels at any one time are not only sanctioned but falsely flying flags, which is dangerous,” because false registration leaves vessels stateless and uninsured, putting crews at risk.

“This is a huge issue for maritime safety, it’s a menace to the environment, and it entails crew welfare,” Bockmann said.

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These vessels, she said, are typically “elderly” and used solely for sanctioned oil trades. Many also “manipulate AIS” to show they are in one place when they are actually elsewhere.

TRUMP SENDS WORLD’S MOST POWERFUL WARSHIP TO LATIN AMERICA — HISTORIC ECHOES OF REGIME CHANGE

Dashan, a tanker from Russia’s shadow fleet, transits the Bosphorus en route to the Black Sea in Istanbul. (Yoruk Isik/Reuters)

“They use false flagging, but also, spoofing and manipulating its AIS to show it’s in one place when it’s not. These vessels have also gone to fraudulent registries that don’t exist, which means they have no insurance,” she said. “Their certificates of seaworthiness are invalid, and they have relied on international maritime conventions to have what’s called the right of innocent passage so they can’t get intercepted.”

Bockmann said U.S. forces have used legal tools including Article 110 of the United Nations Convention on the Law of the Sea, which allows boarding of stateless vessels, to stop these ships.

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“It’s my belief that they used Article 110, and they got on board that vessel, and they were absolutely entitled to remove that vessel from global trade,” she said.

VENEZUELA ACCUSES US OF ‘PIRACY’ AFTER SEIZING MASSIVE OIL TANKER

Attorney General Pam Bondi speaks during a roundtable meeting on Antifa with President Donald Trump in the State Dining Room at the White House, on Wednesday, Oct. 8, 2025, in Washington, D.C. (Evan Vucci/AP)

In the Caribbean, U.S. forces recently seized the tanker Skipper, sanctioned in 2022 and found to be masking its location, under a federal warrant as part of a broader campaign to disrupt illicit oil shipping.

“The recent Venezuelan tanker was carrying 1.8 million barrels of oil uninsured, so that’s a billion-dollar maritime disaster waiting to happen,” Bockmann said.

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As reported by Fox News Digital, Dec. 12 saw Attorney General Pam Bondi frame the U.S. seizure of a Venezuelan crude tanker as a sanctions-enforcement action rooted in a federal court warrant.

Meanwhile, in the Black Sea, Ukraine targeted multiple alleged “shadow fleet” tankers with sea drones, according to Reuters.

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“The three tankers that have been targeted by Ukraine are all in ballast, which means that they weren’t carrying oil,” Bockmann said.

“That was carefully chosen, and they were also falsely flagged, just like in the recent case of the three tankers attacked in Ukraine. That flag was Gambia. In the U.S. case of Skipper, the flag was Guyana,” Bockmann said.

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Fox News Digital’s Morgan Phillips contributed to this report.

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Analysis: Trump’s policies set to widen EU-US innovation gap

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Analysis: Trump’s policies set to widen EU-US innovation gap

As the curtain falls on 2025, policymakers in Brussels have yet to decisively counter the negative economic impacts of two major developments: the trade deal struck between the European Union and the United States this summer, and President Trump’s so-called “Big Beautiful Bill”, a mammoth piece of domestic legislation with global economic implications.

The EU’s slow progress toward improving relative business conditions at such a volatile moment has left investors frustrated and looking elsewhere.

According to a report published this week by the European Round Table for Industry, the leaders of the bloc’s industrial giants are “alarmed at the lack of urgency in delivering on Draghi and Letta’s bold reforms to restore the business case for investing in Europe.”

The report also points to a survey of CEOs conducted in October, which shows that only 55% expect to stick to their investment plans. Even worse, a mere 8% intend to invest more in Europe than they planned to six months prior, in contrast with the 38% who will either invest less than previously intended or have put decisions on hold.

And most tellingly, the US now attracts more investment than originally planned by 45% of respondents.

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The ‘carrot-and-stick’ approach

The Trump administration’s combination of supply-side economics and protectionism has converted the necessity of avoiding US tariffs into a massive financial incentive for foreign companies and multinationals to invest in the United States directly.

The Big Beautiful Bill, which Trump signed into law in July, formalised huge tax breaks and effectively guaranteed incentives to shift investments across the Atlantic. Namely, the 100% bonus depreciation for new machinery and factories, as well as the 100% immediate expensing of domestic research and development (R&D) costs, mitigating the expenses of moving production and innovation to the US.

Companies have until 1 January 2026 to finalize their decisions and collect retroactive benefits for capital deployed in 2025, but the conditions will remain the same next year.

To compound the EU’s growing inability to compete, the heavily criticised EU-US trade deal was agreed in the same month. The agreement de-escalated the transatlantic trade war of 2025 but it levied a 15% tariff on the vast majority of the EU’s industrial exports to the US, with an exemption from duties for most US-made goods bound for the EU market.

In addition, the EU committed to spending over €640 billion in US energy, investing more than €500 billion in the US economy and buying around €35 billion worth of US-made AI chips, until the end of President Trump’s mandate. Meanwhile, the United States made no similar pledges.

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As for corporations, the choice became simple: relocate investment to the US, avoid the tariff and claim massive tax deductions.

The innovation gap in numbers

The R&D siphon is the most critical threat to Europe’s future competitiveness, as the Trump administration’s new incentives pull core innovation to the US.

In the most innovative industries, such as the AI and healthcare sectors, the numbers for 2025 already demonstrate the chasm between the EU and the US.

In the first three quarters of this year, private investment flowing into US AI companies exceeded €100 billion, with the US capturing over 80% of global AI funding. In contrast, the entire EU attracted just shy of €7 billion, according to the widely read State of AI Report 2025.

This severe 15-to-1 funding deficit means the technological future is being built and scaled primarily outside the EU, something that has been recognised by the European Parliament.

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Likewise, the EU is aiming to achieve 20% market share in semiconductor manufacturing by 2030, as outlined in the Chips Act, but experts say such a goal is unlikely given that Europe is among the slowest growers in the sector year-on-year.

Furthermore, the EU is even falling behind on AI adoption among young users, according to a new survey by the Organisation for Economic Cooperation and Development.

As for the pharmaceutical industry, CEOs sent a stark warning to President von der Leyen back in April that “unless Europe delivers rapid, radical policy change then pharmaceutical research, development and manufacturing is increasingly likely to be directed towards the US.”

In the following weeks, fuelled by the fear of the ongoing transatlantic trade war at the time and frustration with the European regulatory scene, the third largest company in Europe by market capitalization, the Swiss-based Roche, committed over €40 billion in US investment over the next five years. Likewise, the French multinational Sanofi announced an investment of €17 billion to expand manufacturing in the US through 2030.

In July, as the Big Beautiful Bill and the EU-US trade deal were being agreed, the British-Swedish company AstraZeneca also declared investing over €40 billion in the US over the next five years, including the construction of a chronic disease research centre in the state of Virginia, the company’s largest single investment in a facility to date.

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In November, the White House announced a large-scale agreement between two pharmaceutical rivals, the American manufacturer Eli Lilly, and the Danish corporation Novo Nordisk, known for pioneering the prescription drug for type 2 diabetes, Ozempic, which has also been widely used off-label for weight loss.

The two companies agreed a strategy to reduce the prices of several medications for Americans and announced new investments in the US, with Novo Nordisk committing roughly €8.5 billion to expand US manufacturing capacity. In exchange, the Danish company is expected to receive a three-year exemption from US tariffs, among other benefits.

In total, the European pharmaceutical industry has pledged more than €100 billion for US expansion in 2025 alone with multi-year commitments.

The scramble to deregulate

The pressure applied by the US is evident as this year has seen the European Commission pivot to an aggressive deregulation agenda.

In response to a request from the European Council, six simplification proposals, referred to as “omnibuses”, have been presented since February covering energy, finance, agriculture, technology, defence and chemicals.

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Notably, the so-called Digital Omnibus was introduced in November, and it includes delays to provisions of the AI Act and modifications to the GDPR.

These initiatives aim to rapidly cut red tape and reduce bureaucratic costs for European businesses in an attempt to stem the outflow of talent and capital. However, the proposed measures are still facing legislative scrutiny, as well as administrative oversight and political backlash from privacy and climate advocates, among others.

It was only this week that an agreement was finally reached on the first omnibus, another sign that the EU is still far from offering the immediate financial certainty of minimising or avoiding US tariffs while benefiting from President Trump’s policies where possible.

The numbers reveal the plain economic truth: while the EU debates the fine print of deregulation, the investment in innovation is already being decisively relocated.

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