World
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?
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.
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.)
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.”
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.
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.
“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.”
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.”
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.
Follow Associated Press journalist Gary Gerard Hamilton at @GaryGHamilton on all his social media platforms.
World
AI helped a musician with Parkinson’s finish his new album when he could no longer play guitar
LONDON (AP) — Samuel Smith spent years writing songs with a guitar in his hands.
Now, the London-based singer-songwriter is using artificial intelligence tools to help him continue making Americana music after Parkinson’s disease largely took away his ability to play guitar.
Smith, who was diagnosed with the progressive neurological disorder in 2020, recently released his second album, “The Art of Letting Go.” For one of the eight tracks, an instrumental piece titled “Horizon,” he relied on platforms that use AI to generate music to create demo arrangements that would convey his vision to the musicians who recorded the song.
The demos he created by humming rough melodies into his phone and uploading the recordings into song generators like Suno and Udio weren’t for mixing into the final studio version of “Horizon,” Smith stressed. But tremors, stiffness and fatigue, which are common symptoms of Parkinson’s, caused his guitar skills to deteriorate during the more than a year he worked on the album, he said.
“So then I’m faced with a question,” Smith, 49, said. “‘Don’t play, don’t be creative, or find a way out, find a route.’ And for me, this was the route.”
Generative AI has divided the music industry, whose artists and record labels have complained of their copyrighted work being used to train the models behind AI-powered music tools. Sony Music Entertainment, Universal Music Group and Warner Records sued Suno and Udio in June 2024, although Universal later reached a settlement and partnership deal with Udio and Warner did the same with Suno.
Less discussed is what those platforms can do when employed by a serious musician like Smith, whose disease affects the tools central to his songwriting and identity as a guitarist: his hands. He released his debut album, “In the Springtime,” in 2023, saying he wanted to give his two sons a way to remember when he could perform and record music himself.
“I’d always written, I’d also played, I always sung,” he said. “And immediately it became clear to me that I was in trouble, that my music was going to be seriously compromised.”
From prompts to convincing demos
AI music generators use systems trained on large datasets of recorded music and audio. The platforms analyze patterns in melody, harmony, and rhythm before generating new audio based on prompts or uploaded recordings. Users don’t need musical talent to end up with a serviceable song, or even a popular one.
Smith said producing convincing demos from the synthetic tracks the apps generated often required “50, 100, 150 attempts” and extensive editing “to get something that sounds close to my music.” After humming a song into his phone and uploading the recording, he gives prompts describing instrumentation, mood and style. .
“AI is not replacing anything for me,” he said. “It’s unlocking, it’s enabling. It’s allowing me to keep writing. I upload my lyrics; AI doesn’t create my lyrics. I upload my music; AI does not create my music.”
He added: “It then brings it to life in a way that I can play to session players and say, ‘Here, that’s what I’m thinking, that is what I’m hearing.’”
A bittersweet guitar duet
The album was produced by Grammy-winning pianist and producer Matt Rollings, who assembled a group of established roots and bluegrass musicians for the project. They included dobro player and 16-time Grammy winner Jerry Douglas, Grammy-winning banjo player Alison Brown, fiddler Stuart Duncan, guitarist Bryan Sutton, bassist Viktor Krauss and singers Jonatha Brooke and Glen Phillips.
For Smith, the experience of singing in a Nashville studio alongside musicians he had admired for decades was “an extraordinary moment.”
Grammy-nominated guitarist Julian Lage, known for his jazz and acoustic recordings with Blue Note Records, performed on the album’s title track and on “Horizon.” The latter recording became a bittersweet high point in Smith’s career; despite the progression of his disease, he managed to play a guitar duet with his friend.
“I hadn’t been able to play for months, but I kept telling myself that if I wrote something to take to the studio, perhaps the clouds would part for a few minutes,” Smith said. “That’s what happened. I had a window of about 10 minutes in the studio when my arm freed up. … So in the end, I was able to capture the last breath of my guitar playing.”
New possibilities and perils
Experts said AI-assisted music tools could benefit other people with disabilities or illnesses.
Ruaidhri Mannion, a composer, music producer and sonic artist who teaches at Brunel University of London, said technology like affordable digital recording software “effectively democratized the making of music” in recent decades. By helping songwriters and musicians communicate ideas and collaborate more easily, AI tools that generate polished-sounding material from voice or text prompts could work in the same way, he said.
“If these tools are able to enable people to be able to participate with other creative groups and encourage more people to feel confident to be able to reach out to an ensemble or an orchestra or something, then I think that is all for the better,” Mannion said.
But an overreliance on technology could intefere with the trial and error, frustration and synergy that are necessary parts of a musician’s artistic development, Mannion said.
“What makes a lot of music-making meaningful is the collaborative element,” he said. “There’s a lot of experimentation and development and failure that’s part of musical discovery.”
Udio and Suno have denied copyright infringement allegations and said they wanted to work with the music industry, not in opposition to it. Some musicians are unconvinced. A group of recording artists and activists, including singer-songwriter Tift Merritt, David Lowery of the bands Cracker and Camper Van Beethoven, and ECR Music Group President Blake Morgan, published an open letter in February under the heading “So no to Suno.”
“Many in our community are embracing responsible AI as a tool for creation, and as a means for fans to explore and interact with our artistry. That’s wonderful,” the letter read. “But it’s not the same as creating an environment where AI-generated works sourced from our music are mass distributed to dilute our royalties or, worse yet, reward those actively seeking to commit fraud. Artists need to know the difference.”
‘Show us what you can do’
Smith said he thinks his experience demonstrated how AI could benefit society and expand creative access, if it’s developed responsibly.
“My message would be that if these companies want to show they’ve got a place, a role in society, then step up,” Smith said. “Engage with health professionals, engage with music therapists, engage with society and show us what you can do.”
On May 21, Smith collaborated with the Berklee Music and Health Institute for an event in New York that brought together music industry leaders, researchers and clinicians to examine how music can support people living with neurological conditions. Smith discussed his experience living with Parkinson’s and sang again alongside musicians who played on “The Art of Letting Go.”
Creating music is crucial to the legacy Smith hopes to leave for his children, ages 4 and 17.
“My 4-year-old is probably never going to remember me playing, and it’s heartbreaking,” he said. “But I’ve been able to pull this into something and refuse to be defined by this disease.”
World
Christian farming communities under siege as US report names Fulani militants Nigeria’s deadliest threat
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JOHANNESBURG — An estimated 30,000 mostly Muslim Fulani militants are operating in Nigeria, causing “worsening insecurity and religious freedom violations,” according to an influential new report.
The report, by the U.S. Commission on International Religious Freedom (USCIRF), states “violence by Fulani militants caused the highest number of deaths among all religious communities in Nigeria over the last year, as compared to attacks by organized insurgent groups and criminal gangs.”
The Fulanis, so-called herders of livestock, have, according to the USCIRF report, “targeted Christian (farming) communities in the Middle Belt and, increasingly, the South, burning homes and churches as well as kidnapping, raping, and murdering.”
CHRISTIANS TARGETED IN SYSTEMATIC KIDNAPPING CAMPAIGN IN NIGERIA BY JIHADI HERDSMEN, EXPERTS SAY
Funerals were held for about 27 Christians reportedly killed by Islamist Fulani tribesmen in Bindi village, Plateau State, Nigeria, on July 28, 2025. (Christian Solidarity International)
But a former counterterrorism expert at the State Department told Fox News Digital that the kind of strikes the U.S., working with Nigerian government forces, have recently carried out in Nigeria’s North against Islamist terrorist organizations such as Boko Haram and Islamic State, wouldn’t work against the Fulanis in the predominantly Christian central areas of the country.
Sterling Tilley, former acting director within the Bureau of Counterterrorism, who has worked in Nigeria for the State Department, said that the U.S. “militarily dealing with the farmer-herder conflict is not advisable because it is likely to bring more instability in the country.” Tilley, now director of the Thomas R. Pickering Graduate Foreign Affairs Fellowship at Howard University, added, “There are some steps that can be taken to quell the violence, but there must be Nigerian political will to do so.”
Young people protest against the killings following a deadly attack by Fulani militants on Christian-majority villages in Benue state, that left 218 people dead and 6,000 displaced. The protest took place in Benue state in June 2025. (Open Doors UK)
This week, Secretary of War Pete Hegseth commented on the recent strikes ordered by President Donald Trump on Nigeria, saying, “Maybe a year ago, [the president] heard the call of Nigerian Christians who were being targeted and killed by ISIS. And he said, ‘Pete, I want the War Department to focus on ensuring that we do everything we can to protect those Christians.’”
NIGERIA NAMED EPICENTER OF GLOBAL KILLINGS OF CHRISTIANS OVER FAITH IN 2025, REPORT SAYS
Christians make up approximately 48% of Nigeria’s population. Fulani militants, the USCIRF report stated, “have often carried out operations during Christian holidays such as Christmas or Easter to further maximize the psychological impact, terrifying those communities from gathering to celebrate or worship. During attacks, assailants sometimes utter slogans with religious connotations, such as “Allahu Akbar“ (Arabic for “God is great”).
But, according to the report, Muslims are being attacked too. “Fulani assailants have not spared Muslims, raiding herders’ cattle and violently attacking non-Fulani Muslim communities,” the report added.
Coffins arrive at Ibrahim Babanginda Square in Makurdi, Benue State, on Jan. 11, 2018, during a funeral service for victims of clashes between Fulani herdsmen and natives of Guma and Logo districts. (Pius Utomi Ekpei/AFP)
“Violence at the hands of militants from the Fulani tribe far outnumbers violence from all other militant groups such as Boko Haram or ISWAP (Islamic State West African Province),” Henrietta Blyth, CEO of Open Doors UK & Ireland, an organization that highlights the persecution of Christians, told Fox News Digital.
While her organization was not part of the report, she said, “My heart has been broken as I have heard stories from women and men who have seen their beloved family members butchered in front of them or carried off into a life of slavery.”
AFRICAN UNION CHIEF DENIES GENOCIDE CLAIMS AGAINST CHRISTIANS AS CRUZ WARNS NIGERIAN OFFICIALS
Fulani Muslim men pray in Masallacin Shehu Mosque, Sokoto, Sokoto State, Nigeria, on April 24, 2019. (Luis Tato/AFP via Getty Images)
Blyth added: “The situation is complicated, and as the report concludes, it is too simplistic to say all perpetrators are religiously motivated. What is undisputable is that Christians are highly vulnerable and often the victims, paying the price in blood. They desperately need protection and, for hundreds of thousands driven from their homes, the chance to heal and rebuild their lives.”
The USCIRF report also stated, “Criticism of responses to Fulani militant violence from federal and state authorities has often described their responses as unsatisfactory at best and complicit at worst.”
Tilley told Fox News Digital that elections are to be held in Nigeria next year, and “the Fulani do have considerable political influence as a voting bloc. Thus, the Nigerian government seems reluctant to take actions necessary to quell the violence for fear that they could lose their base of support in the North and Middle Belt.”
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Fox News Digital reached out to the Nigerian government for comment but did not receive a response by publication time.
World
Zelenskyy warns Russia may be preparing ‘massive’ new attack
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Ukrainian President Volodymyr Zelenskyy has warned that Russia may be preparing to launch a “massive” new attack against Ukraine.
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“We have intel indicating that Russia is preparing a new massive attack,” Zelenskyy said in a post on social media late on Friday, while also advising people to listen out for air raid alerts and keep safe.
“The air force and protectors of our skies will be working around the clock, as always,” he added.
It comes after Russia deployed its nuclear-capable Oreshnik missile in a massive wave of strikes on the Kyiv region last weekend. Ukraine said the attack included 90 missiles and 600 drones.
The use of the Oreshnik, an intermediate-range ballistic missile that Russia first used in a strike on Dnipro in 2024, drew strong criticism from leaders across Europe.
On Friday, Zelenskyy also reiterated his call for more Patriot missile systems from the US. The Patriot is an air and missile defense system used to intercept ballistic missiles, cruise missiles, drones, and aircraft.
Zelenskyy told reporters in Sweden on Thursday that he was being “very persistent” in his pursuit of new missiles for the system. He reportedly wrote to US President Donald Trump earlier this week asking for more ammunition.
“For us — for a nation fighting for its survival — there is hardly anything more painful to see than Patriot batteries with no missiles loaded,” he said in his letter to Trump.
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