March 15 (Reuters) – Texas native and singer-songwriter Denitia was deeply moved when she heard the first notes of Beyoncé’s hit country song, “Texas Hold ‘Em.”

But it was more than the exhilarating, catchy thrum of the banjo at the start of the song that caught Denitia’s attention: It was an overdue acknowledgement of the rich history of Black country music artists and their legacies.

“Beyoncé’s success in country music is shining a light on a history of Black folks in country music, in our creation, our contribution to the genre, in our being listeners and avid audience members of country music,” said Denitia, who now lives in Nashville and was named one of CMT’s next country artists to watch earlier this year. “We have been there from the start and we’re still there.”

Experts and fans view Beyoncé’s foray into the genre as a reclamation and homage to the legacy of Black Americans within country music and culture – a history that has largely gone unrecognized in some mainstream music circles. They say Beyoncé, who was born and raised in Houston, Texas, is now walking in the footsteps of many acclaimed Black country music legends who came before her.
From historical figures like Lesley “Esley” Riddle, and Charley Pride, who broke down historical barriers, to current artists like Mickey Guyton, Jimmie Allen and Rhiannon Giddens, who played the banjo, an instrument of West African origin, heard throughout “Texas Hold ‘Em.”

“Despite the fact that country music as an industry and often country music spaces like bars and festivals, are primarily white, Black artists have been creating the music that’s the roots of country,” said Francesca T. Royster, associate professor of English at DePaul University, where she teaches courses on Shakespeare, film, and Black feminism.
“The story that’s been told about country music is that it’s like this authentically white, nostalgic music, when in fact, Black, Indigenous, Latinx contributions are really important to the sound.”