In the aftermath of Beyoncé’s headline-making win for Favorite Female Country Artist at the American Music Awards, country music icon Reba McEntire has stepped into the fray—with a bold statement that’s reigniting the genre’s long-standing identity debate.
“A Peacock in a Cowboy Hat”
Speaking backstage at a recent Nashville event, McEntire made no effort to temper her thoughts on Beyoncé’s win.
“Oh sure, letting Beyoncé win Female Country Artist is like inviting a peacock in a cowboy hat to sing in a barn—flashy, out of place, and just a circus act for city folks who think they understand Southern music.”
The metaphor lit up social media within minutes. Memes, remixes, think pieces, and hot takes flooded platforms from TikTok to X (formerly Twitter). While some fans celebrated Reba for “saying what everyone’s thinking,” others called the comments out of touch—suggesting her words reeked of gatekeeping in an era of necessary evolution and inclusion.
Support and Backlash: A Divided Audience
The reaction has been as polarized as the state of country music itself.
Traditionalists praised Reba’s candor, seeing her as a defender of a genre that’s increasingly blurred by crossover stars and commercial fusion. To them, Beyoncé’s win is symbolic of how industry accolades can be swayed by star power rather than genre authenticity.
But critics, particularly fans and artists of color, viewed Reba’s comments as a thinly veiled jab at Beyoncé’s race and outsider status. Many argued that country music—born of a complex intersection of Black and white Southern traditions—should welcome innovation, not ridicule it.
Country-pop star Mickey Guyton, without naming names, posted a pointed message shortly after the remarks went viral:
“If country music is only for some people, then it’s not really about storytelling—it’s about walls.”
The Bigger Picture: Genre, Identity, and Ownership
This flare-up reflects deeper tensions brewing in the country music world. As genres continue to fuse and evolve, many wonder: who gets to own country music?
Beyoncé’s foray into country, notably her stripped-down performances and her pivot toward Americana instrumentation, was heralded by some as genre expansion. For others, particularly insiders like McEntire, it felt performative—more aesthetic than authentic.
Music historians have been quick to point out that country music itself is a product of fusion: African American blues, Appalachian folk, gospel, and even jazz. But as one critic wrote, “Country likes to forget half its heritage when it doesn’t fit the image.”
Reba’s Record and Reactions
Ironically, Reba once recorded a country cover of Beyoncé’s “If I Were a Boy,” which many fans resurfaced online this week. Critics noted the contradiction: how can a country icon benefit from Beyoncé’s songwriting and then dismiss her as an outsider?
When pressed for follow-up, McEntire remained firm:
“Country music comes from the heartland, not the headlines.”
Whether this is a principled stand or a protectionist response to change depends on who you ask.
Will Beyoncé Respond?
So far, Beyoncé and her team have not commented. But insiders suggest the moment could influence how genre categories are handled in future award shows—and how mainstream country institutions respond to artists who challenge their norms.
Some fans are already fantasizing about a potential resolution—or reckoning—on stage. Could Beyoncé and Reba appear together on CMT Crossroads for a symbolic performance? If the past is any guide, country music loves a redemption arc almost as much as it resists change.
