From the reactions of certain corners of the media, you would think the release of Beyonce’s “Texas Hold ’Em” was a radically transgressive cultural moment — a bold assertion of Black identity within country music. However labeling it as such overlooks a much broader and more profound cultural shift.

Beyonce’s performance was but a crest on a wave of a much larger Black country revival, a movement that’s finding its parallel in fashion, as highlighted by Pharrell Williams’ recent collaboration with Louis Vuitton (Clothing that Beyonce wore at this year’s Grammy Awards). Together, they signal the rise of the Black cowboy — a resurgence that’s often mistakenly perceived as a novel trend. Yet, neither Beyoncé’s foray into country music nor the emergence of Black cowboy aesthetics in high fashion are new developments. They are, instead, contemporary expressions of a rich and longstanding heritage.

While Bey’s foray into the genre has met with resistance from those who traditionally gatekeep the boundaries of country music, it couldn’t have come at a more opportune time. It lays bare the underlying tensions in a genre often perceived as monolithic and serves as a catalyst for a broader discussion about inclusion, heritage, and the evolving identity of American music.

Beyonce, a Southern-born artist with roots deep in Texas, embodies the essence of American culture. Her journey into country music is not an anomaly but a return to her origins, a nod to a genre that is quintessentially American. Raised in Houston, Texas, Beyoncé’s roots are deeply embedded in a cultural milieu where Black, Tejano, and Indigenous influences intersect, shaping a more inclusive definition of country music. Her actions are not a plea for acceptance by the industry’s gatekeepers but rather a bold assertion of her rightful place in the country music legacy.

For decades, the contributions of Black artists to country music have been overshadowed by a narrative that has favored a whitewashed version of its history. The movement to reclaim this lost history in country music is not just about rectifying past wrongs; it is about enriching the present and future of the genre where artists like Rhiannon Giddens, who plays banjo on “Texas Hold’em,” is finally recognized for her contribution to a genre that long ago manufactured the myth that country music was solely about the lives of poor white people.

Black faces have always been a part of the fabric of this genre. Same with its instrumentation. The banjo, long considered born in Appalachia, is an African invention.

It is about recognizing artists like DeFord Bailey, a harmonica virtuoso and the first Black star of the Grand Ole Opry, and acknowledging the impact of artists like Linda Martell, who trailblazed a path for Black women in country music. Their stories, much like those of the Black cowboys, are not separate threads but are woven into the very fabric of the genre’s history.

As the Compton Cowboy, I have spent most of my life rewriting the script of the American cowboy, shattering the myth that it is an exclusively white archetype. The erroneous belief that Black people are not intrinsic to country music and country life negates the rich, varied tapestry of American culture. To be Black and country is to dismantle a narrative that has long been imposed and to acknowledge the true, inclusive essence of the country identity.

For decades, the contributions of Black artists to country music have been overshadowed by a narrative that has favored a whitewashed version of its history. This parallels the way the legacy of Black cowboys has been marginalized in the story of the American West despite that nearly one in four cowboys were Black at the turn of the century. In both realms, there is a rich tapestry of African-American influence that has been integral, yet not adequately acknowledged.

As we witness this cultural moment, it’s crucial to reflect on our values and aspirations as a nation. Embracing the diversity that strengthens us and the art that unites us allows us to acknowledge and celebrate every thread that weaves into the rich tapestry of American culture. The rise of Black country music and the Black cowboy is not just about a genre or this season’s fashion, it’s about redefining American cultural symbols and challenging the narratives that have confined our understanding of heritage.

Randy Savvy is a horseman and recording artist who has dedicated his life to preserving and promoting the legacy of Black cowboys in America. His debut single, “High Horse,” drops on March 8 followed by a mixtape, Street Country Vol 1: Once Upon a Time in Compton, in collaboration with Audio Chateau Records.