Let’s talk about the CMAs snubbing Shaboozey.
I usually don’t get too caught up in the Country Music Awards, but this year was different. There’s been a ton of buzz about how Shaboozey got robbed. He was up for Best New Artist, and his song Bar Song Tipsy was nominated for Single of the Year.
Now, Bar Song Tipsy isn’t just some random hit. This song has been sitting at the #1 spot on the charts for 18 weeks—and it’s still going strong. It’s on pace to tie or maybe even beat Lil Nas X’s Old Town Road for the longest-running #1 in Billboard history. Let that sink in. A song breaking records and dominating the charts didn’t win Single of the Year? It’s crazy.
Naturally, people are upset, and honestly, I can’t blame them. This doesn’t feel like just a loss—it feels intentional.
Why Was Shaboozey Snubbed?
Let’s not sugarcoat it: race absolutely plays a part here. People can argue otherwise, but it’s hard to ignore. And if we dig a little deeper, I think there’s another reason behind this snub: Beyoncé.
Yes, Beyoncé. Let me explain.
Shaboozey has always credited Beyoncé for helping to boost his career. She gave him some major opportunities, collaborating with him on tracks like Sweet Honey Bucking and Spaghetti. Those collabs put him in front of a much bigger audience and helped solidify his place in the industry.
And then there’s Beyoncé’s own country album, Cowboy Carter. Love it or hate it, that album was one of the top-selling country records of the year. It even produced a #1 hit, Texas Hold Them. But somehow, she wasn’t nominated for anything at the CMAs. Nothing.
When the nominations came out, Shaboozey didn’t stay quiet. He spoke out, thanking Beyoncé for “opening doors” and calling Cowboy Carter one of the “most innovative country albums of all time.”
That probably didn’t sit well with the CMAs, especially considering their complicated history with Beyoncé.
The Beyoncé-Country Music Drama
Let’s rewind to 2016, when Beyoncé performed with the Dixie Chicks at the CMAs. That performance was a big deal, but it also stirred up controversy. Some country music purists didn’t like it, and it felt like the CMAs distanced themselves from her after that.
Ever since then, it’s seemed like the country music world hasn’t fully embraced Beyoncé—or anyone closely associated with her.
Luke Bryan once said something along the lines of, “Beyoncé needs to spend more time with country artists to be acknowledged.” But here’s the thing: That same logic doesn’t seem to apply to someone like Post Malone, who’s crossed over into country with no issues.
And why is that? Race.
The Bigger Picture
Shaboozey did everything right. He followed the so-called “proper channels,” worked with respected artists, and created a record-breaking hit. But none of that mattered. He still got snubbed.
This isn’t just about Shaboozey or Beyoncé. It’s about an industry that struggles to accept Black artists, no matter how talented they are or how much they contribute.
At this point, I don’t think Shaboozey or Beyoncé should waste any energy caring about a CMA award. They’re already changing the game, breaking barriers, and reshaping what country music looks like. That’s more meaningful than any trophy.
Instead of just winning a Grammy, it would be a huge personal victory for Beyoncé. She’s been nominated for so long, and I really hope this year is her moment, especially for something big like Album of the Year. It’s not that she needs it at this point in her career, but I think it would be a meaningful win, especially as a way for her to push back at the country music industry.
It’s not just about the big names like Cowboy Carter—it’s about breaking barriers and taking back a space that was once dominated by Black artists. So yeah, I’m hoping Beyoncé gets that Grammy, and I’m rooting for Shabzi too—he’s worked hard and absolutely deserves it.
Now, let’s talk about FLO. I’ve been obsessed with their debut album, Access All Areas, all weekend. These girls are seriously bringing it. Their music is just so solid—great vocals, harmonies that are on point, and production that sounds fresh. It feels like they’ve studied the legends—Destiny’s Child, SWV, Little Mix—and you can tell.
I’m really invested in them because we need more iconic girl groups. Every generation needs that one group like Destiny’s Child, Chloe x Halle, or June’s Diary. I’m still salty that June’s Diary didn’t get the recognition they deserved, but I’m excited that FLO is here to carry the torch. I’m all in for them and wish them nothing but success.
As for the album, it’s honestly great. AAA (Access All Areas) is probably my top track, but I also love “On and On,” “Should Have, Could Have, Would Have,” “Caught Up,” “How Does It Feel,” and “Soft.” Everything is just so well done.
I do wish they had included “Fly Girl” featuring Missy Elliott—that would’ve been the perfect addition to the album. But honestly, no complaints. It’s solid, and the track “In My Bag” with GloRilla is super fun. The video even gave me Star vibes, which is a compliment! Some people have compared their sound to Star or Empire and have been critical of it, but to me, it’s all about Y2K R&B, and I’m here for it.
It’s fresh, and if any K-pop or pop artists dropped a song like “In My Bag,” people would be raving about it. It’s crazy how FLO gets criticism for doing something that would be celebrated if it came from another genre. But I just hope they keep doing their thing and block out the hate because their sound is legit.
And lastly, let’s talk about Kash Doll and her album, The Last Doll. I’ve been really impressed with this project. Kash Doll is so underrated, and she’s one of the most versatile female rappers out there. Her music has depth—she touches on everything from motherhood to relationships, to being a boss with high standards.
The album is empowering and relatable. There’s a great balance of fun tracks and serious moments. My favorite is definitely “Nothing New”—it’s been on repeat.
If I had one critique, it would be the production. I feel like Kash Doll’s music could’ve really leveled up with more modern beats. Her sound is good, but it could use that extra polish. Unfortunately, I think she missed her wave because of being stuck in a bad contract for so long. She didn’t get the chance to fully capitalize on her early success, and now, people have moved on. She’s one of the most underrated female rappers out there.