Even though Nashville partying, tourism and country-music performances tend to ramp up on the weekends, this week it started on a Wednesday. The Country Music Association Awards took over downtown Nashville Wednesday, Nov. 19. Taking place at Bridgestone Arena, the 59th CMAs were representative of the multiple different branches in which the genre is growing, all tied together by the host, Lainey Wilson.
Wilson opened the show by wandering through the crowd and selecting certain artists’ songs to sing, from covering Little Big Town’s “Girl Crush” to Shaboozey’s “A Bar Song (Tipsy).” Through this start to the show, Wilson acted as a bridge between the many different subgenres that became clearer and clearer throughout the show. More specifically, country music feels like it is simultaneously growing in a few different directions: one that is pop- and rap-infused, and another that is a resurgence of older country sounds. Artists like Wilson lie somewhere in the middle.
The first award announced went to Ella Langley and Riley Green for Single of the Year for their duet, “You Look Like You Love Me,” which was one of three CMA awards earned for this song. The success of this song at the CMA’s was huge for the resurgence of old country, as it contains talking verses, which were a prominent feature of the genre in the 50s and 60s. However, this era was not the only one being paid tribute to. Zach Top brought back 80s and 90s country with both his performance of “Guitar” and his win for New Artist of the Year.
Other New Artist of the Year nominees went back to earlier days of the genre with Ella Langley’s performance of “Choosin’ Texas” which carried the classic “other woman” narrative of 90’s country, along with two-stepping and set decorations that transported her back in time. In a surprising collaboration, Shaboozey and Stephen Wilson Jr.’s duet of “Took A Walk” was remarkably grounded within the soul roots and heartbreaking origins of country music, in a way that is still innovative and relevant to the current state of the genre.
Meanwhile, on the newer side of the genre, nominee Tucker Wetmore stayed within his typical line of catchy stadium country in his performance of “Wind Up Missin’ You.”
Within this same pop vein, two artists, both nominated for Best Female Vocalist of the Year, gave performances on opposite sides of the pop-country spectrum. Megan Moroney performed “6 Months Later,” complete with a pink set to represent her upcoming album and a sequin-covered mini dress that was more reminiscent of Hannah Montana and Sabrina Carpenter than a typical country act. Moroney’s performance was representative of all things girly and fun when it comes to pop-coated country music. Kelsea Ballerini’s performance leaned into more of the artistic, emotional realm of pop music with slight tones of country. Ballerini sang “I Sit in Parks” from her latest EP, completely alone on stage, sitting on a swing barefoot, with rain falling around her, something new for Ballerini and for this style of country.
Ultimately, Wilson took the award in this category with a performance of “Ring Finger” that combined classic country and rock tones with a rhinestone-studded pop-like stage presence. With this, Wilson continued to toe the line between the emerging branches of the genre, along with an important message to not pin women against each other, which was both relevant and needed given recent internet drama that has controlled the narrative of women in country music.
Beyond the pop and old country themes, there were acknowledgements to rap collaborations, emerging country staples, people who have spent their entire lives in the genre and everything in between.
Following a recent trend over the past few years, BigXthaPlug has collaborated with multiple country artists to create a rap-infused country album, which was heavily acknowledged throughout the show, though it was not nominated. That said, BigXThaPlug did get to perform his fiery duet with Luke Combs, “Pray Hard.”
Meanwhile, within groups and duos, there was a mix of the old and newly established. More specifically, The Red Clay Strays won Vocal Group of the Year, which was very surprising as they were nominated alongside longstanding, popular groups on country radio such as Old Dominion, Lady A, Little Big Town and Rascal Flatts. On the other hand, Brooks & Dunn accepted their 16th CMA Vocal Duo of the Year award, noting their ability to continue growing their audience even with such a longstanding reputation in country music.
The award ceremony also took time to acknowledge one individual who had committed his life to country music and made an impact on the genre both nationally and internationally. Vince Gill was honored with the Willie Nelson Lifetime Achievement award and is one of only a handful of individuals who have earned such an honor. Gill was presented the award by George Strait after Brandi Carlile and Patty Loveless covered “When I Call Your Name,” for which he won his first CMA award in 1990.
The CMAs also highlighted those who have become consistent performers and will likely continue to follow Gill’s footsteps. Chris Stapleton gave two performances, including “Bad As I Used To Be,” which showcased everything that has made him a constant winner and presence at the CMAs along with “A Song to Sing” performed with Miranda Lambert which had elements of 70s disco in both sound and stage presence. Cody Johnson won Male Vocalist of the Year as he has started to pave his way in this category of longstanding influential artists within the genre, joining the likes of Lainey Wilson, Chris Stapleton, Miranda Lambert and more.
Wilson was not only a beautiful host with her ability to connect with all artists and guests, but in her ability to constantly entertain, whether that be through song, laughs or several stunning outfit changes. Wilson herself was a top winner, winning Best Female Vocalist, Album of the Year and Entertainer of the Year, which was especially fitting.
While the show did highlight how many different paths are emerging within country music, it still brought them together in one room. This is the beauty of genre-specific awards; each of the subgenres is displayed and able to be celebrated and acknowledged together. No style was put above another, but rather the ceremony was a display of the diversity that currently exists within country music. This display of the genre, as it is, only leads to excitement for what will come next.
