Country Music's biggest night (for the 53rd year in a row)
The Country Music Association’s 53rd annual awards had a bit more of an edge than year’s past. The intro set the tone of the celebration of country music and, more particularly, the celebration of women in country music. The introduction was brilliant for a few reasons: the production and fluidity of song was ingeniously pieced together. Each song had a purpose and as more and more women joined the stage, including icons like Terri Clark, Martina McBride and Tanya Tucker, the set progressively gained attention. The first song and the last were bookends for the medley; the two were the strings that cinched the beginning of the evening together.
The intro started with Loretta Lynn’s classic “You’re Looking at Country,” which inherently screams the premise of the female-driven celebration – women are authentically country music artists in the game, too, and their roots run deep. The medley ended with “Independence Day” by Martina McBride, a power ballad that any three generations of women have been found dancing and singing along to in the kitchen during a family gathering. Ending with this song proclaimed a celebratory metaphor to women breaking through the proverbial glass ceiling on a day of reckoning. Of course, this is not what the song itself means, but the metaphor here is the stance of celebration for women in the country music industry and the fact that the annual awards show is the platform for their “independence day,” and the public affirmation of talent and power is the freeing of the future of women in country music.
In Miranda Lambert “All Kinds of Kinds” fashion, the numerous women on stage for the intro proved to be individual, powerful, and beautiful. They represented wholly the women in country music industry, but stayed honest to their individualized contribution to the industry. From young to experienced, from current and pop-country to classic and country-western, from edgy with blazers to glittery and girly, each one owned their section of the stage.
Of course, one of the most obvious differences of the night was that Brad Paisley and Carrie Underwood didn’t cohost together. Instead, Carrie and her “she-roes,” Reba and Dolly, accompanied her on stage to host the awards. This again was a hat tilt to celebrating women in country music. The three proved to be as humorous and fun loving as we’d all hoped, and it didn’t take Dolly long to drop a joke.
“What do you call three women hosting country music?”
“Your lucky night.”
And welcome to the 53rd annual CMA awards.
The trio didn’t let the night get too far without recognizing Brad Paisley and thanking him for taking a back seat this year. The three proved to be classy as ever with a little spunk, just what we all hoped. In multiple instances I just kept repeating, “This is what it’s all about.”
Once the night got going, I couldn’t help but notice first and foremost that Deana Carter looks the exact same! Anyone else? She was the first presenter for Single of the Year, which naturally came with showing the infamous clip of her winning Single of the Year in 1997 where she ran on stage and jumped on Ricky Skaggs. The humorous and charming expression of excitement is one to never forget. She hasn’t aged an ounce— she’s only become a bit more reserved apparently.
One of my favorite moments within the Single of the Year announcement was Craig Morgan’s excitement for his buddy, Blake Shelton, who won the award for “God’s Country.” The two have been longtime friends, but not until recently has their friendship catapulted. Shelton was a huge supporter of Morgan’s song “The Father, My Son, and the Holy Ghost,” which is about the death of his son, and is Morgan’s first single since the incident. Shelton was a promoter professionally and a supporter personally. When Shelton won the award for “God’s Country,” Morgan was the first to jump out of his seat and congratulate Blake on the win, with a huge smile upon his face. This is what it’s all about.
The entire CMA production was a tribute to country music as a whole, but specifically the empowerment of all within the industry. In Luke Combs acceptance speech for “Beautiful Crazy,” the theme continued. He put it simply, that country music teaches us “how to love and how to dream.” Then ended with, “Damn I love country music.” I, personally, was on the literal edge of my seat, hands clasped in my lap, nodding my head in agreement. This is what it’s all about.
You know how during a wedding ceremony, people say their favorite part is watching the groom watch his bride walk down the aisle? While most eyes are on the bride walking down, some pay integral attention to the groom, overcome by emotion, looking up in admiration. Sometimes the groom’s reaction is the understated exuberance needed to make moments in life exceptionally more charming.
That’s how I feel about country music awards shows. While fully engaged in the performances on stage, seeing the supportive country stars in the crowd bobbing their head, clapping their hands, tipping their hats, and singing along is one of the best parts of the entire performance.
Keith Urban (+ Nicole Kidman) are the most loyal CMA Award crowd contributors. You can always count on them to be not only be J A M M I N G to the live performance, but singing every word, dancing out of the confines of their seat.
Exhibit A:
I guess it’s about time I finally get to the meat + candy of the night. Every performance was noteworthy but for sake of time we’ll talk about what everyone is talking about.
Reba and her rendition of Fancy didn’t skip a beat. Her vocal ability and her stage presence were unmatched. It’s like she’s in her prime all over again. And can I just comment on three dress changes on stage during the one song?
The best collaborations of the night were P!NK and Chris Stapleton, Lady Antebellum and Halsey, Willie Nelson and Kacey Musgraves, and Dolly Parton with For King and Country and Zach Williams. Dolly and her collaborations brought us all to church and she ended by exclaiming, “Praise God!” in her high-pitched, sweet southern voice. And I think Halsey might need to be the fourth Lady Antebellum? Willie Nelson and Kacey Musgraves are two peas in a pod, and I am really pulling for P!NK and Stapleton to record an album together.
Honorable mentions:
Dierks Bentley, Sheryl Crow, Chris Jansen, and Joe Walsh collabing on Kris Kristofferson’s “Bobby McGee,” and the hat tipping performance to the REBOOT album when Brooks & Dunn and Brothers Osborne played “Hard Working Man.”
Erich Church’s simple and authentic set of “Some of it.” It is one of those songs and raw performances that really get me thinking, “This is what it’s all about.”
The presentation between Joe Walsh and Bobby Bones was legendary and awkward
Bobby Bones and Amy
Blanco Brown’s laugh was just innocent. He was having a blast
Carrie Underwood’s fedora. I was skeptical at first, but she smooth criminaled that stage in the sexiest most brilliant way. It makes me hope she wins Entertainer of the Year next year after that performance.
Keith Urban’s nostalgic monologue introducing his performance of We Were
Craig Morgan introduced Blake Shelton before performing God’s Country, calling him a “True Friend” and thanking him for his support. This is what it’s all about.
Ryan Hurd walking Maren Morris up the steps
Old Dominion’s Matthew Ramsey stuck his tongue out when the cameras panned over his seat when being nominated. He and his daughter (?) obviously had a previously devised agreement: when the camera panned over them they’d stick out their tongue. It was the sweetest thing, and was yet another moment where I couldn’t help but think “this is what it’s all about.”
My favorite part of the entire show had to be the acceptance speeches. I’m always intrigued about how artists will react or respond in their speeches, and each one deserved a standing ovation solely for the words they shared.
Maren Morris gave her acceptance speech for Album of the Year with class. She gave a heartfelt recognition to Busbee who passed away earlier this year, and recgonized his beauitful wife and family who were in the audience.
Though Garth Brooks winning Entertainer of the Year (again) was controversial, especially on a night dedicated to women in country music where Carrie Underwood was the only female nominated in the category, he does have a bit of an edge. He is still selling out stadiums and touring the world. The man is a beloved entertainer. My favorite part of his winning the distinguised award was his speech and how he accepted it. Brooks has class. One of my favorite qualities that I notice solely as a viewer is that he always takes off his hat as a sign of respect when greeting someone or accepting an award. He took off his hat and delightfully hugged each person on stage. Then accepted the award by empowering current country artists trying to do the grind. He blatantly encouraged Luke Combs that he would be up there accepting “Entertainer of the Year” soon and he charmed Kelsea Ballerini complimenting her talent.
This is what it’s all about.
