If Only The World Was More Like The CMA Awards
I know, there’s likely a woke 26-year-old finishing the New York Times podcast in their ear pods right now that would be happy to tell us why the world shouldn’t be like the CMA Awards. But hear me out. In an era when you turn on the television and all you see is a political divide, wars that are already going, and wars that are about to start—it’s both shocking and comforting to turn on a good old-fashioned awards show that is both timeless, and classy.
The 57th annual CMA awards this week had more in common with a Dean Martin roast or the Mandrell Sisters TV show of my youth than they did the 21st century awards show model. Setting my love of the Mandrell sisters aside, the CMAs were the exact opposite of the modern award show. The speeches were completely void of politics or causes, and it was a room full of really talented people celebrating each other’s talents while we all got to watch. Sounds crazy, right?
The CMAs recipe is both rigid and different. Sure, they had Zach Bryan in the best new artist category even though he’s been crushing it for years and inexplicably still didn’t win. And somehow Tracy Chapman won a CMA for a song she wrote in 1988. So, yeah, I’m not sure who votes for the CMAs or how, or what the rules are. But if you’re putting your feet up, pouring yourself a cocktail, and trying to get the dog to jump on your lap for 3 hours—you could do a lot worse than the good old CMAs.
Hosts That Know How to Be a Host
Luke Bryan and Peyton Manning were back for a second year as hosts. And unlike say Ricky Gervais tearing the audience a new one at the Golden Globes or someone using their platform to hawk an agenda—Peyton and Luke were there to host a country music award show, period. They did it well, embracing the lazy newsroom style humor that sets us all at ease in a world on fire. Sometimes bad banter just feels good.
Country Singers Can Actually Sing
It doesn’t hurt that the best country singers don’t need anything more than a microphone and guitar to blow your mind. Last night’s CMAs were filled with had-to-be-there performances from Jelly Roll and Wynonna Judd’s show opener, to Chris Stapleton’s black diamond vocals on “White Horse,” to Kelsea Ballerini and Ashley McBryde’s beautiful renditions of songs with lyrics every father should send text to their daughters.
If you didn’t watch last night, do yourself a favor and let Stapleton blow your hair back, or Ballerini share a song as intimate as Taylor Swift’s early work.
Country Music Being Country
With Yellowstone officially off the air and cancelled, apparently for good, the CMAs provided all of those country music feels that, believe it or not, you don’t have to be on the extreme right to love. There were commercials for Boot Barn, Wrangler, Walmart, and the new Chevy Colorado prominently displayed. A military person was recognized on stage, as was our newly minted World Series champion Corey Seager. Even Post Malone showed up in a bolo. Teachers and first responders even got a tip of the Stetson too. It was like 3-hours of hand over the heart for the anthem, and holding an apple pie in the other.
One category had a song called “Wait in the Truck” and “Heart like a Truck,” as it should. And if you want something a bit more cerebral, all the way down to the stage presentation, look no further than Cody Johnson’s gem, “The Painter.” Wow.
Connecting Us All
You don’t need to know the difference between Luke Bryan, Like Combs, or Zach Bryan to know country music has had its troubles with race and gender throughout the years. But whether it was the War and Treaty’s epic performance, inspiring speeches by Jelly Roll, an appearance from Broadway’s new play Shucked, or Brothers Osborne winning their sixth best vocal duo award with an openly gay lead singer – by the end of the show it was made quite clear country music belongs to us all.
The difference was that it wasn’t heavy handed. They didn’t need to tell us anything, they didn’t assume they were smarter than us, or that it was our job to change us—they merely showed us. It was a night to both see and celebrate talent. And dare I say it felt good.
