2025 CMA Awards: Best, Worst Moments

Backup choreography during country music performances? We’re here for it — and honestly, we want more of it! The country queens delivered killer sets all night, most backed by a crew of female dancers right by their side. It started at the top of the show as host Lainey Wilson kicked things off with a medley of hits while dancers sashayed through the Bridgestone Arena. Later in the night, she was joined by seven dancers in black with silver fringe (that we’re sure David Crosby would have loved) for her performance of “Ring Finger.” And during Megan Moroney’s pink slumber-party take on “6 Months Later,” she was surrounded by dancers in matching PJs for some delightful choreography to the fun country-pop hit.

While twangy traditional country is surging, guitar rock is also on the rise. Two of the night’s best performances chugged along on the strength of some loud-ass guitars: Chris Stapleton’s growling “Bad As I Used to Be” and the Red Clay Strays’ “People Hatin’.” Luke Combs’ band turned their amps up to 11 too. And even Riley Green got a piece of the action, opening his rendition of “Worst Way” with a snaking electric guitar intro. We’ll always stan for pedal steel, but this is a trend we were more than happy to hear.

Luke Combs opened the CMA Awards with his latest single “Back in the Saddle.” It’s a blast of muscular country-rock that crackles with energy. But why was he and his band so fenced in? And we mean that literally: Combs’ band members were cordoned off behind a stockyard, like bulls waiting for their eight seconds. It looked weird, to be sure, but it also restricted Combs, one of country’s most emotive live performers, who had to sing in what looked like a cattle chute. Wild horses should run free.

Trading verses on Vince Gill’s 1990 hit “When I Call Your Name,” Carlile and Loveless did the Lifetime Achievement Award winner right. They harmonized on the chorus and hit all the high notes in their tender, heartfelt tribute that made Gill himself emotional. It was a great example of how the lifetime achievement/tribute portion of an awards show doesn’t always have to be the most cringeworthy part — sometimes it can even be the highlight. Just as good? Gill’s acceptance speech, in which he not only honored his wife, Amy Grant, but spoke at length about the man the honor is named after: Willie Nelson. “What I admire most about him is his willingness to include his family. He calls his band ‘family,’” Gill said. “Man, that’s a great way to live.”

Why have BigXthaPlug close the show if you’re not going to let him do his thing? The Dallas rapper who crossed over into Music Row this year with his album I Hope You’re Happy teamed up with Luke Combs for their collab “Pray Hard.” At just over two minutes, the song is already brief, and it felt even shorter thanks to all the censoring of the lyrics — because our virgin ears apparently just can’t hear the words “shit” and “ass” at 10:50 p.m. Eastern time. It was a statement to have BigX on the CMAs, but he was underused, making the last performance of the night a musical letdown.

Kelly Clarkson’s “Kellyokes” might have some competition. Lainey Wilson opened the CMA Awards with a bang, delivering a killer medley of country hits — singing them back to the stars who made them famous. Taking the stage in a white, Elvis Presley-like jumpsuit with gold accents (plus a killer CMA-branded belt buckle), Wilson tore through “White Horse” to Chris Stapleton, “Hillbilly Deluxe” to Brooks & Dunn, “You Look Like You Love Me” to Ella Langley, and “Redneck Woman” to Gretchen Wilson. She then brought out Little Big Town for “Girl Crush” before closing with “Where the Blacktop Ends” alongside Keith Urban. Wilson makes anything sound like her own. (She also found a new gear with a highly choreographed and entertaining performance of “Ring Finger.”) It’s no wonder she swept the awards show.

Not to brag or anything, but Rolling Stone got a mention — or actually, three! — at the CMA Awards. Sure, Jesus and his father got the bulk of the gratitude but we’d argue we’re a close second. First came Kelsea Ballerini, who debuted her introspective “I Sit in Parks,” shouting out how much we love her: “Rolling Stone says I’m on the right road.” Later, Kenny Chesney took things back to 2013 with a rendition of “American Kids,” where he drops RS‘s name in the chorus: “Put me on the cover of the Rollin’ Stone.” (Keep manifesting, Kenny!) And finally, Old Dominion might not have been thinking of the magazine when they wrote “One Man Band,” but they do sing, “I don’t wanna be a one man band/I don’t wanna be a rolling stone alone,” in their medley. We’ll take that one as a win, too!

Country music suffered some tragic losses this year: Grand Ole Opry queen Jeannie Seely, songwriter Brett James, and, most recently, the alt-country troubadour Todd Snider. Yet the CMAs didn’t pay any sort of official tribute. It’s high time the show devotes a segment each year to those we’ve lost. In the case of Seely and Snider, it’d have been a way to illustrate the opposite ends of country’s wide spectrum. And for James, who wrote massive radio hits like “Jesus, Take the Wheel,” it’d help recognize the humans behind the song. Mad respect to Kenny Chesney, who took matters into his own hands and flashed a photo of James onscreen during his performance of “When the Sun Goes Down,” a James solo write.

Despite sold-out shows and critical praise for his album Son of Dad, Stephen Wilson Jr. has been regarded as a cult country act. That all changed last night, when the singer, songwriter, and onetime microbiologist was placed in front of a mass audience and met the moment. Wilson hypnotized the audience in the arena and those watching at home with a haunting performance of Ben E. King’s “Stand by Me,” earning a standing ovation in the process. He returned later to back up Shaboozey on their collab “Took a Walk.” Seeing the wildly eclectic artists together onstage underscored country music’s wide umbrella, and left us feeling that the future of the genre is in great hands.

Zach Top is committed to his Coors. After being named New Artist of the Year, the singer-songwriter who turned heads with a debut album titled Cold Beer & Country Music took the stage with a frosty one in hand. He claimed he forgot to leave it at his seat, but then dramatically took a swig at the mic. Banquet Beer product placement? Maybe. But it was a fun moment that helped give the CMAs some levity and looseness.