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The 57th annual CMA Awards will air Wednesday, Nov. 8, live on ABC from Nashville’s Bridgestone Arena, crowning this year’s slate of winners, as voted upon by the CMA’s more-than 6,000 members. But the star power extends far beyond only the winners — there are plenty of top-notch performances and presenters, as well.
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The ceremony — which will again be hosted by Luke Bryan and Peyton Manning — will feature several special performance moments, including Morgan Wallen joining forces with Post Malone and HARDY to offer up several classic country songs. Kenny Chesney, Alan Jackson, Zac Brown Band and Coral Reefer Band member Mac McAnally will honor the late singer-songwriter Jimmy Buffett.
Jelly Roll, a five-time nominee, will take the stage twice during the evening, first opening the show with a performance of his No. 1 Billboard Country Airplay hit “Need a Favor,” and performing again later in the show for a collaboration with K. Michelle on The Judds’ signature song “Love Can Build a Bridge.”
Meanwhile, newly-minted Country Music Hall of Fame inductee Tanya Tucker will be joined by Little Big Town for a performance of Tucker’s 1972 debut hit “Delta Dawn.”
Lainey Wilson leads this year’s nominees with nine nods, including entertainer of the year, female vocalist of the year, single of the year and song of the year. Wilson is just the fourth artist in CMA history to land nine or more nominations in a single year. She follows Merle Haggard (nine nods in 1970), Alan Jackson (a record 10 nods in 2002) and Miranda Lambert (nine nods in both 2010 and 2014).
Jelly Roll has five nominations this year, including new artist of the year and male artist of the year. Luke Combs and HARDY have four nominations each, followed by Jordan Davis, Ashley McBryde, producer/mix engineer Joey Moi, songwriter-producer Jordan Schmidt, Chris Stapleton, Morgan Wallen, and musician/producer Derek Wells with three nominations each.
See below for a full list of performers and presenters:
Performers:
Kelsea Ballerini
Luke Bryan
Kenny Chesney
Luke Combs
Dan + Shay
Jordan Davis
HARDY
Alan Jackson
Jelly Roll
Cody Johnson
Little Big Town
Mac McAnally
Ashley McBryde
Megan Moroney
Old Dominion
Carly Pearce
Post Malone
K. Michelle
Chris Stapleton
Tanya Tucker
The War And Treaty
Morgan Wallen
Lainey Wilson
Zac Brown Band
Presenters:
Paula Abdul
Bill Anderson
Nate Bargatze
Kevin Cahoon
Jordan Davis
Cynthia Erivo
Sara Evans
Brian Kelley
Lady A
Martina McBride
Parker McCollum
Craig Morgan
Darius Rucker
Corey Seager,
Gerry Turner
Keith Urban
Hailey Whitters
Chris Young
When the Country Music Association hands out its 57th annual awards on Wednesday (Nov. 8), Hailey Whitters will have one of the best seats at the ceremony, given that she’s a finalist for best new artist. She’s a buoyant personality on a normal day, but Whitters is particularly upbeat about this long-sought career stage.
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“I always dreamed of getting to be a part of the CMA Awards,” she says. “It’s been 15 years I’ve been chasing this dream in this town, so there definitely have been moments where that window might have seemed to pass for something like that. So I’m elated to be a best new artist [nominee].”
The nod comes on the heels of her bubbly breakthrough single, “Everything She Ain’t,” and with her follow-up, “I’m in Love,” Whitters is solidifying the brand with two-and-a-half minutes of bright, seemingly random images sold with her blade-like vocal tone.
“I hope it kind of sends a message that I’m here to stick around for a while,” she says, “like, I’m not just this one-hit wonder — whatever — with ‘Everything She Ain’t.’ There’s more where that came from.”
“I’m in Love,” like Whitters, had to wait a long time for its opportunity in the spotlight, and with good reason. The title is, by itself, less than overwhelming. After Nicolle Galyon (“Tequila,” “half of my hometown”) logged it into the list of potential song titles on her phone, it was years — potentially a full decade — before she found a setting where it made sense to even suggest it.
“When we start a co-write and people start throwing out ideas, I usually start at the bottom because those are the most fresh, new ideas,” she says. “When you get in a rut and none of these ideas are sticking for whatever reason, sometimes I’ll just scroll way back up.”
That was the case on January 11, during a writing session hosted by Cameron Bedell (“Down Home,” “Found It in You”). They had booked an assignment with Lee Thomas Miller (“In Color,” “It Ain’t My Fault”) and ended up postponing and re-booking several times for over a year. Once they got into the room — nothin’.
For 90 minutes, they batted around ideas, unable to find anything that got all three of them interested. So Galyon reached back for “I’m in Love,” which was better than it sounds because it came with a device: This is in that, this is in that, and I’m in love. As simple as that was, it had potential with the right this’es and that’s.
“The whole thing was, how can we make whatever they’re going to be as unique as we possibly can?” says Miller.
The only other parameter they set was to develop a ’90s sound for it. Bedell started in on an easy chord progression, Galyon crafted a melody around short phrases, and she and Miller traded images, beginning with an opening line — “Beers in the bucket, suds in the sink” — that gave a wink to Sara Evans’ “Suds in the Bucket.”
“When [Nicolle] and Lee were going back and forth, they were going so fast,” Bedell recalls. “They were like, ‘There’s chicken in the skillet.’ ‘Oh, yeah. And there’s ice in the drink.’ But then there’s ‘this in this.’ I was sitting there going, ‘Yeah, yeah, all that’s good,’ as I’m chunking away at the guitar. It was just like a puzzle we were all trying to put together at the same time.”
They stuck faithfully to the “in” theme until they worked their way to the chorus, where they signaled the new stanza by flipping the sentence to “Ooh, ooh, I’m out of my mind.”
“We’d given a lot of information, and then you get to the chorus, you need a break from it,” Miller explains. “We went the opposite at the most important line. That’s the first time — the chorus breaks the device.”
But that shift also represented a change in the focus of “I’m in Love.” “The verses are all environmental, you know; painting the picture of what’s going on around her,” Galyon notes. “But the chorus is what’s going on inside her.” They tossed the “in” device out at two more key points: at the end of the last verse and in a bonus line — “Chills down on my spine, hearts on the line” — in the final chorus.
There were a few other oddities. “Deers in rut” is a hunting term — they essentially reference animals in heat in the song’s chorus. They also incorporated some astrological material in multiple spots: man in the moon, stars in a line and Mercury’s all in retrograde. “‘Sister’s in her room smokin’ God knows what’ and the ‘Mercury’ line kind of make it feel a tad modern and a little edgy, because everything about it is so wholesome,” Galyon observes.
They came back a second time, mostly to revise the way the chorus closed out. Galyon, who had to run, sang a quick vocal for the demo, fully intending to improve on it later. Bedell worked further on it, and the creative team for his publisher, Liz Rose Music, got excited about it, quelling the last of his minor doubts.
“After we finished it, I was like, ‘I don’t know if anyone is going to like this because maybe they feel like it’s too much random stuff,’ ” remembers Bedell. “That was my fear at first.”
Whitters held meetings with publishers to consider outside songs, with Galyon — the head of her label, Songs & Daughters — in the room. Liz Rose co-founder Dave Pacula told Galyon how much he liked “I’m in Love” — a surprise to Galyon, who didn’t think the demo was finished — and Whitters and her husband, producer Jake Gear, had him play the demo, which was not on the day’s agenda. By the end of the first chorus, they were ready to put it on hold.
“It just felt like me — so like my language — and felt like something I would say,” Whitters recalls. “The energy behind it is kind of flirty, kind of playful, fun. It just felt really strong.”
Gear booked a fairly large band for two days of recording at Nashville’s Sound Emporium on February 27 and 28, though the group doesn’t sound all that big. The players all find moments to shine in small bursts, particularly impressive since the windows between the song’s phrases are fairly tight.
“It’s just so fun having everybody there at once instead of resorting to overdub sessions,” says Gear. “There’s a lot of stuff on the track, but it’s not necessarily too busy. It’s because they know what everybody’s doing.”
Gear and engineer Logan Matheny added some hand claps — shades of “Everything She Ain’t” — and they got Michael Rojas to provide some old-world character with an accordion part. “Haley loves accordion,” Gear says. “She’s got family down in Louisiana — we spend most Easters down there — and there’s this Cajun restaurant we go to all the time to hear Zydeco. And then I’m a sucker for [John] Mellencamp. He had a lot of accordion in his stuff, and that heartland rock sound has a little bit of a throwback, old-timey thing.”
“I’m in Love” became the title track for a summer EP, and Big Loud and Songs & Daughters released it to country radio via PlayMPE on Sept. 26. It tracks at No. 55 on the Country Airplay chart dated Nov. 11. Coinciding with her first CMA nomination, Whitters would like to think it’s a sign her career details are working just like the stars in the text.
“They all kind of lined up,” she says. “I’m just really excited for this new era. It just feels very fun. And very country.”
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Wild horses don’t easily slow down, and neither does Lainey Wilson. The country singer-songwriter will expand her headlining shows with Lainey Wilson: LIVE, a string of nearly a dozen shows across Europe and Australia. The trek will launch March 20 in Melbourne, Australia, and will make stops in cities including Sydney, London and Amsterdam before […]
This week’s crop of new music features the radio-ready sounds of newcomer RVSHVD, the Latin-threaded collaboration of Leah Turner and Jerrod Niemann, a gorgeously voiced ballad from Lauren Watkins and Carter Faith, a rollicking new song from the dependably excellent Muscadine Bloodline, and the unflinching honesty of singer-songwriter Rett Madison.
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RVSHVD, “Small Town Talk”
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Jason Aldean earned plenty of criticism for the lyrics and video for his “Try That in a Small Town” this year. With “Small Town Talk,” RVSHVD — another small-town Georgia native who grew up in Willacooche, Georgia (population 1,200), a mere two hours from Aldean’s Macon hometown — offers a more uplifting take on what life is like in small towns. The song and video pay tribute to the values instilled by not only his family, but his tight-knit community — hard work, ethics and love. Sonically, the song’s rock-fused vibe fits squarely into country radio’s pocket, while RVSHVD’s laid-back vocals exude warmth and earnestness.Kameron Marlowe, “Tennessee Don’t Mind”
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Written by Daniel Tashian and Lady A’s Charles Kelley, Marlowe’s latest embodies the yin-and-yang of life on the road and what happens when a run of touring comes to a close. Far from some ballad lament, this track churns with the propulsive rhythm of a runaway horse, features smoking fiddle work and highlights Marlowe’s standout vocals, especially his upper register.
Leah Turner and Jerrod Niemann, “South of the Border”
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A latticework of drums, commanding horns and growling electric guitars guide this sultry Latin-country groove. Mexican-American artist Leah Turner teams with “Lover Lover” hitmaker Niemann, and their harmonies meld stunningly, while the energy in their vocals prove a perfect match on this toggling of English and Spanish lyrics. This song turns up the heat, and hopefully is just the first of more collaborations to come from these two.
Muscadine Bloodline, “How Hangin’ Fruit”
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Charlie Muncaster and Gary Stanton of Alabama duo Muscadine Bloodline have steadily and independently built up their fanbase through consistent new releases and dogged dedication to touring. Though they just released the project Teenage Dixie earlier this year, they’re already working on a new album, and have issued a pair of songs to preview the new project, including this snarling, heartache-driven song that swiftly works its way to breakneck speed as the lyrical angst winds tighter. The particularly acerbic lyric, “There ain’t a spoonful of sugar to help the taste of your own medicine go down,” is laced with extra bite.
Rett Madison, “Jacqueline”
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The opening track on Madison’s recently released sophomore EP One For Jackie, “Jacqueline” is filled with raw grief, offering a stark contemplation of emotional wreckage in the aftermath of her mother Jacqueline’s suicide in 2019. The lyrics are exquisite, and unfiltered: “Searched your note a hundrеd times/ For answers and peacе of mind.”
The rest of One For Jackie details the complicated web of emotions that Madison has navigated in her journey toward understanding and healing, from the moments when unexpected events bring back memories (“Flea Market”), musing how a demise doesn’t absolve a complicated relationship (“Death Don’t Make a B*tch an Angel”), to imagining a post-death connection (“Kiki”). It’s a sterling, unflinchingly honest album, one not afraid to highlight grief’s messy margins.
Lauren Watkins feat. Carter Faith, “Cowboys on Music Row”
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In this hazy ballad, these two supremely talented singer-songwriters lament the lack of “real cowboys” in Nashville’s commercially-minded Music Row area. Their voices blend gloriously as they sing of seeking out lone rangers, red-headed strangers and rodeo men who “sang what they knew.” By the time they land on the gut-punch lyric, “This place might as well be a ghost town / The soul of 16th Avenue,” it’s clear they’re making a cooly incisive assessment. The song is included on Watkins’ upcoming album Introducing: The Heartbreak, out Nov. 17 on Big Loud Records/Songs & Daughters.
Scotty Hasting, “How Do You Choose”
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Hasting is a former Army Infantryman who survived 10 nearly fatal gunshot wounds while serving in Afghanistan. His debut offering for Black River Entertainment finds Hasting pondering the push-and-pull of emotions as he battles survivor’s guilt after years of military service while some of his comrades didn’t make it home. Starting off driven primarily by acoustic guitar and Hasting’s rough-hewn vocals, “How Do You Choose” is escalated with electric guitar, understated fiddle and full-bodied percussion. A promising, impactful debut.
Matt Schuster, “Last Fall”
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Singer-songwriter Schuster already made a splash with “Tell Me Tennessee,” and proved his promise as a songwriter, landing a cut on Bailey Zimmerman’s album with “Chase Her.” On his latest, which he wrote with Abram Dean, Emily Falvey and John Newsome, he takes inspiration from John Mayer’s 2006 song “Slow Dancing in a Burning Room,” offering a moody petition to savor the last moments of a rapidly wilting relationship, if only to ward off the chill of the impending loneliness. His amiable, low-key voice leaves space for slick and slightly soulful instrumentation, giving the song a bittersweet undercurrent.
Entertainment and sports agency Creative Artists Agency (CAA) will relocate its Nashville office in late 2025, occupying nearly 75,000 square feet across two floors in the mixed-used district Nashville Yards, being developed by Southwest Value Partners and AEG.
CAA’s new Nashville office, located at 955 Church Street in Nashville, will feature indoor-outdoor work spaces, listening lounges, private terraces on each floor, three levels of dining, retail and entertainment space, as well as meeting hubs and a large outdoor vegetated deck overlooking Nashville Yards. CAA employees will enjoy access to open plazas, courtyards, and green spaces; ample parking, valet, and executive car services; and proximity to the luxury Grand Hyatt Nashville and newly renovated Union Station Nashville Yards.
“Guided by our colleagues in Music, CAA opened our first office in Nashville in 1991, immediately making an impact on Music City that continues today,” said Howard Nuchow, co-head, CAA Sports, in a statement. “With more than 3,400 employees across 25 countries, CAA’s track record of success and growth in the representation of entertainment and sports talent and brands has solidified our leadership position around the world. The move to Nashville Yards demonstrates our commitment to Nashville and the Southeast, while providing our employees, clients, and guests an inspiring environment that captures the spirit of Nashville, one of the most significant sports and entertainment destinations in the world.”
CAA’s Nashville operations currently include more than 130 employees working in music touring, music brand partnerships, music marketing, digital media, sports, brand consulting, property sales, and CAA ICON. In the past year alone, CAA has booked top tours for Tim McGraw, Shania Twain, Keith Urban, Willie Nelson, Zac Brown Band, The Chicks and Carrie Underwood. The company has also worked to aid in raising up a new crop of headliners including Jelly Roll, Cody Johnson, Brett Young, Kelsea Ballerini, Carly Pearce, Whiskey Myers and Koe Wetzel, while expanding its roster with new signings including 49 Winchester, Warren Zeiders, Hailey Whitters, Luke Grimes, Wyatt Flores, Priscilla Block, Dylan Marlowe and Larry Fleet.
Grammy winners Miranda Lambert and Jon Randall have partnered with Big Loud Records to launch their own imprint, Big Loud Texas. Lambert and Randall will be directly instrumental in signing and developing artists on the roster. Meanwhile, Randall will serve as president of A&R for the imprint, while also contributing as a producer.
“As a teenager chasing my dreams in the honky-tonks of Texas, Nashville seemed so far away,” Lambert said in a statement. “Every time I’m back home I get to hear the incredible talent our state produces, and I feel a responsibility to help get more of those Texas voices heard. I’m really excited to team up with my buddy Jon Randall and Big Loud to do just that. Get ready, y’all – we’re bringing even more Texas to town!”
“When I was a kid playing in bands and kicking around Texas, I knew that making music was all I wanted to do for the rest of my life,” Randall added. “Since then, I’ve gotten to play with so many of my heroes produce legends and friends and travel all over the world… but all those roads lead right back home. I feel very blessed to share this full circle moment with one of my best pals, Miranda Lambert, and help some other dreamers chase their song around the world.”
Longtime friends and creative allies, Lambert and Randall collaborated on 2021’s Grammy-nominated The Marfa Tapes, alongside fellow Texas singer-songwriter Jack Ingram. Randall also served as a producer alongside Lambert and Luke Dick on her 2022 album, Palomino. A Grammy, CMA and ACM Award-winner, Randall has spent three-plus decades in the music business seemingly doing it all as a solo artist, guitarist, songwriter and critically acclaimed producer. In addition to his longstanding relationship with Lambert, he has written with and for artists including Guy Clark, Kenny Chesney, Reba McEntire and many others, plus produced projects for Dierks Bentley, Parker McCollum, Dwight Yoakam, Jack Ingram, Pat Green and more.
“I’ve admired what Miranda and Jon have done – both as musicians and as champions of young talent – for many years, so it’s an honor to join forces in this way,” Big Loud CEO/partner Seth England said in a statement. “One of the most important things to us at Big Loud is to align with cultural camaraderie. Texas exudes that spirit and no one knows that better than Miranda and Jon.”
Big Loud Records is also home to Morgan Wallen, who has had a stellar year, dominating the Billboard Hot 100 with “Last Night” and the Billboard 200 with One Thing at a Time. The label’s roster also includes Lauren Alaina, HARDY, ERNEST, Hailey Whitters, MacKenzie Porter, Larry Fleet, Charles Wesley Godwin, Stephen Wilson Jr., Dallas Smith, Maggie Rose, Griffen Palmer, Shawn Austin, Lily Rose, Jake Worthington, Ashley Cooke, Lauren Watkins and Zandi Holup.
Big Loud Records was honored as the No. 1 Billboard Hot Country Songs label in 2021 and 2022. Big Loud’s executive team has earned recognition as part of the Billboard 40 Under 40: svp / GM Patch Culbertson (’22), svp of radio promotion Stacy Blythe (’21) and CEO / partner Seth England (’14). Additionally, members of the Big Loud brass — partners England, Moi and Craig Wiseman, as well as Adams, Blythe and SVP of Marketing Candice Watkins — have been honored as Billboard Indie Power Players and Billboard Country Power Players. England was named the inaugural peer-voted Country Power Players’ Choice Award recipient, an industry-wide nod honoring the executive that voters believe made the most impact across the country music business over the past year.
The 57th annual CMA Awards will take place Wednesday (Nov. 8) at Nashville’s Bridgestone Arena with returning hosts country superstar Luke Bryan and legendary NFL hall of famer Peyton Manning. For the second consecutive year, Lainey Wilson leads all nominees with nine nominations, followed by Jelly Roll with five and Luke Combs and HARDY landing four.
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Chris Stapleton and Carrie Underwood are both seeking their first entertainer of the year award after multiple nominations. Stapleton, Brothers Osborne and Old Dominion will see if their multi-year streaks for male vocalist, vocal duo and vocal group, respectively, continue. This year also includes some surprises, including Tracy Chapman receiving her first nomination for a 35-year-old song, and Wilson swiftly ascending to entertainer of the year category from winning best new artist only a year ago.
The eligibility period for the 2023 show, which will air live on ABC at 8 p.m. ET, is July 1, 2022-June 30, 2023. According to CMA rules, “singles, albums, music videos and qualified music products for the annual show must have been released or reached peak national prominence during the eligibility period.” More than 7,300 members of the country music industry vote for the nominees and winners through three rounds of voting.
Here are Billboard’s predictions in select categories on who will emerge victorious, from Melinda Newman (executive editor, West Coast and Nashville), and Jessica Nicholson (staff writer, Nashville). So they wouldn’t influence each other, the two did not compare notes on their picks.
Entertainer of the year
Luke Combs
Chris Stapleton
Carrie Underwood
Morgan Wallen
Lainey Wilson
Newman: It’s only been a year since Wilson earned her first CMA Awards nominations (and wins), so her ascent into the entertainer category feels, perhaps, a tad speedy. The other four nominees have been here before, including last year, with Combs prevailing. This year marks Stapleton’s and Underwood’s seventh and sixth nominations in the category, respectively, yet neither has won the award, and, despite strong touring efforts in 2023, it feels like they will go home empty-handed again. This year is a race between Combs, who is seeking his third crown, and Wallen, who is after his first. Both have ascended to stadium-act status, and both have had unbelievably successful years at radio. If there was ever a year for a tie, this might be it, but Combs made the leap to multi-continent international touring sensation this year, so he has a slight advantage.
Will win: Luke Combs
Nicholson: While each of the nominees has had an incredible year, it seems that Combs and Wallen are the front-runners in this race. Both have battled it out in the upper echelons of the Billboard Hot 100 (with Wallen’s “Last Night” spending 16 weeks atop the chart, and Combs’s “Fast Car” reaching No. 2). Combs is already a two-time winner and the reigning champ in this category, while Wallen’s One Thing at a Time has dominated the Billboard 200 this year, with 16 weeks atop the chart. Both have had major stadium runs this year, with tours that have taken them to overseas markets as well as domestic shows. Wallen’s 2023 tour began with shows in Australia and New Zealand, and included stops in Canada, but Combs’s 2023 trek visited Australia, Canada and multiple countries in Europe, which might give him the edge here.
Will win: Luke Combs
Single of the year
Award goes to artist(s), producer(s) and mix engineer(s)
“Fast Car” – Luke Combs (Producers: Luke Combs, Chip Matthews, Jonathan Singleton, Mix Engineer: Chip Matthews)
“Heart Like A Truck” – Lainey Wilson (Producer: Jay Joyce, Mix Engineers: Jason Hall, Jay Joyce)
“Need A Favor” – Jelly Roll (Producer: Austin Nivarel, Mix Engineer: Jeff Braun)
“Next Thing You Know” – Jordan Davis (Producer: Paul DiGiovanni, Mix Engineer: Jim Cooley)
“wait in the truck” – HARDY (feat. Lainey Wilson) (Producers: HARDY, Joey Moi, Jordan Schmidt, Derek Wells, Mix Engineer: Joey Moi)
Newman: It’s a little surprising that Morgan Wallen’s “Last Night,” which spent a staggering 16 weeks at No. 1 on the Hot 100, didn’t get a nod here, but voters leaned toward heavier fare for the most part, favoring murder ballad “wait in the truck,” Jelly Roll’s redemption-seeking “Need a Favor” and Combs’ poignant remake of Tracy Chapman’s “Fast Car.” Davis was a runner-up last year with “Buy Dirt” and this year’s entry, “Next Thing You Know,” mines the same family-oriented theme, while Wilson’s “Heart Like a Truck” is pleasing, traditional country. All were hits, reaching the top 2 of Billboard’s Country Airplay chart, but the meaty songs here resonated strongest this year, with “wait in the truck” hitting the hardest thanks to HARDY and Wilson’s gravitas-filled vocals.
Will win: “wait in the truck”
Nicholson: This year’s category is packed with hits, including a double-header of chart songs from Wilson (“Heart Like a Truck” and “wait in the truck” with HARDY). Jelly Roll’s rock-infused plea “Need a Favor” is here, as is Jordan Davis’ quieter chart hit, the sentimental “Next Thing You Know.” In terms of chart successes, Combs’s rendition of the Tracy Chapman classic “Fast Car” has been a sales juggernaut, reaching No. 2 on the Billboard Hot 100 and spending five weeks atop the Country Airplay chart. This crossover hit was inescapable this year, which leans the odds in Combs’ favor.
Will win: “Fast Car”
Song of the year
Award goes to the songwriters
“Fast Car” — Songwriter: Tracy Chapman
“Heart Like A Truck” — Songwriters: Trannie Anderson, Dallas Wilson, Lainey Wilson
“Next Thing You Know” — Songwriters: Jordan Davis, Greylan James, Chase McGill, Josh Osborne
“Tennessee Orange” — Songwriters: David Fanning, Paul Jenkins, Megan Moroney, Ben Williams
“wait in the truck” — Songwriters: Renee Blair, Michael Hardy, Hunter Phelps, Jordan Schmidt
Newman: The same songs nominated for single of the year are competing here except for “Need a Favor,” which has been replaced by “Tennessee Orange.” It would be something if Chapman won for “Fast Car,” a song that is as heartbreaking today as it was upon its initial release 35 years ago, but that seems unlikely. Other than “Fast Car,” the artists all had a hand in writing the songs they performed and that emotional investment reverberates here. “Tennessee Orange” served as a beguiling introduction to Moroney, while “Heart Like a Truck” showed the vulnerable side of Wilson. “Next Thing You Know” felt like Davis has found his lane that celebrates family and “wait in the truck” refused to pull its punches as it shined a harsh light on domestic violence. The winning song doesn’t need to necessarily make a statement, but “wait in the truck’s” fearlessness in embracing the darkness feels like an achievement worth heralding.
Winner: “wait in the truck”
Nicholson: Most of the same songs nominated in the single of the year category repeat here, including “Fast Car,” “wait in the truck,” “Next Thing You Know” and “Heart Like a Truck.” Wilson’s collaboration with HARDY and her solo “Heart” followed similar chart trajectories this year. “Heart Like a Truck” was named song of the year at the industry-voted NSAI Nashville Songwriter Awards, and it could very well follow that up with a win in this category.
Will win: “Heart Like a Truck”
Album of the year
Ashley McBryde Presents: Lindeville, Ashley McBryde
Bell Bottom Country, Lainey Wilson
Gettin’ Old, Luke Combs
One Thing At A Time, Morgan Wallen
Rolling Up the Welcome Mat, Kelsea Ballerini
Newman: From Kelsea Ballerini’s intensely personal statement of reclaiming her own life after her divorce to Ashley McBryde’s vivid imaginary community in Lindeville, all the nominees here created works that connected with fans and advanced their artistry. Luke Combs’ set is the companion to last year’s winner, Growin’ Up, that celebrates the singer/songwriter embracing middle age. Lainey Wilson graduated to budding superstar status with Bell Bottom Country, which felt like a mission statement as she grew more confident in her delivery and message. It already seemed like Wallen couldn’t rise higher, but One Thing at a Time topped the Billboard 200 for 16 weeks, the most since Adele’s 21 in 2011-12. All will stand the test of time as high-water marks for each artist, but McBryde brought us into a world in an innovative, original way that felt uniquely immersive.
Will Win: Ashley McBryde Presents: Lindeville
Nicholson: This category celebrates an array of styles, from Wilson’s hippie-country Bell Bottom Country project to Ballerini’s heart-on-her-sleeve Rolling Up the Welcome Mat album, Combs’s hit-filled Gettin’ Old album, and McBryde’s collaborative, creative Lindeville project, which featured John Osborne, Brandy Clark, Caylee Hammack, Aaron Raitiere, Benjy Davis and more.
The undeniably red-hot hit project of the bunch has been Wallen’s One Thing at a Time, which has spent 16 weeks atop the Billboard 200. Still, this is a category where voters have often awarded creative impact over commercial success, so McBryde and her Lindeville cohorts could pick up the win here.
Will win: Ashley McBryde Presents Lindeville
Female vocalist of the year
Kelsea Ballerini
Miranda Lambert
Ashley McBryde
Carly Pearce
Lainey Wilson
Newman: The same vocalists as last year are competing except for Carrie Underwood, whose slot is filled by a deserving Kelsea Ballerini. Given that she’s been nominated, or won, 16 out of the last 17 years, it’s odd not to see Underwood’s name here, but she’ll definitely be back. Lambert’s been on a bit of a break since parting ways with Sony Nashville, so this is more of a four-way race between the other women. All have had strong years, but Wilson feels unbeatable for the second year in a row.
Will win: Lainey Wilson
Nicholson: Lambert is the winningest nominee in the category, with seven prior wins. Though every nominee here had a stellar touring/performing year, on the recording front, Lambert and Pearce had relatively quieter years. Pearce teamed with Chris Stapleton for the ballad “We Don’t Fight Anymore,” and Lambert paired with Leon Bridges for “If You Were Mine.” Ballerini released one of her most personal, expressive albums to date with her divorce record, Rolling Up the Welcome Mat. Wilson is the reigning champ in this category, and seemed to be ubiquitous this year, thanks to heavy touring, a trio of songs surging up the charts, awards show appearances and a campaign with Wrangler. Wilson seems to be a lock in this category.
Will win: Lainey Wilson
Male vocalist of the year
Luke Combs
Jelly Roll
Cody Johnson
Chris Stapleton
Morgan Wallen
Newman: Jelly Roll replaces Eric Church in this year’s list of finalists and it’s hard to overstate the year he’s had, but the same could be said for all the contenders, including second-time nominee Wallen, who won the title at the ACM Awards in May. Either Stapleton or Combs has taken home the award the past eight years, with Stapleton winning a record-setting six times. Despite Stapleton’s once-in-a-generation voice, it’s undeniably Wallen’s turn.
Will win: Morgan Wallen
Nicholson: This is a stacked category, with Combs, Jelly Roll, Cody Johnson, Stapleton and Wallen all vying for the honor. Wallen, Jelly Roll and Johnson are all hoping to pick up their first wins, against veteran winners Stapleton (six times) and Combs (twice). Stapleton is a perennial favorite in the category, and Combs, Jelly Roll and Johnson have all had solid years, but given Wallen’s juggernaut touring in addition to the chart success of “Last Night” and One Thing at a Time, it looks like this could be the year he cinches a win.
Will win: Morgan Wallen
New artist of the year
Zach Bryan
Jelly Roll
Parker McCollum
Megan Moroney
Hailey Whitters
Newman: Bryan and Jelly Roll are already bonafide headlining arena acts, so it seems strange to even see them in this category, since their stars have ascended so quickly. Additionally, Bailey Zimmerman has dominated the charts in recent months with three Country Airplay No. 1s, so his omission is glaring. McCollum, Moroney and Whitters look like they’re all headed toward long, bountiful careers with Whitters snagging the top new female trophy at the ACM Awards. If voters are going by the numbers, it’s hard to deny Bryan or Jelly Roll, but, if like me, voters feel like they are both past the point of winning this award, Moroney could be the surprise winner.
Will win: Megan Moroney
Nicholson: Bryan is far and away the biggest success story of this crop of newcomers. He’s selling out stadiums nationwide and regularly notching songs and albums to the upper echelons of the all-genre Billboard charts. But Bryan’s comments following last year’s CMA Awards, could have deterred some CMA voters. “Handle on You” hitmaker McCollum, “Everything She Ain’t” singer Whitters and “Tennessee Orange” crooner Moroney have all made strides over the past year, but recent Billboard cover star Jelly Roll has been one of the biggest breakout artists, earning two No. 1 Country Airplay hits this year (including the four-week Country Airplay chart-topper “Need a Favor”) and currently enjoying a top 10 hit on the chart with his Wilson collab “Save Me.” Add in a top headlining tour, and this one is Jelly’s to lose.
Will win: Jelly Roll
Vocal duo of the year
Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War And Treaty
Newman: Maddie & Tae are competing for the ninth time without a win, and they will likely go home empty-handed again, given Brothers Osborne have snagged the trophy five of the last seven years and Dan + Shay grabbed it the other two. Brooks & Dunn, who last won in 2006, are legends, of course, but it seems odd that they are even plunked into this category, since they exist primarily as an occasional touring act. The War And Treaty are a strong addition, but they likely can’t stop the momentum that the excellent Brothers Osborne continue to have.
Will win: Brothers Osborne
Nicholson: This year, 14-time category winners Brooks & Dunn face off against five-time category winners and reigning champs Brothers Osborne, as well as two-time winners Dan + Shay, Maddie & Tae and newcomers to the category, husband-and-wife duo The War And Treaty. Dan + Shay, Brothers Osborne and The War And Treaty all released new studio projects this year. Brothers Osborne scored a top 25 Country Airplay hit with “Nobody’s Nobody,” released their self-titled album and played a string of headlining shows, while Dan+Shay made media waves leading up to the release of their 2023 album Bigger Houses by revealing they nearly broke up, and earned a top 20 Country Airplay hit with “Save Me The Trouble.” Brothers Osborne’s labelmates The War And Treaty also scored a major chart hit this year with their Zach Bryan collaboration “Hey Driver” (which reached the top 20 on the all-genre Billboard Hot 100). They’ve been opening tour dates on Chris Stapleton’s All-American Road Show (in addition to a string of overseas headlining tour dates) and have been ubiquitous on awards show appearances this year. All of these high-profile appearances could give W&T the edge.
Will win: The War And Treaty
Vocal group of the year
Lady A
Little Big Town
Midland
Old Dominion
Zac Brown Band
Newman: The nominations in this category have remained static for the past five years with the same acts vying for the title, with the exception of 2020, when a dissolving Rascal Flatts took Zac Brown Band’s spot. They are all worthy contenders, but, as with vocal duo, the category could benefit from some new blood or have voters pay a little attention to who else is making noise, like Parmalee, whose “Take My Name” was Billboard’s 2022 Country Airplay Song of the Year. Old Dominion continues to grow both creatively and commercially, so expect them to take home their sixth consecutive trophy in this category, tying Little Big Town’s six wins.
Will win: Old Dominion
Nicholson: Old Dominion has arguably been the most visible of this year’s nominees, thanks to to their album Memory Lane and their Country Airplay top 10 hit of the same name. Zach Brown Band earned a top 20 Country Airplay hit with “Out in the Middle,” but Old Dominion seems to be on track to extend their five-year winning streak.
Will win: Old Dominion
In many ways, Garth Brooks made Time Traveler — or at least one particular song on his 14th studio album — for an audience of one.
Gentle ballad “St Paul/Minneapolis (A True Story)” — a rare solo write by Brooks that shares a wistful, nostalgic feel with Brooks’ standards “Every Now and Then” and “What She’s Doing Now” — is about a random encounter he had in the Twin Cities with a women for whom he felt an instant connection. “I don’t have a clue who she is. It’s the weirdest thing. It was the easiest thing I’ve ever done. When she started talking, there was something in me that unlocked. In my dream of dreams, I’d love to run into her again and see if that easy feeling was really that or am I just imagining things,” he tells Billboard.
Brooks says he’s told no one, including his wife Trisha Yearwood, specifics about the chance meeting “because if this person is going to show up, then she’ll know the details that nobody else does and I’ll know I’m talking to the right person.” He’s not even sure if she recognized him, but stresses in the song he isn’t trying to disrupt his life or hers: “Now I’m not looking for relation/ And I don’t wanna change your life,” he sings.
One of the few people who has heard the song before its release is Brooks’ musical hero James Taylor. “I texted him and said, ‘Hey man, would you ever think about producing a song and he said, ‘I’d love to!’ and I was on Cloud 9.” But when Taylor heard the record, he declared it was perfect just the way it was. “Getting that kind of confidence boost, it was just nice to hear from a musical god of yours, “ Brooks says, then laughs self-deprecatingly at the blatant celebrity call-out, adding, “I tell you what, the older you get, the more names you get to drop.”
That’s not the only big name that comes up around the Brooks-produced, 10-track Time Traveler, which is part of The Limited Series, a seven-disc set available exclusively through Bass Pro Shops starting Tuesday (Nov. 7). The $29.99 set also includes Brooks’ three studio albums since he came out of retirement — 2014’s Man Against Machine, 2016’s Gunslinger and 2020’s Fun — and the previously released three-disc Triple Live concert set.
“Rodeo Man,” the album’s rollicking first single, out today, is a duet with Brooks & Dunn’s Ronnie Dunn trading his usual singing partner Kix Brooks for a different Brooks. “He’s one of the greatest voices in country music ever,” Brooks declares of Dunn.
The two icons were swapping songs back-and-forth when Dunn sent Brooks “Rodeo Man,” which he co-wrote with Phil O’Donnell. “I texted him back that it was a smash,” Brooks says of the song that fits right into country’s ’90s music resurgence. Brooks had a few suggestions to add some fiddles and pedal steel and then recorded it to show Dunn the changes he would make after promising him “I’m not going to steal your song.”
Dunn was so happy with Brooks’ version, he suggested they duet on it. “He was very sweet to let me in the door. What we did was combine his track with our track,” Brooks says. Big Machine Label Group will promote the song to radio, as it did Brooks’ 2007 Country Airplay No. 1, “More Than a Memory.” Unlike the rest of the album, it will also be available for streaming on Amazon, Brooks’ exclusive streaming outlet.
Brooks is joined by Kelly Clarkson, who sings backing vocals on the loping “The Ship and the Bottle,” a bittersweet ballad written by Nicolle Galyon, Chase McGill and Jon Nite that Brett Young included on his 2018 album Ticket to L.A., but didn’t release as a single. The song envisions one member of a romantic couple as a bottle and the other as the enclosed ship. The bottle may have to break to allow the ship to be free and pursue her dreams. “The text was simple: ‘Hey, I’ve got a song. It’s not a duet. I would love to hear your voice on it, but I know you’re slammed,” Brooks says of his outreach to Clarkson. “And three seconds later came back in all capitals: ‘YES.’ With exclamation points. It made an older artist feel very good that this younger artist would want to sing along on one of these records.”
The other cover on Time Traveler is “The Ride,” David Allan Coe’s 1982 swampy classic about a hitchhiker who gets picked up by the ghost of Hank Williams. “The story [of Williams] haunted me my entire life,” says Brooks, who added a verse to flesh out what the characters talked about on their trip from Montgomery to Nashville, though he doesn’t take a songwriting credit on the tune written by Gary Gentry and J.B. Detterline Jr. “I’m an a–hole in a lot of different ways, but I just can’t be that guy,” he says.
The song also features Brooks’ first attempt at spoken word. He admits he was scared how it would turn out. “I was like ‘Is this going to sound corny or bad? But when I heard it, I thought, ‘That’s scary.’ I liked it.”
On the rowdy “Neon Neighborhood,” longtime fans of Brooks’ will no doubt recognize a tip of the hat to his raucous “Friends in Low Places,” with a boisterous chorus made up of his band and crew singing along as they did on the 1990 classic. Brooks first enlisted an audience at a show during his current two-year Las Vegas residency at Caesars Palace to sing and then brought the smaller contingent into the studio to make the words clearer.
As Brooks, the top-selling solo artist in the U.S., according to the RIAA, gets ready to open his own bar — naturally titled Friends in Low Places — on Nashville’s Lower Broadway, he hopes the song will find its own audience. “I’m not going to push it,” he adds. “We’ll see what kind of life it gets on its own. But I can tell you I just love the whole groove of it and it just feels so good especially when the band just takes off and plays.”
Brooks titled the album Time Traveler because of the different eras of country music it pays homage to and the styles he’s been rediscovering as he programs The Big 615, one of a suite of seven stations that makes up Brooks’ Sevens Network for global streaming platform TuneIn. “What I love about the Big 615 and curating it is that it forces you to listen to the stuff that you didn’t have the time to listen to before and I think that’s really, really good,” he says.
The album includes “Only Country Music,” the song that kicked off The Big 615 when it launched in June and marks the first time Brooks and Nashville writing powerhouse Ashley Gorley have written together. The two were brought together by the song’s co-writer Matt Rossi. “While we’re writing, I tell [Ashley], ‘Man, before this session, I don’t know if it was jealousy or envy, but I’m like ‘60 No. 1s! How is that possible?’ But when you write with this kid he is so far ahead of you the whole time. It’s like, ‘Holy cow. How do you do that?’ And then he leaves and probably goes and does it two more times that day. But he totally carried that session. No offense to Matt Rossi. No offense to myself.”
Brooks will talk about the album further tonight, as he and Bass Pro Shops CEO Johnny Morris appear on live internet shopping platform TalkShopLive in partnership with Bass Pro Shops for an exclusive album release event at 7 p.m. E.T. (viewable via the above link). In addition to availability in the 177 Bass Pro Shops across the U.S. (including 82 Cabela’s), fans can also pre-order The Limited Series through the sporting goods retailer’s online site.
Brooks played Bass Pro’s 50th anniversary birthday party last fall, which led to the collaboration. “He talked to me about water conservation,” Brooks says of Morris, a devoted conservationist. “I said it was like the songwriters, how they’re just getting squeezed out and squeezed out” by low streaming rates and the focus on singles instead of albums. “And he said ‘Well, what can we do about that?’ and I said, ‘I’m looking for a partner for my last limited boxset [and] he was sweet enough to step up.”
The first The Limited Series came out 25 years ago in 1998, and was followed by a second The Limited Series with different content in 2005. The second edition was available exclusively through Walmart. Both series were limited to one million box sets each with one-way buys by the retailers.
The Limited Series arrives two weeks before Brooks plays a free show at the grand opening of Friends in Low Places on Nov. 24. Tickets were available only via Brooks’ The Big 615 station with more than 3 million entries received. The concert will also air live at 7 p.m. E.T. on Amazon Prime and Twitch as the latest in the Amazon Music Live series, which has previously featured Ed Sheeran and Feid.
One of the Nashville music industry’s most festive, star-studded weeks got underway on Sunday evening (Nov. 5) in the walkup to Wednesday’s CMA Awards, with SESAC’s Nashville Music Awards celebrating the writers and music publishers behind many of the year’s most-performed country and Americana songs.
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Following a cocktail hour where more than 400 of Nashville music industry denizens schmoozed, Megan Moroney started the ceremony by performing an acoustic, husky-voiced rendition of one of the celebrated songs of the evening, “Tennessee Orange.” The ballad, which Moroney co-wrote, is nominated for song of the year during the CMA Awards (Moroney is also up for new artist of the year).
SESAC executives including chairman/CEO John Josephson, president/COO Scott Jungmichel, chief creative officer Sam Kling, senior VP/head of Nashville creative Shannan Hatch, and Lydia Schultz Cahill and ET Brown (senior directors, creative services), guided the evening’s festivities and led the charge in honoring the writers’ and publishers’ accomplishments.
“We have a hugely talented group of creators here tonight,” Jungmichel said. “Supporting you continues to be our focus.”
“What an amazing year it has been for country and Americana songwriters,” said Hatch, noting songwriter Rafe Van Hoy’s recent induction into the Nashville Songwriters Hall of Fame earlier this year. “Also, more Nashville writers were honored than ever during the SESAC [all-genre] Awards earlier this year.”
SESAC writers Josh Hoge and Christian Stalnecker contributed to writing “Thank God,” recorded by Kane Brown and his wife Katelyn Brown. The song became a No. 1 Billboard Country Airplay chart hit and on Sunday evening, was named SESAC’s song of the year during the Nashville Music Awards. The gratitude-filled ballad is also up for musical event of the year at Wednesday’s CMA Awards. Brown was on hand to help present Hoge and Stalnecker with the honor.
Sony Music Publishing was named publisher of the year, after earning seven awards throughout the evening, for the company’s role in publishing sterling country radio hits including “Thank God,” “Tennessee Orange,” “Dancin’ in the Country,” “You Didn’t,” and “Pick Me Up.”
The SESAC Heritage Award celebrated the legacy of “I’ll Fly Away” songwriter Albert E. Brumley and recognized SESAC’s 80-year partnership with the song and Brumley. Betsy Brumley accepted the heritage award on his behalf. Jamey Johnson was also on hand to perform a gorgeous acoustic version of the song.
Other SESAC-affiliated songwriters honored throughout the evening included Margo Price, Jeremy Ivey, Justin Ebach, Casey Brown, Dillon Carmichael (who earned his first industry award that evening and took the stage to perform a rendition of his song “Son of a A”) and Kelsey Waldon.
The evening concluded with the coveted songwriter of the year trophy, which went to Jon Nite, in recognition of his work in composing songs including “Dancin’ in the Country” (recorded by Tyler Hubbard), “You Didn’t” (Brett Young), and “Pick Me Up” (Gabby Barrett). Video tributes for Nite came from Keith Urban, Tyler Hubbard, Gabby Barrett, songwriter-producer Ross Copperman, Sony Music Publishing’s Josh Van Valkenburg, as well as tributes from Nite’s family.
“I don’t deserve this; this is unbelievable,” Nite said after taking the stage, first thanking his family and his Sony Music Publishing champions.
Nite recalled moving to Nashville over two decades ago, with $500 to his name. He offered advice to any aspiring songwriters: “Keep writing the songs that are part of your life—those are the only ones that work.” He noted the intense work ethic and long-term vision required for forging success within the industry, saying, “I wrote 1,000 songs before I got one cut.” He ended on a note of gratitude, and a bit of incredulousness, for being able to live out his dreams, saying, “It’s unbelievable that SESAC pays us to do what we do…what we love.”
See a full listing of the year’s SESAC Nashville Music Awards honorees below:
“Thank God”
Written by: Josh Hoge, Christian Stalnecker
Published by: Blunts and Bonfires Music, Feels Like Friday, Sony Music Publishing, Chorus 2 Music, RMM 416 Publishing
Recorded by: Kane Brown and Katelyn Brown
“DANCIN’ IN THE COUNTRY”
Written by: Jon Nite
Published by: Cuts Like A Nite Music, Sony Music Publishing
Recorded by: Tyler Hubbard
“TENNESEE ORANGE”
Written by: Megan Moroney
Published by: Georgiamo, Sony Music Publishing
Recorded by: Megan Moroney
“YOUR HEART OR MINE”
Written by: Justin Ebach
Published by: Phat Racoon, Universal Tunes
Recorded by: Jon Pardi
“YOU DIDN’T”
Written by: Jon Nite
Published by: Sony Music Publishing
Recorded by: Brett Young
“PICK ME UP”
Written by: Jon Nite
Published by: Cuts Like A Nite Music, Sony Music Publishing
Recorded by: Gabby Barrett
“GIRL IN MINE”
Written by: Casey Brown
Published by: Track & Feels, Warner Chappell Music, Tape Room Tunes
Recorded by: Parmalee
“WATER UNDER THE BRIDGE”
Written by: Chris LaCorte
Published by: Card Tables Music, Hang Your Hat Hits, Concord Tunes
Recorded by: Sam Hunt
“BURY ME IN GEORGIA”
Written by: Josh Hoge
Published by: Blunts and Bonfires Music, Chorus 2 Music, Sony Music Nashville
Recorded by: Kane Brown
“OUT IN THE MIDDLE”
Written by: Ben Simonetti, Zac Brown
Published by: Simonetti Music Publishing, Day For The Dead Publishing
Recorded by: Zac Brown Band
“Y’ALL LIFE”
Written by: Josh Jenkins, Pete Good
Published by: Follow Me Where I Go, SMACKWORKS Music
Recorded by: Walker Hayes
“SON OF A”
Written by: Dillon Carmichael
Published by: Riser House Tunes, Sony Music Publishing
Recorded by: Dillon Carmichael
“PARTY MODE”
Written by: Jared Keim
Published by: Twelve6 Sequoia, Warner Chappell Music
Recorded by: Dustin Lynch
“CHANGE OF HEART”
Written by: Margo Price, Jeremy Ivey
Published by: Peach Pit, Fisheye, RMM 416 Publishing, Good Songs We Love
Recorded by: Margo Price
“THAT KIND OF LIFE (THAT KIND OF DAY)”
Written by: Jim Lauderdale
Published by: Wudang Mountain Songs, Critter City Music
Recorded by: Jim Lauderdale
“TALL AND MIGHTY”
Written by: Kelsey Waldon
Published by: MyKaintuck Publishing, Do Write Music
Recorded by: Kelsey Waldon
“DON’T LET THE DARKNESS”
Written by: Ed Jurdi
Published by: Three Pisces Music
Recorded by: The Band of Heathens
“ALL I REALLY WANNA DO”
Written by: Henry Brill
Published by: Kobalt Group Publishing
Recorded by: Devon Gilfillian
Leading up to this year’s CMA Awards in Nashville, Dolly Parton takes ABC News’ Robin Roberts behind the scenes of her new album, Rock Star.
The hourlong ABC News special Dolly Parton – From Rhinestones to Rock & Roll will air Tuesday from 10-11 p.m. ET. Together, Parton and Roberts discuss Dolly’s collaborations with numerous rock artists on her new album, including Paul McCartney, Ringo Starr, Pat Benatar, Peter Frampton, John Fogerty and Steven Tyler. Current CMA Awards co-host Luke Bryan will host the special.
They also discuss the stories behind many of Parton’s iconic fashion looks over the years. Those fashions and stories make up Parton’s newly released book Behind the Seams: My Life in Rhinestones. The book was also celebrated during the recent grand-opening celebration of Parton’s fashion exhibit at Lipscomb University in Nashville.
The trailer for the hourlong special features a plethora of artists discussing what they love about the 77-year-old member of both the Country Music and Rock & Roll Halls of Fame. The special features appearances from Jelly Roll, Carly Pearce, Keith Urban, Cody Johnson, Miranda Lambert, Sting, Lainey Wilson, Darius Rucker, Tim McGraw, Jordan Davis and Luke Combs.
“Ask me what I love about Dolly Parton, and I’ll say everything,” “Need a Favor” singer Jelly Roll says in the special.
Though Parton’s accomplishments, talent and confidence are world-class, she also reveals to Roberts that she has her moments of nervousness too.
“I’m scared sometimes, you know, I’m not made of stone,” Parton says at one moment in the preview clip.
The upcoming CMA Awards, hosted by Bryan and Peyton Manning, will air live on ABC from Nashville’s Bridgestone Arena on Nov. 8. Leading this year’s nominees are Lainey Wilson with nine nominations (including her first entertainer of the year nod) and first-time nominee Jelly Roll, with five nominations.
See the trailer for Dolly Parton – From Rhinestones to Rock & Roll below:
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