The 57th Academy of Country Music

57 years of the Academy of Country Music were fulfilled, brought full circle, and true to its years. The Academy was a captivating show that elegantly meshed the 57 years of country music’s tradition with the modern-day direction of current country music of pop and grit. It doesn’t get much better than both.

A perfect example of legend meets learner was the golden thread of Dolly Parton that strung the entire show together like Dolly’s coat of many colors, with her green co hosts Jimmie Allen and Gabby Barrett. Seeing the two generations of country music converge on stage as hosts of the event to unfold was a magical experience; as if the two aren’t so lost from each other. Themes of this thread traipsed all around the stage starting with Eric Church’s early performance. In true Chief fashion, Church wore his aviators, covering his eyes from the crowd, but still connecting through a mash-up of one song off each and every album, starting with Sinners Like Me and ending with his latest album release, Soul. 

Contrarily, Walker Hayes performed his first ACM Award show with “AA,” and his viral hit, “Fancy Like.” He worked his way through the crowd to the center stage and stunned the stadium with his cunning and charming pop-country songs. Country music fans young and old ate up both these performances, which is just another thread of the beauty behind the convergence of country music - traditional and modern - in the 57th Academy of Country Music Awards. 

Next on the docket, was Lainey Wilson’s, who won New Female Artist of the Year, performance of “Things a Man Oughta Know.” If you weren’t looking at the screen, you’d think Deanna Carter’s voice was fooling you with a new song. Wilson has a pure classic country sound, just like Carter. Her voice is tinged faintly by an honest Louisiana accent and is rich as honey and innocent as strawberry wine. Her performance, doused in black leather fringe no less, was a catalyst of joining new, young voices with new, fresh approaches to music, with the true, classic bones of country music. 

Watch Lainey Wilson’s performance here.

To bookend the beautiful theme was a performance you just can’t make up. Kelly Clarkson, the pop powerhouse with a heart for country music, belted Dolly Parton’s “I Will Always Love You” as homage. The 57th Academy of Country Music Awards was a beautiful reminder that how it once was and how it is going to be doesn’t have to be lost without the other. 

Dave barnes at the ryman

The warmth of the Ryman and the electricity through anticipation of live music again in the heart of music city illuminating through the space — between the pews and bouncing off every light and sound.

Dave Barnes performed at the Ryman — expressing earnestly his gratitude and excitement of it being the first full-scale performance since the pandemic paused live music.

The excitement and gratitude was felt by everyone. Barnes and his band electrified the stage with funk-filled songs like his relatively recent “Dreaming in Electric Blue”. Barnes and his band for the night unleashed their energy and the evening truly was electric.

Barnes thematically strung the set together with a beautiful and eclectic melting pot of music — focusing on the contemplative, reflective emotions of gratitude, and what truly matters in life through songs like “Good,” and a subdued and poignant cover of Lauper’s “Time After Time,” while also balancing his original and raw funk phase with “All That Noise” coupled with his more recent funky releases like “(I Guess That’s What I Get) for Loving You”… polished with wet guitar sounds and a vibey bass player. Barnes tied in his beloved and slower-paced originals like “Nothing Fancy” and “Grace’s Amazing Hands.”

In true Barnes fashion, the set was tied together effortlessly with his impromptu stand-up between songs. Known for his storytelling and roaring laughter at his own in-the-moment jokes, Barnes charmed his loyal audience.

The Make-Shift ACMs

Leave it to quarantine to demand creativity and a change of plans at lightning fast speed. For what would have been the Academy of Country Music Awards for the 55th year in a row stood in its place a cultivation of country music community and creativity with some of country music’s biggest stars performing at-home songs.

The intimacy of acoustic performances at home far outshined the show of being on stage. Though the ACMs are welcomed fervently due to their inherent charm and timeless, traditional appeal, the “Our Country” special was a tasteful substitute considering the circumstances, and the heart, the point, and the pulse of why country music captivates its audience was made as clear as day.

Throughout the entirety of the show, the theme of community and connection, whether through the words of the artists or the songs they sung, was made clear, wholeheartedly and genuinely. Though the red carpet and the glitz and the glam is a perk of award shows, there was something exceptioanlly special about the artists in the comfort of their own homes wearing comfortable, casual clothing. The point of country music award shows is they celebrate music, but the point of tonight’s ACM Awards substitute was to reintroduce why we celebrate music— it brings family and the community together, and all of America saw it in every performance.

Keith Urban, who would have hosted the ACM Awards opened up the special as the first performer. He set the tone for what would be the theme of the entire night— family, as he recognized Nicole and daughters, and the community, as he recognized the first responders and healthcare workers and those who have come together to fight and withstand these uncertain times. He started with “Wasted Time,” about which he said seemed to portray a fresh meaning lately. Take it as you will. Appy it to your last three weeks. That’s the magic of country music.

The special started strong, but picked up momentum and caused intrigue fast. The next performance was a trio— Lady Antebellum— separately, together. Each was in their own setting with their kids crawling in their arms and making appearances in front of the camera, automatically circling back already to the connection theme of the night. The ACMs were truly a family show tonight.

Sprinkled throughout the show, CBS played honorable mention-like footage from ACMs performances from year’s past, like Carrie Underwood and Steven Tyler, or Luke Combs and Brooks & Dunn later on in the show.

Carrie Underwood stunned with a couchside version of “Drinking Alone.” It was a powerhouse performance set in such a subdued manner, what can’t she do? Following Carrie, another group performance took a creative approach to harmonies. Little Big Town performed a harrowingly beautiful rendition of “Next to You,” from their stairwells and studios. The song is off their latest album, Nightfall, and seemed to hit a particularly close-to-home chord, no pun intended, to the audience. Gayle King, the mediator and narrator of tonight’s performance, made mention of the fact that “all we need [right now] is a little harmony, and Little Big Town does it well.” Well said, Gayle King.

Tim McGraw was next in the bank of ‘Our Country.’ He performed Lori McKenna’s ‘Humble & Kind,’ which he put out and made famous in 2016. The song blew up 4 years ago because of it’s simple and ever-present appeal of living a life of love and kindness, but his performance tonight seemed to be a more poignant reminder. Each lyric screamed louder than I personally have ever heard it. He also wasn’t alone. McGraw had members of his band playing the song with him from their home, too. It was a team effort— again, the ever-developing theme of the Academy. His performance was flawless and simple, bringing back the importance of staying humble and kind.

Next on the plate was Shania Twain who won the best set up award. I may or may not come up with my own superlatives since the ACMs weren’t able to appropriately honor the artists. “And the Academy award for best set-up goes to…Shania Twain!” She was outside in her barn, seemingly at night, with her horse and dog on either side of her. Her dog was content, but her horse was giving her butterfly kisses the entire performance. I couldn’t help but wonder what her horses name is. Something extravagant, I’m sure. She dazzled in a tastefully oversized cowboy hat as only Shania can, and she performed two well-loved songs.

Old Dominion wasn’t quite a One Man Band, but they were pretty close. Matthew Ramsey, the lead vocalist, and Trevor Rosen, performed “Some People Do” in another living room scene. Following their performance, Eric Church came out of left field and re-entered the country music world boldly but humbly.

He performed a brand new song, perfectly fitting for times such as these. Before introducing the song, Church brought church to the people and gave an honest and hopeful testament to the times. He was wearing a beanie and regular glasses— not sunglasses. It was a rare but welcome and humane look for Church. He performed “Never Break Heart,” of which I can’t find the words to describe to I’m just going to leave this here:

Brad Paisley and Darius Rucker, from Nashville and Charleston, each performed a duet-mash-up take on Paisley’s “Mud on the Tires” and Rucker’s version of “Wagon Wheel” through FaceTime. Throughout the entirety of the show everyone was curious who each artist’s cameraperson was— their spouses? a bandmate? a professional? are they alone with their computer? In Paisley’s case, he acknowledged his “beautiful camerawoman" as his wife, Kimberly, who, of course made a brief cameo.

The following series of content were all just as noteworthy as what we’ve touched so far. Blake and Gwen swooned fireside with their latest duet “Nodboy But You” and naturally and playfully mixed up their words when trying to advise people to “stay safe.”

Say Stafe, everybody.

Thomas Rhett made everyone implode with his new song, “Be a Light.” It is a simple sentiment with an extravagant testament to how we are called to live everyday, but especially in dire time of need. The song shows Thomas Rhett’s simple charm and natural talent… I mean his shirt matches his curtains and he is in his home studio while he absolutely destroys (in the good way) “Be a Light.”

Following Thomas Rhett Brandi Carlile slayed a simple set sitting at piano, Luke Bryan took on the fitting “Most People are Good” and Luke Combs looked like he was at home in the honkytonks during his studio set of “Beautiful Crazy.”

Next, Miranda Lambert introduced her performance in a soft and genuine manner. She acknowledged the gratitude she felt for technology in maintaining— and growing— connection. She also showed gratitude for music in general as a healing power. Her set was simple— she was at home, outside on her farm in Tennessee with just her iPad and guitar. Of course, the Academy of Country Music, CBS, and everyone in between had a signficant role in creating beautiful, clear pictures and sound, the sweetness of simple sets from each artist felt like a show in itself.

Dierks Bentley performed “I Hold On” and acknowledged sorrow for those who have lost their jobs during this difficult time. Then, Kane Brown and John Legend performed a brand new duet, “Last Time I Say Sorry” over FaceTime. FGL’s Tyler and Brian were together with both their families together in their family room and were thankful for the nation coming together as one, and also, notably, for performing in sweats. They performed “Blessings.” Sheryl Crowe proved she still has all the goods. She set at her piano in what looked like a cabin with a fire roaring in the background. Her natural beauty and graceful voice shined through a elegant “I Shall Believe.”

And, finally, an honoring of Joe Diffie’s and Kenny Rogers’ life wrapped up the show respectfully. Lionel Richie gave a heartfelt accolade to his longtime friend, Kenny, ending the show with a clip of them performing “Lady”” together. As Richie put it, we “celebrate the music” and the lives that made it so special, and during these uncertain times we fall back on what we know— faith, community, and country music.

The make-shift Academy of Country Music Awards delivered far beyond my expectations, and I gather they did for most everyone else, too. I have strong respect for the Academy and the artists to join together to create a beautifully spontaneous and surrel experience for viewers at home in such a quick, pressured manner. Well done! And each artist picked their song with intention and purpose, whether brand new or old and seasoned, each chose a song pertitent to bringing folks together as country music does. We’ll see y’all in September for the real thing.

Cheers to Country Music

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.

Colony House Q & A

Colony House, pioneers of the creative world, graced Lee University’s Conn Center stage on September 9th with high energy and raw talent. The band of four: Caleb, Will, Parke, and Scott, generated an exhilarating atmosphere through their music. The band sat down with part of the Vindagua team for an entertaining Q & A. They are as energetic and passionate off the stage as they are on.

Vindagua Team: What is your songwriting process like? Do you have one person that does most of the writing, or is it collaborative effort?

Parke: It starts with him (pointing to Caleb), he usually comes up with a decent bit of a song idea. Whether it’s finished verses and choruses or just one section of a song, and then he comes to us and says, “Hey let’s figure this out together!”

Caleb: I always say, songwriting is like fishing, you just gotta figure out what’s biting that day. It’s a different bait every day. Sometimes it’s like, “oh, throw it back” and sometimes it’s like, “we’re eating that!” (laughter from the band) Sometimes it’s easy, sometimes it’s hard. Sometimes it’s fun, sometimes it’s not. Occasionally you’ll cruise through one. Whether the topic was really dear to the heart or whatever, and you just take that and hope it happens again.

Vindagua Team: That leads into our next question: How do you deal with writer’s block?

Parke: Running helps me. I know that sounds maybe silly.

Scott: I think every time I’m up against a creative drought, whether it be guitar playing or whatever it is, I feel like time management somehow is part of the equation. If you’re going all day and all night, waking up early and you’re over committed or whatever it is, I feel like there has to be space for creativity to happen. Generally, I’m not rushing around town trying to do something and I get a great idea. It’s most of the time in the secret place, where you’re like “alright, I’ve carved out some time to sit here and think,” and that’s whenever the inspiration comes.

Caleb: A lot of times, it’s just doing something that is unusual for you. Wake up too early, go watch the sunrise, go walk and just do something you aren’t used to doing that kind of changes it up. For me, there’s something about being outside. I just went on a fishing trip with my dad out in the middle of nowhere. We literally had to call Scott on a satellite phone to get an update about something. There was no phone service, and that is amazing. That will cure whatever ails you. No distractions and just getting a reset brings a new perspective.

Vindagua Team: Who are you influenced by and how do you take that inspiration and pave your own way musically?

Scott: I feel like there’s a thing now with music being so accessible, that I get the reverse effect of being crippled and listening to my favorite records all the time because there’s ten new things to listen to right now. Recently, the newest The Killers record, the newest U2 record, the newest Leon Bridges record and “Keke do you love me?”

Parke: This is a classic Parke answer, but I’m very inspired by the Foo Fighters. Colony House doesn’t sound like the Foo Fighters, but I’ll just try stuff that sounds kind of like the Foo Fighters. Then sometimes I send it to the guys and see if sounds remotely like something we would do.

Caleb: I’m inspired by people that just do amazing work. I get inspired by guys like Johnny Cash and Glen Campbell, people that have paved the way. And it’s more than just the music, it was their attitude and their whole story that was inspiring. We all listen to kind of the same music though. Anything from Foo Fighters to...

Parke: Coldplay

Caleb: Coldplay to like, Eminem.

Vindagua Team: How does your faith influence your music?

Parke: It’s kind of part of everything that we do. Not necessarily like, I’m feeling or learning this in my faith, therefore I’m gonna write something specifically ‘Here I am in my faith!” but it’s just kind of a part of it all.

Caleb: We’re the guys going to church, we’re not pastors, you know what I mean? It’s just part of us. Our music is a conversation, so it’s what we’re feeling, what we’re thinking about. And it’s not always—sometimes it might be references to scripture or things that are, I guess for lack of a better word, a more vertical reference. But I think for us, it’s the things we’re going through in our life that our faith is, in forming, it is a part of, it’s not necessarily the vernacular that might be heard in a song.

Vindagua Team: What is your biggest music guilty pleasure?

Parke: Miley Cyrus.

Scott: What’s the song we love?

Caleb: “Do My Thang”

Scott: That’s literally our song!

Caleb: Lady Gaga and Kesha have some hot jams. Original Kesha is pretty fire. It’s almost not even guilty! It’s just pleasure.

Scott: Yeah, one of those. Gaga. I like Gaga.

Parke: All ‘Jock Jams’ and all songs from the ‘90s.

Vindagua Team: What are you binge watching right now on Netflix?

Parke: “Great British Baking Show”

Caleb: (to Scott) You just finished “Ozarks.”

Scott: I did just finish “Ozarks.” It’s kind of a dark show, but it’s just really...wow.

Parke: (laughing and making fun of Scott) “It is so wow!”

Vindagua Team: What is your McDonald’s order?

Caleb: Double Quarter Pounder with cheese.

Parke: Two McDoubles and a small fry.

Scott: The fact that we can spit this out that fast means you know that we are in a band and we have to eat sometimes at two in the morning. I am very classic. I go for the Big Mac.

All Together: Wait, the Mac Juniors!

Scott: The Mac Juniors are gone, but the Mac Junior was iconic. I’d get a Mac Junior and a small fry.

Vindagua Team: If you could describe your music in one word, what would it be?

Scott: Tight.

Vindagua Team: Tight?

Scott: Tight. (while everyone is laughing)

Caleb: I was thinking… Sandlot.

(laughter from everyone)

Parke: That works.

Scott: Sandlot?

Caleb: Pretty much Sandlot is all of our favorite movie and we have been inspired by The Sandlot. A lot of our outfits, a lot of our vibe is drawn strongly from The Sandlot. Anyways, this girl comes to our show and she goes, “I just have to tell you something. Watching your band is like watching the cast from The Sandlot if they grew up and made a band.” And I was like “Oh my gosh, I love you.” (laughter) “You literally couldn’t have said anything more awesome right now.”

Scott: One-word answers are always hard.

Parke: You really got us on that one.

Vindagua Team: That exceeded expectations.

Caleb: Just say like “unsure” ‘cause apparently that is the answer.

Parke: Star Wars (laughing)

Vindagua Team: Sandlot and Star Wars

(everyone laughing)

Caleb: You can just be, like, ‘they couldn’t make up their mind.’ We ran the gamut with it. Sorry. We’ll think about it next time.

Country Music's Biggest Night

Country music’s biggest night, the Country Music Association’s 51st annual awards, exceeded the world’s high expectations. Brad Paisley and Carrie Underwood, who celebrated ten years of hosting the awards together, addressed hot topics and tragedies in a tasteful, effective, and loving way.

Not to mention that the duo’s chemistry on stage seems to be getting better with age.

The opening performance set the tone for the rest of the show as Eric Church sang Amazing Grace in an unplugged set, which seamlessly transitioned to Darius Rucker and Keith Urban singing “Hold My Hand,” Darius’s Hootie & the Blowfish classic. The song expanded with appearances by Lady Antebellum and a stage full of others including Thomas Rhett, Garth Brooks, Tim McGraw and Faith Hill, Little Big Town, Ronnie Dunn, Kix Brooks, Reba, Kelsea Ballerini, Luke Bryan, and more.

This initial performance, as well as Paisley and Underwood's opening remarks, did a brilliant job of honoring and recognizing the tragedies that have affected the world this year, but they respectfully, and with the permission of the audience, continued with the show by encouraging unification through the joys of country music.

There were many necessary and beautifully crafted performances to tribute late legends and victims.  Rascal Flatts and Dierks Bentley joined together to sing “My Town” by Montgomery Gentry. Eddie Montgomery joined the two on stage to finish the song in honor of his late singing partner and other half of the band, Troy Gentry.  This was Montgomery’s first performance since the passing of Troy and the moment was powerful and emotional.

Brothers Osborne sang their radio hit “It Ain’t My Fault,” and then took to honor the late legend Don Williams by singing “Tulsa Time.”  Little Big Town joined in the tributes by effortlessly using their beautiful harmonies to honor Glen Campbell with “Wichita Lineman.” Jimmy Webb, successful songwriter who wrote “Wichita Lineman,” joined the group on piano.

One of the most memorable, and perhaps the most emotional performance of the night was Carrie Underwood’s rendition of “Softly and Tenderly.” The performance was in memoriam to the victims lost in the Las Vegas shooting on October 1st. The set was beautifully constructed with candles lighting up the arena, and the faces of those lost from the tragedy on screen behind Underwood. She dazzled in a conservative, beautiful white gown, which added to the scene. She performed “Softly and Tenderly” in a classic way that was indeed soft and tender, but had a way of making the song sound new, and one everyone needs to hear in light of tragedy. In the last few verses of the song Underwood drew silence as she regained composure in a moment of overwhelming emotion. She gracefully finished the song and it could not have been more needed or more beautiful of a moment.

Other noteworthy performances include Miranda Lambert’s “To Learn Her,” Tim McGraw and Faith Hill’s “The Rest of Our Life,” Keith Urban’s “Female,” Chris Stapleton’s “Broken Halos,” P!nk’s “Barbies,” and many others.

Now, other honorable mentions include:

• Dierks Bentley's beard
• Garth Brooks's beard
• Sam Hunt's Mullet
• Faith Hill's leg
• Bobby Bones & Amy

One of the best performances of the night, which reminded the world exactly why country music is so adored, was Alan Jackson’s appearance. His performance was timeless and his voice proved to be just as strong as in his prime. Jackson humbly dominated the stage wearing his classic look, but somehow still looked current, relevant, and fresh. His tall stature controlled the stage in starched, light faded jeans and a tan fringe jacket with a cowboy hat. His iconic look and pure voice was the highlight of the show and brought Country’s Biggest Night to a close, perfectly.

The awards left me with these few words: The world needs more country music. 

Carrie Underwood Surprises with National Anthem at Preds game

At the Nashville Predators game on Monday, April 17, Carrie Underwood surprised the crowd and the team by performing the National Anthem at the Bridgestone Arena, home of the Predators in Nashville. She sang the anthem with grace and conviction while wearing a Preds jersey with her husband's name and number on the back, Fisher 12, with a "C" for captain on the front. Underwood undoubtedly showed support fo her home team: in Nashville, for her husband, and for her country through song. 

The world is still talking about it today. Watch below and check tasteofcountry.com for more details. 

Reveling over Moakler at the Revelry Room

Last night, on April 6, 2017, Steve Moakler played at the Revelry Room in Chattanooga. The show was in conjunction with the Sirius XM The Highway Finds Tour and included an opening act by talented duo Smithfield. The Revelry Room is a small, quaint venue attached to the Chattanooga Choo Choo Hotel. It provides a comfortable atmosphere for an intimate show, and Smithfield and Moakler delivered.

Smithfield proved to be an electric pair. Their chemistry on stage was magnetic, playing off of each other, the rest of the band, and the audience. They had a dynamic that was particular to the up and comers that they are. Smithfield paid homage to Sirius XM and Steve Moakler for putting them on the road and on the radio with their most well-known song, “Hey Whiskey.”

The duo played songs that would be new to some listeners like “Slippin’” and “If I Were You,” combined with a collaboration of covers from Faith Hill and Shania Twain and The Goo Goo Dolls to highlight the duo’s inspiration and passion for pursuing music. Smithfield has a current country sound comprised of a rock & roll and down home country feel.  

Steve Moakler humbly commandeered the stage following Smithfield and ran the rest of the show. He and his band proved to be a talented and electric group that simply loves music. Moakler’s show was an honest anthem to never forgetting where he came from that got him loving where he is now, and singing to tell stories.  Moakler sang a few older songs from his Wide Open album like “Rather Make A Living,” “Damn, Do I Think About You,” and “Riser,” which Dierks Bentley cut in 2014.

He recently released an album called Steel Town, which is inspired by a song on the record about growing up in a steel town in Pennsylvania. The album includes songs that have grown in popularity since his time in Nashville with songs like “Suitcase,” “Love Drunk,” and “Wheels.”

Whether the crowd was familiar with the lyrics of his songs or not, Moakler had a way about him that captivated the audience with every note he sang, proving that he is simply pursuing a dream and loving and living in every second of the process. A highlight of the show was a few acoustic sets with just his guitar and him, a perfectly executed cover of the 80’s hit “Missing You,” and the story behind and performance of a song on his new album called “Siddle’s Saloon.”

In jeans and a t-shirt, Moakler epitomizes the pursuit of his American dream and the love of his roots, his future, and country music.

Moakler and Smithfield are both on my “would see again” list. 

Academy of Country Music Highlights

The 2017 Academy of Country Music Awards is still being talked about today. In preparation for the awards, Southern Living created an ACM playlist on Spotify. Listen now to relive the show!

The award show overall was a combination of current and traditional country, mixed with expected performances that exceeded hopes, like the Backstreet Boys reunion in the Florida Georgia Line “God, Your Mama, And Me” and “Everybody” mash-up.

Sam Hunt performed “Body Like A Back Road” early on in the show and surprised his fiancée, Hannah Lee Fowler, by joining her in the audience, wrapping his arm around her as he sang. Their relationship has been so under wraps; it was unexpected and relieving to see them in front of a camera together.

Thomas Rhett deservingly won Male Vocalist of the Year at the 2017 ACMs, and through honest humility, graciously accepted the title. Rhett has plenty to be thankful for. Rhett recently released his new single “Craving You” featuring Maren Morris, written by Dave Barnes and Julian Bunetta, and proudly shows off his wife, Lauren, who is pregnant with a girl, as they additionally anticipate the process of adopting a child from Africa. With winning Male Vocalist of the Year, Rhett noticeably shook his head in shock and thankfulness. His speech was genuinely simple in his gratefulness for his team, his fans, his wife, and the Lord.

Social media has exploded today, unfolding gifs, videos, and photographs of the FGL/BSB mash-up, which had every country star on their feet. Tim McGraw’s reaction to the Backstreet Boys’ reunion dance could stand alone as a top moment for the 2017 ACMs. More information and the video can be found at tasteofcountry.com. Faith Hill and Nicole Kidman were dancing together and enjoying the music from performances by Lady Antebellum and FGL/BSB, and the Carrie Underwood and Keith Urban duet.

Miranda Lambert’s “Tin Man” performance was a noteworthy experience for everyone at the show and watching at home. It was hauntingly honest and beautifully sung in an intimate setting. The performance foreshadowed her wins later in the show as Female Vocalist of the Year and Album of the Year. She noted heartbreak and the worthwhile effects of emotion and honesty in music.

Luke Bryan and Blake Shelton have been the hosts for the past few years for the ACMs, but for the 2017 awards, Dierks Bentley and Luke Bryan co-hosted the show. What did you think of the duo as hosts for the show? Let us know in the comments!

Josh Turner in Sahuarita, AZ

Josh Turner wooed his way to Sahaurita, Arizona on Saturday, December 12 for a concert in the desert. He humbly stepped upon the stage in a retro John Anderson T-shirt, and immediately proved his deep voice to be rich, talented, and wanted. Definitely wanted. He started with a "bang" with songs like Firecracker and Why Don't We Just Dance. The crowd was hooked. People stood, cheered, and clapped him welcome, then eased into a communal respect for his voice and talent that carried through the rest of the show. 

Turner nobley and noticeably exudes everything he stands for. He's a humble, deep voice with a commentary between songs that cracks up the crowd and up sells his appeal effortlessly. He nailed all his hits and kept himself relevant in a subtle way. His John Anderson tour T-shirt sold him as a down home, simple, country boy rooted in his classic country music upbringing who fit right into the older venue and southern Arizona desert charm. 

Seeing Josh Turner live proves that he is a necessity in the country music world and is doing everyone a favor by living his life with God's purpose driving his own; whether that means singing, touring, living for his family, writing his book Man Stuff, rocking a beard for awareness, or just laying low. 

What a refreshing sound that is. Josh Turner is on my "Would See Again" list. A few times over.