A New Children’s Book Welcomes Youngsters to the Grand Ole Opry

Last month, we celebrated the 100th anniversary of the Grand Ole Opry as our Artist of the Month. We dove into the history of the world’s longest running radio show, we celebrated the music made on its hallowed stages, and we spoke to author Craig Shelburne about undertaking the gargantuan task of squeezing all of that rich history into a book, 100 Years of Grand Ole Opry. That coffee-table-ready tome is 350+ pages of photos, stories, interviews, and Opry lore.

Now, imagine the same task for Opry employee, archivist and content manager Emily Frans – but squeezed into a children’s book. The new title, Howdy! Welcome to the Grand Ole Opry! does just that. One hundred years of history, illustrated gorgeously and fantastically by Susanna Chapman alongside words and story by Frans, it distills the magic of the Grand Ole Opry for its tiniest audience members and fans. With a foreword by Lainey Wilson and stories from Dolly Parton, Lauren Alaina, and more, it’s an Opry 100 celebration that can be appreciated by country music fans of any/all ages.

Whether a gift for the holidays, an everyday present for the youngsters in your life, or pro-country-music propaganda (which we can always get behind), the new kids’ book is certain to inspire oncoming generations of would-be stars, pickers, and songwriters, seeding dreams of someday stepping into that hallowed circle on the Opry House stage. We spoke to author Emily Frans about the project and the special balance of telling a complete Opry history that engages, inspires, and stokes the imagination of children all around the world.

It must have been a difficult enough task for your colleagues to write the 350+ page 100 Years of Grand Ole Opry book that distills the immense history of the Opry into a single volume — it’s hard to imagine condensing all of that history, all of those stories, and all of that music into an even smaller space, a kids’ book! How did you go about it?

Emily Frans: You’re right! After pouring so much time into artist interviews, research, and trying to cover 100 years of history in as much detail and photography that a 350+ page book will allow, shifting gears into a children’s book was a completely different challenge. The biggest task was figuring out what not to include.

With kids, it’s all about clarity, pacing, and imagination, so I asked myself: What moments spark imagination? Which people feel larger than life? What stories can light a fire in a young mind? I tried to frame the story as kind of an adventure that kids could really imagine themselves experiencing while still including historical facts and details that they could learn from.

What do you see as the essential “nuts and bolts” of the Opry story that could – or should – be translated to country fans of all ages? What is the central idea or mission here, as far as putting this incredible, respected show in front of its youngest audience?

As a parent to young daughters, I realize how important it is for the youngest generation to understand not just what the Opry is, but why it matters. This book was written to bridge that gap and to spark wonder, inspiration, and to continue cultivating the tradition that we all cherish. In an age where attention spans are short and kids can choose their entertainment with a swipe of a screen, creating a book to share the Opry with children felt more important than ever.

The Opry is different than any other stage because of the way it connects people – artists to fans, parents to kids, and one generation of country music to the next. That emotional connection is the heartbeat of the Opry, and why, at 100 years old, it continues to thrive. I wrote this book with the goal of sparking that connection with our youngest generation.

The book has a foreword by Lainey Wilson and includes Opry stories from folks like Lauren Alaina, Dolly Parton, Kelsea Ballerini, and more. Country artists often have very special, down-to-earth relationships with their younger fans — these artists especially. Can you talk about curating the artist stories for the book and what Lainey Wilson brought to it with her foreword?

The artists featured in the book all share a genuine connection to the Opry and a real heart for their younger fans. I wanted to include messages that would almost feel like a little spark of mentorship coming straight from the stage, conveying the gravity of being asked to perform on the Opry while also making it sound achievable.

Lainey Wilson embodies that spirit so naturally. Her message is all about believing in yourself and honoring the roots that helped shape you. When she talks about stepping into the circle, she makes it sound magical, but also achievable. That tone set the stage for the rest of the book beautifully.

The book was illustrated by Susanna Chapman — the Grand Ole Opry and its history, especially its visuals, branding, costumes, and pageantry, are simply perfect for a children’s book like this, aren’t they?

Absolutely. The Opry has always been visually rich – from stage lights to rhinestone suits to the red barn set, it was practically begging to be illustrated! Susanna Chapman did an incredible job and brought a wonderful balance of authenticity and imagination. She captured the physical space of the Opry and infused her illustrations with movement, color, and emotion.

In fact, she spent time with one of my daughters during an Opry show trying to understand which elements of the sights, sounds, and even smells stood out to her so that she could create illustrations that really make the reader feel like they were there. The words are important, but it is the visuals that really draw kids to a book and Susanna knocked it out of the park.

So many kids have made appearances on the Grand Ole Opry — Sierra Hull, Wyatt Ellis, Charlie Worsham, Vassar McCoury, and many others — do you think this book will birth a new generation of youngsters itching to step into the circle?

I really hope so. One of my goals with this book was to show kids that the circle isn’t just for legends, it’s for dreamers, too. The Opry encompasses the past and present of country music, but also its future. If even one child reads this book and thinks, “Maybe that could be me someday,” whether they imagine themselves on stage or in a seat, then it’s done its job.

Why do you think the Grand Ole Opry has such broad appeal — across identities, geography, genres, communities, and age groups?

I think the Opry continues to thrive because it offers authenticity, tradition, and genuine connection all while continuing to evolve. On any given night, you can see legends, today’s hitmakers, and up-and-coming artists sharing the same stage. That blend of past, present, and future gives the Opry a real uniqueness and, unlike a typical concert, provides a platform for guests to discover music they may have otherwise missed out on. And the emotional connection is what brings both artists and fans back night after night. When an artist steps into the circle for the first time, guests can feel it. They can sense the history, the honor, and the gratitude and that the artists are there because it matters to them. That kind of sincerity creates a powerful bond between the stage and the seats.


All images courtesy of Ryman Hospitality Properties, illustrations by Susanna Chapman.

Explore more content on the Grand Ole Opry here.

See the Winners From the 59th Annual CMA Awards

On November 19, 2025 the 59th Annual CMA Awards were broadcast live on ABC from Bridgestone Arena in Nashville, Tennessee. Hosted by Lainey Wilson for the second year in a row, the primetime awards show is now streaming on Hulu for any viewers who were unable to tune in live. Wilson not only hosted, she also dominated the awards, taking home trophies for Album of the Year, Female Vocalist of the Year, and the evening’s top honor, Entertainer of the Year. The Louisianan country sensation has now won 12 CMA Awards out of 25 nominations in just four years of eligibility – including two Entertainer of the Year wins.

The other standout award recipient of the night was “you look like you love me,” a viral hit for mainstream country stars Ella Langley & Riley Green. The track garnered trophies for Single of the Year, Song of the Year, and Music Video of the Year. Meanwhile Post Malone, who has now been nominated for CMA Awards five times over the past two years, landed his very first CMA Award for Musical Event of the Year for his song, “Pour Me A Drink,” featuring Blake Shelton. Bluegrass-steeped country phenomenon Zach Top also received his first CMA Award – for New Artist of the Year – after two huge, breakout years for everyone’s new favorite neo-traditionalist.

The broadcast included live performances and exciting collaborations from artists like Wilson, Top, Kenny Chesney, Chris Stapleton, Luke Combs, Miranda Lambert, Shaboozey and Stephen Wilson Jr., the Red Clay Strays, Tucker Wetmore, and many more. Legendary country, bluegrass, and Americana multi-hyphenate Vince Gill was honored with the Willie Nelson Lifetime Achievement Award – the presentation featuring a surprise appearance by last year’s awardee, George Strait. Gill’s longtime pal and collaborator, pedal steel guitarist extraordinaire Paul Franklin, took home the award for Musician of the Year.

Chesney, who recently released a best-selling book, Heart Life Music, performed a medley of “American Kids” and “When the Sun Goes Down.” to mark his induction into the Country Music Hall of Fme, and to celebrate his fellow newly minted Hall of Fame members June Carter Cash and Tony Brown, too. Brandi Carlile and Patty Loveless joined together to honor Gill with a rousing performance of “When I Call Your Name,” a No. 2 Billboard hit for Gill that shone and sparkled on the CMA stage with rich, reedy harmonies by Carlile and Loveless.

Fans can stream the CMA Awards Show now on Hulu. Find the full list of nominees and winners (in bold) for the 59th Annual CMA Awards below:

ENTERTAINER OF THE YEAR

Luke Combs
Cody Johnson
Chris Stapleton
Morgan Wallen
Lainey Wilson

SINGLE OF THE YEAR

“4x4xU” – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

“Ain’t No Love In Oklahoma” – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineer: Chip Matthews

“Am I Okay?” – Megan Moroney
Producer: Kristian Bush
Mix Engineer: Justin Niebank

“I Never Lie” – Zach Top
Producer: Carson Chamberlain
Mix Engineer: Matt Rovey

“you look like you love me” – Ella Langley & Riley Green
Producer: Will Bundy
Mix Engineer: Jim Cooley

ALBUM OF THE YEAR

Am I Okay? – Megan Moroney
Producer: Kristian Bush
Mix Engineer: Justin Niebank

Cold Beer & Country Music – Zach Top
Producer: Carson Chamberlain
Mix Engineer: Matt Rovey

F-1 Trillion – Post Malone
Producers: Louis Bell, Charlie Handsome, Hoskins
Mix Engineer: Ryan Gore

I’m The Problem – Morgan Wallen
Producers: Jacob Durrett, Charlie Handsome, Joey Moi
Mix Engineers: Charlie Handsome, Joey Moi

Whirlwind – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

SONG OF THE YEAR

“4x4xU”
Songwriters: Jon Decious, Aaron Raitiere, Lainey Wilson

“Am I Okay?”
Songwriters: Jessie Jo Dillon, Luke Laird, Megan Moroney

“I Never Lie”
Songwriters: Carson Chamberlain, Tim Nichols, Zach Top

“Texas”
Songwriters: Johnny Clawson, Josh Dorr, Lalo Guzman, Kyle Sturrock

“you look like you love me”
Songwriters: Riley Green, Ella Langley, Aaron Raitiere

FEMALE VOCALIST OF THE YEAR

Kelsea Ballerini
Miranda Lambert
Ella Langley
Megan Moroney
Lainey Wilson

MALE VOCALIST OF THE YEAR

Luke Combs
Cody Johnson
Chris Stapleton
Zach Top
Morgan Wallen

VOCAL GROUP OF THE YEAR

Lady A
Little Big Town
Old Dominion
Rascal Flatts
The Red Clay Strays

VOCAL DUO OF THE YEAR

Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War And Treaty

MUSICAL EVENT OF THE YEAR

“Don’t Mind If I Do” – Riley Green (featuring Ella Langley)
Producers: Scott Borchetta, Jimmy Harnen, Dann Huff

“Hard Fought Hallelujah” – Brandon Lake with Jelly Roll
Producer: Micah Nichols

“I’m Gonna Love You” – Cody Johnson (with Carrie Underwood)
Producer: Trent Willmon

“Pour Me A Drink” – Post Malone (feat. Blake Shelton)
Producers: Louis Bell, Charlie Handsome

“You Had To Be There” – Megan Moroney (feat. Kenny Chesney)
Producer: Kristian Bush

MUSICIAN OF THE YEAR

Jenee Fleenor – Fiddle
Paul Franklin – Steel Guitar
Brent Mason – Guitar
Rob McNelley – Guitar
Derek Wells – Guitar

MUSIC VIDEO OF THE YEAR

“Am I Okay?” – Megan Moroney
Directors: Alexandra Gavillet, Megan Moroney

“I’m Gonna Love You” – Cody Johnson (with Carrie Underwood)
Director: Dustin Haney

“Somewhere Over Laredo” – Lainey Wilson
Director: TK McKamy

“Think I’m In Love With You” – Chris Stapleton
Director: Running Bear

“you look like you love me” – Ella Langley & Riley Green
Directors: Ella Langley, John Park, Wales Toney

NEW ARTIST OF THE YEAR

Ella Langley
Shaboozey
Zach Top
Tucker Wetmore
Stephen Wilson Jr.


Photo Credit: Lainey Wilson by CeCe Dawson

Sex, Drugs, and
Country Music

Editor’s Note: Each issue of Good Country, our co-founder Ed Helms will share a handful of good country artists, albums, and songs direct from his own earphones in Ed’s Picks.

Carter Faith
Carter Faith

Rolling Stone describes young country phenom Carter Faith as “a bright light for the future of country” – but she’s definitely illuminating the genre in the present! Her debut full length album, Cherry Valley, released earlier this month, displaying in full her gritty, fun, down-to-earth, and modern brand of Good Country.


Ghost Hounds
Ghost Hounds

Something special is happening with Ghost Hounds, a Pittsburgh Americana outfit combining blues, rock and roll, alt-country, soul, and much more. Their latest album, Almost Home, features the group’s new lead singer and frontman, SAVNT; a lineup change isn’t foiling this dynamic band, it’s building their momentum. They just made their Grand Ole Opry debut this week!


Vince Gill
Vince Gill

Perhaps our first repeat Ed’s Pick, but Vince Gill is always Good Country, right? The singer-picker-Country Hall of Famer-Eagles vocalist just announced a new series of EPs celebrating his lifelong career in music. The series, titled 50 Years From Home, begins with its first EP, I Gave You Everything I Had, today. We’re so grateful for all the years, all the music, and all you’ve given all of us, Vince!


Nick Shoulders
Nick Shoulders

Singer-songwriter-artist and Gar Hole Records co-proprietor Nick Shoulders is the real deal. He’s part of a broad movement of country musicians recentering the industry, its stakeholders, and its fans so the music better reflects all of the kinds of folks who love it. If you like Good Country that sticks it to the man, seeks justice, imagines a better world, and still sounds like “Grampa Music,” look out for his upcoming album, Refugia Blues (out October 31).


MORGXN
MORGXN

From Broadway in NYC to Lower Broadway in Nashville, MORGXN has done it all, but we find the singer-songwriter-performer thriving as he “reclaims his Nashville roots,” subverts expectations of musical and cultural stereotypes of country, and unabashedly celebrates queerness – especially so on his new twangy EP, Heartland: Part II. More MORGXNs like this in country, please and thank you.



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Photo Credits: Carter Faith by Bree Marie Fish; Ghost Hounds courtesy of the artist; Vince Gill by David McClister; Nick Shoulders by Shelby Merry; MORGXN by Gabriel Starner.

CMA Awards
Nominations Are Here

On Monday, September 8, 2025 the Country Music Association announced the nominees for the 59th Annual CMA Awards. With six nods a piece, country stars Lainey Wilson, Megan Moroney, and Ella Langley tied each other for the lead in total nominations at the longest-running country music awards show. The CMA Awards will be broadcast live from Nashville’s Bridgestone Arena on Wednesday, November 19 at 8 p.m. EST on ABC and will be available to stream the next day on Hulu.

Following Wilson, Moroney, and Langley in nominations is a quickly rising star at the very top of most listeners’ minds these days, Zach Top, who will vie for awards in the Single of the Year, Album of the Year, Song of the Year, Male Vocalist of the Year, and New Artist of the Year categories. Fiddler Jenee Fleenor, a five-time winner of Musician of the Year, is nominated again in the category this year, alongside guitarists Brent Mason, Rob McNelley, and Derek Wells and pedal steel genius Paul Franklin.

In addition to Top and Fleenor other notable nominees from the bluegrass and Americana worlds include the War and Treaty (Vocal Duo of the Year), Chris Stapleton (Entertainer of the Year, Male Vocalist of the Year, Music Video of the Year), and the Red Clay Strays (Vocal Group of the Year).

Shaboozey is nominated for the second year in a row for New Artist of the Year, and relative newcomer to the genre Post Malone gained two nominations this year (remarkably, one less nomination than in 2024), for F-1 Trillion (Album of the Year) and “Pour Me A Drink” featuring Blake Shelton (Musical Event of the Year).

It’s clear that whatever your preferred subspecies of country music, this year’s batch of nominees for the CMA Awards holds more than enough variety to satisfy your tastes. From the most polished radio-ready pop country to gristly full-bore rock and roll, from high femme glamor bops to ’90s vocals (and of course the hairstyles, too), there’s plenty of Good Country to be found among this year’s nominations.

Find the full list of nominees for the 59th Annual CMA Awards below:

ENTERTAINER OF THE YEAR

Luke Combs
Cody Johnson
Chris Stapleton
Morgan Wallen
Lainey Wilson

SINGLE OF THE YEAR

“4x4xU” – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

“Ain’t No Love In Oklahoma” – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineer: Chip Matthews

“Am I Okay?” – Megan Moroney
Producer: Kristian Bush
Mix Engineer: Justin Niebank

“I Never Lie” – Zach Top
Producer: Carson Chamberlain
Mix Engineer: Matt Rovey

“you look like you love me” – Ella Langley & Riley Green
Producer: Will Bundy
Mix Engineer: Jim Cooley

ALBUM OF THE YEAR

Am I Okay? – Megan Moroney
Producer: Kristian Bush
Mix Engineer: Justin Niebank

Cold Beer & Country Music – Zach Top
Producer: Carson Chamberlain
Mix Engineer: Matt Rovey

F-1 Trillion – Post Malone
Producers: Louis Bell, Charlie Handsome, Hoskins
Mix Engineer: Ryan Gore

I’m The Problem – Morgan Wallen
Producers: Jacob Durrett, Charlie Handsome, Joey Moi
Mix Engineers: Charlie Handsome, Joey Moi

Whirlwind – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

SONG OF THE YEAR

“4x4xU”
Songwriters: Jon Decious, Aaron Raitiere, Lainey Wilson

“Am I Okay?”
Songwriters: Jessie Jo Dillon, Luke Laird, Megan Moroney

“I Never Lie”
Songwriters: Carson Chamberlain, Tim Nichols, Zach Top

“Texas”
Songwriters: Johnny Clawson, Josh Dorr, Lalo Guzman, Kyle Sturrock

“you look like you love me”
Songwriters: Riley Green, Ella Langley, Aaron Raitiere

FEMALE VOCALIST OF THE YEAR

Kelsea Ballerini
Miranda Lambert
Ella Langley
Megan Moroney
Lainey Wilson

MALE VOCALIST OF THE YEAR

Luke Combs
Cody Johnson
Chris Stapleton
Zach Top
Morgan Wallen

VOCAL GROUP OF THE YEAR

Lady A
Little Big Town
Old Dominion
Rascal Flatts
The Red Clay Strays

VOCAL DUO OF THE YEAR

Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War And Treaty

MUSICAL EVENT OF THE YEAR

“Don’t Mind If I Do” – Riley Green (featuring Ella Langley)
Producers: Scott Borchetta, Jimmy Harnen, Dann Huff

“Hard Fought Hallelujah” – Brandon Lake with Jelly Roll
Producer: Micah Nichols

“I’m Gonna Love You” – Cody Johnson (with Carrie Underwood)
Producer: Trent Willmon

“Pour Me A Drink” – Post Malone (feat. Blake Shelton)
Producers: Louis Bell, Charlie Handsome

“You Had To Be There” – Megan Moroney (feat. Kenny Chesney)
Producer: Kristian Bush

MUSICIAN OF THE YEAR

Jenee Fleenor – Fiddle
Paul Franklin – Steel Guitar
Brent Mason – Guitar
Rob McNelley – Guitar
Derek Wells – Guitar

MUSIC VIDEO OF THE YEAR

“Am I Okay?” – Megan Moroney
Directors: Alexandra Gavillet, Megan Moroney

“I’m Gonna Love You” – Cody Johnson (with Carrie Underwood)
Director: Dustin Haney

“Somewhere Over Laredo” – Lainey Wilson
Director: TK McKamy

“Think I’m In Love With You” – Chris Stapleton
Director: Running Bear

“you look like you love me” – Ella Langley & Riley Green
Directors: Ella Langley, John Park, Wales Toney

NEW ARTIST OF THE YEAR

Ella Langley
Shaboozey
Zach Top
Tucker Wetmore
Stephen Wilson Jr.


Photo Credit: Lainey Wilson by Cece Dawson.

Sierra Ferrell, Beyoncé, Many More Roots Musicians Win at 67th GRAMMY Awards

Yesterday, the 67th Annual GRAMMY Awards show was held in Los Angeles, handing out dozens of awards across the primetime broadcast and premiere ceremony while highlighting the city’s ongoing response to last month’s extreme wildfires, which displaced hundreds of musicians, artists, industry professionals, and creatives. The marquee event was kicked off by Dawes – whose sibling frontmen, Taylor and Griffin Goldsmith, had homes, their studio, and countless instruments and equipment destroyed in the blazes. They performed a moving rendition of “I Love L.A.” with a host of special guests.

Throughout the show, audience members were encouraged to support MusiCares Fire Relief, a collaborative fundraiser launched by the Recording Academy and MusiCares in partnership with Direct Relief, the California Community Foundation, and the Pasadena Community Foundation to help expand wildfire relief efforts across the broader Los Angeles community. Despite the somber shadow cast by the disaster over LA and its creative community, the show was convivial, joyous, and restorative – and included more than a few show-stopping and jaw-dropping moments.

As usual, the crème de la crème of roots musicians could be found across both the pre-telecast and primetime awards, scooping up golden gramophones in seemingly endless varieties of categories. The evening’s big winners in the Country & American Roots Music categories included superstar Beyoncé, who finally picked up her first Album of the Year win, as well as becoming the first Black woman to ever win Best Country Album. She also won the trophy for Best Country Duo Performance with Miley Cyrus for “II Most Wanted,” bringing her GRAMMY Awards totals to 99 nominations and 35 wins – the most wins of any recipient in the history of the awards.

Sierra Ferrell, a West Virginia native and firebrand bluegrass and country starlet quickly on the rise these past handful of years, was indisputably the day’s other big winner, scoring in each of the four categories in which she was nominated. She quickly followed her very first GRAMMY win with three more, landing awards for Best Americana Album, Best American Roots Performance, Best Americana Performance, and Best American Roots Song – an honor she shares with her co-writer, musician, songwriter, and vocalist Melody Walker (Front Country, BERTHA: Grateful Drag).

The award for Best Bluegrass Album was yet again snatched by the world’s premier flatpicker, Billy Strings, for Live Vol. 1, logging his second win at the GRAMMYs after seven nominations over the last five years.

Pop phenom Chappell Roan won Best New Artist, Kacey Musgraves took home Best Country Song for “The Architect,” Chris Stapleton racked up his 11th GRAMMY win for Best Country Solo Performance, and Woodland, the latest album by Gillian Welch & David Rawlings, was recognized as Best Folk Album. Chick Corea won a posthumous award – Best Jazz Instrumental Album – for Remembrance, a duo project helmed by banjoist Béla Fleck that was released in honor of his hero, friend, and collaborator.

The GRAMMYs yet again demonstrate that the impact of bluegrass, folk, Americana, and country on the mainstream music industry cannot be overstated. Congratulations to all of the winners and nominees for the 67th GRAMMY Awards!

Give now to support MusiCares Fire Relief here and find out many more ways to support LA as it recovers from the devastating wildfires here. Find the full list of Country & American Roots Music winners below, including several additional related categories boasting roots music nominees and winners.

(Winners denoted in BOLD)

Best Country Solo Performance

“16 CARRIAGES” – Beyoncé
“I Am Not Okay” – Jelly Roll
“The Architect” – Kacey Musgraves
“A Bar Song (Tipsy)” – Shaboozey
“It Takes A Woman” – Chris Stapleton

Best Country Duo/Group Performance

“Cowboys Cry Too” – Kelsea Ballerini with Noah Kahan
“II MOST WANTED” – Beyoncé featuring Miley Cyrus
“Break Mine” – Brothers Osborne
“Bigger Houses” – Dan + Shay
“I Had Some Help” – Post Malone featuring Morgan Wallen

Best Country Song

“The Architect” – Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” – Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” – Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM”– Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best Country Album

COWBOY CARTER – Beyoncé
F-1 Trillion – Post Malone
Deeper Well – Kacey Musgraves
Higher – Chris Stapleton
Whirlwind – Lainey Wilson

Best American Roots Performance

“Blame It On Eve” – Shemekia Copeland
“Nothing In Rambling” – The Fabulous Thunderbirds featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal, & Mick Fleetwood
“Lighthouse” – Sierra Ferrell
“The Ballad Of Sally Anne” – Rhiannon Giddens

Best Americana Performance

“YA YA” – Beyoncé
“Subtitles” – Madison Cunningham
“Don’t Do Me Good” – Madi Diaz featuring Kacey Musgraves
“American Dreaming” – Sierra Ferrell
“Runaway Train” – Sarah Jarosz
“Empty Trainload Of Sky” – Gillian Welch & David Rawlings

Best American Roots Song

“Ahead Of The Game” – Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” – Sam Beam, songwriter (Iron & Wine featuring Fiona Apple)
“All My Friends” – Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming” – Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It On Eve” – John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

Best Americana Album

The Other Side – T Bone Burnett
$10 Cowboy – Charley Crockett
Trail Of Flowers – Sierra Ferrell
Polaroid Lovers – Sarah Jarosz
No One Gets Out Alive – Maggie Rose
Tigers Blood – Waxahatchee

Best Bluegrass Album

I Built A World – Bronwyn Keith-Hynes
Songs Of Love And Life – The Del McCoury Band
No Fear – Sister Sadie
Live Vol. 1 – Billy Strings
Earl Jam – Tony Trischka
Dan Tyminski: Live From The Ryman – Dan Tyminski

Best Traditional Blues Album

Hill Country Love – Cedric Burnside
Struck Down – The Fabulous Thunderbirds
One Guitar Woman – Sue Foley
Sam’s Place – Little Feat
Swingin’ Live At The Church In Tulsa – The Taj Mahal Sextet

Best Contemporary Blues Album

Blues Deluxe Vol. 2 – Joe Bonamassa
Blame It On Eve – Shemekia Copeland
Friendlytown – Steve Cropper & The Midnight Hour
Mileage – Ruthie Foster
The Fury – Antonio Vergara

Best Folk Album

American Patchwork Quartet – American Patchwork Quartet
Weird Faith – Madi Diaz
Bright Future – Adrianne Lenker
All My Friends – Aoife O’Donovan
Woodland – Gillian Welch & David Rawlings

Best Regional Roots Music Album

25 Back To My Roots – Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival – Big Chief Monk Boudreaux & The Golden Eagles featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival – New Breed Brass Band featuring Trombone Shorty
Kuini – Kalani Pe’a
Stories From The Battlefield – The Rumble Featuring Chief Joseph Boudreaux Jr.

Best Roots Gospel Album

The Gospel Sessions, Vol 2 – Authentic Unlimited
The Gospel According To Mark – Mark D. Conklin
Rhapsody – The Harlem Gospel Travelers
Church – Cory Henry
Loving You – The Nelons

Best Jazz Performance

“Walk With Me, Lord (SOUND | SPIRIT)” – The Baylor Project
“Phoenix Reimagined (Live)” – Lakecia Benjamin featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” – Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” – Samara Joy featuring Sullivan Fortner
“Little Fears” – Dan Pugach Big Band featuring Nicole Zuraitis & Troy Roberts

Best Jazz Instrumental Album

Owl Song – Ambrose Akinmusire featuring Bill Frisell & Herlin Riley
Beyond This Place – Kenny Barron featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) – Lakecia Benjamin
Remembrance – Chick Corea & Béla Fleck
Solo Game – Sullivan Fortner

Best Traditional Pop Vocal Album

À Fleur De Peau – Cyrille Aimée
Visions – Norah Jones
Good Together – Lake Street Dive
Impossible Dream – Aaron Lazar
Christmas Wish – Gregory Porter

Best Contemporary Instrumental Album

Plot Armor – Taylor Eigsti
Rhapsody In Blue – Béla Fleck
Orchestras (Live) – Bill Frisell featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark – Mark Guiliana
Speak To Me – Julian Lage

Best Instrumental Composition

“At Last” – Shelton G. Berg, composer (Shelly Berg)
“Communion” – Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But
This Is Literally The Way The Wind Blew Me This Time” – André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” – Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” – Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

Best Arrangement, Instrumental or A Cappella

“Baby Elephant Walk” – Encore, Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” – Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” – Béla Fleck & Ferde Grofé, arrangers (Béla Fleck featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” – Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying featuring säje & Tonality)
“Silent Night” – Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

Notable General Field Categories:

Record Of The Year

“Now And Then” – The Beatles
“TEXAS HOLD ‘EM” – Beyoncé
“Espresso” – Sabrina Carpenter
“360” – Charli XCX
“BIRDS OF A FEATHER” – Billie Eilish
“Not Like Us” – Kendrick Lamar
“Good Luck, Babe!” – Chappell Roan
“Fortnight” – Taylor Swift featuring Post Malone

Album Of The Year

New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n’ Sweet – Sabrina Carpenter
BRAT – Charli XCX
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift

Song Of The Year

“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” – Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With A Smile” – Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” – Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” – Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” – Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM” – Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best New Artist

Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims


Lead image: Screenshot from GRAMMYs pre-telecast.

Watch Post Malone Make His Grand Ole Opry Debut in New Video

Back in August 2024, in tandem with the release of his earth-shaking country debut, F-1 Trillion, Post Malone took to the heralded Grand Ole Opry stage for the very first time. The special edition show, “Post Malone & Friends Live at the Opry,” was filmed for an Opry Live and Circle Now livestream broadcast and featured performances by Malone, Lainey Wilson, Vince Gill, Brad Paisley, The War and Treaty, and many more.

As usual, the incredible Opry content team was backstage and on hand for the momentous evening, capturing Malone’s debut as they do for each artist who takes to the stage, stepping into “the circle” – the inset portion of stage taken from the Ryman Auditorium in downtown Nashville and installed into the floorboards of the Grand Ole Opry House. Hundreds, if not thousands, of iconic artists, musicians, and celebrities have strode the hallowed circle.

“Stepping into the circle today is very much like the Super Bowl,” Malone says in the video released last week. “It’s terrifying, but it’s so exciting – and I’m ready to rock.”

And rock he did, bringing the drive and swagger of his mainstream background onto the Opry stage, packaged in rugged, honky-tonkin’, and fun F-1 Trillion vibes. The video showcases just how excited and even giddy Malone is to share in the legacy of the Opry. It’s a common, nearly universal feeling for every artist – of every level and every genre –who has stepped onto that stage.

With words and thoughts from Wilson, Gill, and Post Malone himself, the video includes sweet backstage moments, clips of once-in-a-lifetime performances, and a heaping helping of the welcome and hospitality of the Grand Ole Opry family. It’s a testament to how open and warm this genre can be to newcomers and visitors in these styles – when it wants to be.

Enjoy a taste of Post Malone’s iconic Opry debut above and read more about F-1 Trillion and Post Malone’s history with the genre on Good Country here.


Photo Credit: © Grand Ole Opry, Photo by Chris Hollo. Left to right: Brad Paisley, Post Malone.

See the Nominees for the 67th GRAMMY Awards

This morning, Friday, November 8, the Recording Academy announced the nominees for the 67th GRAMMY Awards, to be held in Los Angeles on February 2 at the Crypto.com Arena. Roots musicians can be found at all levels and across all fields of the buzzworthy awards, which are voted on by the vast Recording Academy membership of music makers, artists, and creatives.

Notably, Beyoncé, her groundbreaking country fusion album COWBOY CARTER, and its tracks can be found throughout the general field and American Roots categories, including landing nominations for Best Country Album, Best Country Song, Best Americana Performance, Album of the Year, Record of the Year, and more. Banjoist and composer Béla Fleck collected more than a handful of nominations for his work with Chick Corea – released posthumously – and Rhapsody in Blue, as well.

The Best Bluegrass Album category this year includes releases from Bronwyn Keith-Hynes, the Del McCoury Band, Sister Sadie, Billy Strings, Tony Trischka, and Dan Tyminski, making for an incredibly stout and superlative lineup.

From Kacey Musgraves to Shemekia Copeland, Aoife O’Donovan to Lake Street Dive, below we’ve collected all of the nominees in the Country & American Roots Music fields, plus we feature select categories from across the many fields, genres, and communities that also include roots musicians and our BGS friends and neighbors. Check out the list and mark your calendars for the 67th GRAMMY Awards, Sunday, February 2, 2025.

Best Country Solo Performance

“16 CARRIAGES” – Beyoncé
“I Am Not Okay” – Jelly Roll
“The Architect” – Kacey Musgraves
“A Bar Song (Tipsy)” – Shaboozey
“It Takes A Woman” – Chris Stapleton

Best Country Duo/Group Performance

“Cowboys Cry Too” – Kelsea Ballerini with Noah Kahan
“II MOST WANTED” – Beyoncé featuring Miley Cyrus
“Break Mine” – Brothers Osborne
“Bigger Houses” – Dan + Shay
“I Had Some Help” – Post Malone featuring Morgan Wallen

Best Country Song

“The Architect” – Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” – Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” – Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM”– Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best Country Album

COWBOY CARTER – Beyoncé
F-1 Trillion – Post Malone
Deeper Well – Kacey Musgraves
Higher – Chris Stapleton
Whirlwind – Lainey Wilson

Best American Roots Performance

“Blame It On Eve” – Shemekia Copeland
“Nothing In Rambling” – The Fabulous Thunderbirds featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal, & Mick Fleetwood
“Lighthouse” – Sierra Ferrell
“The Ballad Of Sally Anne” – Rhiannon Giddens

Best Americana Performance

“YA YA” – Beyoncé
“Subtitles” – Madison Cunningham
“Don’t Do Me Good” – Madi Diaz featuring Kacey Musgraves
“American Dreaming” – Sierra Ferrell
“Runaway Train” – Sarah Jarosz
“Empty Trainload Of Sky” – Gillian Welch & David Rawlings

Best American Roots Song

“Ahead Of The Game” – Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” – Sam Beam, songwriter (Iron & Wine featuring Fiona Apple)
“All My Friends” – Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming” – Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It On Eve” – John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

Best Americana Album

The Other Side – T Bone Burnett
$10 Cowboy – Charley Crockett
Trail Of Flowers – Sierra Ferrell
Polaroid Lovers – Sarah Jarosz
No One Gets Out Alive – Maggie Rose
Tigers Blood – Waxahatchee

Best Bluegrass Album

I Built A World – Bronwyn Keith-Hynes
Songs Of Love And Life – The Del McCoury Band
No Fear – Sister Sadie
Live Vol. 1 – Billy Strings
Earl Jam – Tony Trischka
Dan Tyminski: Live From The Ryman – Dan Tyminski

Best Traditional Blues Album

Hill Country Love – Cedric Burnside
Struck Down – The Fabulous Thunderbirds
One Guitar Woman – Sue Foley
Sam’s Place – Little Feat
Swingin’ Live At The Church In Tulsa – The Taj Mahal Sextet

Best Contemporary Blues Album

Blues Deluxe Vol. 2 – Joe Bonamassa
Blame It On Eve – Shemekia Copeland
Friendlytown – Steve Cropper & The Midnight Hour
Mileage – Ruthie Foster
The Fury – Antonio Vergara

Best Folk Album

American Patchwork Quartet – American Patchwork Quartet
Weird Faith – Madi Diaz
Bright Future – Adrianne Lenker
All My Friends – Aoife O’Donovan
Woodland – Gillian Welch & David Rawlings

Best Regional Roots Music Album

25 Back To My Roots – Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival – Big Chief Monk Boudreaux & The Golden Eagles featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival – New Breed Brass Band featuring Trombone Shorty
Kuini – Kalani Pe’a
Stories From The Battlefield – The Rumble Featuring Chief Joseph Boudreaux Jr.

Best Roots Gospel Album

The Gospel Sessions, Vol 2 – Authentic Unlimited
The Gospel According To Mark – Mark D. Conklin
Rhapsody – The Harlem Gospel Travelers
Church – Cory Henry
Loving You – The Nelons

Best Jazz Performance

“Walk With Me, Lord (SOUND | SPIRIT)” – The Baylor Project
“Phoenix Reimagined (Live)” – Lakecia Benjamin featuring Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno” – Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me” – Samara Joy featuring Sullivan Fortner
“Little Fears” – Dan Pugach Big Band featuring Nicole Zuraitis & Troy Roberts

Best Jazz Instrumental Album

Owl Song – Ambrose Akinmusire featuring Bill Frisell & Herlin Riley
Beyond This Place – Kenny Barron featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) – Lakecia Benjamin
Remembrance – Chick Corea & Béla Fleck
Solo Game – Sullivan Fortner

Best Traditional Pop Vocal Album

À Fleur De Peau – Cyrille Aimée
Visions – Norah Jones
Good Together – Lake Street Dive
Impossible Dream – Aaron Lazar
Christmas Wish – Gregory Porter

Best Contemporary Instrumental Album

Plot Armor – Taylor Eigsti
Rhapsody In Blue – Béla Fleck
Orchestras (Live) – Bill Frisell featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark – Mark Guiliana
Speak To Me – Julian Lage

Best Instrumental Composition

“At Last” – Shelton G. Berg, composer (Shelly Berg)
“Communion” – Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But
This Is Literally The Way The Wind Blew Me This Time” – André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” – Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” – Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

Best Arrangement, Instrumental or A Cappella

“Baby Elephant Walk” – Encore, Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” – Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” – Béla Fleck & Ferde Grofé, arrangers (Béla Fleck featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” – Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying featuring säje & Tonality)
“Silent Night” – Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

General Field:

Record Of The Year

“Now And Then” – The Beatles
“TEXAS HOLD ‘EM” – Beyoncé
“Espresso” – Sabrina Carpenter
“360” – Charli XCX
“BIRDS OF A FEATHER” – Billie Eilish
“Not Like Us” – Kendrick Lamar
“Good Luck, Babe!” – Chappell Roan
“Fortnight” – Taylor Swift featuring Post Malone

Album Of The Year

New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n’ Sweet – Sabrina Carpenter
BRAT – Charli XCX
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift

Song Of The Year

“A Bar Song (Tipsy)” – Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” – Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With A Smile” – Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” – Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” – Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” – Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please” – Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM” – Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

Best New Artist

Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims


Graphic courtesy of the Recording Academy.

The Remarkable Rootsiness of the 2024 CMA Awards Nominations

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The headline takeaways from this year’s CMA Awards nominations may be the inclusion (and exclusion) of pop superstars, with understandable interest in what that says about today’s country format. But the 2024 field features plenty of roots and bluegrass influence, too. Regular BGS and Good Country readers might even be surprised at the confluence of the modern mainstream and its traditional tributaries.

We want to highlight that dynamic as well. Country has always been a big tent, but is it now becoming more receptive to its roots?

Let’s start with the superstars. These days, many can claim a rootsy kind of rebelliousness, and chief among those is Chris Stapleton. With his long history – in bluegrass, in Southern rock, in classic country songwriting, and with a train load of CMA trophies – Stapleton vies once again for what would be his first Entertainer of the Year award – after a record-setting eight nominations. Yet he still sings with the fiery Appalachian soul he debuted at the front of The SteelDrivers.

Others earning top billing this year include Zach Bryan and Lainey Wilson – and both have a reputation for gritty, creative realism. Some of the hottest new names country has to offer, Bryan has been selling out stadiums with his confessional alt-country and Wilson’s bluesy Louisiana swagger earned her last year’s Entertainer of the Year title. Those are not the only established artists holding true to the cause, though.

Kacey Musgraves continues to show salt-of-the-earth songcraft is not mutually exclusive to shimmering pop decadence. And while Ashley McBryde has perfected the art of making arenas feel like a massive, county-line roadhouse, Cody Johnson proves the appetite for hardcore Texas twang did not die with King George’s (semi) abdication. All have become perennial fixtures in the format’s upper echelons.

Likewise, this year’s nominees offer excitement for the future, awash with fresh talent. Shaboozey turned heads with the Number One ear worm, “A Bar Song (Tipsy),” but dig beyond the single and his catalog marks an elusive missing link between the hard-times inspirations of both hip-hop and country. Artists like Zach Top – who also came up through bluegrass – accept no substitute for twangy telecasters and shuffling, two-step beats. And while The War and Treaty continue their mission to bring soul and gospel back into the heart of country, The Red Clay Strays find a home for their blend of heady roots rock and commanding, fire-and-brimstone vocals.

Even the behind-the-scenes nominees highlight this rootsy resurgence, with the Musician of the Year category dominated by keepers of the instrumental flame. Fiddle phenom Jenee Fleenor goes head to head with steel-guitar legend Paul Franklin and the multi-talented guitarist/Americana artist Charlie Worsham – while the other two, guitarists Tom Bukovac and Rob McNelley, are certainly no slouches when it comes to six-string scholarship.

In fact, the commonalities between this year’s CMA Awards nominees and the artists covered by BGS and GC are so striking, we wonder what you think. Take a look at the full list of nominees below, and let us know.

THE 58TH ANNUAL CMA AWARDS – FINAL NOMINEES (by ballot category order):

ENTERTAINER OF THE YEAR

Luke Combs
Jelly Roll
Chris Stapleton
Morgan Wallen
Lainey Wilson

SINGLE OF THE YEAR
Award goes to Artist(s), Producer(s) and Mix Engineer(s)

“A Bar Song (Tipsy)” – Shaboozey
Producers: Sean Cook, Nevin Sastry
Mix Engineer: Raul Lopez

“Dirt Cheap” – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Producers: Louis Bell, Charlie Handsome, Hoskins
Mix Engineer: Ryan Gore

“Watermelon Moonshine” – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce

“White Horse” – Chris Stapleton
Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton
Mix Engineer: Vance Powell

ALBUM OF THE YEAR
Award goes to Artist, Producer(s) and Mix Engineer(s)

Deeper Well – Kacey Musgraves
Producers: Ian Fitchuk, Kacey Musgraves, Daniel Tashian
Mix Engineers: Shawn Everett, Konrad Snyder

Fathers & Sons – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineer: Chip Matthews

Higher – Chris Stapleton
Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton
Mix Engineer: Vance Powell

Leather – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke

Whitsitt Chapel – Jelly Roll
Producers: Andrew Baylis, Brock Berryhill, Zach Crowell, Jesse Frasure, David Garcia, Kevin “Thrasher” Gruft, Austin Nivarel, David Ray Stevens
Mix Engineers: Jeff Braun, Jim Cooley

SONG OF THE YEAR
Award goes to Songwriter(s)

“Burn It Down”
Songwriters: Hillary Lindsey, Parker McCollum, Lori McKenna, Liz Rose

“Dirt Cheap”
Songwriter: Josh Phillips

“I Had Some Help”
Songwriters: Louis Bell, Ashley Gorley, Charlie Handsome, Hoskins, Austin Post, Ernest Keith Smith, Morgan Wallen, Chandler Paul Walters

“The Painter”
Songwriters: Benjy Davis, Kat Higgins, Ryan Larkins

“White Horse”
Songwriters: Chris Stapleton, Dan Wilson

FEMALE VOCALIST OF THE YEAR

Kelsea Ballerini
Ashley McBryde
Megan Moroney
Kacey Musgraves
Lainey Wilson

MALE VOCALIST OF THE YEAR

Luke Combs
Jelly Roll
Cody Johnson
Chris Stapleton
Morgan Wallen

VOCAL GROUP OF THE YEAR

Lady A
Little Big Town
Old Dominion
The Red Clay Strays
Zac Brown Band

VOCAL DUO OF THE YEAR

Brooks & Dunn
Brothers Osborne
Dan + Shay
Maddie & Tae
The War And Treaty

MUSICAL EVENT OF THE YEAR
Award goes to Artists and Producer(s)

“Cowboys Cry Too” – Kelsea Ballerini (with Noah Kahan)
Producers: Kelsea Ballerini, Alysa Vanderheym

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Producers: Louis Bell, Charlie Handsome, Hoskins

“I Remember Everything” – Zach Bryan (ft. Kacey Musgraves)
Producer: Zach Bryan

“Man Made A Bar” – Morgan Wallen (feat. Eric Church)
Producer: Joey Moi

“you look like you love me” – Ella Langley (feat. Riley Green)
Producer: Will Bundy

MUSICIAN OF THE YEAR

Tom Bukovac – Guitar
Jenee Fleenor – Fiddle
Paul Franklin – Steel Guitar
Rob McNelley – Guitar
Charlie Worsham – Guitar

MUSIC VIDEO OF THE YEAR
Award goes to Artist(s) and Director(s)

“Dirt Cheap” – Cody Johnson
Director: Dustin Haney

“I Had Some Help” – Post Malone (Feat. Morgan Wallen)
Director: Chris Villa

“I’m Not Pretty” – Megan Moroney
Directors: Jeff Johnson, Megan Moroney

“The Painter” – Cody Johnson
Director: Dustin Haney

“Wildflowers and Wild Horses” – Lainey Wilson
Director: Patrick Tracy

NEW ARTIST OF THE YEAR

Megan Moroney
Shaboozey
Nate Smith
Mitchell Tenpenny
Zach Top
Bailey Zimmerman


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Country’s Cool Again: Lainey Wilson’s ‘Whirlwind’ Will Blow You Away

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Few artists have changed country music like Lainey Wilson.

The bell bottom-wearing, slow-talking singer-songwriter from small-town Louisiana has taken the genre by storm since dropping her breakout third studio album, Sayin’ What I’m Thinkin’, in 2021, and she’s reshaped the country music industry along the way. With Wilson’s highly anticipated fifth studio album, Whirlwind, due August 23, she’s bound to shake things up once again.

If you’ve engaged with just about any form of media in recent years, chances are you’re already familiar with Wilson, who also starred on the fifth season of the wildly popular Paramount Network show Yellowstone. She’s racked up a room’s worth of trophies, including a Grammy, six ACM Awards and seven CMA Awards, including the coveted Entertainer of the Year award in 2023, which made her the first woman to win the honor since Taylor Swift’s win in 2009.

And somehow, in a genre that infamously allows mostly men to dominate charts and radio air time, Wilson has found mainstream country success commensurate with her critical acclaim. She’s notched four number ones on country radio when many women can’t even get their music played. She’s lent assists to big names like HARDY (2022’s “Wait in the Truck”) and Jelly Roll (2023’s “Save Me”), and for a while seemed to be country’s favorite feature – since 2021, she’s also collaborated with Dolly Parton, Lauren Alaina, Ernest, and Cole Swindell.

So, what is it about Wilson that resonates with so many people?

Her breakout single, 2020’s “Things A Man Oughta Know,” is a great place to start. Wilson’s voice is undeniable – like Parton or Loretta Lynn, Wilson has an inimitable sound and style – and a ballad like “Things A Man Oughta Know” gives her ample room to shine. Her voice is nimble and elastic, rich and dynamic. She knows when to stretch a note for emotional effect, like when she sings, “How to keep it hidden when a heart gets broke,” bending the final syllable to reinforce its ache. Lyrically, the track epitomizes the grittier side of Wilson’s persona, as she shows herself to be as adept at love as she is “chang[ing] a tire on the side of a road.”

That tune first appeared on Wilson’s 2020 EP, Redneck Hollywood, and would be reprised on Sayin’ What I’m Thinkin’. It would prove to be no fluke, too, as the LP released to near-universal acclaim. While much of commercial country music was steeped in pop and hip-hop influences, Wilson’s music was traditional but forward-thinking, sounding like AM radio classics, but from a fresh perspective.

It seemed as though Sayin’ What I’m Thinkin’ made Wilson an overnight success, but like most artists who come to Nashville seeking a big break, she had paid serious dues. After graduating high school, Wilson moved to Nashville from Louisiana in 2011, living in a camper van while she found her footing in town.

She’d honed her musical chops as a kid, first discovering a love for music as a young child. As she grew older, Wilson’s dream of pursuing a career in music grew, too, and by the time she was a teenager she had regular gigs as a Miley Cyrus impersonator, showing up at weekend birthday parties to perform for kids.

That would be good practice for building a career in Nashville, as grinding it out at local writers’ rounds, bars, showcases, and open mic nights is, for most artists, a Music City rite of passage. Nashville’s “10-year town” reputation, which posits that an artist must keep at it for a decade to break through, proved true for Wilson, who had spotty success between 2011 and 2021 before finally clearing the hurdle.

Image: Lainey Wilson. Quote: "It's hard to imagine a future in which Lainey Wilson isn't the stuff of country music legend. She's got the chops, the drive, and no shortage of charisma, and it's easy to picture her as a Parton-like figure several decades from now..." – Brittney McKenna

Wilson would follow Sayin’ What I’m Thinkin’ just a year later, eschewing a more traditional two to three years between records in favor of maintaining her momentum. Bell Bottom Country did just that and then some, catapulting Wilson from up-and-coming country star to household name.

The album, with its retro, Stevie Nicks-coded cover photo, also further developed the Lainey Wilson brand, which is more hippie than hillbilly. (Or rather, it’s both – the second track is called “Hillbilly Hippie,” after all.) Her bell bottoms quickly became part of her iconography, like Dolly Parton’s colorful makeup or Brad Paisley’s traditional cowboy hat. The imagery matches the mood of the music, as even Wilson’s more somber songs still have a sense of looseness, of freedom.

Perhaps a product of her decade-plus in the game, that ease is evident on Bell Bottom Country hit “Watermelon Moonshine,” a spiritual descendent of Deana Carter’s “Strawberry Wine” that is sure to be a country classic. Steeped in nostalgia and illustrated with vivid imagery (“kudzu vines,” “old farm ruts,” “a blanket ‘neath the sunset”), the song is a tender ode to young love, balancing youthful abandon with the melancholy of hindsight. It’s also a showcase for Wilson’s melodies, which are sticky but not cloying, and just poppy enough to catch the ear without distracting from the story.

Bell Bottom Country also birthed “Heart Like a Truck,” a massive hit for Wilson thanks, partially, to its use in a Dodge Ram commercial. The song is, blessedly, proof that a “truck song” can still be creative, as Wilson likens her aching heart to a truck that’s “been drug through the mud.” It’s also one of Wilson’s most powerful vocal performances, letting her play with dynamics before letting go and wailing toward the end of the song.

Wilson uses Bell Bottom Country to show off her broader musical ambitions, too. “Grease” is syncopated and funky, reminiscent of more recent work from The Cadillac Three or Brothers Osborne. “This One’s Gonna Cost Me” flirts with arena rock, made epic with production from Jay Joyce, famous for his work with Eric Church. And Wilson surprises with a vibrant cover of “What’s Up (What’s Going On),” the iconic 4 Non Blondes hit.

Such sonic detours hint at what might come with Whirlwind, whose title no doubt references the wild last few years of Wilson’s life. Lead single “Hang Tight Honey” is tight and catchy but sonically complex, with girl-group vocals and a rockabilly beat accompanying Wilson’s soulful, swaggering delivery. “4x4xU” recalls the mid-tempo drama of the best Lee Ann Womack songs, though with a funkier groove. And on “Country’s Cool Again,” Wilson reminds that her country roots run deep, with a deliciously twangy chorus that more than earns the song’s Garth Brooks and Brooks & Dunn references.

Despite these country bona fides, Wilson has still faced accusations of inauthenticity, particularly around her thick Louisiana accent. In a January interview with Glamour, she says, “I think sometimes, especially when people were first getting introduced to me, they heard my accent and immediately thought, ‘There’s no way this girl could be that country.’ The truth is, you can say anything you want to about me, but when you start talking about my accent, I’m ready to fight somebody because then I start feeling you’re talking about my family.”

Debates about authenticity in country music are a dime a dozen, though they tend to be directed at women artists more often than their male counterparts. You don’t hear skeptics of, say, Morgan Wallen’s accent or Tennessee roots, or of Jelly Roll’s history with incarceration. But a quick search of “Lainey Wilson fake” turns up video after video dissecting her accent, most of which barely – if at all – engage with her actual music.

For her part, Wilson seems largely unfazed by doubters and detractors. In that same Glamour piece, she later shares, “When you grow up somewhere like I did with the kind of people that I did, you can’t help but to be country. You can’t escape it no matter if you move eight hours away like I did. Country music was the soundtrack of our lives. We lived it out.”

While Wilson’s musical talents will always be her biggest draw, her larger-than-life personality is a close second. She’s a famously electric live performer, vamping across the stage and bantering with fans with such ease it seems second nature. That she does this without missing a note is what elevates her artistry – that CMA Award isn’t called “Entertainer” of the Year for no reason.

It’s hard to imagine a future in which Lainey Wilson isn’t the stuff of country music legend. She’s got the chops, the drive, and no shortage of charisma, and it’s easy to picture her as a Parton-like figure several decades from now, ushering in and supporting a new generation of country artists whose reverence for and innovation of the genre will help keep it alive.

Until then, at least country’s cool again.

(Editor’s Note: Don’t forget to sign up to receive Good Country direct to your email inbox.)


Photo Credit: Eric Ryan Anderson

Artist of the Month: Lainey Wilson

(Editor’s Note: For the first time, BGS and Good Country are teaming up for a very special crossover Artist of the Month! During the month of August, on BGS and GC we’ll be celebrating music, songs, and stories by and a new generation’s country superstar, Lainey Wilson.

Check out our Essential Lainey Wilson Playlist below and sign up for our Good Country email newsletter now, to be one of the first to read our upcoming Artist of the Month feature.)

There’s no wrong place to start with Lainey Wilson’s music. Though the small-town Louisiana-born country star is still deepening her catalog, Wilson boasts four excellent records (and a fifth is on the way — Whirlwind is due August 23), each jam-packed with traditionally informed country, swaggering Southern rock, alt-country and roots rock grooves, and no shortage of emotional ballads. Good Country and BGS have compiled our Essentials Playlist of the fiery singer-songwriter’s best and most beloved tunes, with some deep cuts tossed in for good measure.

Despite being a relative newcomer and a woman in a male-dominated genre, Wilson has notched a string of hits since breaking out with her 2021 album Sayin’ What I’m Thinkin’. That record features “Things a Man Oughta Know,” a nuanced take on traditional country gender tropes and Wilson’s first number-one hit on Billboard’s Hot Country Songs chart.

Arriving as Wilson’s ascent grew steeper, 2022’s Bell Bottom Country expands on its predecessor’s sound, giving Wilson space to get more vulnerable – “Watermelon Moonshine” is a sweet and nostalgic tribute to teenage love – and a little funkier, like on her unexpected but perfectly suited cover of the 4 Non Blondes hit “What’s Up (What’s Going On).” That album is also, of course, home to “Heart Like a Truck,” a centerpiece of Wilson’s discography and one of the best examples of her singular songwriting – this is not your run-of-the-mill “truck song.”

Dive into some of Lainey Wilson’s best songs below on our Essential Lainey Wilson Playlist. And stay tuned for more Artist of the Month coverage on Wilson coming soon from BGS and GC.


Photo Credit: Eric Ryan Anderson