The 2018 CMA Awards: The Moments That Will Have Everyone Talking
From jaw-dropping performances to moving speeches and killer collaborations, the 2018 CMA Awards did not disappoint. Here’s our list of memorable moments from the evening.
TR Brings His Song to ‘Life’
Thomas Rhett’s latest single “Life Changes” came visibly to life during a spirited performance. Kicking off the song onstage in a makeshift dorm room, the singer brought the audience back to his college days where he had a “notebook full of bad songs I was writing.” Moments later, he left the set to find himself alongside a horn section and by the time the song’s chorus hit, Brentwood’s Ravenwood High School Marching Band joined in. As he walked past his wife seated in the crowd and gave her a hug, he got visibly choked up while singing of the day he “told my Daddy and Mama you’re gonna have a grandkid from Uganda.” TR’s “Life Changes” performance brought all the feels and standout musicianship to boot. –AR
Lauren Alaina Schools Us All
Lauren Alaina may have only sang a snippet of Dottie West’s “A Lesson In Leavin'” in honor of the late singer’s induction to the Country Music Hall of Fame, but it ranks among one of the night’s best performances. Before cameras even panned to Alaina, who was wearing a stunning purple gown on stage, viewers were captivated by her mesmerizing vocals. With a belt that would make West proud, Alaina once again proved her staying power. We just wish they would have kept her on air longer. –AR
Carrie Brings the Love
Carrie Underwood’s performance of her impactful new single “Love Wins” was an ethereal dream. As if her mesmerizing vocals weren’t inspiring enough, the backdrop engulfed the stage in a tapestry of colors that helped bring her lyrics to life. “In these trying times, we need to hear that love wins,” Brad Paisley said when he introduced his friend’s performance. Underwood’s hopeful message inspired, and backed by singers that embodied that of a gospel choir, “Love Wins” was a standout moment. At the close of the song, Underwood and her choir lifted their hands up in the air in unison to form hearts — once again bringing the song’s poignant point home.-AR
Midland Pays Tribute to The Bandit
There was perhaps no better trio to pay homage to one of the South’s most beloved anti-heroes than Midland. The “Drinking Problem” performers took to the stage in tribute to the late Burt Reynolds by way of an arena-rocking rendition of “East Bound and Down,” the theme from Reynolds’ beloved 1977 classic “Smokey and the Bandit.” Lead Singer Mark Wystrach’s mustache and sunglasses could have been tribute enough, but the rollicking performance–complete with footage from the film and split screen guitar battles–had the crowd on their feet for a standing ovation. A reaction that would have made the show-off-loving Bandit proud. –AA
Kacey is the Golden Girl
As Little Big Town tore open the envelope with the name of the Album of the Year winner inside, Karen Fairchild uttered a hint as to its contents. Noting the win was for “all the little girls writing songs out there,” she announced Kacey Musgraves’s Golden Hour for the win. Musgraves took the stage in her custom Versace suit–a modern take on the Texas style that has influenced her entire career–and thanked her family, colleagues and husband (Ruston Kelly) and her adopted hometown. “Ten years ago today I moved to Nashville,” she said before adding of the album: “We poured everything that we have into this and I’m so proud of it. I’m inspired by this beautiful universe and most of all love.” Later in the show Musgraves channeled Crystal Gayle meets American Bandstand realness with a soft and sultry performance of “Slow Burn” from the album, complete with lens flaring spotlights, a red curtain (and red velvet slip dress) and acoustic guitar.-AA
The Softer Side of FGL
Florida Georgia Line teamed up with Bebe Rexha to perform their 50-week No. 1 hit “Meant to Be” and it was one of the most surprising moments of the night. Instead of bringing the original version continually heard on pop and country stations throughout 2018 to the stage, the duo dramatically switched gears. Dressed in white from head to toe, FGL’s Brian Kelley and Tyler Hubbard kicked off the pared down track. When it was time for Rexha’s verse, she appeared like an apparition beside a white upright piano and the dance track immediately transformed into a powerful ballad, complete with a string section. Whether intentional or not, it felt a fitting way to put a period on the exclamatory year the song has had. –AR
Garth’s Love Song
Garth Brooks debuted a brand new song during the show and it was one of the most heartfelt moments of the night. Titled “Stronger Than Me,” he dedicated the touching ballad to his wife, Trisha Yearwood, and it had all the workings of a wedding song. Alone with his acoustic guitar in hand, Brooks praised his bride for being “stronger than me.” “I know I always thought I had to have the answers / Be her strength and take the leap / When it comes to anything that really matters / You’re stronger than me,” he sang as his wife looked on with tears in her eyes. “If I had a choice I’d pray to God he takes me first /’Cause you’re stronger than me,” he conceded. In an arena full of people, it was as if they were the only two in the room.- AR
Chris Stapleton, Maren Morris, Mavis Staples, Marty Stuart and Morgane Stapleton took Bridgestone Arena to church during an inspired performance. They kicked the set off with “Friends,” a track featured on Stapleton’s From A Room: Volume 1, originally recorded by Pops Staples. The all-star collaboration highlighted each singer’s powerful and soulful vocals. While Staples’ guttural belt had the audience screaming along, Morris held her own on the song with her sultry take. Following “Friends,” the group continued with a spirited performance of “I’ll Take You There.” Backed by a gospel choir and horn section, the performance transcended the awards show to a higher power and brought the house down. – AR
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Album Review - Carrie Underwood: Cry Pretty
For more than a decade now, Carrie Underwood has been a dependable country-music presence: the years bleed into the next and, with some patience, chances are it won’t be long before the massive-voiced country-pop-rock dynamo delivers yet another big-ticket, high-gloss album. You know the type, those chart-topping sensations stockpiled with sharply written kiss-offs, honky-tonk boot stompers and exquisite ballads. But it all started to make you wonder: Was Underwood so reliable, so utterly consistent, that she in turn risked losing the human connection that first made her a star way back on American Idol?
You needn’t have worried. Following a facial injury that led to months of seclusion as she healed, the singer returned earlier this year and wisely billed her new album, Cry Pretty, as her most personal effort yet. With her latest effort, Underwood reveals a sincerity and mature, time-tested point of view that even some of her career’s most successful singles can’t match.
Given its hot-button subject matter, expect the “The Bullet” — where Underwood takes stock of a tragic shooting, and over lilting acoustic guitar sings, “You can blame it on hate or you can blame it on guns/But mamas ain’t supposed to bury their sons” — to make all the headlines. But the slow-building, arena-ready anthem “Love Wins,” Kumbaya vibes notwithstanding, is where the singer is at her her most poignant: “Politics and prejudice, how the hell did it ever come to this?,” Underwood sings over slow-building piano. “When everybody’s gotta pick a side/it don’t matter if you’re wrong or right.”
Even more thrilling, the 12-track LP (the majority of whose songs are Underwood co-writes) also features the singer taking bold stylistic risks. She’s previously been more strategic in this respect, and rarely veered off sonic course. (Then again, when your debut album sells upwards of seven million copies and you maintain multi-year platinum success … probably a good move). Thankfully though, Underwood guides her ship to new and exciting avenues here. “The Song That We Used To Make Love To” is a peppy pop missile aimed straight for the charts; the tender “Low” lobs a curveball with its fiery blues-guitar breakdown at the bridge; and, as a toast to her more traditional country roots, “Ghosts on the Stereo” is a rafter-rattler arena-rock ode to the classic-country loving ladies who are never alone so long as they’ve got “Hank, Haggard and Jones” pumping through the speakers.
Cry Pretty is Underwood’s most stirring album in years. Her voice alone will always move units, but it’s her heart that will keep things interesting.
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Album Review - Cole Swindell: All of It
Since releasing his debut album in 2014, Cole Swindell has established himself as an adept songwriter and engaging performer. The Georgia native has amassed seven No. 1 singles as a solo artist and 10 chart toppers as a songwriter. His third album, All of It, showcases his rising star power and current single, “Break Up in the End,” is just a glimpse inside the project.
The 12-track album, out Aug. 17, includes five penned by the singer. A versatile mix of heartfelt songs, party starters and arena anthems, on All of It Swindell continues his upward climb within the genre.
The infectious “Love You Too Late” kicks off the project and sounds like something Luke Bryan could have recorded. Having toured with the singer and written songs for Bryan, Swindell was wise to keep this one for himself as the bombastic track will shine on his upcoming tour. An arena-ready anthem with soaring guitar parts, heart-pounding beats and polished production, “Love You Too Late” has Swindell singing of a relationship that ended before he realized what his girl meant to him. “I should have held her close / I should have let her know / How I felt about her about a couple county lines ago,” he laments.
Swindell does heartbreak well, and this can be heard on the yearning “Somebody’s Been Drinkin'” where he sings of two exes missing each other and trying to forget about their breakup over alcohol. A play-by-play of a night spent downing drinks only to text the other and meet up once again, “Somebody’s Been Drinkin'” is a relatable track that places the listener in the song.
While “Somebody’s Been Drinkin'” brings the feels, standout album closer “Dad’s Old Number” leaves the greatest mark. A poignant song penned by Jessi Alexander and Chase McGill, it’s the sequel to “You Should Be Here” and has Swindell confessing that he still calls his dad’s phone number in hopes that he’ll be on the other end to provide some fatherly advice.
“Sometimes I forget these 10 digits ain’t my lifeline anymore / Every now and then I dial them up when life gets tough or when the Braves score / Sorry about the one-ring hang-ups, early morning, late night wake-ups / It was just me in case you wondered / You’ve got dad’s old number,” he sings on the chorus.
Swindell has established himself on the heart wrenching ballads, but he’s also well versed in the party anthems. Tracks like the feel-good “Sounded Good Last Night” pick up the pace as does the ear-grabbing “20 in a Chevy.” The latter features forward-thinking production and a mesmerizing beat as Swindell reminisces of a past relationship. “How the hell did we have such a good thing and let it slip away?” he questions.
Additional highlights include the heartfelt “The Ones That Got Me Here” and the sweet sentiment of “I’ll Be Your Small Town,” both of which the singer penned. On All of It, Swindell furthers his reach within the genre. Whether he wrote the song or not, his emotive singing shines through, leaving a lasting impression on the listener. And, with a proven track record at radio in selecting songs that leave an impact, All of It adds to Swindell’s growing catalog of hits.
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Album Review - Chris Lane: Laps Around The Sun
There’s a sunny disposition that Chris Lane captures on Laps Around the Sun. Built on a foundation of warm melodies and playful material, drawn together by a feel-good vibe that permeates throughout the album, Laps Around the Sun is the type of project that’s tailor made for summertime.
Lane hand-selects 14 tracks that tell a variety of upbeat stories, ranging from the tongue-in-cheek “New Phone, Who’s This” to the lighthearted wordplay on “Fishin’” and smooth “I Don’t Know About You.” One could draw comparisons to Old Dominion, as Lane calls upon suave pop-country production and radio-friendly lyrics that are complimented by his crisp vocals. Lead single “Take Back Home Girl,” featuring a stellar vocal appearance by Tori Kelly, immediately welcomes you into the project with an infectious beat that sets the tone for what’s to follow.
While the album showcases Lane’s knack for carefree songs, it also brings out a different side of his artistry, highlighting the soul in his voice that comes through in both melody and delivery. It’s evident on “New Phone” and the title track, co-penned by the singer, along with “Life Goes On,” which finds Lane crooning “I ain’t drunk and I ain’t stoned, I’ve just been wandering all night long, they say the sun’s still gonna dawn, but baby you’re good and gone, right now I don’t see how life goes on,” over a waning guitar.
Lane feels more grounded on his third project, which follows 2016’s Girl Problems, an album that made a strong impression with hits like “Fix” and “For Her.” On Laps Around the Sun, he exudes a confidence that makes its presence known on each track. He demonstrates the kind of depth he’s capable of on “Hero,” the album’s lone ballad, which follows the journey of three diverse characters longing for a heroic figure in their lives, with Lane telling the story in a way that naturally draws one into the lyrics. It’s the type of song you wish there was more of on the album, with its simplicity and soft choral voices making it his best cut thus far.
In the time leading up to album’s release, Lane said that his goal is to create music that transports people to their happy place, and he certainly takes the first step to achieving this on Laps Around the Sun. If he continues to utilize inviting melodies and couple them with meaningful lyrics, the burgeoning star could see an artistic transformation that will only further the growth he’s already exhibited on Laps Around the Sun.
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The Five Coolest Things We Saw on Sugarland’s ‘Still the Same Tour’
It’s been nearly six years since Sugarland’s Jennifer Nettles and Kristian Bush have toured together, and they’ve already proven it was more than worth the wait. Sounds Like Nashville has been itching to catch a show since the 2018 “Still the Same Tour” hit the road earlier this spring. We were there for all the hits, and plenty of new songs off their newest release, Bigger, as the duo rolled in to Chaifetz Arena in St. Louis, MO, June 30. These are the 5 coolest things we saw on our big night out with Sugarland, and not-to-be-missed openers Brandy Clark and Clare Bowen. (In other words, go get your tickets now!)
The Production: From the steampunk inspired “Incredible Machine Tour” of 2010 and 2011, to the vintage circus theme driving the “Still the Same Tour” in modern-day 2018; it’s a unique, transportive experience each and every time you step foot into a Sugarland concert. This go-around, Nettles and Bush’s set features a red and white striped big top tent, complete with all the smoke, lights and theatrics we’ve come to expect at a Sugarland show. Nettles looked no further than to fashion design icon Christian Siriano to create a totally chic, one-of-a-kind wardrobe fit for any ringmaster.
The Set List: If you’re wondering if you’ll get to hear all of your classic Sugarland favorites on the “Still the Same Tour,” the answer is YES! With a dramatic curtain drop projecting silhouettes of the duo, the opening performance of their latest title track, “Bigger,” sets the tone for an upbeat night of past and present Sugarland jams. “All I Want To Do,” “Stuck Like Glue,” and “Settlin’” are sure to get you moving, while the new and sultry Latin-infused “Let Me Remind You” will have you feeling like that dancing lady emoji – you know, the one in the red sassy dress! Nettles and Bush also bring the tempo back down at times, and there wasn’t a louder moment than the crowd wide sing-a-long during “Stay.”
Together, Solo and Together Again: If you thought Sugarland was taking time off during their hiatus, then you’ve clearly been living under a rock. Nettles and Bush, among other projects, both released solo albums during their time apart. We love that they each had a moment in the spotlight to perform one of their solo hits – Bush brought the snaps back to country music with his catchy single, “Trailer Hitch,” while Nettles’ vocals soared on her ballad, “Unlove You.” We couldn’t help but notice Bush and his acoustic guitar backing Nettles with the rest of the Sugarland band while she delivered her song. Friendship goals to the extreme, folks. Side note: If you’ve never heard Bush sing before, you’re in for a treat on this tour and on this record.
Sugarl&: In Sugarland, everyone is welcome to come as they are. Their cover of the Indigo Girls’ “Galileo” was a special tribute, celebrating the LGBTQ community and Pride month, with “Sugarl&” displayed on the big screen behind them – “& = everyone belongs here – including you & you & you & you.” Nettles and Bush’s music has always had a beautiful way of bringing people together, reminding us we’re all more alike than not, as heard in “Little Miss,” off their 2010 album, The Incredible Machine. New songs that create powerful moments in the show include “Bird In a Cage,” which addresses the very things in life that leave us feeling stuck, or quite literally, caged, from our greatest potential and truth. The last track on Bigger, “Not the Only,” leads into a moving encore performance, resulting in an entire crowd on its feet. Nettles, Bush and their entire band shine lights from their hands out into the darkness as thousands of fans turned on their cell phone flashlights and illuminated the entire arena. We still have chills (and maybe a few tears) just thinking about it.
Nostalgia: If you’ve been following Nettles and Bush as long as we have, and you find yourself counting down the days until your next Sugarland concert, then this live show will hit you right in the feels–just like it did for us. Their nearly two-hour set took us back to the beginning with “Baby Girl” and “Something More,” but also looked to the future with seven songs off “Bigger,” including their current single, “Babe,” co-written by Taylor Swift and Train’s Pat Monahan. This band is so important to our musical landscape, and they continue to stretch and bend the rules of genre; constantly keeping us on our toes in the best way possible. Thank goodness for that.
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