Brooks & Dunn caught up with Rania Aniftos on the Winners Walk at the CMA Awards 2025.
Lainey Wilson has been all over Wednesday night’s (Nov. 19) CMA Awards. Not only is she hosting, and not only did she kick the awards into high gear with a big country covers medley, but she’s also one of the night’s big winners, taking home album of the year for her acclaimed Whirlwind set.
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“Mama, daddy, look, check it out!” Wilson exclaimed as she accepted the award from banjo picker and occasional comedy legend Steve Martin, along with his collaborator Alison Brown. “I was absolutely not expecting this,” the country great attested about the win, also shouting out her Granny “somewhere” in the audience.
Wilson went on to thank fans who showed up to her Whirlwind Tour, and to salute herself for staying true to her artistic process throughout the turbulent recording of the award-winning album. “I remember being that little 11-year-old girl who would come home from school and pick up my guitar and pour my heart and soul into that guitar,” she testified. “And that’s how I navigated and communicated. And that’s exactly what I did these last two years of my life, when I felt like my life was changing, but I still felt exactly the same.”
Before awarding her the album of the year, Martin and Brown performed some dueling banjos for the audience, and even bantered a little comedy — quipping about how they were excited enough to be presenting at the CMAs to even do it for free, which was apparently all they were being offered. Martin and Brown released the bluegrass album Safe, Sensible and Sane earlier this year.
It’s safe to say anyone who hits the stage at the CMA Awards has seriously lived some life, but Stephen Wilson Jr. might have ‘em all beat at least in terms of strange paths to the country spotlight.
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The Indiana-born Wilson has been a boxer, competing in the Golden Gloves of America amateur competition; 10 years ago, he was wearing a lab coat and working as a microbiologist; not long after that, he became a songwriter in Nashville, signed to Big Loud. But following the death of his comparatively extroverted father in 2018, something changed, and he began to warm up to the idea of stepping into his own spotlight. His debut album, søn of dad, dropped this year, and although he skews country, he’s covered everyone from Nirvana to Smashing Pumpkins.
Have you played Billboard’s “A Little Bit Country” Crossword?
Play now!
At the 2025 CMA Awards on Wednesday (Nov. 19) night, Wilson appeared on stage, wearing mostly black but rocking a floral ball cap with the Virgin Mary on it. In his firm, raspy tone, Wilson slowly but surely captivated the Bridgestone Arena with a soul-rending cover of Ben E. King’s “Stand By Me.”
Ahead of his performance of “Stand By Me,” which turned heads when he brought it to the Atlanta-based YouTube series Live at the Print Shop in Oct. 2024, Wilson spoke to Billboard correspondents on the CMA Awards red carpet and explained how the 1986 film of the same name influenced his decision to trot out this iconic song.
“I’m a big Stephen King fan,” Wilson told Billboard. “I play this song called ‘Stand By Me,’ which I’m playing tonight as well, because of a movie called Stand By Me based off a Stephen King [story called The Body]. It’s been haunting me my whole life. I started playing this song after my dad died to kinda bring him back. I turned it into a hymn for me. And then fast-forward these years later, I get invited to sing this song and write this song with Shaboozey for a Stephen King movie called The Long Walk and here we are playing both of those songs. The world is weird, life is weird and I’m just here for it.”
Later in the evening, Wilson joined Shaboozey to perform that song, “Took a Walk,” on the CMA Awards stage, too.
Check out Billboard’s interview with Stephen Wilson Jr. on the CMA Awards red carpet below.
With 20 studio albums under his belt, country superstar Kenny Chesney had plenty of songs to choose from for his performance at the 2025 CMA Awards — so many, in fact, that he couldn’t pick just one.
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Hopping on stage at Nashville’s Bridgestone Arena, Chesney was introduced by host Lainey Wilson, who highlighted him as a “four time CMA Entertainer of the Year” before ceding the stage. Dressed in a simple straw hat and plain long-sleeved tee, Chesney pulled out his classic country track “American Kids,” strumming along with his band. By the time he reached the chorus, Chesney had the whole arena singing along about “growin’ up in little pink houses” and “makin’ out on living room couches.”
Then Chesney headed to the arena’s B-stage for a performance of his Uncle Kracker duet “When the Sun Goes Down,” greeting his fans in the crowd and grooving to the song’s sultry lyrics. But before he closed out his performance, Chesney gestured to a graphic behind him paying tribute to Grammy-winning country songwriter Brett James (“When the Sun Goes Down” writer) who died in a private plane crash in September. “Thank you so much, Brett James, we love you,” Chesney shouted to conclude his number.
While Chesney wasn’t nominated as a soloist at the 2025 CMA Awards, he did feature on Megan Moroney’s “You Had to Be There,” which earned a nod for musical event of the year at the ceremony.
Have you played Billboard’s “A Little Bit Country” Crossword?
Play now!
Along with serving as the evening’s host, Wilson also snatched up six nominations at the awards, which tied him for the most nods of any artist in 2025, alongside fellow singers Ella Langley and Megan Moroney. Throughout the evening, stars including Luke Combs, Shaboozey, Brandi Carlile, Kelsea Ballerini and more took to the stage for their own performances.
Zach Top didn’t need anyone to hold his beer when he won big at the Country Music Association Awards on Wednesday night (Nov. 19) — he just took it right on up with him.
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Shortly after performing on stage at Bridgestone Arena in Nashville, the 28-year-old singer-songwriter was crowned new artist of the year, beating out Shaboozey, Ella Langley, Tucker Wetmore and Stephen Wilson Jr. In his excitement, Top — looking dapper in a blue suit and cowboy hat — neglected to set down his can of Coors before running up to accept the trophy.
Confessing to the crowd that he couldn’t remember if he was supposed to put his beer down or not, he said with a shrug, “Here it is,” before downing a celebratory sip.
Top went on to thank numerous people on his team for helping him reach the CMA summit. “It’s been a hell of a last couple of years,” he concluded. “So, so thankful.”
The onstage beer moment is certainly on brand for Top. The Washington native’s 2024 debut album is titled Cold Beer & Country Music, an LP he followed up this year with Ain’t In It for My Health, which reached No. 11 on the Billboard 200. The latter full-length produced two Billboard Hot 100 hits: “South of Sanity” and “Good Times & Tan Lines.”
Have you played Billboard’s “A Little Bit Country” Crossword?
Play now!
The new artist victory is also probably quite vindicating for Top, whose absence from the best new artist Grammy category was considered one of the most head-scratching snubs of the 2026 nominations, which went live earlier in November. In fact, no country artists were recognized in the category, with Langley and Megan Moroney also getting left out.
Even so, Top certainly felt the love from the CMAs this year. The musician earned a total of five nods — including album of the year for Cold Beer & Country Music — tying him for second-most nominations in 2025.
Warner Music Group CEO Robert Kyncl has detailed the company’s approach to generative AI in a new blog post published Wednesday (Nov. 19). The missive arrived just hours after WMG announced a settlement and licensing deal with Udio, effectively ending its part in a blockbuster copyright infringement lawsuit against the AI music company, which it brought alongside the other two majors.
In Kyncl’s address, he stressed that while it’s “early days” for AI, “this is the moment to shape the business models, set the guardrails and pioneer the future for the benefit of artists and songwriters.” The CEO also revealed his thought process when going into meetings with AI companies, saying that his three non-negotiables include “partners who commit to licensed models”; economic terms that benefit and “reflect the value of music”; and giving the company’s signees a choice to “opt-in” to any use of their names, images, likenesses or voices in new AI-generated songs.
Kyncl also stated his belief that AI tools will further democratize music creation, adding that to stand out “in a sea of AI-generated content, real artistry identity and vision” is needed. He additionally stressed that the music industry should focus on engaging fans and getting them to lean in, saying, “the more interactivity users have with the music they love, the more value is created.”
Read the full blog post below.
AI is still in its early days. Investment is surging, talent is pouring in, and a crop of new, ambitious startups are working with music again for the first time in more than a decade. This is the moment to shape the business models, set the guardrails, and pioneer the future for the benefit of our artists and songwriters.
We’re approaching this new era with one priority above all else: protecting and empowering the artists and songwriters who are our reason for being. Every decision we make, every partnership we forge, every principle we establish is designed to ensure that they benefit from AI’s possibilities.
Every AI deal we make is guided by three non-negotiable principles:
1. We will only make agreements with partners who commit to licensed models;
2. The economic terms must properly reflect the value of music;
3. And, most importantly, artists and songwriters will have a choice to opt-in to any use of their name, image, likeness, or voice in new AI-generated songs.
WHY THIS MOMENT MATTERS
Over the last 25 years, we’ve experienced the democratization of music distribution. Many predicted it would lead to the demise of our industry, but the skeptics were proven wrong.
The barriers to entry have fallen, the world has gotten smaller, and artists are global from day one. Fans love having unlimited personalized access, streaming is driving unprecedented growth, and music is more valuable than ever.
Now, we are entering the next phase of innovation. The democratization of music creation.
We believe Generative AI will lead to a new explosion in creative and commercial opportunities, and that authentic talent will be even more in demand for two reasons
- In a sea of AI-generated content, real artistry, identity, and vision will define stronger artistic brands.
- The ability for fans to utilize AI will unlock even greater value. As history shows, the more interactivity users have with the music they love, the more value is created.
OUR APPROACH
Our approach is clear: legislate, litigate, license. We lobby for legislation that sets clear guidelines. We deploy litigation to halt bad actors. And we use licensing as the most powerful way to shape the future. Licensing is how we can safeguard our artists and songwriters, while collaborating with tech partners, to propel new fan experiences that drive additional revenue.
The partnerships we forge will offer a variety of specific use cases. Each of them adheres to our principles, winning important protections for artists and songwriters, while ensuring that they share in every dollar that’s earned. And as the services grow their revenue, so will the pay outs.
This space is moving lightning fast. Past lessons teach us that delaying only lets others define our future. The music business learned that during the file-sharing era. And the film & TV industries are still regretting not embracing streaming sooner. So for artists and songwriters to win, the music industry needs to be a leading force in the formative stages of AI, not a passive participant. We will steer the course in this new era to deliver greater value for our artists, songwriters, and their music.
This is only the beginning.
Robert Kyncl
Rascal Flatts caught up with Alexandra Kay & Rania Aniftos at the CMA Awards 2025.
Following a Luke Combs performance of “Back in the Saddle,” host Lainey Wilson properly kicked off the 2025 CMA Awards, with a medley of country favorites originally performed by some of the stars in the Nashville crowd.
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After some introductory remarks about how excited she was to be hosting the awards and how the creators of all her go-to playlist jams were in the audience that night, Wilson offered to demonstrate the point herself: “How about I get my buddy Charlie Worsham up here on guitar and we sing ’em for y’all?”
After Worsham dutifully joined her on stage with acoustic in tow, Wilson launched into Chris Stapleton’s “White Horse,” as the camera panned to Stapleton in the seats. That set the tone for an era-spanning medley, with a full band kicking in as Wilson started wandering the aisles at Bridgestone Arena to find the original artists of the songs she was racing through.
Over the course of her medley, Wilson also hit on Brooks & Dunn (“Hillbilly Deluxe”), Ella Langley (“You Look Like You Love Me”), Gretchen Wilson (“Redneck Woman”), Lady A (“Need You Now”), Miranda Lambert (“Gunpowder and Lead”), Shaboozey (“A Bar Song”) and Little Big Town (joining in with her for a full-group performance of “Girl Crush”). Following that, a six-string-strapped Keith Urban took the mic on stage to perform his ’00s classic “Where the Blacktop Ends,” with Wilson eventually accomapnying him on harmonies.
The medley was a charming run through country history, with artists like Lambert, Shaboozey and Langley getting in the fun by dancing and miming to the camera along with Wilson. And the particularly good for Langley, who just minutes later accepted the awards’ single of the year award for the song Wilson serenaded her with.
When it came time to kick off the 2025 CMA Awards on Wednesday night (Nov. 19), Luke Combs didn’t waste any time — he just hopped “Back in the Saddle.”
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Taking to the stage at Bridgestone Arena in Nashville, Combs — dressed in his usual short-sleeved button-up shirt and baseball cap — fired up the stage (literally) with a performance of his country hit, complete with a hefty payload of pyrotechnics to give the show just a little more oomph.
To set the tone, Combs reshaped the stage to look like the stables at a rodeo, with his band taking up their position in the stalls around him. As flames flared behind him and the crowd cheered him on, Combs wailed his way through the country-rock track to set the tone for the evening. “‘Cause I’m back in the saddle like some old cowboy, who dug his way out of his grave,” Combs belted. “Pulled up his boots, put his pistol on his hip, climbed up and took hold of the reins.”
Have you played Billboard’s “A Little Bit Country” Crossword?
Play now!
Combs was nominated for three awards at the CMA Awards on Wednesday, earning nods for entertainer of the year, male vocalist of the year and single of the year for his hit song “Ain’t No Love in Oklahoma,” which earned the singer his 18th No. 1 on the Country Airplay chart back in September 2024.
Lainey Wilson, along with serving as the evening’s host, was one of the three most nominated artists at the ceremony, alongside fellow singers Ella Langley and Megan Moroney. Meanwhile, stars such as Shaboozey, Brandi Carlile, Kelsea Ballerini and more were set to perform during the three-hour ceremony.
Spotify has acquired the song sample platform WhoSampled, the companies revealed on Wednesday (Nov. 19).
According to a blog post by Spotify, WhoSampled will power SongDNA, an upcoming feature on the streaming platform that will showcase “connections between songs,” including samples, collaborators and covers. In a LinkedIn post, WhoSampled founder Nadav Poraz said the platform would “continue to operate as a standalone platform and brand” following the acquisition. A blog post by the company added that WhoSampled, which is driven by user contributions, would improve in several ways, noting that its iOS app would now be free to download and that in-app subscriptions would become free for all users; in addition, the site will become ad-free and moderation for submissions will be faster.
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News of the purchase was part of a larger announcement in which Spotify revealed it would be expanding its song credits feature to encompass every single contributor to tracks on the platform; song credits previously only included topline performers, songwriters and producers. Spotify notes that the expanded song credits, which come directly from labels and distributors, are available starting now on the Spotify mobile app and will be rolled out to its desktop platform in the coming months.
Also announced by Spotify on Wednesday was “About the song,” another upcoming feature that will take the form of “swipeable cards” featuring factoids about songs. The information, which will be available in the “Now Playing” view, will be “sourced from third parties to highlight interesting details and behind-the-scenes moments,” according to Spotify’s blog post.
Spotify says the SongDNA and About the song features will be introduced via its Spotify for Artists platform early next year — to give creators an opportunity to offer feedback and “redeliver” credits if inaccuracies are found — before rolling out to users.
“Every song is a collaboration, and every contributor should be seen,” said Jacqueline Ankner, head of songwriter & publisher partnerships at Spotify, in a statement. “With expanded Song Credits, SongDNA, and About the song, we’re giving fans a deeper look at the people and creative threads behind the music they love and giving creators the recognition they deserve. It’s another step in Spotify’s work to champion the people, connections, and stories that bring every track to life.”
Artists can review their Spotify song credits here.
