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Once again, certain members of the media are diminishing the successes and achievements of women in country to prop up an ideological argument, as opposed to celebrating victories and opportunities the women of country enjoyed during the 2019 CMA’s. It’s an important role of the media to make sure the public doesn’t forget important moments as opposed to bemoaning the fact that more performers didn’t make divisive and politically-charged statements that would have done nothing more than made America tune out as opposed to pay attention to this presentation celebrating women. Sorry, but this country fan won’t forget Ashley McBryde’s speech, the performances of the women on that stage, the Kacey Musgraves wins, or the fact that in 2019, we saw the return of Reba, Dolly, and so many other legendary country women to the CMA stage. But that doesn’t mean that the women of country “were all but forgotten,” as Rolling Stone Country insultingly asserts in the subheading of their encapsulation of the night.
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Ultimately, there is a voting population for the CMA’s, and that voting population chose Garth. And Maren Morris won for Album of the Year, which is is one of the biggest awards of the night, and the second year in a row it’s gone to a woman.Ĭarrie Underwood winning Entertainer of the Year would have been the great storybook ending the 2019 CMA’s were looking for. Kacey Musgraves won Video of the Year for “Rainbow.” Ashley McBryde won New Artist of the Year, and gave the best speech of the night. Jenee Fleenor won for Musician of the Year, which was the first time a woman has won that award ever. Meanwhile, women like Reba McEntire, Dolly Parton, Martina McBride, and others who haven’t been radio relevant for years, and independent artists like Brandi Carlie and Amanda Shires were given opportunities. Luke Bryan, Florida Georgia Line, Sam Hunt, Kane Brown, Kenny Chesney, Jason Aldean, and others were left completely off the stage, despite being some of the biggest names in mainstream country at the moment.
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The 2019 CMA Awards crafted their entire presentation around women. And as is achingly predictable, the media has pounced on the opportunity to say once again that country music is a misogynistic institution with little clarity or context.īut let’s take a step back, take a deep breath, and look at the bigger picture. Instead, it was seen as the evening’s greatest offense. This would have been the perfect ending to the CMA’s presentation celebrating women this year. If anything, it’s the CMA’s that are injured by the glaring holes and miscues on the roster of recipients, not vice versa.īut it does feel important to address what turned out to be the biggest controversy Wednesday night, which was Garth Brooks winning Entertainer of the Year over the performer that many presumed and predicted would be the winner, including yours truly. But Dwight Yoakam and Rosanne Cash did very fine without their assistance, and so will others who never get their mantle piece. Sure, the CMA’s can carry a weight of importance, and can be really meaningful to their recipients. It’s because the CMA Awards ultimately symbolize a snippet in time and not the substance of an artist’s entire career.
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On the day after the CMA Awards, it’s always important to take a deep breath, and remind yourself, “It’s just the CMA’s.” There’s a reason that Trent Reznor is now a CMA winner, yet Dwight Yoakam and Rosanne Cash never were.