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“WHO KNEW FIVE WORDS COULD FLIP THE 2025 CMAs?” Nobody planned for a night like this. Lainey Wilson stepped onto the CMA carpet glowing in that Louisiana way of hers — but she walked off the stage looking like someone who couldn’t quite believe what just happened. Fans were screaming, people in the crowd were grabbing their heads, even the industry folks couldn’t pretend they saw this coming. And when she said those five little words — “I’m crying… what just happened?” — the whole place felt it. A winners list full of upsets, surprises, and one shocking shutout only made the moment louder. Nashville hasn’t stopped talking since.

59th Annual CMA Awards: Complete Winners List

Country music’s brightest stars lit up Nashville on Wednesday night as the 59th Annual CMA Awards celebrated the year’s standout talent. The event brought together legendary performers, rising artists, and some of the most memorable moments in country music this year.

Lainey Wilson emerged as the night’s biggest winner, taking home Album of the Year, Female Vocalist of the Year, and the highly coveted Entertainer of the Year award. Meanwhile, Zach Top earned a milestone victory with New Artist of the Year, and Ella Langley and Riley Green swept multiple categories with their hit track “you look like you love me.”

The show featured live performances from stars such as Lainey Wilson, Keith Urban, Luke Combs, and others, blending unforgettable music with well-deserved recognition. Earlier in the day, “Good Morning America” announced two early winners — including an award for Post Malone.

The ceremony aired live from Nashville’s Bridgestone Arena on Nov. 19 at 8 p.m. ET on ABC and is now available for streaming on Hulu.

See the complete list of winners below (winners in bold):

Musical Event of the Year

  • “Pour Me A Drink” – Post Malone (feat. Blake Shelton) – Producers: Louis Bell, Charlie Handsome (WINNER)
  • “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
  • “You Had To Be There” – Megan Moroney (feat. Kenny Chesney) – Producer: Kristian Bush

Music Video of the Year

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

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 (WINNER)

Vocal Duo of the Year

  • Brooks & Dunn (WINNER)
  • Brothers Osborne
  • Dan + Shay
  • Maddie & Tae
  • The War And Treaty

New Artist of the Year

  • Ella Langley
  • Shaboozey
  • Zach Top (WINNER)
  • Tucker Wetmore
  • Stephen Wilson Jr.

Musician of the Year

  • Jenee Fleenor – Fiddle
  • Paul Franklin – Steel Guitar (WINNER)
  • Brent Mason – Guitar
  • Rob McNelley – Guitar
  • Derek Wells – Guitar

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 (WINNER)

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 (WINNER)

Vocal Group of the Year

  • Lady A
  • Little Big Town
  • Old Dominion
  • Rascal Flatts
  • The Red Clay Strays (WINNER)

Male Vocalist of the Year

  • Luke Combs
  • Cody Johnson (WINNER)
  • Chris Stapleton
  • Zach Top
  • Morgan Wallen

Female Vocalist of the Year

  • Kelsea Ballerini
  • Miranda Lambert
  • Ella Langley
  • Megan Moroney
  • Lainey Wilson (WINNER)

Entertainer of the Year

  • Luke Combs
  • Cody Johnson
  • Chris Stapleton
  • Morgan Wallen
  • Lainey Wilson (WINNER)

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Country Music

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Country Music

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Country Music

THE GUITAR WEPT IN PLACE OF A LEGEND’S FAREWELL. Jerry Reed was never known for fear. He played the guitar like lightning, laughed loudly, and lived at full volume. But beside Chet Atkins’s hospital bed in his final days, people saw a completely different Jerry. “Mister Guitar” — the man who had discovered and mentored him — could no longer press the strings with hands grown too weak. All their lives, they had teased each other, racing to see who could play faster. That day, Jerry lifted the guitar and played a slow, trembling ballad. No flashy technique. No blistering speed. Only the heart of a student saying goodbye to the greatest teacher he had ever known. Chet closed his eyes, listened, and whispered with a smile, “You win, son.” After Chet passed, it was said that Jerry Reed carried part of his own soul with him. One painful story tells that during his first recording session without Chet, Jerry stopped in the middle of a take, stared at the empty chair in the studio, and spoke a single sentence that made the entire crew fall silent and switch off the machines…

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THE DAY AFTER JANIS JOPLIN DIED, KRIS KRISTOFFERSON HEARD HER SING HIS SONG FOR THE FIRST TIME. Joplin had recorded “Me and Bobby McGee” only days before October 4, 1970, during the sessions for Pearl. Kristofferson had been in Peru filming and did not know she had cut it. But what did he do after producer Paul Rothchild played him the tape? He and Joplin had shared a brief romance, and Kristofferson later described their bond as more like brother and sister. In March 1971, her version reached No. 1 on the Billboard Hot 100—her only leader on that chart and the second posthumous No. 1 in Hot 100 history. The chart triumph became public. The private aftermath of that first playback is the part most retellings leave behind.

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ALAN JACKSON NEVER NEEDED A SPEECH TO MAKE HIS POINT. At the 1994 ACM Awards, producers required “Gone Country” to run over a pre-recorded backing track. Jackson still took the stage, but drummer Bruce Rutherford sat behind the kit without drumsticks. The music continued perfectly, and anyone watching closely could see exactly what was happening. The audience saw the protest. What Jackson could not see was how another quiet stand, five years later, would land inside George Jones’s living room. After Jones declined an invitation to perform a shortened version of “Choices” at the 1999 CMA Awards, Jackson began singing “Pop a Top.” Then he cut his own song short and moved into the chorus of “Choices.” No announcement. No explanation. Just a room rising to its feet—and a reaction at home that gave the moment its lasting weight.

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HE SOLD 85 MILLION RECORDS. BUT WHEN SALLY DIED, EDDY ARNOLD ONLY LASTED EIGHT MORE WEEKS. In March 2008, Sally Arnold passed away in a Tennessee hospital at 87. Eight weeks later, on May 8, Eddy Arnold followed her — just one week before his 90th birthday. After 66 years of marriage, he simply didn’t stay long in a world without her. Rewind to 1940. A young singer named Eddy Arnold was performing in Louisville with Pee Wee King’s band, still broke, still unknown, still years away from the Grand Ole Opry. The story goes that a girl named Sally Gayhart came up after the show and asked for his autograph. He gave her his name that night. A year later, in November 1941, she took it for good. Everything came after Sally. “Make the World Go Away.” “Bouquet of Roses.” 85 million records, the Country Music Hall of Fame, a farm boy from Chester County becoming one of the most successful voices in American music. And through all of it, friends said the same thing: he always told people he could never have done any of it without her. She stayed home, raised their two children, managed the money, and shared him with the whole world — because she knew exactly how much of him belonged to her. But the detail I can’t forget is from their last years. Sally grew too frail to go out. So Eddy, at 89, would drive into town, buy one sandwich, and bring it home. Every single day, they split that sandwich for lunch — the plowboy and the girl from Louisville, still sharing everything, sixty-six years after an autograph. Some men chase the spotlight their whole lives. Eddy Arnold just kept coming home for lunch.