2018 ACMs: From Inside Out, Still On Top

Thank you, Academy of Country Music, for "playing within yourself" last night (4/15).

That's a term used in sports, often as advice for athletes – golfers and baseball players mostly, as hitting a ball accurately and consistently – be it a small, dimpled one, or a larger, stitched version – is difficult to do. Really difficult. Pressing, or trying too hard, only makes things worse.

To "play within one's self" is explained this way: "Do things which are truthful for you. Instinctive. React the way you would. If one fakes something, forces something that is not truthful, then they are going beyond themselves."

I share this sports psychology comparison with you to explain the success of Sunday night's (4/15) "53rd Academy Of Country Music Awards" show telecast on CBS-TV. If you've read my coverage of most every Country awards show during the past five years in this space, you know my frustration with all of them – ACM, CMA, CMT – each trying way too hard to make us something we're not. Of their obsession with importing Pop artists to perform in a featured role, reducing our stars to mere subordinate backup singers, in a desperate and unnecessary attempt to add credibility to the show and our genre.

It's insulting, confusing, and makes us look like we don't appreciate or love ourselves. We've been treating ourselves like the frog, not the prince – which is so stupid, really, since Country music and Country radio are more popular and mass appeal than ever. As I've said before: we don't need to try and prove we're the shit; we already ARE the shit.

But, none of that was the case last night.

The strategy of producers for this year's ACM show appeared simple and clear: demonstrate Country music's strength and appeal from the inside out. This format is overstocked with plenty of talent to showcase itself – the artists, the songs, and what the current snapshot of mainstream Country music is right now. More intentional thinking: bringing back Reba McEntire as host… one who doesn't need a male counterpart to hold the door for her. Her crack about a woman doing the work of two men was priceless, and – in this case – entirely accurate. Her announcement that Morgane Stapleton had delivered twin boys a tad early was charming and gave the night a familial feel. Sheesh, Reba wore the same red dress she originally fit into 25 years ago on the ACMs; they had to fetch it from the Country Music Hall of Fame. With 14 previous ACM-hosting stints on her vast resume, Reba was funny, gracious, self-deprecating, comfortable, and entirely in her element. I don’t know if she's the long-term answer as ACM Awards host, but she was the perfect answer this year.

Yes, two of the 23 performances featured Pop artists; the ones who already have current Country hits. Bebe Rexha teamed with Florida Georgia Line on the Country mix of "Meant To Be." The Pop version features her in a more prominent vocal role at the song's beginning. Both versions are humongous hits; overall, the song is the year's biggest in terms of consumption. It's a rare, multi-format smash that never gets old (ala, "Body Like A Back Road"). I think it's also awesome – and great for Country – that Pop stations are playing one of our biggest core artists (Yes, FGL are core artists; they've been churning out hits for six years now. Accept it.) in a mega-heavy rotation.

Similarly, Julia Michaels joined Keith Urban for "Coming Home," just like on the record, which is his current single. But, the overall winner for "oh-wow" musical performance of the night? Like Reba as host, the ACM brain trust needed to look no further than right under their noses, in its own backyard, for none other than Carrie Underwood to own the night, belting out "Cry Pretty," her brand-new song, which she absolutely shredded vocally. And, side note: Scar? Huh? What scar? She made it seem like we should expect the Phantom Of The Opera or Elephant Man to walk on stage. In reality, there was nothing to see here in terms of disfigurement. Here's a news flash: Carrie Underwood remains beautiful, fit, classy, and – oh yeah – the best singer in our format, male or female.

Speaking of females, the ACM seemed mindful of providing legitimate balance between male and female performers. And, I don’t think it felt forced. It could have, as an attempt to adjust for the lack of female presence so noted at the Grammys this year. But, the truth is, Country has plenty of female firepower right now. Of the 24 performances, 14 featured ladies, with newcomer Lauren Alaina hitting the stage twice. She had a much stronger presence on last night's version of "What If's," the duet she recorded and helped take to #1 with Kane Brown. On the live TV version, the song was elevated to a new level, thanks to Alaina. Later, as the ACM New Female Vocalist Of The Year, she sang "Doin' Fine," her new single, and she owned that as well. Maren Morris followed Kenny Chesney's opening performance with a sassy, confident version of "Rich." Hillary Scott looked and sounded great on Lady Antebellum's "Heart Break," and Kelsea Ballerini once again proved she is a rising star with "I Hate Love Songs." So, tell me (scratching head); why do we have such a problem establishing female stars at Country radio again?

The night's 24-song playlist was a well-built, well-balanced mix of songs and artists (male and female) which represent who and what is defining mainstream Country music right now. In addition to the ladies I just mentioned, Chesney, Dierks Bentley, Little Big Town, Blake Shelton, Toby Keith, Jon Pardi, Alan Jackson, Old Dominion, Keith Urban, Chris Janson, Midland, Chris Young, Darius Rucker, Thomas Rhett, Luke Bryan, Jason Aldean, Carrie, and, even Reba – reprising 1993's "Does He Love You" with Kelly Clarkson subbing for the original duet partner, Linda Davis – all took the stage. I know many reading this are programmers who sit in front of a music scheduling software system all day, curating a playlist that fits their brand and represents this format. I look at the artists and songs, and I see six that could be coded as recurrents, 14 currents, one cover (LBT’s version of Elton John’s "Rocket man"), and three 90s classics.

I'd call that a solid job of music-scheduling and excellent balance.

The Reba duet was one of three songs calling back to the 90s, along with Alan Jackson paired with up-and-comer Jon Pardi on "Chattahoochee;" plus Blake Shelton teaming with Toby Keith on Keith's 1993 debut, "Should've Been A Cowboy." I think along with being iconic, familiar songs from that era, these song choices signaled to viewers the ACM appreciates and values its roots and understands how powerful the right 90s titles can be for even a current-based Country fans. And, using its inside-out approach, the ACM show producers utilized talent that is current and relevant to Country right now when teaming them with the original artists. I include Kelly Clarkson in this group, because she has proven her understanding of and her ability to sing Country music. That, and she's sort of related to Reba, so there's that.

This year's ACMs (thankfully) lacked the eye-roll, or awkwardly painful, groan-worthy moments. While the show didn't really swing for the fences, home runs were still hit, including Reba as host; Carrie Underwood and Lauren Alaina's performances, as I mentioned before; Old Dominion's surprising, yet well-deserved win for Vocal Group Of The Year; and Aldean's third straight Entertainer Of The Year trophy. The show's stark, "less-is-more" open was a tasteful, respectful salute to Route 91 Harvest Festival victims and set the tone for the evening.

My one beef: where was the Vocal Duo Of The Year announcement? How come the Brothers Osborne couldn't have their national TV moment? And, how come they didn't perform? They're one of the most dynamic live acts we have. Okay, that was two beefs, but you get the point. I just hate the idea that an important category like Duo gets bumped; do we have to wait for ACM Honors next Fall to see them accept?

Ratings for last night's show were up in total viewership from 2017 with more than 12 million watching. That's impressive, when most awards shows continue to see numbers fall year-to-year.

Malcom Forbes once said, "How To Succeed: try hard enough. How to fail: try too hard." The 2018 ACMs tried hard enough but not too hard. Finally, it seems we are comfortable in our own skin; we know who and what we are, and we like ourselves. All we must do is act like it, and others will like us more, too.

If that doesn't seem to work after a while, then I guess we'll just call up Reba McEntire again.