CMA Awards 2024 Performances Ranked Worst to Best

Post Malone made a massive foray into country music this year with his F-1 Trillion album and hit duets with Morgan Wallen (the Billboard Hot 100 topper “I Had Some Help”) and Blake Shelton (“Pour Me a Drink”). Though his F-1 Trillion album is filled with collabs, Post Malone was often at his best on the record with his solo material. To that end, one of his two CMA Awards performances Wednesday night was a solo performance of the ballad “Yours,” an ode to his daughter. He’s previously turned in some stellar vocal performances, but here, Post Malone’s normally supple voice sounded rough and strained, becoming somewhat of a distraction from the song’s sweet sentiments.

Zimmerman immediately caught viewers’ attention by lowering himself from the ceiling in front of a massive sign emblazoned with his initials. Clad in a sleeveless shirt and jean shorts, Zimmerman sang his song “New to Country.” Confetti fluttered over the crowd as he churned through the new track, backed by his band. As always, Zimmerman approached the performance with plenty of energy, but given the genre’s recent tilt toward more traditional-leaning sounds, the song itself felt slightly dated.

In addition to his duties co-hosting the CMA Awards, Luke Bryan performed his recent top 5 Country Airplay hit “Love You, Miss You, Mean It,” offering up a fine performance that showcased both his hitmaker status and his easygoing, fun- natured performance style.

Ballerini and Kahan sang an elegant take on their collab “Cowboys Cry Too,” included on Ballerini’s latest album, patterns. Their vocals sounded sweet together, although Kahan, who is generally seen performing with his guitar, seemed slightly uncomfortable onstage. Still, the tender rendering made for a solid performance.

Chris Stapleton and Post Malone launched this year’s show with a collaboration of “California Sober,” their duet from Post Malone’s F-1 Trillion. Their joyous vibe was a great start to the show and they each turned into a passionate, rollicking, honky-tonk vibe. Still, Stapleton’s powerful vocal instrument overpowered Post Malone’s at moments, though it’s hard for any vocalist to stand up to Stapleton’s powerful boom of a voice.

Megan Moroney offered up one of the show’s flashiest moments during her performance of “Am I Okay?,” the title track of her latest album. She showcased just why her career has emerged higher over the past year. Extending the blue-toned theme of her album cover, her performance was marked by blue sparkles spanning massive screens, lasers and her platform stage. Her wit and charisma were on display as Moroney sauntered and twirled through the sassy song, before dropping to one knee on the song’s bridge, singing the song’s flirty, love-fueled verses with wink and a smile. Even so, her voice seemed slightly unsteady at times, although the performance still had plenty of charm.

Shaboozey’s “A Bar Song (Tipsy)” has been an inescapable hit this year, spending 18 weeks atop the Billboard Hot 100. He brought that star power to the CMA stage, first opening with his new song “Highway,” before announcing his intentions to “turn this place into the greatest dive bar in the world” and launching into his breakthrough hit. Flanked by dancers garbed in western wear, he offered a laid-back charisma and had no problem getting the whole audience on his feet, and his fellow artists grooving.

Lainey Wilson, who also served as a co-host this year alongside Luke Bryan and Peyton Manning, brought a dramatic flair to the love song “4x4xU.” Standing before a firepit, with a backing screen that looked like stars flung across the night sky, Wilson sang her lilting hit about finding respite from a long day by spending time with her lover. Wilson held court with a seasoned confidence.

Dierks Bentley was joined by a trio of talented bluegrass luminaries and IBMA Award winners — Molly Tuttle, Sierra Hull and Bronwyn Keith-Hynes — to honor the late Tom Petty with a bluegrassed-up version of “American Girl.” (Bentley recorded a version of the song for the tribute album Petty Country.) Since the beginning of his career, Bentley has made no secret of his love for bluegrass music. Helmed by Bentley’s gritty twang, the performance was filled with swaths of mandolin, fiddle and guitar, and was particularly powerful because it put a much-deserved spotlight on the musical acumen of Tuttle, Hull and Keith-Hynes.

Thomas Rhett and Teddy Swims brought a soulful, sultry take on TR’s “Somethin’ ‘Bout a Woman,” before transitioning into Swims’s “Lose Control.” This blend of pop, soul, blues and country, with dynamic melodies, superbly highlighted the vocal skills of both artists, creating a moment that clearly resonated with the audience, bringing the crowd to their feet.

Dressed in dark attire and his signature shades, Eric Church turned in an aching and elegant performance of “Darkest Hour,” a solo write from Church, with all of his publishing royalties from the song going to aid those impacted by Hurricane Helene. Backed by horns and strings, as well as a choir, as he sang powerfully and soulfully about the power of standing by the side of loved ones through trying times. The vigorous performance proved one of the evening’s most impactful.

Ella Langley and Riley Green gave a performance that felt like a glorious throwback to old-school CMA Awards performances as they performed their collaboration “You Look Like You Love Me.” Langley began the song while seated in the audience, then stood and sauntered through the aisles, playing to the camera, and up the steps to the CMA stage as she performed the first verse of “You Look Like You Love Me.” Green soon joined her, and their onstage performance and vocal charisma was undeniable, instantly drawing a standing ovation from the crowd. A solid showcase for these two talented artists.

Combs offered a blistering vocal performance as he sang the rock-fueled “Ain’t No Love in Oklahoma,” his contribution to the soundtrack to the Twisters soundtrack. Combs consistently proves he has one of the most commanding voices in country music and this roaring performance was no exception.

Accompanying herself on guitar, Ashley McBryde turned in a stunning tribute to the late Kris Kristofferson, with a solemn, tender rendition of “Help Me Make It Through The Night” as photos of Kristofferson flashed on a screen. The simple, elegant performance garnered a standing ovation in tribute to the iconic singer-songwriter Kristofferson.

This heartbreaker of a song, embodying the ache of loss, is a classic from these two: reserved instrumentation highlighting deeply felt vocals and a timeless message.

Texan Cody Johnson, who just sold out his first headline stadium concert in Arlington, Texas, is known for his high-octane performances. But at the CMA Awards, he offered one of the top-tier ballads of the evening, as he was joined by Carrie Underwood for a performance of their collaboration on “I’m Gonna Love You.” The song is a top-notch vessel for these two powerful vocalists and seasoned entertainers.

Musgraves offered a simple guitar-vocal performance that placed the spotlight on the exquisitely crafted tune about pondering free will, and the meaning (if any) behind life’s chances and random turns. The simple performance was a powerful reminder of Musgraves’ devotion to top-shelf songcraft.

For their performance of “Liar,” a song about fighting the lies that lead to and accompany addiction, Jelly Roll and Keith Urban offered up an intense performance, one further heightened by the fiery onstage production. With Urban displaying his stellar guitar work, and the backing of a vocal group, Jelly Roll turned in the kind of passionate, soulful performance he’s become known for.

Brooks & Dunn and Jelly Roll turned into one of the evening’s most emotional, impactful performances midway through the show with a rendition of Brooks & Dunn’s gospel-inflected “Believe.” Jelly Roll launched into the familiar song of a man who turns to a higher power to fill the emotional void after the death of loved ones, accompanied by Kix Brooks on piano and Ronnie Dunn’s stirring voice. Brooks & Dunn and Jelly Roll hit the song’s zenith on the soaring chorus as Jelly Roll raised his hands, causing many in the audience to do the same, some wiping away tears.

Country Music Hall of Famer George Strait was celebrated mightily during the CMA Awards with several artists performing some of his many hit songs.

Lainey Wilson launched into the tribute with a version of “Amarillo By Morning,” which made great use of her natural twang. “You are a true inspiration to me,” Wilson told Strait, as Jamey Johnson then took to the stage for a stellar performance of Strait’s “Give It Away,” which Johnson co-wrote.

Johnson was then joined by Miranda Lambert and Parker McCollum, who sang “Troubadour” as photos of Strait over the years flashed onscreen. From there, on another stage, Strait himself took the stage alongside Stapleton to perform their collaboration “Honky Tonk Hall of Fame,” from Strait’s latest album Cowboys and Dreamers. At 72, Strait proved why he remains the benchmark that so many artists in the genre look up to.