The 2026 ACM Awards Nominations: A Deep Dive into Country Music’s Shifting Landscape and Lingering Questions
When the nominations for the 2026 Academy of Country Music (ACM) Awards were unveiled earlier this month, the most striking narrative was the undeniable dominance of women artists. Megan Moroney led the pack with nine nominations, closely followed by Miranda Lambert with eight, and Ella Langley and Lainey Wilson each securing seven. This significant showing by female artists far outpaced the closest male nominee, Chris Stapleton, who garnered six nods. This surge in nominations for women signals a potentially pivotal moment for the genre, reflecting a growing recognition of their contributions and artistry. However, as highlighted in a recent episode of Rolling Stone‘s Nashville Now podcast, this celebratory moment is tempered by persistent questions regarding equitable opportunities and the evolving criteria for industry recognition.
The ACM Awards, now in its 61st year, has long been a cornerstone event in the country music calendar, celebrating the genre’s brightest stars and most impactful works. Scheduled to stream live on Sunday, May 17, from the MGM Grand Garden Arena in Las Vegas on Prime Video, the ceremony promises to be a focal point for discussions about the current state and future trajectory of country music. The Nashville Now podcast episode delved into five critical "hot takes" surrounding the 2026 nominations, offering a critical lens through which to examine the awards’ decisions, category structures, and the broader implications for artists.
The Curious Case of the Duo of the Year Category
One of the most perplexing areas of contention identified by Rolling Stone‘s Nashville Now podcast is the perennial "hot mess" that is the Duo of the Year category. Last year, the veteran duo Brooks & Dunn, whose most recent recorded music was a collection of re-recorded duets released in 2024, unexpectedly took home the award. Astonishingly, despite the passage of 18 months since the release of their album Reboot II, the Country Music Hall of Fame members find themselves nominated again in the same category for the 2026 awards.
This decision raises significant questions about the criteria for nomination, particularly when compared to other deserving acts. The War & Treaty, a dynamic duo that released a critically acclaimed new album in 2025 and has been a consistent presence at country music awards shows, was notably absent from the nominations list. This oversight, as pointed out by the podcast, underscores the often-opaque nature of the Duo of the Year selections. Adding to the confusion is the inclusion of a relatively new duo, Thelma & James. While their inclusion acknowledges emerging talent, their nomination in this established category, rather than a dedicated "New Duo or Group of the Year" category, has led to further scrutiny. The absence of such a category for emerging groups in 2026, as discussed in the podcast, leaves a significant gap in recognizing burgeoning talent within the duo and group format.
The Shifting Sands of New Artist Recognition
The ACM Awards’ commitment to fostering new talent is evident in categories like New Male Artist of the Year and New Female Artist of the Year. For the 2026 awards, these categories offer a platform for artists such as Avery Anna, Vincent Mason, and Emily Ann Roberts to potentially earn their first ACM trophies. However, the podcast highlights a significant structural change that impacts the recognition of emerging groups: the elimination of a New Duo or Group of the Year category.
This absence is particularly conspicuous given the breakout success of several artists who have formed new duos or groups. Furthermore, artists experiencing significant career momentum, like Kaitlin Butts and Carter Faith, whose music has resonated strongly with audiences, and Brittney Spencer, who is set to embark on a highly anticipated opening slot for music legend Bob Dylan, are surprisingly absent from the new artist categories altogether. This exclusion, according to the Nashville Now analysis, can largely be attributed to the stringent eligibility requirements. Nominees must have achieved a Top 50 ranking on Billboard’s Hot Country Songs chart or Mediabase’s Country chart. While this rule aims to ensure a level of established success, it may inadvertently overlook artists who are gaining traction through significant touring, critical acclaim, or alternative promotional channels, thus limiting the scope of "new" artists recognized.
The Peculiarities of the 2026 Album of the Year Race
The Album of the Year category at the 2026 ACM Awards presents a mosaic of recognized talent, with new names like Riley Green, Parker McCollum, and Carter Faith earning nominations for their respective bodies of work. This inclusion of fresh voices is undoubtedly a positive development. However, the podcast also points to several conspicuous omissions that have left industry observers questioning the selection process.
Two albums widely regarded as seminal releases of the past year, Eric Church’s Evangeline vs. The Machine and Tyler Childers’ Snipe Hunter, failed to secure nominations in this prestigious category. These omissions are particularly noteworthy given the critical acclaim and cultural impact these albums have generated within the country music landscape. In contrast, Riley Green’s nomination stems from a deluxe edition of his Don’t Mind If I Do album, a decision that has drawn some criticism for prioritizing an expanded version over a distinct new project.
On a more positive note, the nomination of Carter Faith’s Cherry Valley is celebrated. Rolling Stone itself recognized Cherry Valley as the second-best country and Americana album of 2025, underscoring its artistic merit and significance. Yet, Faith’s absence from the New Female Artist of the Year category, despite the critical acclaim for her album, further fuels the discussion about the sometimes-inconsistent application of nomination criteria across different categories. This dichotomy between celebrated existing artists and overlooked emerging talent within the Album of the Year race raises questions about the Academy’s prioritization of groundbreaking new work versus established artist catalogs.
Has Entertainer of the Year Lost Its Cultural Resonance?
The Entertainer of the Year award stands as the pinnacle of achievement at both the ACM Awards and its counterpart, the Country Music Association (CMA) Awards. Traditionally, this honor is bestowed upon the artist who has most effectively served as an ambassador for country music throughout the year, demonstrating exceptional reach, influence, and dedication to the genre. The inherent subjectivity in quantifying these attributes can, at times, lead to outcomes that spark debate.
However, the Nashville Now podcast posits that if the award truly embodies the mission of spreading country music’s message and cultural impact, then a significant oversight has occurred in the 2026 nominations: the exclusion of Ella Langley. The podcast argues that no artist has demonstrably contributed more to the genre’s visibility and reach this past year than Langley, particularly through her massively successful crossover hit, "Choosin’ Texas." The song’s widespread appeal and its ability to transcend traditional genre boundaries are seen as prime examples of what the Entertainer of the Year award is intended to recognize. Langley’s omission, therefore, is viewed not just as a personal snub, but as a missed opportunity to acknowledge an artist who has significantly amplified the presence of country music on a national and potentially international stage.
The Paradox of Nomination Dominance and Radio Airplay
The overwhelming success of women in the 2026 ACM Awards nominations—with Megan Moroney, Miranda Lambert, Ella Langley, and Lainey Wilson leading the field—presents a compelling picture of their artistic merit and industry recognition. However, the Nashville Now podcast and its contributors raise a crucial question: does this nomination dominance translate into equitable radio airplay?
The data suggests a significant disconnect. While these artists are celebrated on paper by ACM voters, their presence on mainstream country radio playlists appears to be far more limited. As of the podcast’s airing, only two women, Ella Langley and Megan Moroney, were among the Top 20 most played songs on Mediabase. This stark contrast between ACM nominations and radio rotation highlights a persistent challenge for female artists in country music.
Marissa R. Moss, an author and contributor to Rolling Stone, emphasizes that this disparity is not a reflection of the artists’ talent or appeal but rather an indictment of the industry’s systemic biases. The continued reliance on radio airplay as a primary metric for success and visibility, despite the evolving landscape of music consumption, may be perpetuating an unequal playing field. The ACMs’ recognition of a record number of women in its nominations offers a glimmer of hope for change, but the continued struggle for consistent radio support suggests that the journey toward true gender parity in country music remains ongoing. The implications of this disconnect are far-reaching, potentially impacting not only the artists’ careers but also the diversity and richness of the music that reaches the wider public. The industry is left to ponder whether the increased nominations are a precursor to broader industry shifts or a temporary statistical anomaly in a landscape that still favors established norms.
