The final nominees for the 60th annual CMA Awards have been revealed.

Ella Langley leads the group with nine nods, including her first for Entertainer of the Year. Other top nominees include Miranda Lambert with seven nominations; Kacey Musgraves and Ben West with five nominations each; Cody Johnson, Chris Stapleton and Stephen Wilson Jr. with four nominations each; and Dave Clauss, Luke Combs and Lainey Wilson with three each.

Alongside Langley, Combs, Johnson, Stapleton and Wilson are vying for Entertainer of the Year.

There are 13 first-time nominees, including Smith Ahnquist, Avery Anna, Jack Antonoff, Tim Cofield, Carter Faith, Austin Goodloe, Muscadine Bloodline, Emily Ann Roberts, Caylee Robillard, Laura Sisk, Joybeth Taylor, Thelma & James and Ben West.

“For six decades, the CMA Awards have celebrated excellence in Country Music,” says Sarah Trahern, CMA Chief Executive Officer. “We’re grateful to CMA’s Professional members, whose collective voice determines every nomination, bringing real expertise to the balloting process each year. Congratulations to all of this year’s deserving nominees. We cannot wait to celebrate our milestone anniversary together in November.”

The CMA Awards broadcasts live from Nashville’s Bridgestone Arena on Wednesday, Nov. 18 (8:00 – 11:00 PM/EST) on ABC, Disney+ and next day on Hulu.

2026 CMA Awards Final Nominees (by ballot category order):

ENTERTAINER OF THE YEAR
– Luke Combs
– Cody Johnson
– Ella Langley
– Chris Stapleton
– Lainey Wilson

SINGLE OF THE YEAR
Award goes to Artist, Producer(s) and Mix Engineer(s)
– “Be Her” – Ella Langley
Producers: Miranda Lambert, Ella Langley, Ben West
Mix Engineer: Dave Clauss
– “Choosin’ Texas” – Ella Langley
Producers: Miranda Lambert, Ella Langley, Ben West
Mix Engineer: Dave Clauss
– “I Knew It, I Knew You” – Taylor Swift
Producers: Jack Antonoff, Taylor Swift\
Mix Engineer: Laura Sisk
– “Somewhere Over Laredo” – Lainey Wilson
Producer: Jay Joyce
Mix Engineers: Jason Hall, Jay Joyce
– “The Fall” – Cody Johnson
Producer: Trent Willmon
Mix Engineer: Jack Clarke

ALBUM OF THE YEAR
Award goes to Artist, Producer(s) and Mix Engineer(s)
– Ain’t In It For My Health – Zach Top
Producer: Carson Chamberlain
Mix Engineer: Matt Rovey
– Dandelion – Ella Langley
Producers: Devin Dawson, Ella Langley, Miranda Lambert, Ben West
Mix Engineer: Dave Clauss
– Middle of Nowhere – Kacey Musgraves
Producers: Ian Fitchuk, Luke Laird, Kacey Musgraves, Daniel Tashian
Mix Engineers: Serban Ghenea, Konrad Snyder
– Parker McCollum – Parker McCollum
Producers: Frank Liddell, Eric Masse
Mix Engineer: Eric Masse
– The Way I Am – Luke Combs
Producers: Luke Combs, Chip Matthews, Jonathan Singleton
Mix Engineer: Chip Matthews

SONG OF THE YEAR
Award goes to Songwriter(s)
– “Be Her”
Songwriters: Smith Ahnquist, Michael Hardy, Ella Langley, Jordan Schmidt
– “Beautiful Things”
Songwriters: Jessi Alexander, Jessie Jo Dillon, Connie Harrington, Megan Moroney
– “Choosin’ Texas”
Songwriters: Luke Dick, Ella Langley, Miranda Lambert, Joybeth Taylor
– “Dry Spell”
Songwriters: Luke Laird, Shane McAnally, Kacey Musgraves, Josh Osborne
– “Gary”
Songwriter: Stephen Wilson Jr.

FEMALE VOCALIST OF THE YEAR
– Miranda Lambert
– Ella Langley
– Megan Moroney
– Kacey Musgraves
– Lainey Wilson

MALE VOCALIST OF THE YEAR
– Luke Combs
– Cody Johnson
– Chris Stapleton
– Zach Top
– Stephen Wilson Jr.

VOCAL GROUP OF THE YEAR
– Lady A
– Little Big Town
– Midland
– Old Dominion
– The Red Clay Strays

VOCAL DUO OF THE YEAR
– Brooks & Dunn
– Brothers Osborne
– Dan + Shay
– Muscadine Bloodline
– Thelma & James

MUSICAL EVENT OF THE YEAR
Award goes to Artists and Producer(s)
– “A Song To Sing” – Miranda Lambert (with Chris Stapleton)
Producer: Dave Cobb
– “Horses and Divorces” – Kacey Musgraves (feat. Miranda Lambert)
Producers: Kacey Musgraves, Daniel Tashian
– “I Can’t Love You Anymore” – Ella Langley & Morgan Wallen
Producers: Austin Goodloe, Ella Langley, Ben West
– “If I Don’t Leave I’m Gonna Stay” – Carly Pearce & Riley Green
Producers: Carly Pearce, Ben West
– “McArthur” – HARDY, Eric Church, Morgan Wallen & Tim McGraw
Producer: Jay Joyce

MUSICIAN OF THE YEAR
– Tom Bukovac – Guitar
– Jenee Fleenor – Fiddle
– Paul Franklin – Steel Guitar
– Rob McNelley – Guitar
– Charlie Worsham – Guitar

MUSIC VIDEO OF THE YEAR
Award goes to Artist(s) and Director(s)
– “Choosin’ Texas” – Ella Langley
Directors: Ella Langley, Caylee Robillard, Wales Toney
– “Dry Spell” – Kacey Musgraves
Directors: Hannah Lux Davis, Kacey Musgraves
– “Gary” – Stephen Wilson Jr.
Directors: Tim Cofield, Stephen Wilson Jr.
– “The Fall” – Cody Johnson
Director: Dustin Haney
– “White Horse” – Chris Stapleton
Director: Running Bear

NEW ARTIST OF THE YEAR
– Avery Anna
– Carter Faith
– Emily Ann Roberts
– Tucker Wetmore
– Stephen Wilson Jr.

After more than 30 years at the helm of Tri Star Sports & Entertainment Group, Lou Taylor is entering a new phase of growth for the company she founded. That next chapter is being led by an entirely female executive team.

Tri Star recently granted equity to Peggy Stephens (Chief Operating Officer), Heather Kinder (Chief of Staff) and Deedra Carroll (Chief Deputy Director), formalizing their roles in leading the firm’s operational, strategic and infrastructure development efforts. The move is significant in a sector where fewer than 20 percent of executive leadership roles nationally are held by women.

For Taylor, the decision was rooted in experience and performance, not symbolism.

“All of our clients were super excited for the C-Suite that was granted the equity,” Taylor says. “They took a lot of joy in being able to congratulate all of them and let them know they were appreciated.”

The response from clients reflects the longevity of the relationships Stephens, Kinder and Carroll have built within the firm. Each has played a key role in Tri Star’s expansion across its Nashville and West Hollywood offices, helping to evolve the company into a multi-family office serving high-profile entertainers, entrepreneurs and multi-generational families.

Stephens has focused on operational efficiency and client service systems. Kinder has overseen strategic initiatives and internal development. Carroll has led across systems, risk and team structure, strengthening the firm’s infrastructure as it scales.

Taylor sees the leadership shift as consistent with how Tri Star has operated for years.

“I think women by nature are more organized, specifically in a role as a business manager,” Taylor says. “Women control about 72 to 74% of all expendable income in the household. So if there’s a dollar that comes into the house, roughly 70 cents of that dollar is managed by women—paying for the groceries, the kids, the bills—and then the remaining 20% is what’s left over. Clients are often used to looking at a female as both the CFO of the household and the nurturer.”

That dynamic, she says, translates directly to the entertainment space.

“I think it’s a great advantage to be a woman in finance—being able to cultivate a high EQ and understand how people relate to money and what that looks like. You can come at it from a perspective that’s both technically strong and nurturing, and almost educational.”

Entertainment business management requires more than accounting expertise. Artists’ financial decisions intersect with touring cycles, catalog strategy, family considerations and long-term wealth planning. Taylor believes that understanding those layers is part of the job.

The leadership expansion also coincides with a significant acquisition. Tri Star recently acquired The LRW Group, a Miami-based firm serving Fortune 500 clients and high-profile individuals in entertainment and music. The move strengthens Tri Star’s East Coast presence and expands its footprint in private wealth management.

The connection between Taylor and Lahteefah “Lah” Parramore, founder of The LRW Group, began through shared clients.

“Lah and I met because we ended up representing a duo—I had one half and she had one half,” Taylor says. “Often when you get work from other business managers, it’s not always so great. Her work was so good that I actually personally called her myself and said, ‘I just want to let you know your work was great. I’m looking forward to working with you on this.’ So we just automatically became friends over the last three years.”

That professional respect developed into a broader partnership.

“We just built a great relationship in doing that and we’re having a lot of fun building that market up,” Taylor says.

Parramore now joins Tri Star as Chief Growth Officer, reporting directly to Taylor and leading the company’s East Coast expansion strategy. With her addition, the firm’s executive leadership team is entirely female.

In a financial services landscape where women remain underrepresented at the highest levels, the structure stands out. For Taylor, it also reflects how she has built the company.

“There are people out there, especially women, who actually put their money where their mouth is and elevate women. They don’t just talk about it,” she says. “There’s proof in my legacy that I’ve historically done that, and I hope it inspires today’s assistants and juniors, who will be tomorrow’s leaders, founders and owners, to follow suit.”

Granting equity to her executive team formalizes a succession structure that positions Tri Star for long-term continuity. As revenue models across the music business continue to shift and financial strategies grow more complex, Taylor says leadership depth is essential.

Tri Star’s evolution into a multi-family office has required expanded advisory capabilities, from tax strategy and risk management to estate planning and wealth preservation. The firm’s client roster spans artists at various career stages, entrepreneurs and established families navigating generational transitions.

Taylor says the internal promotion of Stephens, Kinder and Carroll recognizes the work they have already been doing to support that growth.

“When you have the opportunity, it’s important to exercise it and give people work, especially when they’ve earned it,” she adds.

The acquisition of The LRW Group further broadens the company’s reach, adding Fortune 500 relationships and strengthening its presence in Miami and across the East Coast. Under Parramore’s leadership as Chief Growth Officer, Tri Star is expanding its influence beyond its traditional markets while maintaining its entertainment core.

For Music Row, where women have steadily increased their visibility in creative and executive roles over the past decade, Tri Star’s leadership structure adds another example on the finance side of the business. Business management firms often operate behind the scenes, but their decisions shape the sustainability of artists’ careers.

As the company enters its next phase, Taylor remains focused on strengthening the foundation she built.

The elevation of an all-female executive team is not framed internally as a headline. It is the result of performance, experience and shared ownership. In an industry where succession planning is often opaque, Tri Star has made its path visible.

For younger professionals watching the trajectory of the firm, the message is direct. Advancement and equity are attainable. Leadership can be cultivated internally. And the next generation of business managers may not have to look far to see what that path can look like.