ACM Awards recap

Biggest winners and hottest moments from a fiery ACM Awards in Frisco

Dolly Parton sang rock 'n' roll, wheeled a goat on stage, and Facetime'd with Willie Nelson. The 58th annual Academy of Country Music Awards - held Thursday, May 11 at the Star in Frisco - were a wild and sometimes wacky celebration of country music in 2023.

There were tributes to Texas and Dallas-Fort Worth throughout the night, including Dallas Cowboys Dak Prescott and Emmitt Smith presenting awards and the Dallas Cowboys Cheerleaders waving their silver and blue pom-poms on the red (well, black) carpet. The Star in Frisco is, after all, the Cowboys' home turf.

Keith Urban opened the show with an rousing performance of “Texas Time,” which ended with him being raised into the air on a platform while shredding on his guitar. (Wife Nicole Kidman joined him at the event, in town for her own special Dallas gig as keynote speaker for Genesis Women's Shelter's fundraising luncheon on Friday.)

Country music icon Dolly Parton teamed up with Garth Brooks as hosts of the two-hour show, which was streamed live and nearly commercial-free on Prime Video. Things got off to a bit of a weird start when he introduced her as the "G.O.A.T." and she then wheeled a real goat onstage (poor thing!) and cracked a joke about a threesome.

“I think I speak for everybody, not just in Texas but around the world, when I say we will always love you,” a blushing Brooks replied.

The show was as much concert as it is awards presentation. The star-studded lineup of performers and special collaborations included Cole Swindell and Jo Dee Messina on their (award-winning) hit "She Had Me At Heads Carolina - REMIX.” Karaoke lyrics displayed throughout the arena urged the audience to join in, whether they knew the song from back in Messina's day or Swindell's updated version.

In another "coming together" of generations, 2022 ACM Female Artist of the Year winner Carly Pearce and Trisha Yearwood (who won the award 25 years ago) performed a special medley of Yearwood’s hits, including “Wrong Side Of Memphis,” “XXX’s And OOO’s,” and “She’s In Love With The Boy."

English pop superstar Ed Sheeran performed “Life Goes On” from his newly-released album “-” (Subtract) and surprised the crowd when he brought Luke Combs to the stage to join him.

Texas' own Miranda Lambert performed "Carousel,” a song she described as one of her favorite songs she has ever written. (A live version will be released on Amazon Music on May 16.)

New Female Artist of the Year winner Hailey Whitters made her ACM Awards stage debut with a performance of her fan-favorite song, “Everything She Ain’t.”

The War And Treaty mesmerized the crowd with a stripped-back performance of their song “Blank Page.”

Jelly Roll and Lainey Wilson performed “Save Me” in a moment that highlighted Academy philanthropic partner ACM Lifting Lives. Also, Wilson electrified the stage a performance of “Grease,” making its TV debut.

Ashley McBryde, along with Brandy Clark, Caylee Hammack, Pillbox Patti, and John Osborne, delivered an empowering performance of “Bonfire at Tina's” from McBryde's ACM Award-nominated album Ashley McBryde Presents: Lindeville.

It wasn't the only fiery performance.

As promised, Dolly Parton closed the show with one of her biggest performances to date with the world premiere of “World On Fire,” the lead single from her highly anticipated forthcoming rock album Rockstar. The over-the-top production included backup dancers, confetti, and lots of pyrotechnics.

But oh yes, there were awards given out, too. Chris Stapleton, Lainey Wilson, and Cole Swindell were among the night's biggest winners.

Below, a list of the big winners at the 58th ACM Awards. Scroll through the photos above to see some of the most memorable moments from the Texas-sized show.

ENTERTAINER OF THE YEAR: Chris Stapleton

FEMALE ARTIST OF THE YEAR: Lainey Wilson

MALE ARTIST OF THE YEAR: Morgan Wallen (who was absent due to illness)

DUO OF THE YEAR: Brothers Osborne

GROUP OF THE YEAR: Old Dominion

NEW FEMALE ARTIST OF THE YEAR: Hailey Whitters

NEW MALE ARTIST OF THE YEAR: Zach Bryan

ALBUM OF THE YEAR: Bell Bottom Country - Lainey Wilson, Jay Joyce, Broken Bow Records

SINGLE OF THE YEAR: She Had Me At Heads Carolina - Cole Swindell, Zach Crowell, Warner Music Nashville

SONG OF THE YEAR: She Had Me At Heads Carolina - Cole Swindell, Ashley Gorley, Cole Swindell, Jesse Frasure, Mark D. Sanders, Thomas Rhett, Tim Nichols

VISUAL MEDIA OF THE YEAR: wait in the truck - HARDY feat. Lainey Wilson

SONGWRITER OF THE YEAR: Ashley Gorley

ARTIST-SONGWRITER OF THE YEAR: HARDY

MUSIC EVENT OF THE YEAR: wait in the truck - HARDY feat. Lainey Wilson

Getty Images

Lainey Wilson performs.

ACM Awards celebrities concerts music awards

Movie Review

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026

Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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