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ACMs recap

Lainey Wilson wins big at 2024 Academy of Country Music Awards in Frisco

Associated Press
May 17, 2024 | 9:37 am
Lainey Wilson, ACMs

Lainey Wilson, winner of the Entertainer of the Year, Female Artist of the Year, and Music Event of the Year at the ACMs.

Photo by Omar Vega/Getty Images

It was Lainey Wilson ’s night, in many ways. She took home female artist of the year and the top prize of entertainer of the year at the 2024 Academy of Country Music Awards.

The ACMs were held at the Ford Center at The Star in Frisco for the second year in a row; country music legend Reba McEntire hosted.

“I’ve been in Nashville for 13 years doing this,” Wilson started her acceptance speech. “Everybody in this category has loved on me and believed on me,” she added. “And I love y’all for that.”

She joins an exclusive category of few women to earn the top prize: Miranda Lambert was named entertainer of the year in 2022. In 2020, Carrie Underwood and Thomas Rhett tied for the title, the first time ever for a tie and the first time a woman had won the category since Taylor Swift in 2012.

Wilson also opened the 59th annual ACMs with a cover of Little Texas’ “God Blessed Texas,” flawlessly jumping into her new single, “Hang Tight Honey.” Afterward, Clay Walker and Randy Travis presented Jordan Davis with song of the year for his ubiquitous country radio hit “Next Thing You Know.”

“First off, I want to thank the fans for loving this song,” he said in his acceptance speech. “I love songwriting because of songs that won song of the year, so to be holding this right now is crazy.”

Music event of the year also went to Wilson — and Jelly Roll, for his smash “Save Me.”

“No pun intended, but seriously, this song saved me,” Jelly Roll said in his speech. “I thought I would die and go to jail,” he said while getting emotional — and instead, he celebrated being an ACM award winner.

In one of the most anticipated performances of the show, Jason Aldean lit up the stage in a moving tribute to the late Toby Keith.

He gave the crowd a poignant, acoustic performance of Keith’s classic “Should’ve Been a Cowboy” as the audience sang along, and Keith’s family watched from the crowd.

Across his career, Keith took home 14 ACM Awards, twice winning the top prize of entertainer of the year. He died in February at age 62, following a diagnosis of stomach cancer.

Album and male artist of the year went to Chris Stapleton. “There’s so many great guys in that category and I’m happy just to be included in this company,” he said in his acceptance speech.

And when it came time to perform his new song “Think I’m in Love with You,” he was joined by a very special guest: Dua Lipa.

It wasn’t the only surprise: Post Malone debuted a brand-new song, “Never Love You Again,” which bled into his huge new single with Morgan Wallen “I Had Some Help.” Wallen did not perform.

Instead, afterward, McEntire joined Post Malone to duet a little bit of the Allman Brothers Band’s “Ramblin’ Man” in tribute to Dickey Betts, who died last month. He was 80.

Earlier in the evening, Luke Combs — the most nominated artist of the night, with eight — took home single of the year for his cover of Tracy Chapman’s “Fast Car.” Last year, Chapman’s 1988 song won song of the year at the Country Music Awards for Combs’ cover, making her the first Black songwriter to win in the category.

Dan and Shay and Old Dominion took home the prize for duo and group of the year, respectively.

Performances hit fast and furious: Jelly Roll launched into a rocking rendition of his new song “Liar,” followed closely by Kelsea Ballerini with Noah Kahan — doing her song “Mountain with a View” into his viral hit “Stick Season.”

Tigirlily Gold did “I Tried A Ring On,” Texas-born Cody Johnson brought his “Dirt Cheap,” and Miranda Lambert debuted her new single “Wranglers.”

Kane Brown did a moving cover of “Georgia On My Mind.” Thomas Rhett did “Beautiful As You” and everyone’s favorite couple Blake Shelton and Gwen Stefani brought the lovely “Purple Irises” to the ACM stage.

Park McCollum did his hit “Burn It Down,” new male artist of the year winner Nate Smith and pop-punk powerhouse Avril Lavigne performed their new one, “Bulletproof,” and host McEntire closed out the show with her new single, “I Can’t.”

The ACM Awards were livestreamed on Prime Video and the Amazon Music channel on Twitch Live.

Complete list of winners:

ENTERTAINER OF THE YEAR

  • Lainey Wilson

FEMALE ARTIST OF THE YEAR

  • Lainey Wilson

MALE ARTIST OF THE YEAR

  • Chris Stapleton

DUO OF THE YEAR

  • Dan + Shay

GROUP OF THE YEAR

  • Old Dominion

NEW FEMALE ARTIST OF THE YEAR

  • Megan Moroney

NEW MALE ARTIST OF THE YEAR

  • Nate Smith

NEW DUO OR GROUP OF THE YEAR

  • Tigirlily Gold

ALBUM OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]

  • Higher - Chris Stapleton

Producers: Chris Stapleton, Dave Cobb, Morgane Stapleton

Record Company-Label: Mercury Nashville

SINGLE OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]

  • Fast Car - Luke Combs

Producers: Luke Combs, Chip Matthews, Jonathan Singleton

Record Company-Label: River House Artists / Columbia Nashville

SONG OF THE YEAR [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]

  • Next Thing You Know - Jordan Davis

Songwriters: Chase McGill, Greylan James, Jordan Davis, Josh Osborne

Publishers: Family Farm Songs; Hold On Can I Get A Number 1 Music; Songs of Universal Inc.

VISUAL MEDIA OF THE YEAR [Awarded to Producer(s)/Director(s)/Artist(s)]

  • Burn It Down - Parker McCollum

Produces: Christen Pinkston &Wesley Stebbins-Perry

Director: Dustin Haney

SONGWRITER OF THE YEAR

  • Jessie Jo Dillon

ARTIST-SONGWRITER OF THE YEAR

  • Chris Stapleton

MUSIC EVENT OF THE YEAR [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]

  • Save Me - Jelly Roll (with Lainey Wilson)

Producers: Zach Crowell, David Ray Stevens

Record Company-Label: Stoney Creek Records / BMG Nashville

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Stephanie Allmon Merry contributed to this report.

celebrities entertainer of the year lainey wilson prime video reba mcentire post malone music awards
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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