Every 2026 ACMs Performance, Ranked

Jordan Davis and Thomas Rhett joined forces for an uptempo, gratitude-filled ode, delivering a spirited performance. Screens lit up with video of Davis and Rhett performing, alongside sweeping nature visuals. The two artists started out on the main stage, then ventured out onto the catwalk stage, drawing cheers from the the country fans filling the front rows.

As the evening wound down and the final awards accolades were given out (with Cody Johnson cinching a win for the coveted entertainer of the year honor), Blake Shelton closed out the ceremony with a performance of Kenny Rogers’ “The Gambler,” to honor the song’s author Don Schlitz, who passed away in April. Given how many songs throughout the evening seemed to delve into throwback sounds, it felt appropriate for the show to close with a bona fide classic, and Shelton’s amiable delivery brought a singalong feel to show closer. However, given the sheer number of hits and stellar album cuts Schlitz is known for, it might have been nice to have a medley to showcase more of Schlitz’s deeper catalog.

For his performance of his new song, “Woman,” Brown and a group of backup dancers walked, danced and sashayed their way through the audience. Brown’s vocal sounded effortless and he even got in on the choreography slightly, while the song made for a breezy, light-hearted moment in an awards show that seemed to overall tilt heavy on ballads.

ACM new female artist of the year winner Avery Anna took the audience deep into rock territory, opening her performance with a rendition of “Bang Bang (My Baby Shot Me Down)” before segueing into her own “Blood Is Thicker.” Dressed in leather and turning in a grungy, swaggering turn at the mic, Anna also commandeered the drum set at one point, further signifying Anna’s growing confidence and career vision.

Texans Parker McCollum and Lee Ann Womack brought their musical talents to the ACM Awards stage. McCollum (who won the album of the accolade for his self-titled project) launched into his song “‘Killin’ Me” with a muscular rendering, before he was joined by Womack, lending her sweet harmonies. Each artist is a top-shelf vocalist and performer, but it seemed that this particular song may not have been the strongest vessel to showcase their collaborative talents.

Reigning ACM entertainer of the year (and recent newlywed) Lainey Wilson got the night “running and gunning” by launching the evening with a rendition of “Can’t Sit Still.” Wilson ripped through the song, joined by an all-woman cast of backup dancers donning white outfits bell bottom outfits, while Wilson donned a black and silver fringe outfit. Though the vocals weren’t always the strongest at a couple of moments, this playful and high-energy performance launched the evening on a high note.

In his concerts, Cody Johnson’s rendition of The Chicks’ “Travelin’ Soldier,” has long been a fan favorite. He brought his passionate, more uptempo version to the ACMs stage, as video screens showcased videos of military images, while a massive American flag flanked the back of the stage. The song comes across well in performance, though the more uptempo version does seem to lack some of the emotional angst of The Chicks’ somber original.

Newly-minted ACM new male artist of the year Tucker Wetmore got a sweet and tender introduction from not only ACMs host Shania Twain, but also from Wetmore’s mother Sia. On a satellite stage surrounded by the audience, he offered an energetic, rapid-fire take on his hit “Brunette.” Gesturing to the audience, stomping his boots and grooving with the band, Wetmore commanded the smaller stage with the charisma of an arena headliner.

Zach Top promised the crowd he was going to “Honky-Tonk til it hurts all night in Vegas,” and made good on his promise by bringing the ‘90s-tilted “Honky-Tonk ‘Til It Hurts.” Donning a retro jacket and jeans, and leading his band on electric guitar, Top offered his signature twang and a clean guitar solo on the barroom-ready track, keeping fans on their feet with this blend of nostalgic-yet-fresh sounds. 

Lambert brought a carefree vibe to her performance of new song “Crisco,” with the song’s vivid, sultry imagery and retro feel. The stage was drenched in silver, with disco balls shimmering and a rhinestone saddle hanging from the ceiling. Lambert shimmied to the light-hearted track, with lyrics about butter, biscuits, romance, country and disco. She was joined by a string section and an ace band. Lambert kept adding to her ACM Awards arsenal during the evening, but her performance also proved she just might be in one of the most fun, sonically creative times of her career.

Riley Green didn’t need much in the way of pyro or stage production to command the crowd’s attention during his ACMs performance. He and his band offered a straightforward rendition of the angst-filled, flirty “Change My Mind.” Guitar in hand, he began singing at center stage, then sauntering down the catwalk stage and singing directly into the camera. He closed the performance surrounded by cheering fans.

Little Big Town returned to the ACM Awards stage to perform their new song, “Hey There Sunshine.” The introspective ballad began with LBT’s Karen Fairchild’s powerful vocal, and continued building with subtle harmonies as the song swelled with the message of finding hope and optimism in dark times, as Fairchild sang repeatedly like a mantra, “I’m gonna be okay.” A timely message from one of country music’s greatest vocal groups.

The Red Clay Strays took home group of the year, and also turned in one of the evening’s better performances. Lead singer Brandon Coleman is known for his gritty, powerful voice, and this performance was no exception. A stellar choir only added to the performance’s musical authority, as the band roared through the soulful track, making it among the evening’s standout moments.

Carter Faith, whose album Cherry Valley was nominated for album of the year, performed a dramatic, dynamic version of her song “If I Had Never Lost My Mind.” Dressed in a lacy gown, she stayed close to the mic, letting her powerful voice lead the way on the torchy, string-laden ballad. The performance showcased why she’s fast becoming one of the most talked-about new performers.

As the ACM Awards drew to a close, duo Dan + Shay offered a somber and emotional performance of their song “Say So,” which was dedicated to late Nashville music industry executive Ben Vaughn, who passed away in 2025. The song centers on helping others who are struggling with mental health, and encouraging those facing mental health issues to reach out for help. Dan + Shay’s Dan Smyers and Shay Mooney delivered the track with heart and elegance.

One of the evening’s most-winning artists, instead of performing her smash hit “Choosin’ Texas,” Langley opted instead to perform another of the hits from her project Dandelion, with “Be Her.” The stripped-down performance found Langley seated and accompanying herself on guitar, joined by two fellow guitarists. The pared-back performance was one of the evening’s mightiest, putting the spotlight on Langley’s powerful, charismatic voice and proving why her music is connecting with so many fans.

Kacey Musgraves brought one of the evening’s most vivid and memorable performances, with her rendition of “Dry Spell,” from her new album Middle of Nowhere. Singing the suggestive song’s lyrics such as “It’s been a real long 335 days/ And the last time wasn’t good anyway” while seated atop a washing machine, Musgraves then transitioned to a set with a backdrop of a small-town country market, with Musgraves singing while sashaying and pushing a shopping cart center stage. The Texas native brought a bold, confident, sultry and playful performance that was one of the night’s most remarkable.