I watched the 2025 CMAs and, well — it was a night of highs and a lot of awkward lows. Lainey Wilson, the host and one of the evening’s big nominees, looked striking in a teal jumpsuit with an emerald cape. Solid start, right? You could tell she meant business. But after that, the carpet felt like a mood board someone left out in the rain: bits of great taste alongside choices that made me tilt my head and wonder, why? I’m not saying everyone needed to be boringly perfect; I just expected a little more cohesion. Instead, there were too many “what were you thinking” moments.
Familiar faces, mixed execution
A few country heavyweights — Megan Moroney, Morgan Wallen, Luke Combs — mostly hit the mark. They played it safe where safe mattered and took small risks that read as intentional. Yet, on the other side of the tent, you had nominees who seemed to decide their look five minutes before arrival. Some attendees from last year’s worst-dressed list appeared to have learned something. But a handful clearly hadn’t. Pattern overload, patchwork attempts, and resurrected prom vibes from the 1980s made for a chaotic mix.
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LeAnn Rimes and the dusty prom mood
LeAnn Rimes’ dress aimed for romantic, I think. There’s a dreamy idea in there: soft fabric, rosettes, a V-waist. But the color and the weight of the material turned it into something that read more dusty than ethereal. The silhouette felt stuck in the ‘80s — not the retro-aesthetic that plays well now, but the actual prom-cameo version. If the color had been brighter, or the fabric lighter, it might’ve been a very different reaction. As it stood, it felt like an almost-moment.
Sparkles and confusion: Haley Kalil
I like Haley Kalil — she generally has a warm, camera-friendly presence. Here she went for glitz, with swirls and sparkles that, frankly, wobbled between disco nostalgia and something cartoonish. The design felt torn: half 1970s glam, half children’s-book whimsy. She looked like someone trying hard to show fun and freedom post-divorce, which is admirable, but the outfit read uncertain rather than celebratory.
MacKenzie Porter’s Frankenstein patchwork
MacKenzie Porter made sure eyes were on her, but maybe not for the reasons she hoped. Her dress was a collage of silvers, whites, sheers, and feathers — ambitious, yes, and bold. But the patchwork finish and the clashing textures made the whole thing feel chaotic. It gave off this “stitched-together” vibe that, if you squint, is inventive. If you don’t squint, it’s a costume that overreached. I can appreciate the risk. I just don’t know if it paid off.
Matching — and mismatching — couples
Ben Johnson stepped out with his wife Lauren Conklin, and it’s funny: couples often try subtle coordination and land something charming. These two didn’t quite find that balance. Conklin’s denim was luxe and flattering, so no complaints there. Johnson’s outfit, though — with random brown patches and a lighter denim — felt oddly piecemeal. If they’d matched intentionally, it might have been clever. Instead, it read like two separate ideas occupying the same photo.
When too many ideas collide: Ne-Yo
Ne-Yo is known for style, and it’s always good to see him on a country stage — unexpected, in a nice way. But this night, his look was doing a bit too much. Cowboy hat? Sure. Big belt buckle? On brand. Sunglasses at night? Classic Ne-Yo. Then the long fuzzy coat, leather pants that seemed cheap, and a plain crewneck disrupted the whole vibe. It was like three wardrobes had a quick meeting and each insisted on attending. Charming? Not really. Entertaining? Absolutely. I laughed, a little — not in a mean way, just in a “this is a lot” kind of way.
Cody Johnson and the ‘no lane’ problem
Cody Johnson is a major country figure, and I get that he may want comfort and authenticity over flash. Still — his ensemble felt unfocused. The sage-green suede boots were nice, quality-looking even, but they didn’t relate to the rest of his outfit. Denim on the red carpet can work, but this pairing lacked a tying element. The light blue shirt and cream jacket felt like an afterthought, not part of a story. It’s a reminder that having good pieces doesn’t automatically make a cohesive outfit.
Laci Kaye Booth’s high-drama moment
Laci Kaye Booth took risks, and I’ll give her that. Her maroon look had lace, sheer panels, and accessories that screamed theatrical. It could have been cinematic in a cool way, but instead it read a little like Moulin Rouge cosplay. The gloves and leg-wear pushed it over the edge; the outfit became more costume than couture. Sometimes daring works. Sometimes it just… well, doesn’t.
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A few threads to pull on
What I noticed most was a lack of restraint in several outfits; too many competing textures, colors, and eras. When an outfit tries to be everything, it often ends up telling no single story. Also, a few looks seemed to reach back to nostalgic styles — prom dresses, disco swirls, Madonna-era accessories — but without a clear update. That matters. A retro nod needs an anchor, a modern touch that says, yes, this is deliberate.
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I enjoyed parts of the night. Fashion should be playful and surprising. But the CMAs felt like a mixed bag: some great moments, some that missed, and a number of choices that were entertaining for the wrong reasons. Maybe next year the red carpet will be tighter, or maybe we’ll get even bolder — which, honestly, I wouldn’t mind. A little imperfection keeps things interesting.
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