The 2026 Academy of Country Music Awards have arrived, and they’re back in Las Vegas, at the MGM Grand Garden Arena, after the last three years at Ford Center at The Star in Frisco, Texas. They also have a brand-new host in country superstar Shania Twain, who’s taking over after repeat host Reba McEntire the past two years.

But who will emerge the night’s biggest winner? Well, this year’s four most-nominated artists are all women: Megan Moroney leads with nine nods, followed by Miranda Lambert (eight) and Ella Langley and Lainey Wilson (seven apiece). It’s the second year in a row that a female solo artist has led the nominations; Langley was out front last year with eight nods.

Billboard will be following along all night (and all over the Vegas show), so stick with us for the updating list of winners below.

Entertainer of the Year

Luke Combs

Jelly Roll

Cody Johnson

Megan Moroney

Chris Stapleton

Morgan Wallen

Lainey Wilson

Female Artist of the Year

Kelsea Ballerini

Miranda Lambert

Ella Langley

Megan Moroney

Lainey Wilson

Male Artist of the Year

Luke Combs

Riley Green

Cody Johnson

Chris Stapleton

Zach Top

Group of the Year

49 Winchester

Flatland Cavalry

Old Dominion

Rascal Flatts

The Red Clay Strays

Duo of the Year

Brooks & Dunn

Brothers Osborne

Dan + Shay

Muscadine Bloodline

Thelma & James

Album of the Year

[Awarded to artist(s)/producer(s)/record Company–label(s)]

Ain’t In It For My Health – Zach Top; Producer: Carson Chamberlain; Record Company-Label: Leo33

Cherry Valley – Carter Faith; Producer: Tofer Brown; Record Company-Label: Gatsby Records / MCA

Don’t Mind If I Do (Deluxe) – Riley Green; Producers: Dann Huff, Michael Knox; Record Company-Label: Nashville Harbor Records & Entertainment

I’m The Problem – Morgan Wallen; Producers: Joey Moi, Charlie Handsome, Jacob Durrett; Record Company-Label: Big Loud Records

Parker McCollum – Parker McCollum; Producers: Frank Liddell, Eric Masse; Record Company-Label: MCA

Song of the Year

[Awarded to songwriter(s)/publisher(s)/artist(s)]

“A Song To Sing” – Miranda Lambert & Chris Stapleton; Songwriters: Chris Stapleton, Miranda Lambert, Jenee Fleenor, Jesse Frasure; Publishers: I Wrote These Songs; Pink Dog Publishing; Songs for the Munch Music; Songs of Influence; Sony/ATV Tree Publishing; Warner-Tamerlane Publishing Corp

“Am I Okay?” – Megan Moroney; Songwriters: Megan Moroney, Luke Laird, Jessie Jo Dillon; Publishers: Big Ass Pile of Dimes Music; Big Music Machine

“Choosin’ Texas” – Ella Langley; Songwriters: Ella Langley, Luke Dick, Miranda Lambert, Joybeth Taylor; Publishers: Bada Bing & Bada Langley Publishing; Little Louder Songs; Sony Music Publishing

“I Never Lie” – Zach Top; Songwriters: Zach Top, Carson Chamberlain, Tim Nichols; Publishers: Music and Magazine Publishing; Rio Bravo Music Inc; Sony/ATV Tree Publishing; Too Broke to Quit Music; Zach Top Music

“Somewhere Over Laredo – Lainey Wilson; Songwriters: Lainey Wilson, Trannie Anderson, Dallas Wilson, Andy Albert, Harold Arlen & Yip Harburg; Publishers: Concord Sounds; Dtown Boogie Music; Emi Feist Catalog Inc; Songs of Riser House; Songs of Wild Cat Well Music; Sony/ATV Countryside; Story Farmer; Tacklebox Music Publishing

Single of the Year

[Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]

“6 Months Later” – Megan Moroney; Producer: Kristian Bush; Record Company-Label: Sony Music Nashville / Columbia Records

“Choosin’ Texas” – Ella Langley; Producers: Ella Langley, Miranda Lambert, Ben West; Record Company-Label: SAWGOD / Columbia Records

“I Never Lie” – Zach Top; Producer: Carson Chamberlain; Record Company-Label: Leo33

“Somewhere Over Laredo” – Lainey Wilson; Producer: Jay Joyce; Record Company-Label: BBR Music Group / BMG Nashville / Broken Bow Records

“The Fall” – Cody Johnson; Producer: Trent Willmon; Record Company-Label: CoJo Music / Warner Records Nashville

Visual Media of the Year

[Awarded to Producer(s)/Director(s)/Artist(s)]

“6 Months Later” – Megan Moroney; Producers: Christen Pinkston, Wesley Stebbins-Perry; Director: CeCe Dawson, Megan Moroney

“A Song To Sing” – Miranda Lambert & Chris Stapleton; Producer: James Stratakis; Director: Alexa King Stone, Stephen Kinigopoulos

WINNER: “Cuckoo” -Stephen Wilson, Jr.; Producer: Tim Cofield; Director: Tim Cofield

“Somewhere Over Laredo” – Lainey Wilson; Producer: Katie Babbage; Director: TK McKamy

“The Fall” – Cody Johnson; Producers: Christen Pinkston & Wesley Stebbins-Perry; Director: Dustin Haney

Music Event of the Year

[Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]

“A Song To Sing” – Miranda Lambert & Chris Stapleton; Producer: Dave Cobb; Record Company-Label: Republic Records

“Amen” – Shaboozey & Jelly Roll; Producers: Danny Majic, Nevin Sastry, Sean Cook; Record Company-Label: Empire

“Don’t Mind If I Do” – Riley Green feat. Ella Langley; Producer: Dann Huff; Record Company-Label: Nashville Harbor Records & Entertainment

“Trailblazer” – Reba McEntire, Miranda Lambert, Lainey Wilson; Producers: Tony Brown, Reba McEntire; Record Company-Label: MCA

“You Had To Be There” – Megan Moroney & Kenny Chesney; Producer: Kristian Bush; Record Company-Label: Sony Music Nashville / Columbia Records

Songwriter of the Year

WINNER: Jessie Jo Dillon

Ashley Gorley

Charlie Handsome

Chase McGill

Blake Pendergrass

Artist-Songwriter of the Year

Luke Combs

Riley Green

WINNER: Ella Langley

Megan Moroney

Morgan Wallen

New Male Artist of the Year

Gavin Adcock

Vincent Mason

Shaboozey

Hudson Westbrook

WINNER: Tucker Wetmore

New Female Artist of the Year

WINNER: Avery Anna

Mackenzie Carpenter

Dasha

Caroline Jones

Emily Ann Roberts

The ACM Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.

With a line like this coming out of Will Ferrell and Paul McCartney‘s mouths, the Saturday Night Live cast almost didn’t stand a chance.

On Saturday night (May 16), SNL musical guest McCartney put his comedic timing to the test starring as an auto mechanic alongside body shop co-workers Will Ferrell and Marcello Hernández in the live sketch “Mechanics.” The three are a trio of guys telling a primed to be taken advantage of couple (Mikey Day, Ashley Padilla) what’s allegedly wrong with their car during what was supposed to just be a routine oil change.

“And now… WHAT IT FEELS LIKE TALKING TO A MECHANIC,” an opening slate says onscreen ahead of Ferrell leading the way, speaking words that pass right through the blank stares of Day and Padilla — some nonsense that somehow involves a “dong rod gasket” that’s Swiss cheese, Apple Bottom jeans with the boots with the fur (that’s a Flo Rida reference, folks) and a shot “sprog box.”

Hernández hops in with support here, scratching oil off his hands on his backside before offering a handshake, a frantic description of what he saw under the hood en español, and awfully sexual sounds that are supposedly similar to the concerning noises he heard the car emit.

They recommend getting it fixed immediately and coming back every six days. Or just replacing all the parts. “Your oil is fine,” Ferrell assures them. “We keep the oil. We rebuild everything around it.”

When the cost of this all sounds a bit much, chief mechanic Nigel (McCartney) walks in to confirm the diagnosis and give them a payment plan option.

“Listen, your tipsy-whipsies are all dangly-doodly, and the spriggly-wiggly’s gone crumpet,” McCartney says, letting loose a high-pitched squeal and pointing out, “Plus, the steering wheel’s on the wrong bloody side.”

The room mostly keeps a straight face up until Ferrell and McCartney each calmly explain the one way out of this unexpected debt: “You can pay in ass.”

Watch SNL‘s “Mechanics” to see how it all plays out below. McCartney also appeared in Ferrell’s monologue and performed three songs on Saturday during his fifth time as musical guest on the late-night sketch comedy show.

Noah Kahan’s The Great Divide scores a third week atop the Billboard 200 (dated May 23), making it the first rock album with three weeks at No. 1 in more than a decade. The last rock set with as many weeks at No. 1 was Mumford & Sons’ Babel, with five, nonconsecutively, in 2012-13.

The last rock set by a soloist to spend at least three weeks at No. 1 was Jack Johnson’s Sleep Through the Static, with three total in 2008. Rock albums are defined as those that are eligible for, or have charted on, Billboard’s Top Rock Albums chart.

The Great Divide earned 132,000 equivalent album units in the United States in the week ending May 14 (down 19%), according to Luminate.

Also in the top 10 of the latest Billboard 200, CORTIS clocks its first top 10 as GREENGREEN debuts at No. 3, while Chris Brown lands his 13th top 10 as BROWN bows at No. 7.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album. The new May 23, 2026-dated chart will be posted in full on Billboard‘s website on May 19. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of The Great Divide’s 132,000 equivalent album units earned in the latest tracking week, SEA units comprise 109,000 (down 20%, equaling 111.46 million on-demand official streams of the set’s tracks; it spends a third week at No. 1 on Top Streaming Albums), album sales comprise 22,000 (down 85%; it holds at No. 2 on Top Album Sales) and TEA units comprise the remainder (up 18%).

Ella Langley’s former leader Dandelion is a non-mover at No. 2 on the Billboard 200 with 100,000 equivalent album units earned (down 3%).

CORTIS earns its first top 10 with the No. 3 debut of GREENGREEN, starting with 87,000 equivalent album units, the group’s best week by units. Of that sum, album sales comprise 81,500 (the quintet’s best sales week; it debuts at No. 1 on Top Album Sales), SEA units comprise 5,500 (equaling 5.91 million on-demand official streams of the set’s songs) and TEA units comprise a negligible sum. First-week album sales were bolstered by the set’s availability across more than 20 physical variants on CD and vinyl, all containing collectible items such as photocards and stickers, with some items randomized.

GREENGREEN was preceded by the act’s first Pop Airplay hit, “REDRED,” which climbed 31-30 (a new peak) on the latest chart (dated May 23).

CORTIS charted one earlier album on the Billboard 200, COLOR OUTSIDE THE LINES, which peaked at No. 15 last year.

Morgan Wallen’s chart-topping I’m the Problem is steady at No. 4 on the latest Billboard 200 with 85,000 equivalent album units earned (up 2%).

Michael Jackson has the Nos. 5 and 6 albums, as his former No. 1 Thriller is steady at No. 5 (66,000 equivalent album units, up 6%) and Number Ones is also stationary at No. 6 (just more than 65,000, up 6%). Both titles continue to bask in the glow of the success of the Michael biopic film.

Chris Brown’s new studio effort, BROWN, bows at No. 7 on the Billboard 200, earning the singer-songwriter his 13th top 10-charted project. The new set launches with 65,000 equivalent album units earned. Of that sum, SEA units comprise 60,000 (equaling 60.31 million on-demand official streams of the sets tracks; it debuts at No. 4 on Top Streaming Albums), album sales comprise 5,000 (it debuts at No. 19 on Top Album Sales, and was only available to purchase as a digital download) and TEA units comprise the remainder.

The BROWN album was preceded by four hits on the Hot R&B Songs chart: “Holy Blindfold” (No. 8), “It Depends,” featuring Bryson Tiller (No. 3), “Obvious” (No. 5) and “Fallin’,” featuring Leon Thomas (No. 12). All four also reached the all-genre Billboard Hot 100.

Brown’s co-headlining stadium tour with Usher launches June 26 at Denver’s Empower Field at Mile High and continues through Dec. 12 at Tampa’s Raymond James Stadium.

Rounding out the rest of the top 10 on the latest Billboard 200: BTS’s former leader ARIRANG (falling 7-8 with 44,000 equivalent album units, down 10%), Wallen’s chart-topping One Thing at a Time (holding at No. 9 with 41,000, up 3%) and Olivia Dean’s The Art of Loving (8-10 with nearly 41,000, down 3%).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

After two weeks trailing The Devil Wears Prada 2, the Michael Jackson biopic Michael reclaimed the No. 1 spot at the North American box office with $26.1 million in ticket sales, according to studio estimates Sunday (May 17).

The Lionsgate movie is in rarefied territory, having brought in $703.9 million worldwide and counting. It still has a way to go to surpass the current reigning champion of musical biopics: Bohemian Rhapsody. The Queen movie grossed over $910.8 million worldwide.

There were also several newcomers in the mix this weekend, including the relationship horror movie Obsession, the Guy Ritchie action pic In the Grey and the revenge saga Is God Is, but the holdovers continued to draw the largest crowds. The power dynamics are poised to shift when Star Wars: The Mandalorian and Grogu hits theaters next weekend.

Disney and 20th Century Studios’ The Devil Wears Prada 2 took second place in its third weekend with $18 million, bringing its domestic total to $175.9 million and worldwide earnings to $546.2 million.

Obsession topped the newcomers, exceeding expectations with an estimated $16.1 million from 2,615 theaters. YouTube breakout Curry Barker wrote and directed the thriller in which a hopeless romantic gets more than he bargained for when his crush returns his affections. The film received positive reviews from both critics (94% on Rotten Tomatoes) and audiences (A- CinemaScore). Perhaps more notable is that Barker made the film for $750,000. Focus Features acquired it out of the Toronto International Film Festival last fall for around $15 million.

Lisa Bunnell, president of domestic distribution for Focus Features, attributed some of Obsession’s success to audiences craving fresh, original voices at the movies. It’s also getting an infusion by word-of-mouth, with younger audiences making plans to go back with friends. Horror movies don’t often get CinemaScores in the A- range, but Obsession is in good company with another recent hit: Weapons.

“I’m expecting a really strong holdover,” Bunnell said.

Fourth place at the box office this weekend went to Mortal Kombat II, which fell 65% in its second weekend to $13.4 million in domestic ticket sales. Globally, it has made $101.2 million from 80 markets.

Amazon MGM Studios had three movies in the top 10, including The Sheep Detectives in fifth place, Project Hail Mary in seventh place and Is God Is rounding out the top 10.

The Sheep Detectives enjoyed a slim 33% drop from its first weekend, taking in an additional $10.2 million and bringing its running total to $30.5 million. Project Hail Mary, which is now available to rent or buy at home, brought in another $3.4 million in its ninth weekend in theaters. Is God Is, Aleshea Harris’s adaptation of her Obie-winning play about twin sisters (Kara Young and Mallori Johnson) on a quest to find and kill their abusive father made $2.2 million in its first weekend in theaters. It has a 97% rating on Rotten Tomatoes.

Meanwhile, the action caper In the Grey, released by Black Bear, made $3 million from 2,018 locations. Henry Cavill, Jake Gyllenhaal and Eiza González star in the film about a team of elite operatives on an impossible mission. It currently carries a 44% on Rotten Tomatoes and a B CinemaScore.

There were also several high-profile re-releases in theaters this weekend, including Top Gun, which made $3.1 million, and Shrek, which earned $1.3 million.

Paul Dergarabedian, head of marketplace trends for Comscore, noted that Prada, Michael and Top Gun all making the top 10 show “nostalgia is on full display.”

“What’s old is new again and audiences clearly love it,” he said.