Six of the last eight years, Chris Stapleton has taken home CMA Male Vocalist of the Year. A man who can wring every ounce of feeling out of an emotionally complex song, as well as shred a pounding rock-country moment, he defines what this award is all about. The Kentucky-born, former anchor of Grammy-winning, hard-charging bluegrassers The SteelDrivers, Stapleton’s been a favorite of Adele, Justin Timberlake, Kenny Chesney, George Strait and Willie Nelson for both his songwriting and his ability as a stylist who can make even “Free Bird” seem fresh.

The two years Stapleton didn’t win, Luke Combs’ affable everyman renderings brought home the prize. With a tone that’s relatable and more powerful than people realize, his run of hits—including “The Kind of Love We Make,” “Doin’ This,” “Love You Anyway”—are massive; but his redux of Tracy Chapman’s “Fast Car” has been stratospheric. Beyond making noise in Song and Single, “Fast Car” could put him in serious contention here.

Morgan Wallen, who received his first Male Vocalist nomination last year, has been ubiquitous. “Last Night” has been in the upper reaches of every sales, streaming and radio chart, but more than any single track, the former baseball player’s albums devour entire Top 10s and 20s, playlists and fan listening space once they’re released. A fluid vocalist whose bruised, heartbroken midrange creates a vulnerability that’s never wimpy, Wallen takes the good ole boy mainframe and creates a space for hurt, screw-ups and recognition of needing to be more amongst the good times, girls and cold beers.

For Kane Brown, whose molasses-smooth tone embodies a richness and maturity beyond his age, a Male Vocalist nomination has proved elusive. Perhaps it’s the diversity of music he records, or the fact that when he raps, it feels so natural. Regardless, he keeps posting No. 1s at country radio with a tone as classically deep and old school as Vern Gosdin or Doug Stone, circa “I’d Be Better Off (In A Pine Box).” At some point, people will figure this out. This could be the year.

Even more than old guard, Cody Johnson represents the solid manliness of Texas, Oklahoma, Wyoming and Montana. Cut from a time when men said “ma’am” and made it a point to salute law enforcement and the flag, his Lone Star/red dirt brand of traditionalism earned him a nomination for Male Vocalist and a win for Single of the Year at last year’s CMA with “’Til You Can’t.”

Beyond those five, three newcomers also might find their way into the nominations. Bailey Zimmerman, whose “Rock and a Hard Place” was a soul-churning witness about a relationship that’s gotten real, scuffed up, but is probably worth saving in spite of all that’s happened, was this spring/summer’s thermonuclear streaming sensation. It took Zimmerman from one more talented young dreamer to buzzed-about star. And there’s no denying his performance.

Former Navy man Zach Bryan has existed outside the Nashville system since long before signing with a major label. “Something in the Orange” is a triumph of hoping even while knowing it’s over from his 34-track tour de force American Heartbreak, which established him as a Springsteen-like presence, demonstrating courage for working class people facing complicated lives and shrinking opportunities. All passion, he comes straight at his songs with his heart in his throat and his dignity blazing.

And then, there is Jelly Roll. With a voice that’s raw from living, but deep in the feelings, he offers an emotionally vivid trek through temptation, falter, grief, anger and redemption-seeking. Whitsitt Chapel delivers the clearest, dragged-through-the-depths picture of the struggle to get it right— addiction of all kinds, the need to connect and faith found beyond churches—and he inhabits those songs with an intimacy that may give him a nomination.

PHOTO CREDITS
Chris Stapleton: Kevin Winter/Getty Images
Morgan Wallen: David Lehr
Kane Brown: Diwang Valdez
Cody Johnson: Joe Scarnici/Getty Images