A CONVERSATION WITH CMA AWARDS PRODUCER ROBERT DEATON

Since 2007 Country Music Awards Executive Producer Robert Deaton has watched country music grow, contract, become a sausage-fest, go female-forward and face cultural issues. The two-time Emmy winner, following in the footsteps of Irving Waugh and longtime Grammy director Walter Miller, takes a holistic approach to each year’s story. With CMA Country Christmas and CMA Music Fest within his purview, he's driven by a vision of presenting music across genres.

American Idol judge Luke Bryan debuts as host this year (following Darius Rucker and Reba last year), giving Deaton a new energy. After a wild ride with 2020’s telecast, which marked the first live awards show since the pandemic hit, the boyish creative who’s written, directed and produced sought to reflect country music’s broadening social consciousness and inclusiveness, its diverse musicality and its ability to make people feel positive in a still uncertain world.

What’s the secret?
I’m a big believer in letting my department heads do their jobs. It’s about bringing their creativity: the lighting designer, stage designer, screen-content designer—together, they create something so much greater. And five minutes before we start, it’s the most alive you’ll ever be. It’s terrifying, exhilarating, awesome.

A lot happened again this year. Does the show reflect it?
I’ve thought about this. A lot. It’s a theme—and a hope—that we represent country music over this past year. We’re as diverse as we’ve ever been, as inclusive. Mickey Guyton, Brittney Spencer and Madeline Edwards are performing “Love My Hair.” Miranda Lambert and Eric Church are doing what they do. We have Brothers Osborne with TJ singing this courageous song about self-acceptance. Carly Pearce and Ashley McBryde are doing a song that’s the essence of what a country music lyric is.

Diversity isn’t just color but what we’re singing about. When country gets serious, it speaks to a lot of things. This year, you’ll see it.

And you have Jennifer Hudson.
When she came for the screening of Respect for The National Museum of African American Music, I talked to her afterward. My three favorite singers are Tammy Wynette, Ella Fitzgerald and Natalie Cole, so Jennifer’s in my sweet spot. I said, “We should do something.”

I didn’t realize all the country songs Aretha Franklin recorded, but I did this deep dive. I figured if there was ever a year to honor that, this was it. I called, thinking that having arguably one of the greatest singers in the world on our show would speak loudly.

The diversity is maybe more organic than orchestrated.
I think so. I mean, Dierks Bentley with Hardy and Jimmie Allen doing “Beer’s on Me” is just a good song about people. When I work with Jimmie, he’s just Jimmie. But the idea that we’re making music is the driver.

Whether it’s fun, which people need, or serious, if it really moves in whatever direction, that’s telling for success. I’m not trying to hit a quota.

Mickey’s song is not the obvious choice.
Exactly. She did the [CMA Summer Jam], sang “All American,” which feels right. But listening to her album, I heard “Love My Hair” and had to pull over because it resonated with me so deeply. When we got on the phone, I told her that. It’s about anyone in their adolescence, but it’s so specific in a way no one else could sing. Mickey’s grown into a great songwriter—and you hear her truth. That’s what country is.

Carly Pearce, too. She’s evolved, changed her sound to come back to her more country roots. It says everything about the success she’s having now.

Country seems to be tacking back to its roots after a lot of hick-hop.
Chris Stapleton, Dierks, Brothers Osborne, Jason Aldean and Ashley McBryde are all moving in that direction. Luke Combs, Jimmie Allen, even Thomas Rhett, whose song “Country Again” made me pull over, too.

Truth is, we don’t decide what country is; the audience does. I consider myself a music fan, but this night is about honoring the people who make this music and the people who love this music.

You know, it’s always been a debate. Is Eddy Arnold with the strings country? Or Merle Haggard? [laughing] Truth is: both.

Looking around, that’s generous.
Nashville, when we do what we’re supposed to do, we make great country music. But when we forget that, we almost always make bad pop music.

Dealer’s choice: What’s your favorite performance?
Celebrating Glen Campbell and his mark. Last year’s Charley Pride moment, with Jimmie Allen, who’s such a star. Anything that lifts the history up. I’d been at the Opry one night right before Charlie Daniels passed. He was on last, and I was going to leave but didn’t. I’ll always have that memory of him just tearing up “Devil Went Down to Georgia.” It made last year’s opening so special, honoring that.

And ABC has its American Idol country judge as this year’s host.
Luke’s the same guy he was 10 years ago. We’re on the phone, having a writers call—and there’s this splash. I said, “Where are you?” He’s out fishing!

That’s Luke: the most real person. You can’t help but smile when he’s in the room. He’s the guy who helps a woman with a little child who has a flat tire on the side of the road—and people feel that. Our writers room has had a few read-throughs already. Everyone’s just smiling.

I think people want some normal, some sense of OK after the last couple years. Luke’s that, exactly who he appears to be. He’s gonna make this year feel really good.