ACAs another excuse for a big party in Las Vegas

Country music is fond of celebrating many awesome things, including, but not limited to: America, beer, the pleasures of drinking beer in America, and, not least among them, itself.

Hence, the industry boasts more awards shows than any other genre.

The American Country Awards, the newest of these big belt buckle bacchanalias, took over the MGM Grand Garden arena last night.

So what makes the American Country Awards different, from say, the Academy of Country Music Awards, also held in Vegas, at the MGM Grand every spring, the CMT Awards or the Country Music Awards?

ACA producers point out that it's the only production of its kind that relies solely on fan voting to determine the winners in almost every category.

But the thing is, fans already have their voices heard, indirectly, via CD and concert ticket sales and requests at radio, so it's easy to forecast the results of the show before it ever takes place -- just look at the charts.

This could make the ACAs, now in their second year, seem a little anticlimactic if they were overly fixated on the awards themselves.

But they're really not, and are probably the better for it.

Basically, the show is just a lavish concert, an excuse to throw a big party -- and this being Vegas, who's going to argue with that?

As such, the ACAs don't take themselves -- or anything else -- too seriously.

"This is ridiculous," noted show co-host Trace Adkins, a stern-looking dude with the no-nonsense air of a man who'd punch you in the throat for asking him the time of day, shortly before he engaged in a sing-off with fellow host Kristin Chenoweth at the outset of the program.

Moments later, Chenoweth, who has a voice suggestive of a baby seal in peril, was squeaking her way through an operatic take on Adkin s' hit "Honky Tonk Ba Donk-A-Donk" while sporting what appeared to be butt implants.

See what Adkins meant?

The show was characterized by a loose, playful atmosphere, complete with wrestling skits and appearances by reality TV stars, and mostly revolved around nearly a dozen performances spread out over two hours.

The biggest winner of the night was Jason Aldean, who took home a total of six awards, including those for artist of the year, album of the year and single of the year: male.

"I feel like it was our coming-out party this year," Aldean said after the show.

Several acts played right after they won an award, meaning they knew what was coming, among them: Chris Young, who took home honors for single of the year and artist of the year: breakthrough artist; Scotty McCreery -- artist of the year: new artist -- who's still in high school and took the red eye back home to North Carolina so that he wouldn't miss class today; and vocal duo Thompson Square, who won for single of the year: group, single of the year: new artist and video of the year: new artist.

Carrie Underwood earned three awards for artist of the year: female, single of the year: female, and music video of the year: female.

Brad Paisley was named artist of the year: male, and Lady Antebellum artist of the year: group, while Blake Shelton won for music video of the year.

Shelton's wife, Miranda Lambert, turned in one of the evening's more fiery performances, playing as part of the Pistol Annies, a female trio, who came with old-fashioned vocal harmonies and a matching aesthetic, wearing vintage looking black dresses during their performance of "Hell on High Heels."

Another highlight was a set from the recently reactivated Alabama, who won the greatest hits award, playing a slew of their hits with Jeff Cook's fiddle on fire.

The night's final honor went to Toby Keith, who was named artist of the decade.

"I'm ready to party in Vegas," Keith said upon winning the award, succinctly articulating this show's reason for being.

Then he performed his boozy, impossibly infectious hit "Red Solo Cup."

"Proceed to party," Keith exhorted in song.

"Proceed to party," he added for emphasis.

Yeah, but, dude, what do you think everyone had been doing for the last two hours?

Contact reporter Jason Bracelin at jbracelin@reviewjournal.com or 702-383-0476.