NASHVILLE, Tenn. – The air at Nissan Stadium crackled with anticipation during CMA Fest 2025, but few moments matched the raw electricity when Brandon Coleman and The Red Clay Strays took the main stage. It was the band’s first-ever stadium performance, a milestone that unfolded on June 7 amid the four-day extravaganza drawing over 80,000 fans nightly. Coleman, the gravel-voiced frontman from Mobile, Alabama, stepped out under the bright lights without fanfare – no pyrotechnics, no elaborate entrance. Yet, in an instant, the massive crowd fell into a hushed reverence, the kind that signals something profound is about to unfold.

As the opening notes of “No One Else Like Me” from their 2024 album Made by These Moments filled the venue, Coleman’s voice cut through like a Southern thunderstorm – thick, warm, and laced with an untamed edge that demanded attention. Backed by the band’s tight rhythm section, including guitarist Drew Nix on harmonica and electric riffs, bassist Andrew Bishop, drummer John Hall, and keyboardist Zach Rishel, the performance built from intimate verses to a soaring chorus that had tens of thousands swaying in unison. Fans later described the set as a “wake-up call” for country music, blending Americana grit with rock-infused soul in a way that felt both timeless and urgently fresh.

This wasn’t just a slot on the bill; it was a statement. The Red Clay Strays, formed in 2016 in the humid bayous of South Alabama, have been steadily climbing the charts since their self-titled debut EP in 2021. But CMA Fest marked their arrival on country’s biggest stage, literally and figuratively. Coleman, turning 29 that summer, has often credited his roots – growing up in a tight-knit family compound outside Mobile, scraping by on simple joys like backyard jams and church hymns – for shaping his unpolished authenticity. “We come from red dirt and real stories,” he said in a pre-show interview, emphasizing how high school music programs gave him and his bandmates the tools to turn personal struggles into anthems.

The setlist leaned heavily on Made by These Moments, their sophomore effort and RCA Records debut, produced by Grammy-winning Dave Cobb in just 10 days at historic RCA Studio A. Tracks like “Wondering Why,” a brooding reflection on life’s unanswered questions, transitioned seamlessly into the defiant “I’m Still Fine,” showcasing the band’s versatility. Nix’s harmonica wailed like a lonesome freight train during the bridges, while Hall’s drums provided a steady pulse that mirrored the heartbeat of the audience. By the time they closed with a high-energy rendition of “No One Else Like Me,” the stadium grounds seemed to vibrate – not from effects, but from the collective energy of a crowd fully immersed.

CMA Fest itself, held June 5-8 at Nashville’s iconic Nissan Stadium, is the world’s largest country music festival, featuring over 30 acts across multiple stages. Headliners like Jordan Davis, Megan Moroney, and Blake Shelton shared the spotlight, with special collaborations adding star power. The Red Clay Strays’ slot on the main stage came after a whirlwind year: opening for The Rolling Stones at Gillette Stadium in Foxborough, Massachusetts, where they held their own against rock royalty. That gig, Coleman later reflected, was a “dream collision” of influences – from Alabama’s soulful traditions to the Stones’ rebellious swagger. “You don’t feel the nerves until the lights hit,” he admitted, a sentiment that echoed through their poised, pressure-proof delivery at CMA Fest.

What sets The Red Clay Strays apart in a genre often criticized for formulaic polish is their refusal to fit neatly into boxes. Critics have dubbed them “indie-country” or “Americana rock,” but Coleman shrugs off labels. “We’re just telling our truth,” he says, pointing to the album’s themes of resilience amid hardship. Made by These Moments explores loss, redemption, and fleeting joys, drawing from the band’s own odyssey. Formed when Coleman and Nix bonded over shared gigs in Mobile dive bars, the group endured lineup changes and near-misses before signing with RCA. The album’s 11 tracks, clocking in at 42 minutes, feel like chapters in a Southern gothic novel – “Disaster” kicks off with urgent fiddle-like guitar, while “Wasting Time” simmers with regretful introspection.

Audience reactions poured in via social media in the hours following the set. Videos captured the sea of cowboy hats bobbing to the beat, with one fan noting how Coleman’s falsetto on “Wondering Why” sent chills despite the humid Tennessee night. Families packed the stadium’s outfield, kids hoisted on shoulders, proving the band’s appeal spans generations. For many, it was a reminder of country’s blue-collar heart: music that doesn’t just entertain but resonates with the grind of everyday life.

Looking back, the performance felt prophetic. Just months later, at the 59th Annual CMA Awards in November 2025, The Red Clay Strays claimed Vocal Group of the Year – their first major win. They performed “People Hatin’,” a gritty cut from an upcoming project also helmed by Cobb, dedicating the honor to a fallen bandmate whose spirit infused their sound. That triumph validated the sweat equity poured into moments like CMA Fest, where they weren’t yet household names but already commanded the room.

Coleman’s journey underscores a broader narrative in modern country: the rise of outsiders challenging the Nashville machine. Raised in poverty, he turned to music as an escape, much like predecessors Johnny Cash or Hank Williams. High school band class, he insists, was his lifeline – teaching discipline and harmony when home life was chaotic. Today, as the Strays gear up for international tours and a third album, Coleman advocates for arts funding in schools. “Without that foundation, none of this happens,” he told reporters post-fest, his drawl steady as ever.

As CMA Fest 2025 wrapped, with fireworks lighting the Cumberland River skyline, The Red Clay Strays slipped offstage quietly, mission accomplished. Their debut didn’t just shake the stadium; it rippled through the genre, signaling a new wave of authenticity. For fans streaming highlights on platforms like YouTube and Spotify, where Made by These Moments has amassed millions of plays, it’s clear: Brandon Coleman and crew aren’t chasing trends. They’re setting them, one soul-stirring note at a time.

In a year defined by comebacks and controversies in country music – from surprise reunions to debates over genre purity – The Red Clay Strays offered unadulterated escape. Their CMA Fest slot, sandwiched between pop-leaning sets, stood out for its rawness. No auto-tune gloss, no choreographed dances. Just five Alabamans pouring out hymns to the heartbroken, the hustlers, and the hopeful. As one attendee put it, “It was like church, but with better guitars.”

The band’s momentum shows no signs of slowing. Post-fest dates included stops at St. Pete Country Fest and overseas jaunts, building on the domestic buzz. Made by These Moments peaked at No. 5 on the Billboard Country Albums chart, with singles like “No One Else Like Me” cracking the Top 40. Cobb’s production – sparse yet cinematic – amplifies Coleman’s baritone, evoking ghosts of Muscle Shoals while nodding to contemporary icons like Sturgill Simpson.

For newcomers discovering the Strays via CMA Fest clips, the appeal is immediate: lyrics that cut deep without preaching, melodies that stick like kudzu. “I’m Still Fine,” for instance, masks vulnerability in upbeat swing, a trick Coleman honed in smoky barrooms. Fans connect because it’s relatable – the push-pull of faith and doubt, love and loss, all wrapped in fiddle-free fiddle (courtesy of Nix’s slide work).

As 2025 draws to a close, with holiday playlists favoring twangy cheer, The Red Clay Strays remind us why country endures. Their Nissan Stadium takeover wasn’t hype; it was heart. Brandon Coleman’s effortless command that June night? Proof that true talent doesn’t need smoke machines. It just needs a stage – and a story worth singing.