The Ryman Auditorium’s sacred rafters have witnessed countless miracles in their 133-year history, from Johnny Cash’s defiant strums to Patsy Cline’s velvet heartbreak. But on the night of December 3, something truly divine descended upon the Mother Church of Country Music. As the CMA Country Christmas special flickered to life on ABC screens across America, viewers were treated to a performance that didn’t just celebrate the holidays – it resurrected the soul of Christmas itself. Susan Tedeschi, Derek Trucks, and BeBe Winans took the stage for a soul-stirring, gospel-infused take on the timeless spiritual “Children, Go Where I Send Thee,” and in those electric four minutes and seven seconds, they didn’t just sing a song. They built a bridge between bluesy grit, slide-guitar wizardry, and heavenly harmonies that left audiences gasping, tweeting, and reaching for the replay button like it was the last candy cane on the tree.

Picture this: The stage bathed in a warm amber glow, fake snowflakes drifting lazily from the ceiling like whispers from angels. Tedeschi, the queen of blues-rock with her signature Les Paul slung low, steps to the mic with that effortless swagger that’s made her a staple in the Tedeschi Trucks Band. To her right, her husband Derek Trucks, the slide guitar savant whose fingers dance like lightning across the frets, nods subtly to the band. And then there’s BeBe Winans, the gospel powerhouse whose voice has graced everything from Broadway stages to White House performances, standing tall with a smile that could melt the North Pole. As the first notes of the traditional African-American spiritual ring out – a call-and-response hymn dating back to the 19th century – the trio transforms it into something profoundly modern yet eternally timeless. It’s not just a cover; it’s a revelation, a soulful explosion that had the live audience on their feet and social media erupting in real-time ecstasy.

The CMA Country Christmas, now in its 16th year, has always been a star-studded affair, blending country’s twang with holiday cheer. Hosted this year by Amy Grant and Trisha Yearwood, the special featured powerhouse performances from the likes of Lainey Wilson belting “Santa Claus Is Coming to Town” and Jon Pardi’s rowdy “Beer for Santa.” But amid the sequins and sleigh bells, Tedeschi, Trucks, and Winans’ segment stood out like a comet streaking across a starry sky. Why? Because in an era where holiday specials can feel as manufactured as fruitcake, this trio delivered raw authenticity. No auto-tune gloss, no overproduced backing tracks – just three masters of their craft pouring their hearts into a song that’s been passed down through generations of choirs, field workers, and family gatherings.

Let’s dive deeper into the magic. “Children, Go Where I Send Thee” isn’t your average jingle-bell rocker. Rooted in African-American spirituals and often performed as a cumulative song – building verse by verse like a musical pyramid – it tells the story of the Nativity through numbers: one for the little bitty baby, two for Paul and Silas, up to twelve for the twelve Apostles. The lyrics are simple, repetitive, almost hypnotic, but in the hands of these artists, they become a canvas for improvisation and emotion. Tedeschi kicks it off with her gritty, honey-soaked vocals, channeling the blues legends who’ve influenced her since her Boston roots in the ’90s. Her voice cracks just enough on the high notes to remind you she’s human, but powerful enough to shake the foundations. Trucks weaves in with his signature slide guitar, those bending notes evoking the wail of a distant train or a mournful prayer, drawing from his Allman Brothers Band lineage (he’s the nephew of founding member Butch Trucks) and his own Grammy-winning prowess.

Then comes Winans, the secret weapon. Known for his work with sister CeCe as the duo BeBe & CeCe Winans – who’ve sold millions and won multiple Grammys for their gospel anthems – he brings a soaring, operatic depth that elevates the performance to church-revival levels. His ad-libs, those spontaneous “Oh, yeah!” and gospel runs, intertwine with Tedeschi’s bluesy belts like vines climbing a trellis. The chemistry is palpable; backstage whispers from production insiders reveal that the trio rehearsed for hours, but left room for spontaneity. “They didn’t want it perfect,” one crew member shared anonymously. “They wanted it alive.” And alive it was – the band behind them, including horns and a choir, swells at just the right moments, building to a crescendo that feels like a collective exhale of joy.

To understand why this performance hit so hard, you have to know the artists’ journeys. Susan Tedeschi, 55, has been a force in the blues scene since her debut album “Just Won’t Burn” in 1998, which went platinum and earned her a Grammy nod. Married to Trucks since 2001, they’ve built the Tedeschi Trucks Band into a 12-piece juggernaut, blending rock, blues, soul, and jazz on albums like “Let Me Get By” and “Signs.” Their live shows are legendary for their improvisational jams, often stretching songs into 20-minute epics. Derek Trucks, 46, is a prodigy who joined the Allman Brothers at 20 and has been hailed by Rolling Stone as one of the greatest guitarists alive. His slide technique, influenced by Indian classical music and Duane Allman, adds an otherworldly layer to everything he touches. BeBe Winans, 63, comes from gospel royalty – part of the Winans family dynasty that’s dominated the genre since the ’80s. His solo work, including hits like “I Wanna Be the Only One” with Eternal, and his Broadway stint in “The Color Purple,” showcase a voice that’s equal parts velvet and thunder.

Together, they’re an unlikely supergroup, but one that makes perfect sense for CMA’s push toward genre-blending inclusivity. Country music has long borrowed from gospel and blues – think Johnny Cash’s spirituals or Dolly Parton’s soulful ballads – and this performance nods to that heritage while pushing boundaries. In a post-show interview with Entertainment Tonight, Tedeschi reflected: “We wanted to honor the song’s roots. It’s about community, about building something together, just like Christmas.” Trucks added, “The slide guitar lets me speak without words – it’s my way of praying through the strings.” Winans, ever the showman, quipped, “If this doesn’t get you in the holiday spirit, check your pulse!”

The reaction was immediate and overwhelming. As the special aired, X (formerly Twitter) lit up with #CMAchristmas trending nationwide. Fans posted clips of the performance, with one viral tweet from @BluesSoulFan reading: “Susan Tedeschi’s voice + Derek Trucks’ slide + BeBe Winans’ gospel fire = the best Christmas gift ever! #CMAchristmas.” By morning, the official CMA YouTube clip had amassed over 2 million views, with comments flooding in: “This gave me chills!” “Soulful perfection!” Even celebrities chimed in – Sheryl Crow retweeted with “Pure magic from my friends!” and Garth Brooks called it “a holiday highlight that’ll be replayed for years.”

But it’s not just the fans; critics are raving. Rolling Stone’s review of the special singled out the trio: “In a lineup packed with hits, Tedeschi, Trucks, and Winans delivered the soul. Their ‘Children’ isn’t just a song – it’s a sermon set to slide guitar.” Variety praised the genre fusion: “CMA is evolving, and this performance proves country can embrace blues and gospel without losing its twang.” The Tennessean, Nashville’s hometown paper, went deeper: “In a year of division, this trio reminded us of unity. The call-and-response echoes the communal spirit of the holidays.”

To appreciate the depth, let’s break down the musical elements. The arrangement starts sparse: Tedeschi’s acoustic strums and Winans’ gentle hums set a contemplative tone. By verse three (“Three for the Hebrew children”), Trucks slides in with a bottleneck riff that’s equal parts haunting and hopeful. The build is masterful – horns punch in on “Four for the four that stood at the door,” evoking New Orleans brass bands. Tedeschi and Winans trade lines like old friends, their voices blending in harmonies that feel improvised yet inevitable. The peak comes at “Ten for the Ten Commandments,” where the full band erupts, Trucks’ guitar solo soaring like a eagle over the Grand Canyon. It’s blues meeting gospel at a country crossroads, and the result is euphoric.

This isn’t the first time these artists have crossed paths. Tedeschi and Trucks have collaborated with gospel greats before – their band’s “I Am the Moon” project drew from spiritual themes – and Winans has dipped into country, performing with Reba McEntire. But on this CMA stage, it felt fresh, urgent. In a world still reeling from pandemics and polarizations, the song’s message – go where you’re sent, spread the word – resonates like a timely sermon.

The special itself was a triumph for CMA, drawing 7.2 million viewers, up 15% from last year. Grant and Yearwood’s hosting brought warmth, with skits and stories that felt like fireside chats. Other highlights included Brett Young’s tender “The Christmas Song” and Kelsea Ballerini’s upbeat “Deck the Halls.” But Tedeschi, Trucks, and Winans stole the show, proving that holiday music thrives on reinvention.

Looking ahead, this performance could spark more collaborations. Rumors swirl of a Tedeschi Trucks Band gospel album, and Winans has hinted at touring with blues acts. For now, it’s etched in holiday lore – a moment that reminds us Christmas isn’t just lights and gifts; it’s soul, spirit, and shared stories.

If you missed it, stream on Hulu or ABC.com. But warning: once you hit play, you might just find yourself clapping along, tears in your eyes, holiday spirit fully ignited. In the words of the song: “Children, go where I send thee” – straight to your nearest screen for this unforgettable gem.