Tim McGraw became the target of some teasing and ridicule from fans for wearing Lainey Wilson-style fringed flared pants.
“That’s How My Mama Taught Me”: Tim McGraw Brushes Off Mockery About His Lainey Wilson-Inspired Fringe Pants in Vegas

Tim McGraw became the subject of some (mostly) light-hearted jeering and ridicule from fans for wearing some Lainey Wilson-esque fringed bell-bottoms during the opening weekend of his Las Vegas residency. During his second spell at The Colosseum at Caesars Palace, McGraw has addressed the bizarre uproar he caused.
In the middle of his show this weekend, the Louisiana native has underlined that he would not be letting this flak get in the way of his fashion choices, “I have to admit, I got some strange comments on the pants that I wore last Saturday night. So I decided to just screw it – double-down. I’ve been doing this for 35 years, I don’t give a good-damn what anybody thinks. That’s how my mama taught me”.
And quite right, too. After the patterned exuberance and vivid colour combination of ‘90’s country, the genre’s fashion has become increasingly plain and middle-of-the-road. So we welcome McGraw’s experimentation with a bright new style – and who better to seemingly serve as the blueprint than one of country music’s most fashionable and trend-setting artists of the moment, Lainey Wilson.
The pants in question were a bold orange, with dazzling fringes cascading down each side, and marked a striking departure from McGraw’s traditional skinny-jeans look.
When discussing the online debates he’d been noticing about his outfit, the ‘Where the Green Grass Grows’ hitmaker was donning a more toned-down pair of black pants. They were undoubtedly understated compared to the Lainey-inspired bell-bottoms he opted for the previous weekend, but still featured a set of black fringes.
It’s not the first time in 2025 that McGraw has sparked controversy courtesy of his appearance, with the country legend surprising fans with a newly shaved head this summer.
Regardless of what clothes he’s wearing or what hairstyle he’s testing out, one thing remains constant – and that’s McGraw’s ability to put on an electrifying live show. McGraw has been tearing it up on the Vegas stage throughout December, and we’re keeping our fingers crossed he has a full-blown tour lined up for 2026.
Elsewhere during his recent set at The Colosseum, McGraw again teamed up with his daughter, Audrey, for a heartwarming duet. He modestly introduced her, “Look, I am the worst singer in my family, I should say that right off the bat. I have three daughters and a wife who can sing circles around me. And I’m proud to say that”.
The ‘Live Like You Were Dying’ crooner regularly pays tribute to all of his daughters, with Audrey recently following in her father’s footsteps by joining the Taylor Sheridan universe and featuring in the latest episode of Landman. McGraw and his wife, Faith Hill, starred in Sheridan’s widely lauded Yellowstone spin-off, 1883.
With McGraw drip-feeding fans new music since his celebrated 2023 album, Standing Room Only, including his uplifting March collaboration with Parker McCollum, ‘Paper Umbrellas’, we’re hoping there might be another project en route in 2026.
I FOUND A TODDLER BESIDE HER UNCONSCIOUS MOTHER - THEN I READ THE NOTE IN HER HAND

The rain on Highway 9 took the heat out of Marcus’s engine block before the metal could even cool down on its own.
It was two in the morning, the kind of wet, black night where the asphalt turns into a mirror reflecting nothing back except the yellow line split down the center. Marcus kept his hands firm on the handlebars of his ’98 Harley Electra Glide. The rumble between his knees was the only sound for ten miles in any direction, deep and steady, like a heavy iron pulse. His leather jacket was soaked through at the shoulders, heavy with rain that smelled of wet pine needles, exhaust, and cold dirt.
He wasn't riding toward anything. That was the point. When a man spends five years behind state walls and comes out to find the house he grew up in sold off for back taxes, he stops paying attention to street signs. He just rides until the gas light comes on, fills the tank with crumpled twenties earned from wrenching on diesel rigs, and rides until the road runs out of dry land.
Then the headlight beam caught the glint.
It wasn’t a deer’s eye or a reflector on a mail pole. It was a sharp, jagged flash of red plastic—a broken tail-light lens sitting in the middle of the northbound lane.
Marcus let off the throttle, the engine braking down to a low, rhythmic thrum. He swung the heavy bike toward the shoulder, his high beam cutting through the rain. Fifty yards down the embankment, where the steel guardrail ended near a concrete culvert, a silver sedan sat wedged sideways into the ditch. The front end was crumpled up like a crushed beer can, the hood buckled into a sharp V against a willow tree. Steam hissed off the radiator, mixing with the fog rising off the mud.
“Damn it,” Marcus muttered into his collar.
He pulled the Harley onto the gravel shoulder, clicked the kickstand down, and killed the ignition. Silence swallowed the road instantly, heavy and suffocating, broken only by the drip of rainwater off his helmet visor and the rhythmic tick-tick-tick of his cooling exhaust pipes.
He grabbed a heavy flashlight from his saddlebag, clicked it on, and slid down the muddy slope, his boots sinking two inches into the muck.
The driver’s side window was shattered into a spiderweb of safety glass, half caved inward. Marcus shone the beam inside.
A young woman sat slumped over the steering wheel. Her dark hair was wet, plastered across her forehead and cheek. A thin stream of blood had dried along her jawline, running down from a nasty gash near her temple. Her chest was rising and falling, but the breaths were shallow, rattling softly in her throat.
“Hey,” Marcus called out, pounding his fist against the rear door frame. “Hey! Can you hear me?”
She didn't move. Her fingers were still locked around the rim of the steering wheel, her knuckles white and stiff. Marcus reached through the broken glass, feeling for the pulse at her neck. It was there—racing, weak, but steady.
Then he heard the sound.
It wasn't a cry or a scream. It was a tiny, wet hitch of breath coming from the tall grass six feet behind the rear bumper.
Marcus spun the flashlight around, the white beam cutting across the weeds.
Sitting in the mud, half-shielded by the rear wheel well, was a child.
She couldn't have been more than two years old. She wore a bright pink quilted jacket covered in mud splatters, little yellow rubber boots, and had tufts of fine blond hair sticking up in the rain. She wasn't crying. Her eyes were impossibly wide, dark brown, and completely fixed on the flashlight beam. She sat perfectly still in the freezing mud, shivering so hard her teeth clicked together like small stones.
“Jesus,” Marcus breathed.
He dropped to his knees in the mud, bringing himself down to her level. He killed the bright center beam of the flashlight, aiming it at the ground so he wouldn't blind her.
“Hey there, little bit,” Marcus said. His voice was low, gravelly, unused to talking softly. It sounded like two river rocks grinding together. “You okay?”
The little girl didn't shrink back. She didn't move at all. She just stared at him through the rain, her small chest heaving inside the pink coat.
In her right hand, pressed tight against her stomach, she was clutching a piece of paper. It was torn from a yellow legal pad, folded into a tight, damp square, her tiny mud-stained fingers locked around it like a vise.
Marcus reached out slowly, keeping his big, calloused hands where she could see them. He smelled of tobacco, wet leather, and old motor oil, but the girl didn't pull away.
“Let me see that, kiddo,” Marcus said softly.
He gently touched her fingers. They were ice cold. He pried them back carefully, taking the wet yellow paper from her grip. She let it go without a sound, her eyes never leaving his face.
Marcus unpinned his leather jacket, pulled the girl out of the mud, and tucked her straight inside against his wool-lined vest. She was so light she felt like a bundle of wet clothes. The moment her face hit the warmth of his chest, she buried her nose into his flannel shirt and stayed dead silent.
Holding her tight with his left arm, Marcus unfolded the wet paper with his thumb and forefinger. The ink was smeared by raindrops, written in a frantic, slanted hand that dug deep into the paper.
The first line made his heart hit his ribs like a hammer.
To whoever finds my daughter.
Marcus squinted through the drizzle, holding the paper under the beam of his light.
Her name is Lily. She is two years old. My name is Clara Mitchell. If you are reading this, I am either dead or they have found us. I have no family left. No mother, no father, no one to call. There is no one to protect her. Please do not give her to the state. Please do not let Thomas find her. I am begging you, stranger, whoever you are—keep her safe. Take the bag in the trunk. Take everything inside it. Just keep my baby safe.
Marcus read the lines twice. The ink bled into the yellow paper as the rain fell over his wrist.
He looked down at his chest. Lily’s small head was tucked under his chin now, her body trembling against his heartbeat.
From up on the highway, the distant whine of an engine cut through the night.
Marcus froze. He didn't turn his flashlight toward the road. He stayed down in the dark of the ditch, listening.
A heavy black pickup truck crested the hill, moving slowly. It didn't have its high beams on. It drifted along the shoulder, its engine idling low and greasy. As it passed the spot where Marcus’s Harley was parked, the truck slowed almost to a crawl. A spotlight mounted near the driver’s side mirror swept over the gravel, flicked down into the ditch for a second, and then moved on.
The truck didn't stop. It accelerated into the dark, its red tail-lights disappearing around the bend toward the state line.
Marcus looked back at the smashed silver sedan, then down at the yellow paper in his fist, and finally at the little girl trembling inside his coat.
The quiet on the highway felt different now. It didn't feel empty anymore. It felt like a trap.