Luke Bryan, Sam Hunt, Jon Pardi, Morgan Wallen concert review: Los Angeles

photo: George A. Paul

Luke Bryan has won several awards over the past decade. But his achievement on Saturday night – becoming the first country music artist to headline Dodger Stadium – ranks right up there with the rest.

That was evident throughout Bryan’s entertaining two-hour set, where he expressed how much it meant to perform on the hallowed ballfield.

The Los Angeles tour stop was among a dozen stadium shows around the country in support of last year’s “What Makes You Country” album, which debuted at No. 1 and spawned two country airplay chart topping singles.

A few minutes before the current Georgia superstar appeared, people shot t-shirts out of air cannons – just like at a Dodgers game. Then multi-colored lasers beamed across the sold-out venue, Michael Carter did a metal-styled guitar riff, smoke plumes shot up and Bryan suddenly emerged from underneath the stage to start “Country Girl (Shake it for Me).”

Clad in tight blue jeans and a white t-shirt, Bryan played up his sex symbol image at every turn with some hip shaking. Several songs featured mini firework displays synched to key lyrics. During “Huntin’, Fishin’ and Lovin’ Every Day,” the singer traded his black hat for a Dodgers one and drew loud cheers. When Bryan traversed the extended T-shaped walkway, he also tried a variety of different fan-contributed hats on for size.

The setlist was pretty much wall-to-wall No. 1 hits, which led to loud singalongs from the rowdy crowd. After hearing “I Don’t Want This Night to End,” many fans probably took the title to heart.

Keeping the party-minded atmosphere of “This is How We Roll” (the 2014 Florida Georgia Line team-up) going, Bryan opened a large cooler during “All My Friends Say” and tossed out beers. A robust “Someone Else Calling You Baby” led straight into “Kiss Tomorrow Goodbye” and he sang dramatically on the latter tune.

“Thanks for changing my life. Tonight means so much to me,” said the current "American Idol" judge, before downing a tequila shot in honor of his birthday earlier this month and grabbing an acoustic guitar for earnest standout “Most People Are Good.” Latest single “Sunrise, Sunburn, Sunset” was vibrant and its lyric “we set July on fire” could have easily applied to this concert.

Couples got romantic and slow danced during the syncopated, piano-led sexuality of “Strip it Down,” where Bryan showed off his rarely-displayed vocal prowess. There were humorous shout outs to school teachers, nurses and in a good-natured poke at LA - plastic surgeons - prior to “Crash My Party.”

The acoustic take on Billy Currington’s ’06 hit “Good Directions” (which Bryan co-wrote), a sizzling full-band rendition of Alabama’s “Mountain Music” and the ballad “Drink a Beer” (a heartfelt tribute to departed loved ones) were among the evening’s other highlights.  

photo: George A. Paul

Sam Hunt’s powerful 55-minute set drew a hearty response from the get-go. It kicked off with frantic latest single “Downtown’s Dead” and the freshly shorn singer rarely diffused the momentum.

“Leave the Night On” was infectious. Hunt delivered “Ex to See” with venomous intensity. “Take Your Time” benefitted from added U2-styled textures and “We Are Tonight” (another Currington hit; this one co-penned by Hunt) was a full-bodied rocker.

Yet the true shining moment came when Hunt and the musicians huddled together under large lamps and did an acoustic-leaning ode to the artist’s early days in Nashville.

An old Johnny Cash TV show clip prefaced their covers by Garth Brooks, Tim McGraw and others. Despite losing his voice amid an exciting “House Party,” Hunt recovered enough to provide a dramatic delivery on “Gonna Make You Miss Me” and have fun aplenty during slinky closer “Body Like a Back Road.”         

Earlier, Jon Pardi’s memorable 45-minute performance nearly one-upped Bryan. Concentrating on 2016’s gold-certified “California Sunrise,” the Sacramento-area native and reigning CMA New Artist of the Year (pictured below) easily shifted between acoustic and electric guitars (including eye-catching aqua and Golden State flag models).

photo: George A. Paul

Everything was impressive, namely a hard-charging “Paycheck,” the harmony-rich “Heartache on the Dance Floor,” fiddle-infused new single “Night Shift,” a sensual “All Time High” and John Mellencamp-leaning album title track. Pardi really got down to business on closing favorite “Dirt on My Boots.”

Newcomer Morgan Wallen has written for A Thousand Horses, recently put out a debut album (“If I Know Me”) and enjoyed a No. 1 charter featuring Florida Georgia Line (“Up Down”).

He got the party started for early arrivals with a serviceable 25-minute set. The heavily-accented Tennessee country singer excelled most during a humorous “Happy Hour,” the spirited aforementioned hit and cover medley where Wallen proved his mettle amid snatches of Linkin Park, Fall Out Boy and Kings of Leon songs.

A version of my review originally appeared at ocregister.com.