{"id":1930,"date":"2026-06-21T08:36:22","date_gmt":"2026-06-21T08:36:22","guid":{"rendered":"https:\/\/charlotterelocationguide.com\/?p=1930"},"modified":"2026-06-21T08:36:22","modified_gmt":"2026-06-21T08:36:22","slug":"review-chris-stapletons-most-memorable-charlotte-moment-wasnt-in-the-setlist","status":"publish","type":"post","link":"https:\/\/charlotterelocationguide.com\/?p=1930","title":{"rendered":"Review: Chris Stapleton\u2019s most memorable Charlotte moment wasn\u2019t in the setlist"},"content":{"rendered":"

Chris Stapleton<\/a> couldn\u2019t take his eyes off her \u2014 and neither, it seemed, could anyone else.<\/p>\n

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He was standing there inside Bank of America Stadium in Charlotte on Saturday night, acoustic guitar in hand, smiling beneath the brim of his cowboy hat as they duetted on his 2015 hit \u201cParachute.\u201d<\/p>\n

A woman sitting next to me got misty-eyed. Judging by the reaction around her, she wasn\u2019t alone.<\/p>\n

It became one of those spontaneous moments that felt almost impossibly perfect, the kind that couldn\u2019t have gone better if it had been scripted.<\/p>\n

A lot has been made of the unique connection between Stapleton and his wife Morgane in the 11 years since he blew up with his rendition of \u201cTennessee Whiskey.\u201d<\/a> Except in this case, we\u2019re not talking about Morgane Stapleton. We\u2019re talking about a little girl who was maybe 8 years old, whom Stapleton invited onstage after spotting her in the crowd clutching a homemade sign that read: \u201cChris Stapleton, can I sing \u2018Parachute\u2019 with you?\u201d<\/p>\n

The only problem? He had already sung<\/i> \u201cParachute.\u201d<\/p>\n

But nobody seemed to mind when, less than 45 minutes into his nearly 2\u00bd-hour headlining set, Stapleton invited the young fan up anyway. And with very little preparation, the girl \u2014 dressed in a yellow T-shirt, cut-off jean shorts and a cowboy hat \u2014 proceeded to sing an extended acoustic version of the song with one of country music\u2019s biggest stars.<\/p>\n

As it turned out, that little duet captured something essential about the night.<\/p>\n

Despite the giant video boards, towering speaker arrays, carefully designed lighting and NFL-sized surroundings, Stapleton\u2019s \u201cAll-American Road Show\u201d repeatedly found ways to feel surprisingly personal.<\/p>\n

It started hours earlier, at 6 p.m., with opener Allen Stone<\/a> forging his own kind of intimacy.<\/p>\n

The Stevie Wonder-esque singer rewarded early birds with soulful vocals, funky guitar work and a sense of style that made him look as if he had wandered in from an alternate-universe version of the same tour.<\/p>\n

Like Stapleton, he had long hair, a bushy beard and a guitar in his hand \u2014 although, unlike Stapleton, he did occasionally set the thing down. Unlike<\/i> Stapleton, he wore fashionable sunglasses, a black scarf, a beige outfit decorated with a red heart and patches, and a leopard-print guitar strap.<\/p>\n

He looked, in fact, vaguely like he could be Stapleton\u2019s funky cousin, one who\u2019d spent a semester in the Scooby-Doo cartoon universe and come back with an excellent falsetto; but musically, Stone stood in stark contrast \u2014 bluesy, soulful, colorful, physically loose, grooving around the stage to a batch of bouncy originals but probably making the biggest impression with a hip cover of James Taylor\u2019s \u201cFire and Rain.\u201d<\/p>\n

Then came Lainey Wilson<\/a>.<\/p>\n

The 34-year-old firecracker \u2014 who last was at the stadium with Luke Combs in 2023<\/a>, when her equipment got struck by lightning and she had to play acoustic \u2014 arrived looking like she had been assembled from the finest parts of a Nashville branding meeting: white cowboy hat, mirrored sunglasses, flared pants, patriotic Western top, glittering guitars, the whole modern-cowgirl silhouette.<\/p>\n

But she worked<\/i>.<\/p>\n

She twirled. She skipped. She danced. She hooted and hollered, and waved her hands in the air like she just did not care. She demonstrated the little dance she\u2019d made up for \u201cPhone Keys Wallet.\u201d And perhaps most memorably, during \u201cWatermelon Moonshine,\u201d she climbed off the stage with help from security and sang directly to individual fans, shook hands, signed cowboy hats, even handed the microphone to one man and encouraged him to \u201csing it, brother.\u201d<\/p>\n

I\u2019ve been aware of this since I saw her at that Combs show three years ago: Wilson\u2019s appeal seems rooted in making people feel like they\u2019d enjoy hanging out with her.<\/p>\n

As for Stapleton \u2014 who took the stage just before 9 p.m. \u2014 he\u2019s virtually the antithesis of both of his openers. No one would describe him as a carefree goofball, like Stone, or as a down-to-earth Southern charmer, like Wilson.<\/p>\n

Not to say he was cold. In fact, he bantered on Saturday more than his reputation might suggest.<\/p>\n

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At one point, he joked that he couldn\u2019t read a fan\u2019s sign because \u201cI\u2019m 48, so I can\u2019t see that well.\u201d Later, after seeing well enough to spy a fan holding a sign asking if he\u2019d autograph his copy of \u201cTraveller,\u201d Stapleton had a stagehand fetch it so he could sign it and return it, then noticed the fan\u2019s wardrobe. \u201cYou\u2019re wearing a Lainey Wilson shirt, though,\u201d the singer cracked. \u201cYou\u2019re gonna have to go buy one of mine<\/i> now.\u201d<\/p>\n

So no, he wasn\u2019t mute. He wasn\u2019t personality-less.<\/p>\n

But he also didn\u2019t exude stadium-star charisma in the usual way.<\/p>\n

He resists stadium excess. No dancers. No pyro. No video-game graphics. No desperate attempt to make every song look like, say, the opening ceremony of an Olympics held in a Bass Pro Shops. Meanwhile, Stapleton almost seems to will<\/i> the cameras to focus on someone else; the giant video boards spent as much time highlighting harmonica solos, pedal-steel work and his wife Morgane\u2019s harmonies as they did Stapleton himself.<\/p>\n

In fact, if there\u2019s a gimmick he employs \u2014 and I say this 100% affectionately \u2014 it\u2019s Morgane.<\/p>\n

Positioned near him much of the night, she remains central to both the sound and the emotional architecture of the performance. Her role has always seemed to be as much about comfort as musicianship.<\/p>\n

As he does at every show, he looked at her almost constantly \u2014 perhaps most intensely during songs like \u201cWhat Am I Gonna Do,\u201d during \u201cMillionaire,\u201d during \u201cFire Away\u201d \u2014 and when he wasn\u2019t looking at her he was often glaring at his fingers as they attacked or caressed his guitar.<\/p>\n

And that gets at something important about Stapleton generally.<\/p>\n

He has always seemed more interested in following his instincts than managing a crowd. He will not behave like a man terrified of losing your attention. He will not give you the most efficient stadium show. As such, he will not always protect the momentum.<\/p>\n

During a mid-set run that included \u201cDrunkard\u2019s Prayer,\u201d \u201cI Was Wrong\u201d and a long bluesy instrumental excursion, the exodus toward bathrooms and beer stands became noticeable. After a euphoric performance of \u201cTennessee Whiskey\u201d and the obligatory fake-goodbye-before-the-encore, large numbers of fans began heading for the exits, and continued leaving even when Stapleton returned for an encore that included deeper cuts \u201cSometimes I Cry\u201d and \u201cOutlaw State of Mind.\u201d<\/p>\n

Yet he remains vocally transcendent even in those more meandering moments, and especially when he sinks his teeth into something truly special.<\/p>\n

Like \u201cWhere Rainbows Never Die,\u201d stripped down to little more than an acoustic guitar and his signature gravelly grit \u2014 a performance so affecting that one friend texted afterward: \u201cI was crying for sure.\u201d<\/p>\n

Like \u201cFire Away,\u201d whose booming, aching chorus eventually persuaded thousands of fans to raise their phone lights, transforming the stadium into a field of stars.<\/p>\n

Like \u201cTennessee Whiskey,\u201d which arrived to one of the night\u2019s biggest cheers, showcased his smoky, textured tone, and ended with a singalong so rapturous that it felt less like a performance than a communal act of worship.<\/p>\n

Or perhaps, most memorably, like that impromptu duet of \u201cParachute\u201d with the 8-year-old girl who\u2019d been holding that sign.<\/p>\n

The moment could have felt like a corny stunt, the sort of viral-ready fan interaction that is charming in the building and unbearable by the time it reaches your social feed.<\/p>\n

Instead, it felt genuine.<\/p>\n

Maybe because Stapleton did not oversell it. Maybe because he seemed genuinely tickled. Maybe because the girl could actually sing. Or maybe because here he was \u2014 yet again \u2014 trying to shift the focus away from himself.<\/p>\n

At least as much as a man standing in front of 50,000 people possibly can.<\/p>\n

1. \u201cBad As I Used To Be\u201d<\/p>\n

2. \u201cArkansas\u201d<\/p>\n

3. \u201cNobody to Blame\u201d<\/p>\n

4. \u201cWhat Am I Gonna Do\u201d<\/p>\n

5. \u201cParachute\u201d<\/p>\n

6. \u201cMillionaire\u201d (Kevin Welch cover)<\/p>\n

7. \u201cThink I\u2019m in Love With You\u201d<\/p>\n

8. \u201cI\u2019m a Ram\u201d (Al Green cover) (with Allen Stone)<\/p>\n

9. \u201cParachute\u201d (reprise, with young fan)<\/p>\n

10. \u201cWhere Rainbows Never Die\u201d (The SteelDrivers song)<\/p>\n

11. \u201cDrunkard\u2019s Prayer\u201d (Solo)<\/p>\n

12. \u201cI Was Wrong\u201d (Solo)<\/p>\n

13. \u201cCold\u201d<\/p>\n

14. \u201cKeep Your Hands to Yourself\u201d (The Georgia Satellites cover) (with Lainey Wilson)<\/p>\n

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15. \u201cWhite Horse\u201d<\/p>\n

16. \u201cYou Should Probably Leave\u201d<\/p>\n

17. \u201cJoy of My Life\u201d (John Fogerty cover)<\/p>\n

18. \u201cStarting Over\u201d<\/p>\n

19. \u201cTraveller\u201d<\/p>\n

20. \u201cFire Away\u201d<\/p>\n

21. \u201cBroken Halos\u201d<\/p>\n

22. \u201cTennessee Whiskey\u201d (David Allan Coe cover) (With band introductions)<\/p>\n

23. \u201cSometimes I Cry\u201d<\/p>\n

24. \u201cOutlaw State of Mind\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Concert review, setlist: Country music star Chris Stapleton, singer Lainey Wilson bring All-American Road Show tour to Bank of America Stadium in Charlotte NC.<\/p>\n","protected":false},"author":1,"featured_media":1929,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-read-todays-edition"],"yoast_head":"\nReview: Chris Stapleton\u2019s most memorable Charlotte moment wasn\u2019t in the setlist - \u0421harlotte Relocation Guide<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/charlotterelocationguide.com\/?p=1930\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review: Chris Stapleton\u2019s most memorable Charlotte moment wasn\u2019t in the setlist - 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