Wallen features three openers for each show: two newer acts and one established headliner. For this tour’s inaugural performance, it was Thomas Rhett, who will embark on his own arena tour later this year (and will co-headline two stadium shows with Niall Horan). Rhett took the stage while it was still light out for an energetic nearly hour-long set filled with crowd-pleasing hits. He delivered hit after hit from upbeat tracks like “Make Me Wanna” and “Look What God Gave Her” to “Beautiful” and “Die A Happy Man,” all celebrating love or appreciating feminine beauty. However, not everything was lighthearted; he also performed his most poignant song, “Marry Me,” which consistently feels like an emotional blow. A song that Rhett did not record received one of his biggest reactions of the night: “She Had Me At Heads Carolina,” Cole Swindell’s 2022 hit that Rhett co-wrote.

Wallen generally avoids political or topical issues in his songs and public statements; however, one exception is “I’m A Little Crazy” from I’m The Problem. While it does not mention specific societal issues, it effectively captures the unsettling times we live in regardless of one’s political stance. The protagonist is a pill-popping drug dealer who keeps a loaded gun by his bed because he sings, “I’m a little crazy, but the world’s insane,” while witnessing various disturbing scenarios. It stands out as one of his finest recordings (co-written by HARDY), but it’s Wallen’s world-weary delivery that truly brings it home.

“I’m a Little Crazy” was one of three songs performed on a B stage at the back of the stadium to reach fans who were furthest from the main stage. This remote stage is something Wallen introduced when transitioning to stadium performances and allows him to connect with fans directly by saying “Thank you.” It has become one of his favorite parts of the show. Accompanied only by guitarists/vocalists Dominic Frost and Tyler Tomlinson, he also performed his cover of Jason Isbell’s “Cover Me Up” and his massive hit “Wasted on You.” Taking place roughly midway through the show, this mini-set was a highlight due not only to its intimacy but also because Wallen’s voice was fully warmed up; he skillfully twisted notes and held others longer while showcasing what his versatile voice can achieve. Where’s MTV’s “Unplugged” when you need it? Did we mention that parts of this small rectangular stage caught fire (intentionally) during three of his strongest songs?

Wallen has built his career around being love’s malcontent and we appreciate it. In Wallen’s universe, love often feels like a losing game. Whether it’s drowning sorrows in songs like “Whiskey Glasses” or “You Proof,” dealing with toxic relationships in “Thinkin’ Bout Me,” or experiencing fleeting love in tracks like “20 Cigarettes” or “Love Somebody” — all performed by Wallen — much of his catalog revolves around love that doesn’t succeed. The world has enough lighthearted love songs; Wallen resonates with those who lack a permanent partner and understand that sometimes love simply disappoints. Misery loves company, especially among 70,000 strangers.

Creating an intimate atmosphere in a massive stadium can be challenging; however, Wallen makes significant efforts to connect with fans personally. He seemed determined to take selfies with everyone in the pit area and crouched down frequently to get closer to fans — it’s surprising his knees held up! Combined with walking through the audience en route to and from the B stage at the back of the stadium during this segment of the show makes it hard to imagine what more Wallen could have done to shrink that stadium experience into something more club-like.

The high-tech production cannot be overstated. After Theo Von’s introduction and Wallen’s entrance alongside former Viking Allen, there was still anticipation before he took center stage. First on the towering video screen dominating behind him was footage of a fighter jet taking powerful flight off an aircraft carrier. While we may be mistaken here — perhaps Wallen intended it as patriotic — it felt connected to an enormous stage resembling a fighter plane with its nose extending halfway across the floor and wings stretching far across it as well; while most of the band remained near this main stage where Wallen occasionally visited. If you’re seated too low in relation to this setup, some imagery might be lost (and again we could be wrong). Adding excitement were flash pots shooting flames into the air (including from cutouts on stage wings that Wallen had to navigate carefully) along with indoor fireworks displays. Fans received light-up bracelets (similar to those used on Taylor Swift’s tour) upon entry that synchronized with both beat and color changes around the stage lights. This grand spectacle aimed for maximum entertainment value and literal impact for fans’ investment; however, one downside was that due to its size, it could sometimes be difficult to locate where Wallen was positioned on stage.