The viral Virginian played to a rowdy Lower Broadway crowd

Oliver Anthony (real name Christopher Lunsford) and his three world-class backing musicians delivered a seat-of-their-pants set that may go down as the most organic night of music the Mother Church will see in 2024. Anthony’s set at Ryman Auditorium on Wednesday night (Feb 21st) began with a Bible reading, focusing on, what else? The perils of greed.

Anthony then took the crowd to a kind of musical church for the common man. Themes of not giving a damn, seeing through politicians’ false promises, and even addiction run through his music. He vocalizes it all with the pain of a man who has lived it. It is this magnetic communication that, in August 2023, gripped a culture in the throes of societal discontent. Enter “Rich Men North of Richmond.”

But Anthony, a natural musician, is much more than a one-click wonder. He has mastered songwriting. Yet it is admittedly jarring to hear the blunt lyrics of “Cobwebs and Cocaine” from an artist who hasn’t come up through the traditional ranks. There’s an element of, “Who is this guy and what makes him think he can say that?” Still, though, the bluntness in his music is what’s so refreshing. Oliver Anthony speaks what is on his mind, and his fans want to hear it.

Aiding Anthony were Joey Davis, Caleb Dillard, and fiddling icon Billy Contreras. Anthony and his two-some had never played with Contreras before. But they gelled naturally. They delivered a particularly stunning and unrehearsed “Free Bird” that floored the Ryman crowd. The harder Anthony and co. played, the more enthused the pews became. In indulging the shouting fan who made the request, Anthony said “Ok, but it’ll be the Wish.com version.” Hardly.

The night was full of such spontaneous moments. From folding setlists like airplanes to reach the back of the auditorium (they didn’t fly that far), to moments of candid thoughts from Anthony which stirred up boisterous responses from the crowd. Those moments felt like a political rally without the politics, for the men and women who feel—no, they know—that they’re being lied to by the elites on both sides of the aisle. To them, Anthony and his music tell it like it is.

There was even a surprise appearance by Randy Travis, whom Anthony fawned over several times that night. It was clear it means the world to Anthony to have the Country Music Hall of Famer’s endorsement. As Travis’ wife, Mary, rolled him out in his wheelchair, the concertgoers rose from the Ryman rows like a dutiful congregation, honoring a true elder statesman of their heart-held genre of music. It was one of the most beautiful things I have ever seen in a live environment.

And I almost didn’t get to witness it. Our friends at Mr. Anthony’s publicity firm were unable to accommodate the press ticket that usually precipitates this type of review. Because the show was completely sold out. I lucked out with an aftermarket ticket on AXS, who also sold the first-run tickets. I say this because I want to be clear: I was moved to write this article by what I witnessed happen inside Ryman Auditorium on February 21st.

At his post-show meet and greet, I congratulated Mr. Anthony not on a stellar show—he has plenty of fans who will heap praise upon him. I took my time to highlight that, as he is someone who was bombarded with shysters looking to make a quick buck off of his sudden fame, he chose an excellent and trustworthy team to guide his early stardom.

Internet virality is often inorganic. A product of algorithms that want to tell the public what music and artists to like, lest the masses be left behind. But Oliver Anthony happened organically. He arose for taking his guitar like a knife to lance a sycophantic culture of elitism that worships only themselves. With one song, he reached inside the hearts of millions of common folks. Still, like all his fans, there is hope in Anthony’s philosophy. “Despite all the problems and the bullshit,” he said at the show, “This is still the greatest country on earth.” Cue the room vibrating in agreement.

But it’s fame if you can keep it. Right now, Anthony is still trying to find himself as not just an artist, but as an artist with fans, fame, all while having done none of legwork inside the touring industry. That can be jarring. It’s not the moment of stardom that matters–which saw Anthony debut at the top of the Billboard Hot 100 without ever having charted before. It’s what you do after that moment that matters. Anthony has reacted by keeping ticket prices under market value, he does not work with major promoters, and focuses on a direct connection with his fans. This reaction to sudden stardom, I believe, is what will aid longevity long after the view count on “Richmond” cools.