When Wyatt Flores cracks open a can of beer and grins, “this would be a really good time to tell you my name and where I’m from,” it sums up his easygoing charm. The Stillwater, Oklahoma native might only be in his mid-twenties, but there’s a lived-in depth to both his voice and his writing. Appearing with a three-piece setup, he brings an intimacy that feels like a conversation between friends rather than a performance.
Covers like “West of Tulsa” and “Jersey Giant” (the Tyler Childers song he delivers with real reverence) show his taste and tone, but it’s his own material that hits hardest. “Running Out of Time” has the same emotional honesty as Jason Isbell — praise doesn’t come any higher — and one of the new ones contains the line “on the train to Birmingham,” the crowd laps it up.
He’s augmented by piano and harmonica at times, adding colour to songs that are already rich with feeling. “When I Die,” written for his father, is deeply emotional but never maudlin. Flores focuses on the positives, celebrating life and humour. “Milwaukee” and “Oh Susannah” are tremendous, and his version of The Fray’s “How To Save A Life,” followed by “Please Don’t Go,” closes his set in heartbreaking fashion.
He’s candid about his struggles — mental health, loss, and the difficult side of life on the road — but also grateful, beaming as he says he’s “living his dreams 4000 miles from home.” By the time he leaves the stage, there’s no doubt that those dreams are resonating deeply with everyone watching. Touring might be tough, but he’d better get used to it: the world’s going to want more Wyatt Flores.
Right before 49 Winchester take the stage, AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” blasts through the PA — and it’s the perfect choice. The band from Castlewood, Virginia, have grafted hard for their success, and they’ve never forgotten where they came from. Named after the address where frontman Isaac Gibson grew up, they might be playing all over the world now — even supporting Luke Combs — but there’s still something proudly small-town about them.
Tonight, Gibson’s under the weather. “No voice at all yesterday,” he admits, nursing whiskey and tea to get him through. But if he’s struggling, it doesn’t show. They stride onstage like outlaws, kicking off with the gritty “Long Hard Life” and the honkytonk stomp of “The Wind.” There’s a raw, soulful edge to everything they do — none more so than on “Every Left Turn,” with Bus Shelton unleashing a monster guitar solo.
Tim Hall’s organ is vital to their sound, swirling around Noah Patrick’s pedal steel, especially on “Moses,” a song with the wide-open feel of their Virginia home. “Annasan” stretches further still, with the drums pounding like thunder, before “All Over Again” shifts into something close to arena rock — proof that country music can be huge without losing its heart.
When they play “Yearning for You,” the emotion in the room is palpable. Gibson might not be able to yodel tonight, but Birmingham fills in for him. Like Flores before them, they test out a few new tunes — “Bringing Home the Bacon” is a rollicking new addition, while “Pardon Me” slows things down beautifully. “Russell County Line” has become a real singalong moment, and “Annabel” carries a hint of Drive-By Truckers grit beneath its country charm.
The set builds towards the anthemic “Damn Darlin’,” a section of the crowd shouting for it long before the first note. It’s a classy, aching ballad, and “Last Call” keeps the energy high right through to the finish. They encore with the rollicking “Hillbilly Happy,” leaving the place bouncing — but not before a surprise: a cover of Black Sabbath’s “Changes.” It’s tender, soulful, and a world away from the original, but it fits perfectly.
49 Winchester are a band who can do anything — rock, soul, country, whatever they set their minds to. They might have been born in the Appalachian hills, but after a decade together, their sound belongs to the world now.
