Eric Church performing at The Anthem (Washington, DC) Photo by Anthony D’Angio

Walking into The Anthem for Night 1 of Eric Church felt a little different for me — it was my first time reviewing a country concert. I went in with an open mind, and by the end of the night, I walked out genuinely impressed by the musicianship, the storytelling, and the undeniable energy in the room. If this was Church “getting the rust off” as he stated early into his first show of the year, the bar is already set high for country music fans.

Before Church even touched the stage, the intro did some heavy lifting. The room filled with Pink Floyd’s “Wish You Were Here” and “Run Like Hell,” immediately framing the night as something more cinematic than your average country show. From the jump, it was clear this wasn’t going to be about flash — it was about mood, intention, and immersion.

When the lights came up, the scale of the production hit. A massive band. A full choir. No shortcuts. Church opened with “Hands of Time,” launching straight into visuals promoting his new album before settling into a rhythm that felt deliberate and story-driven.

“Bleed on Paper” was another early standout — powerful vocals, a gospel-like swell from the choir, and a saxophone solo that smoothly carried the crowd into the next moment. The entire show felt less like a concert and more like a film unfolding in real time, with strong Western-cinema feels and seamless transitions between songs.

One of the boldest choices of the night: Church played the new album front to back. No rushing, no padding, just letting the story live fully before moving on. It worked. Songs were allowed to stretch, breathe, and evolve live — a refreshing change in an era where many shows feel rushed or overly scripted.

“Clap Hands” made it impossible to stand still, with the choir clapping in unison and pulling the crowd right into the performance. From there, keyboard and guitar solos were sprinkled throughout, spotlighting just how deep this band is musically.

The Anthem felt sold out, not just in numbers but in energy. The crowd knew the words, reacted to every beat, and erupted each time Church dropped a DC or Baltimore reference — including a clever lyrical tweak nodding to his two-night run at The Anthem. Yes, people were definitely intoxicated, but the vibe stayed celebratory and respectful, feeding into the communal feel of the night rather than distracting from it.

What stood out most was how little the show depended on visuals. They were there, but they weren’t the star. The music and stage presence carried everything. Church took his time, stretching songs longer than most performances I’ve seen, clearly in no rush to leave the stage.

At one point, he joked about it being the first show of the year and “getting the rust off,” before promising:

“We’re playing music tonight until we get tired, until you get tired — and then we’ll f*ing do it again tomorrow.”

Later in the set, “Mistress Named Music” became a showcase for the entire band, with extended piano and guitar solos and playful lyric changes. A mashup of “Smoke a Little Smoke” and “Proud Mary” — featuring Joanna Cotten — brought the house down, complete with wild guitar shredding.

The background singers looked like they were having the time of their lives, dancing in unison, feeding off the crowd’s energy. And when Church grabbed his guitar to trade licks with the other guitarists on stage, it felt less like a performance and more like a jam session among friends.

For my first country concert review, Eric Church made it easy. Night 1 at The Anthem wasn’t about spectacle — it was about musicianship, storytelling, and connection.

If this was just the warm-up, Night 2 has a lot to live up to.

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