Opry 100: Unforgettable Moments from Country Music’s Epic Celebration!

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It’s fair to assume that “Opry 100: A Live Celebration” was the first three-hour special on country music TV exclusively showcasing top-notch performances throughout its entire prime-time slot. This was made possible because the producers had a unique advantage, as they were celebrating the 100th anniversary of Nashville’s Grand Ole Opry. Instead of relying on just a year’s worth of popular songs, they had a century’s worth of hits to choose from. As a result, the entire evening was filled with timeless country tunes, skillfully performed, without any newcomers rushing about in cutoffs and dodging fireworks.

Regardless of any breaks in the program, some parts really shone during the NBC/Peacock special that aired on Wednesday. Here’s a rundown of the top 10 moments:

On Wednesday night’s uninterrupted NBC/Peacock special, several segments were particularly noteworthy. Here are my top 10 picks:

Vince Gill’s moving rendition of “Go Rest High on That Mountain” served as a heartfelt tribute during an In Memoriam performance. This poignant song, penned by Gill following the demise of his elder brother, has become a funeral favorite for many Americans – a melody they hum along to while driving to a funeral, even if it wasn’t part of the church service. Such a solemn and emotional tune would have been fitting for honoring the esteemed members of the Grand Ole Opry who have ascended… or in simpler terms, most of them, as we’re now a century into this venerable institution.

And now Vince Gill is singing “Go Rest High”… #Opry100

— Pam D (@soirchick) March 20, 2025

Normally, viewers sometimes criticize awards shows’ In Memoriam segments when deceased individuals’ images aren’t clearly shown during performances. However, in this instance, it was quite the opposite – extended shots of still images were used instead of showing Ricky Skaggs’ mandolin solo. Nonetheless, no complaints were heard as the segment was exactly as expected and necessary. Gill made it touching by mentioning that his mother would have been 100 years old in October, making her “as old as the Grand Ole Opry.” He also expressed his wish to sing the song for his mother, as it was about his son.

Lainey Wilson and Marty Stuart performed a semi-acoustic rendition of Hank Williams’ “Lost Highway” and her own hit, “Things a Man Oughta Know,” at the Ryman Auditorium. Marty Stuart, a renowned figure in country music as both a preservationist and historian, shared one of Hank Sr.’s personal acoustic guitars for this performance. They delivered a haunting version of Williams’ classic song, followed by Wilson’s hit that catapulted her to success – and surprisingly enough, it held its own against the original.

Wilson is among the select few modern artists who make you confident that their genre is thriving, and this was evident in Stuart’s expression of admiration and encouragement. Even Wilson’s live performance seemed like a timeless classic, with the backing band providing deft support and Stuart adding to it with soft licks that weren’t present in the recording.

At the last minute, Post Malone unexpectedly stepped into Johnny Cash’s role for a performance of “Jackson”, with Ashley McBryde taking on June Carter’s part. Although it was initially announced that Jelly Roll and McBryde would collaborate on a tribute to Johnny-and-June, Jelly Roll was absent during the broadcast. Instead, Malone teamed up with Travis Tritt for “T.R.O.U.B.L.E.”, while McBryde sang “Girl Going Nowhere” alongside Terri Clark. Their rendition of Cash and Carter’s signature song was a lively highlight, with McBryde displaying her acting skills in the song’s passionate back-and-forth. Post Malone added an intriguing touch by casually turning his cowboy hat from front to back, as if engaging with his on-stage partner.

Garth Brooks and Trisha Yearwood honor country music’s longstanding power couple, George Jones and Tammy Wynette. During his opening remarks, Brooks acknowledged that if you asked a hundred people who the best country singer of all time is, you would likely receive a hundred different answers. However, for him, it has always been and will always be George Jones. This statement may not be entirely accurate, as more than one out of 100 people might name Jones, but Brooks graciously allowed room for other opinions or 99 different choices. He then confidently declared “He Stopped Loving Her Today” as the greatest country song ever and praised the extraordinary moment when this legendary tune was sung by the legendary voice of George Jones. Interestingly, the use of the word “greatest” multiple times in one paragraph was not considered excessive or overstated. Afterward, Yearwood took the stage to perform Tammy Wynette’s “Your Good Girl’s Gonna Go Bad,” and later, Brooks and Yearwood performed “Golden Rings” as a tribute to the brief yet enduring golden era of George-and-Tammy.

Has it ever crossed your mind to incorporate “He Stopped Loving Her Today” into an In Memoriam tribute? Not yet, I hope not; such an idea would be quite inappropriate. Yet, the song’s poignancy lingers…

Bill Anderson enjoyed an excellent vantage point as his “Whiskey Lullaby” secured another successful duet, this time with Brad Paisley and Alison Krauss reprising their roles. In the realm of country music duets, it’s hard to find one that rivals the potency of this 21-year-old classic — and indeed, few voices since then have matched the clarity of Krauss’s. Yet, in this instance, the voice was not just as clear but, remarkably, as sombering. The revival of this lament for an untimely death was a necessary step, serving as a testament to the timelessness of its co-writer, “Whisperin’ Bill,” the longest-serving member of the Opry. He had the privilege of introducing it and then watched the performance from close by on the Ryman stage.

Following the captivating rendition of a moral story, let’s get back to our usual country music playlist, which is dedicated around the clock to promoting alcohol enjoyment!

Even today, Luke Combs continues to hold a deep affection for George Jones, just as he did nine years ago when he first performed on the Opry stage. His debut performance was “Hurricane”, a song that marked his first appearance. However, prior to this, he gave a solo-acoustic interpretation of one of Jones’ iconic heartbreak ballads, “The Grand Tour.” While it may have been predestined by fate, a concert with not just one but two tributes to George Jones can truly be considered a comprehensive journey in its own right.

I, as a passionate supporter, admire how Eric Church consistently strives to create unique experiences through his performances or ideas that deviate from the norm. A prime example of this is when he performed an emotional solo-acoustic rendition of a non-standard song at the Opry House. The stage was bathed in pure red light, adding a dramatic touch as he spoke about the victims of the Route 91 Harvest Music Festival. Performing there three nights after the tragic event in October 2017, he paid tribute to those who were lost.

On October 4, 2017, Church stated that he was a shattered man while standing on this stage. He didn’t want to be there, but the people in the room and the Opry helped mend a part of his heart… As I watched videos of all the victims and their locations… That night I performed this song, and I believe it embodies what makes the Opry so unique and why it’s an enduring institution. I will perform it again for them tonight.

Ashley McBryde and Terri Clark honor trailblazing women in country music with their duet performance of “Girl Going Somewhere.” This song, about overcoming obstacles to pursue dreams despite being told they were nonsense, served as a powerful representation for all female artists who’ve graced the Opry or Ryman stage. The choice to pair McBryde, an emerging talent, with Clark, a symbol of independent spirit in country music, was a brilliant move, highlighting the significance of women’s achievements in the genre. In contrast, the male performers of the ’90s had their moment elsewhere during the show, with a medley of hits from Blake Shelton, Clint Black, and Trace Adkins. While these men received their due recognition, it’s important to acknowledge that the women of the ’90s may not always have been celebrated, making this collaboration between McBryde and Clark even more impactful.

Trisha and Reba dressed up elegantly.
The duet by Ashley McBryde and Terri Clark wasn’t the only female/female performance of the night; in fact, it started right from the beginning of the show with McEntire and Yearwood performing together first. It appears that country radio programmers had no hand in choosing the artists for this vibrant, tomato-dominated concert.

Reba started off dedicating three hours to honoring Patsy Cline and Loretta Lynn, singing an a cappella version of “Sweet Dreams”. Later, she paid tribute to McEntire by performing a remake of her rendition of “The Night the Lights Went Down in Georgia”. Trisha appeared delighted as Reba added playful vocal comments and facial expressions, making it seem like she was sharing personal memories from the imaginative tune.

The gospel performances always steal the show, even at venues like the Opry House. Gospel can be considered either a close relative to or an ancestor of country music, depending on who’s talking, so it was one of two distinct genres from country that were celebrated during the broadcast, with bluegrass being the other. Christian music artist Chapman was highlighted as the latest addition to the Grand Ole Opry, and he along with Grant represented the Contemporary Christian Music (CCM) sector, a significant part of the Nashville music scene… and, despite their exceptional talents, they seemed genuinely content just to perform alongside the traditional gospel sounds delivered by Yolanda Adams and the husband-and-wife duo War and Treaty. It might be considered blasphemous to listen to Adams or Tanya Trotter and say: “No, how great you are”, but probably it is.

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2025-03-20 20:48