Country musicians Trace Adkins and Martina McBride could be viewed as the odd couple with their Shine All Night Tour.

Adkins’ albums offer a mix of funky country rock and softer contemplative tunes. McBride boasts soaring vocals, often with a pop flair, and straight-to-the-heart songs. But the odd mix works, and certainly worked well Thursday night at the World Arena as Adkins and McBride performed about 34 songs with their obviously talent-heavy bands. The crowd – where ages were across the board – was certainly satisfied.

First up was Adkins.

His stage set-up made a statement, with moving pieces and film-light panels, and three screens that showed either live shots from the show or bits from his music videos.

It was a romping, stomping opening, with “I Got My Game On” and “Swing.” (Who knew a banjo could rock?) The familiar hit “Every Light In the House” slowed down things a bit.

Adkins’ most powerful song was the one recently nominated for two Grammy’s (he said he only found that out Thursday morning). “All I Ask For Anymore” is on his tenth and most recent album (titled “X”), as was the next – and totally contrary tune, “Marry for Money.” It was a bit jarring to go from a song that is very much centered on family to one that is totally self-centered, albeit funny.

The crowd caught a glimpse of the family man when Adkins explained that it was his 5-year-old daughter Trinity’s birthday. He had the audience sing “Happy Birthday” to the video camera.

He also mentioned the few hours he spent at Fort Carson, and again honored the work of the troops.

And his first closing song was guaranteed to leave the audience making noise for more: “Honky Tonk Badonkadonk.” So, of course, he came out for an encore, joined by a choir from Denver for a performance of the gospel-sounding “Muddy Water.”

Adkins is certainly more well-known now than he was a few years ago, but there was no doubt that McBride was the headliner. Her set was deeper, larger and more elaborate, and the set up for her opening song – “Ride” – made interesting use of a semi-transparent screen (as did other songs in her set). Just about every one on the floor – and many in the stands – stood up even before McBride rose up from the fog-covered floor of the center of the stage.

McBride’s performance was a well-rounded selection of songs from past albums, especially 2001’s “Greatest Hits” and “Shine” that was released in March. Her set started with familiar, but older tunes (including “Happy Girl”). Yet her powerhouse vocal skills really shone on the newer songs, such as “Walk Away,” possibly because they haven’t yet reached a saturation point where everyone in the audience is singing along.

But McBride did take a break from her discography for a county-pop rendition of “Lean On Me” – and many in the audience sang along.

And yes, there was indeed a moon that lifted McBride toward the rafters: It soared over the audience toward the back of the arena, thrilling that portion of the venue. It was a great effect, although even McBride seemed a bit surprised, saying that it was really high. She shared the heart breaking “I’m Trying” from “Shine” and then returned to old radio favorites like “Love’s the Only House.”

But the single shining aspect of McBride’s performance is how she puts her whole self – vocally and physically – into her music. And she makes it seem almost easy.

The nearly three hours of music was certainly worth the admission price – not to mention braving the freezing cold. And while the weather wasn’t mentioned by either performer, Adkins and McBride touched on the economy. Both mentioned how grateful they were that in hard times, people would spend their “hard-earned money” to watch them perform. And both Adkins and McBride encouraged participation, holding out the microphone to the crowd, shaking hands, giving high-fives. I was pleasantly surprised that they did a such great job of balancing their attention to the audience – walking, rushing, dancing across the rather wide stage during many songs.

And while I’d go see either performer again, there were a few noticeable rough spots.

At times, Adkins could hardly be heard over the instruments, especially at the beginning of his set. (That might have been a peculiar problem for the floor seats, however, since others in the stands didn’t notice that big of a problem.) And while Adkins’ low voice makes for great-sounding music, he usually isn’t as animated as McBride. His face did show emotion, making it a good thing that videographers were almost continually putting live shots on the screens – which I much preferred to pre-recorded music videos, which at times were downright distracting.

McBride’s show seemed much better planned. When McBride made her way along the floor of the arena, singing “This One’s for the Girls” for most of the way, those on the floor couldn’t see her, and the microphone picked up noise from the crowd. But even that small gripe won’t mean much to the person she wished “happy birthday” to, or the individuals whose hands she clasped.

Many leaving the World Arena certainly seemed impressed by the evening. I don’t think anyone would have been too disappointed if McBride had followed through on her teasing suggestion of performing all night.

Photo by CHRISTIAN MURDOCK/THE GAZETTE