If there was one takeaway from his Aug. 15 performance at Fenway Park, it was that Chris Stapleton is a true musician. Not only did he demonstrate impressive and emotional vocal talent at the Boston stop of the “All-American Road Show” tour, but he also showcased exceptional guitar skills throughout most of the show. He played for approximately two hours, segmenting his set into three different acts.

The sun was setting, a calm breeze blew, and an exciting buzz swept over the venue as Stapleton took the stage. A harmonica’s harmony whistled out over the audience’s screams, playing a minutes-long riff to set a tone of folksy musicianship for the rest of the concert. The crowd roared as Stapleton soulfully strummed his guitar before singing the first few words of “Bad As I Used To Be.”

After playing his 2015 hit “Parachute,” Stapleton addressed the audience for the first time to explain the night’s mantra: talking less and playing more, hoping that those in attendance would have as much fun as possible. For the excited, rowdy crowd looking to get the most out of their ticket, Stapleton’s high-energy delivered.

The second act opened with him “firing” his band for the time being. Now, it was just the audience, him, and his guitar — a performance characteristic of his earlier career. Per usual, he flaunted stunning guitar moves, such as stroking the top strings and playing complicated riffs.

Near the end of the long outro of “I Was Wrong,” his band jumped back on stage, “rehired” to give the song one last dramatic, beautiful end and to usher in the final act. The third act was filled with many crowd favorites, including “You Should Probably Leave,” “Starting Over,” and “Broken Halos.” Throughout the night, a wall of screens behind the band shifted between close-up shots of each musician and varying levels of luminescence that tracked each act’s mood — sparse and cool during the acoustic second act, warm and golden as the full band returned.

It is not unusual for an artist to include a cover on their setlist. Stapleton, however, made a note to pay tribute to his musical influence by playing a total of five. In the first act, he performed “Millionaire,” by Kevin Welch, along with a groovy rendition of “I’m a Ram” by Al Green, which he sang with his opener Allen Stone.

Stapleton’s third act featured “Joy Of My Life” by John Fogerty and a performance of “Liza Jane” by Vance Gill with his other opener, Zach Top. Finally, Stapleton closed out his performance with “Tennessee Whiskey,” attributed to David Allan Coe. Many may be surprised to learn that “Tennessee Whiskey” isn’t an original Stapleton song; his 2015 rendition, though, did launch him into mainstream stardom, making its place as his closing number feel full-circle to him.

The crowd begged for more and, keeping with his promise to play as many songs as possible, Stapleton came back on stage for a two-song encore, movingly performing “Sometimes I Cry” and “Outlaw State Of Mind” to officially close out the night.

Fundamentally, Stapleton’s masterful musicianship was heightened by the presence of his extremely talented band; he did not fail to neglect this fact, even taking the time to jokingly sing introductions.

The harmonicist, Mickey Raphael anchored much of the show, having spent 53 years playing for Willie Nelson before joining Stapleton. Paul Franklin’s pedal steel guitar, an instrument laid flat like a keyboard but strung like a guitar, stole the spotlight on the big screen more than once.

Rounding out the band: bassist J.T. Cure, who’s played alongside Stapleton for 25 years and evidently still loves it — judging by his head-bobbing and mugging for the crowd; keyboardist Lee Pardini, tasked with what Stapleton cheekily called, “tickling the ivories”; Louisiana-born drummer Derek Mixon; and guitarist Dave Cobb, who Stapleton credited with producing many of his songs.

Last, but certainly not least, he introduced his backup vocalist after a series of prolonged and affectionate riffs of the word “baby”: Morgane Stapleton, his wife and longtime creative partner — she helped shape his 2015 debut album “Traveller” and co-produced his most recent record “Higher,” much of which this tour’s setlist draws from.

In the end, the night’s most powerful instrument wasn’t a guitar or a pedal steel, but the decades-long partnership between Chris and the team behind him — proof that the deepest musicianship comes from more than just skill.

—Staff Writer Julia J. Downey can be reached at [email protected].