Review: Country rocker Stephen Wilson Jr. shows why his star is on the rise in sold-out Pittsburgh concert

As Stephen Wilson Jr. prepared to end his concert Saturday night, the self-described “Death Cab For Country”-style singer-songwriter shared an optimistic outlook.

“I truly believe our better days are in front of us. I believe our best days are in front of them, prior to contrary belief,” Wilson said. “I spent my whole childhood preparing for Armageddon. And the same people that asked me if I was ready for the end of the world were asking me what I wanted to be when I grew up. ‘You gonna work on cars like your daddy?’ It seemed like a trick question.

“We been talking about this thing — the end — as far as we remember. Mankind’s second obsession after fire was his own demise. This might be close to the end of the show; I assure you we are just getting started. I really believe we are way farther from the end and way closer to the beginning.”

Although Wilson may have been referring to the themes of his closing song “The Beginning,” it could also be used to describe his career, which is just starting to take off, as evidenced by a packed crowd for a sold-out show at Thunderbird Music Hall in Pittsburgh’s Lawrenceville neighborhood.

At 45, Wilson is touring in support of his debut double album, “Søn Of Dad,” with every show on this trek sold out, and he’s also been added to Rolling Stone’s Future of Music showcase at the South by Southwest festival next month. The Indiana native used to open shows by saying, “My name is Stephen Wilson Jr., and I am my father’s son,” but there was no need for that Saturday night for the spirited crowd gathered in the jam-packed room.

With a show that walked the line between country, indie rock and grunge, Wilson looked at ease among all the genres, whether it was the finger picking to open “Billy,” the rocking ending of “Cuckoo” and a Lumineers-style “woo” in “Hometown.”

Wilson’s influences were on display, starting with a brief cover of Hum’s “Stars” to open the show as well as twice sneaking in a snippet of Nirvana’s “All Apologies,” not to mention a strong cover of Ben E. King’s “Stand by Me” that allowed him to show off his emotive, raspy voice.

His father’s presence loomed large in the show — “I miss him so much,” he said — with songs like “Father’s Son” and “Not Letting Go,” as did nostalgic songs about his younger days like “Hometown” and “Year to Be Young 1994.”

Showing off his down-home, folksy charm, Wilson shared stories about tornadoes in Nashville, ill-fated kisses after roller skating, youthful keggers followed by demon exorcisms at church the next morning and the story behind “The Devil,” the song that helped launch his solo career.

“I felt like I saw the devil more than I saw God growing up. It seemed to be the topic of great discussion,” Wilson said. “God showed up later, and I’m grateful. Me and God are good because God is good.”

Wilson, who used to work in the food science lab for Mars, Inc. “in my former life,” described live shows as laboratories for him to experiment and see whether songs work. After spending the past five weeks in the studio, Wilson sounded eager to share some new songs.

“I’m not going to have four years to make another record,” he said. “At least I hope I don’t. But welcome to my laboratory, y’all.”

Saturday’s “lab” saw him showcase a pair of unreleased songs: “Yellow Brick Home,” which was played for just the second time, and “Gary,” an ode to the men who get things done in life. (Wilson asked: “Anybody in the room named Gary?” With no hands raised, he got the answer he expected. “Exactly,” he said.)

As his show approached the two-hour mark, Wilson adjusted his guitar for the encore, with fans in the crowd shouting out song suggestions. “I’mma play ‘Freebird’ if you don’t watch out,” he joked.

Instead of the Lynyrd Skynyrd classic, he played “I’m a Song” solo, laying out the mingling of music and moments in people’s lives, with this one described as his late father’s favorite. Then came the aforementioned “Gary,” with the band joining near the end before closing with “The Beginning.” Wilson’s frenetic strumming — which might explain his extremely well-worn guitars — punctuated the song and the evening.

For those who missed out on the more intimate setting, Wilson will be back in the area on Sept. 5, opening for Hardy at the Pavilion at Star Lake.

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Nashville-via-San Diego singer-songwriter Anna Vaus opened the show with a 30-minute set of what she dubbed “Laurel Canyon country.”

Vaus, who’s written songs recorded by Keith Urban and Carly Pearce, played four songs from her upcoming debut album, “Downhill From Here,” due out on March 21. Vaus, who was joined by fiance Kevin Monahan on acoustic guitar, also added a pair of covers: Tears for Fears’ “Everybody Wants to Rule the World” and Fleetwood Mac’s “Dreams.”