SAN FRANCISCO — Carrie Underwood may have country roots, but the powerhouse vocalist bleeds classic rock. Her Saturday night stop at Chase Center was the singer’s final concert of 2022, and a spectacle in the pantheon of one of the best shows of the year. The Oklahoma-born Underwood seemed on a mission to prove she could do just about anything and it would be tough to dispute after her two-hour performance. She sang fast songs, slow songs, played the drums, guitar, and flew over the crowd.

Despite it all, her true calling card remains her soaring and powerful voice.

Underwood is on the road supporting her latest album, Denim & Rhinestones, playing the majority of the record. From the moment the house lights dimmed and Motörhead’s “Ace of Spades” blared through the PA, the tone of the evening became readily apparent. Underwood opened the show with a trio of upbeat anthems: “Good Girl,” “Church Bells” and “Undo It.” White streamers shot from the ceiling as Underwood arose from underneath the stage.

The expansive stage included a diamond-shape ramp, a massive projection screen and long raised platforms shooting out to each side. Underwood fittingly wore denim and rhinestones, along with a pink leotard. It was just one of countless costumes during the evening, each seemingly flashier and shinier than the one before. She briskly continued through the set, including energetic tracks like “Hate My Heart” and “Cowboy Casanova.”

The first opportunity Underwood gave the audience to catch a quick breather came during “If I Didn’t Love You,” a track the singer performed alongside a video of Jason Aldean singing his parts on the screen. While some songs were slowed down, Carrie Underwood shined brighter with the vocal-heavy material. Effortlessly, she attempted runs and put her full power on display. Whether she’s singing pop-country, rock or traditional country, her voice shined with greater poise and power than ever.

The singer held the final notes of “Blown Away” or “Cry Pretty” for a stunningly long time. The crowd rose and roared its approval as Underwood finally breathed in some air.

“In case you don’t know, you’re at a country music show,” she said. “We have two fiddles on stage, that’s how country we are.”

And yes, tracks like “She Don’t Know” showed off Underwood’s country chops, but this night was far more about influence by Axl Rose and Steve Tyler.

The end-stage production was a change from Underwood’s most recent tours, both of which were in the round.

“I knew I had to change it up, but I did it on the condition that I’d still need to see all of you,” Underwood said midway through the show.

She was surrounded by flames on “Burn” before she took flight over the stage on something like a flowing swing on “Ghost Story.” From the arena’s B-Stage, Underwood strapped on an electric guitar for the haunting and moody “Two Black Cadillacs,” and an acoustic for “Garden.” Columns of light stretched up to the celinig, surrounding Underwood on the small stage at the opposite end of the arena.

Underwood spoke with the crowd, but not at great length, the longest time being before “Garden,” about the challenges of the pandemic and how she hoped people emerged with a more caring and positive outlook on life.

Her pipes once again took the forefront on “Jesus, Take the Wheel” and cover “How Great Art Thou.” Once again, Underwood flew on “Crazy Angels,” riding a steel ball and neon wings. Underwood brought out opening artist Jimmie Allen to duet on “Denim & Rhinestones,” the two dancing at the middle of the stage as Allen donned a Warriors jersey with his name inscribed on the back.

From there, things were fast and furious. Underwood belted out bluesy rock stomper “Flat on the Floor” before jumping behind the drum kit to bang out “Poor Everybody Else.” She closed out her main set leading the crowd in a singalong of “Last Name” and the energetic “Something In the Water.”

She returned soon after for arguably the biggest highlight. Wearing a Guns ‘N Roses leather jacket, Underwood was raised on a lift and delivered a note-for-note rendition of “Welcome to the Jungle.” Finally, Underwood led a singalong of seminal hit “Before He Cheats.”

Jimmie Allen proved was an excellent opening act for Underwood. Allen danced his way around the stage, delivering an ample array of pop-country. He fit with the evening’s aesthetic, wearing a long sparkling coat and a cowboy hat.

In addition to playing his own songs, Allen mixed in snippets of K-Ci and Jojo’s “All My Life,” Neil Diamond’s “Sweet Caroline” or DMX’s “Party Up.” The crowd raucously sang along to all of these. While most of these covers were just a line or two, he did offer up a full take of Montgomery Gentry’s “Gone.” Allen had a natural aura on stage, singing and dancing with smooth confidence.

“I’m going to head down to the Warriors practice facility,” he said. “That’s where they put in the work.”

Allen was effusive and funny and showed a ton of charisma telling stories, including one about sneaking outside earlier int he day to chat with fans before the show without being recognized. After playing a short cover of Daughtry’s “Home,” Allen closed out his set with a soaring rendition of “Freedom was a Highway.”

While the show was Underwood’s last for the year, fans will get another opportunity to see her in March when the tour picks back up at Sacramento’s Golden One Center.

Follow writer Mike DeWald at Twitter.com/mike_dewald.