Much has changed since 2019, when an unsigned, unknown musician named Sierra Ferrell played two days of duo sets at the Nelsonville Music Festival and demonstrated to the lucky few gathered that big things were coming from the diminutive singer-songwriter with the gigantic, classic-country voice.

Those things have arrived as Ferrell made clear on a flower- and mushroom-strewn stage bathed in hazy lights outdoors at Columbus, Ohio’s KEMBA Live! before a near sell-out audience that was on its feet from the fiddle-stomping opener of “I Could Drive You Crazy” to the final encore of “In Dreams,” which arrived 110 minutes later.

In between, Ferrell, in a white dress and boots matching her all-male band’s snowy cowboy suits and hats, explored the songs of Long Time Coming and Trail of Flowers and previewed her next project with the unreleased “Kickin’ Up Dust.” With her harmony-singing, multi-instrumentalist comrades in full support, Ferrell channeled genre-jumping sounds of the 1950s, ’60s and ’70s with a voice of the 1930s and ’40s. It’s a difficult task made easier with the guitar-shredding fiddle-sawer; mandolin-fanning, melodica-blowing; pedal-steel- and Dobro-caressing, banjo-picking, guitar-strumming lead players; and rhythm section that surrounded her.

In Columbus, “At the End of the Rainbow” and “Don’t Let Your Deal Go Down” were among the sonic-time-machine components disguised as songs.

“I think it la really important for us to remember the past so we can make a brighter future for everyone,” she said at one point, part of a healthy dose of onstage banter about body frequencies and modern American politics that’d cause Nashville’s gatekeepers to lock her out if not for Ferrell’s clearly generational talent.

With its clip-clop percussion and weepy steel, “Give it Time” harkened to Music City early in the last century. “Chittlin’ Cookin’ Time in Cheatham County” recalled country’s brief, mid-century dalliance with jazz. “Why’d Ya Do It” flirted with surf-rock. And “Peaceful Easy Feeling,” performed bluegrass-style around a single mic with snare and double bass keeping things grounded, continued the West Coast vibe.

“They taught me how to harmonize,” Ferrell said of the Eagles.

She nodded to modernity only briefly and only during the homestretch, ditching the acoustic guitar with which she’s pranced about the stage for a handheld mic with which she paced the lip and led a wordless singalong on the “American Dreaming” chorus. Later, she beat a bass drum emblazoned with the words Heavy Petal Music during “Fox Hunt,” which, with its jungle intro, bluegrass break and hard-rock coda, comprised in one three-minute package everything that makes Ferrell, Ferrell.