Garth Brooks let the thunder roll, took audience requests at T-Mobile madhouse

Garth Brooks. // photo by Ben Krebs. Copyright Blue Rose Inc.

Garth Brooks
T-Mobile Center
Friday, November 6

Early in Friday’s T-Mobile show, country superstar Garth Brooks remarked, “If someone comes to see you, you’re lucky; if they come back, you’re blessed.”

Brooks is loaded with blessings, judging by the number of hands that went up and the cheers that went out when he asked if anybody in the crowd had been to a Garth Brooks show before.

Brooks’ show is the sort of unrelenting positivity that, in the hands of a lesser entertainer, could come across as patronizing, but coming from the musician, it’s one of the most energizing and emotionally affecting shows I’ve had the luck to attend. His 2017 dates at the Sprint Center were good, but something about Friday night’s show felt like he was out to have as much fun singing these songs as the crowd was.

Garth Brooks. // photo by Ben Krebs. Copyright Blue Rose Inc.

The Blame It All on My Roots tour sees Brooks and his band–many of whom have been with him the entirety of his career–revisiting cities which helped make his career, and he made it abundantly clear just how much Kansas City means to him, beginning with the fact that the KC Opry in Independence was the first place he and band played after becoming Capital Recording artists, and reiterating various career highlights tied to the area throughout his career-spanning set.

During “Much Too Young to Feel This Damn Old,” he visibly choked up and mouthed “fuck” after the first verse before regaining his composure—seemingly overwhelmed by just how well the crowd recalled his first number one single, singing the words back to him without missing a beat.

Not long after, Brooks noted, “If I start every song and then you finish, we can be here a long time.” That ended up being the case, as well. He and the band played nearly two and half hours, with two encores and a spate of audience requests fulfilled, despite everyone who wasn’t tied to a drum kit or a keyboard taking advantage of the 360-degree stage to run around and play to every side of the house.

Garth Brooks. // photo by Ben Krebs. Copyright Blue Rose Inc.

What kind of cardio does Garth Brooks do when he’s off the road? It’s gotta be something for a 64-year-old man to be able to sweat through his shirt and sing like that without panting like a racehorse after every song. He did get a bit of a break when backup singer Robert Bailey did “Shout,” the Isley Brothers number Bailey performed as part of Otis Day & the Knights in the seminal college comedy, Animal House (that’s him on the keys yelling, “Yeah yeah!” in the film), although he joined in with vigor at the end.

Brooks introduced every band member, crew member, and even the caterers. For this tour, he brought along two G-Men, the session musicians who’ve played on all of his studio recordings, Chris Leuzinger (electric guitar) and Milton Sledge (drums), bringing the musicians on stage to 13 people! It was insane, and each and every one had their moment to shine.

There’s no way to pick a favorite moment. Brooks said his favorite one to do is the rip-roaring Oak Ridge Boys tune, “Callin’ Baton Rouge,” but the crowd was just as much there for “Ain’t Goin’ Down (‘Til the Sun Comes Up)” an hour in as they were for “Rodeo” as the second song. The crowd was louder than the band at times, too. Jesus. The cry for a second encore damaged my ears more than Slayer.

“I love you, Kansas City! Thank you for my life,” Brooks yelled near the end. You’re welcome, Garth. We’re always happy to have you. Come back soon.

Garth Brooks. // photo by Ben Krebs. Copyright Blue Rose Inc.

Garth Brooks setlist
The Old Stuff
Rodeo
Two of a Kind, Workin’ on a Full House (Dennis Robbins cover)
The Beaches of Cheyenne
Two Piña Coladas
Much Too Young (to Feel This Damn Old)
The River
The Thunder Rolls
Unanswered Prayers
If Tomorrow Never Comes
That Summer
Callin’ Baton Rouge (The Oak Ridge Boys cover)
Ain’t Goin’ Down (‘Til the Sun Comes Up)
Shameless (Billy Joel cover)
Shout (The Isley Brothers cover)
The Dance (Tony Arata cover)
—
Make You Feel My Love (Bob Dylan cover) (Acoustic sign request)
It’s Your Song (Acapella sign request)
Every Now and Then (Acoustic sign request)
Piano Man (Billy Joel cover)
You Never Even Call Me by My Name (Steve Goodman cover)
Friends in Low Places (Dewayne Blackwell cover)
—
Standing Outside the Fire