Garth Brooks Kicks Off ‘Blame It All on My Roots’ Tour With a Sold-Out, Show-Stopping Night In Indianapolis
Brooks brought a dose of nostalgia and all the hits to Gainbridge Fieldhouse.
Garth Brooks; Photo by Ben Krebs
Consider this your sign to see Garth Brooks live. If you haven’t experienced one of his shows yet, you’re missing out on the kind of larger-than-life magic that the country music icon can bring to the stage.
On opening night of his Blame It All on My Roots tour, which took place at the Gainbridge Fieldhouse in Indianapolis on Thursday, Aug. 20, Brooks reminded everyone exactly why he’s been a force in country music for nearly four decades and why his timeless catalog has kept generations of fans coming back. It’s safe to say this was a show unlike any other.
For starters, there was no opening act. Instead, Brooks let the anticipation build while fans piled into the arena setting. A handful of video montages played across the screens, warming up the crowd and taking fans through moments from his career, followed by a pre-recorded video message filmed just for his Indianapolis audience.
“Band, crew’s been working their butts off two years. Saw drawings of this thing start happening two years ago. Can’t thank you enough for how you showed up on sale day. And I think the wish here is the same wish that I’m wishing for the band and crew and myself. I just hope you have the best time in your life,” he stated.
The lights went dark and a countdown appeared on “The Halo,” a 360-degree video system with inward-and outward-facing screens that was just one part of the cutting-edge technology woven throughout the show. As the clock struck zero, Brooks rose onto the stage to a screaming arena packed with fans who have been there since the beginning of his career, as well as a younger generation of country fans who may have been discovering his music for the first time.
Brooks made it clear that his goal with this run was to take everything fans loved about his legendary arena shows and rebuild it for 2026. He incorporated retro staging that transported the sold-out crowd back in time and at the center of that experience was the return of the iconic Drum Pod. This piece of stage technology Brooks debuted during his 1996-98 World Tour and now, after nearly 30 years later, it has come back in full force. The tour also serves as the foundation for Killer Live, a groundbreaking new approach to live recording that continues Brooks’ tradition of capturing history in real time.
The nostalgia runs even deeper in Indianapolis, in particular. While his current tour launched at Gainbridge Fieldhouse, his 1996-98 World Tour stop in the same city took place at Market Square Arena, the downtown venue that was demolished in 2001. The venue may have changed, but all these years later, Brooks is still fulfilling his mission of making every seat feel like the best seat in the house.
“Some traditions never will die, good Lord willing. From the band, the crew, and especially myself, thanks for letting us come back to the great state of Indiana to play our music,” she said.
The nearly two-hour show kicked off with slew of 90s releases including “The Old Stuff,” “Rodeo,” “Two of a Kind, Workin’ On A Full House,” “The Beaches of Cheyenne,” “Two Pina Coladas,” and “Papa Loved Mama.”
Garth Brooks quickly realized that the audience “came here to sing,” as he scanned the packed arena in awe of the energy, heart and excitement that filled the room.
“Let me tell you, this business, if they show up, you’re lucky. If they come back, you are blessed. Thank you so, so much.”
Right from the jump, it became clear to Brooks that this was going to be a night to remember not just for fans, but for him too. There wasn’t a single song that didn’t get the entire venue on their feet and singing along. Performing songs like “The River” appeared to visibly move the Oklahoma native as he witnessed the impact his music continues to have on fans.
“You set the pace for the whole tour I cannot thank you enough,” he stated proudly to his Indiana crowd. “It’s crazy. This is just absolutely crazy people. You know how this business works. You come into a town, especially opening night on a tour and it’s starting like this. It’s crazy. And everybody’s going to have their opinions on socials, critics, everything…I’ve already given you your review. Whoever comes here tomorrow night or the next night or the rest of this tour better pack their fu**ing lunch to beat this one.”
The night continued with fan favorites like “Unanswered Prayers” and “That Summer,” along with iconic hits including “Callin’ Baton Rouge” and “The Thunder Rolls.” During the latter, the stage transformed into a full-blown thunderstorm, with cracks of thunder rattling through the speakers as the screens filled with dark, stormy skies and images of pouring rain.
One of the most memorable parts of the entire show was Brooks’ attention to his fans. With the 360-degree stage setup, he was able to move around the arena, making fans even in the highest seats feel like they were getting an up-close view. Throughout the night, he noticed couples holding each other during the love songs, parents who had brought their children to experience the show with them and read as many fan signs as he could. But one sign in particular caught his attention early in the night.
The sign came from a fan who had seen Brooks perform at Southern Junction Nightclub & Steakhouse in Royse City, Texas, in the early 1990s. She asked him to sing “Bury the Hatchet,” a song that doesn’t always make it into the setlist. This trip back to his early career prompted Brooks to follow that up with a performance of his very first single, “Much Too Young (To Feel This Damn Old),” and once again seemed genuinely taken aback by how many people in the arena still knew every word.
Just when fans thought the production couldn’t get any better, Brooks took things to another level during “Ain’t Goin’ Down (‘Til the Sun Comes Up).” The Drum Pod sitting in the center of the stage rose into the air while platforms on either side of the stage also elevated and rotated. Brooks’ bandmates continued performing without missing a beat as the entire setup rose toward the arena ceiling, turning the song into one of the night’s most impressive visual moments.
The night also featured a handful of covers, including a spirited rendition of The Isley Brothers’ “Shout,” led by his background singer, Bob Bailey, and later, a fan-requested Keith Whitley cover of “Ten Feet Away.” But of course, Brooks saved some of his most anticipated songs for the end of the main set.
He closed out the scheduled portion of the setlist with “Friends in Low Places,” sending confetti flying through the arena as thousands of fans sang along to one of his most recognizable hits. And if you haven’t heard thousands of people sing that song with Garth Brooks in an arena, you haven’t truly experienced it. Then came “The Dance,” which quieted as the icon delivered his beloved ballads, with fans once again hanging onto every word.
After briefly stepping offstage, Brooks returned without his bandmates for what has become a popular portion of his live shows, which he refers to as “housekeeping.” For the next few songs, Brooks turned his attention to the crowd, scanning the arena for fan signs and taking requests on the spot. It’s a tradition that allows him to let fans hear songs that often don’t make the regular setlist.
In Indianapolis, that meant a series of unexpected gems, including 1993’s “The Red Strokes,” 1995’s “She’s Every Woman” and 1997’s “Belleau Wood.” Each of these songs, delivered by just Brooks and his guitar, served as a reminder that underneath all the new technology and flashy production elements, the heart of a Garth Brooks show has always been the connection between him and his audience.
The show came to a close with “Standing Outside the Fire,” bringing Brooks’ band back to the stage to help him deliver one final, high-energy performance. With around a dozen musicians and bandmates by his side, a mix of newer faces and longtime members who have been with Brooks for decades, Brooks took a final bow with the band. He waved goodbye to the Indianapolis crowd, removed his signature black cowboy hat and offered a heartfelt nod before walking offstage.
There’s no denying that Garth Brooks has built a catalog that has become part of the soundtrack to countless lives. On Thursday night, that was clear in every corner of Gainbridge Fieldhouse.
As the crowd made its way toward the exits, one fan made a comment that summed up the night perfectly: “That was the best concert of my life.”
And after watching an entire arena sing back nearly 40 years of songs, it was hard to argue.
The Blame it All On My Roots Tour will continue with three more nights in Indianapolis, IN, followed by Denver, CO from September 4–6, Rosemont, IL from September 10–13 and Washington, D.C. from September 18–19.
Madeleine O’Connell graduated from North Central College with a bachelors degree in Journalism and Broadcast Communications before deciding to pursue her studies further at DePaul University. There, she earned her masters degree in Digital Communication & Media Arts. O’Connell served as a freelance writer for over two years while also interning with the Academy of Country Music, SiriusXM and Circle Media and assisting with Amazon Music’s Country Heat Weekly podcast. In addition to Country Now, she has been published in American Songwriter, Music Mayhem, and Holler.Country. Madeleine O’Connell is a member of the Country Music Association and the Academy of Country Music.
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