{"id":75987,"date":"2026-10-28T17:17:03","date_gmt":"2026-10-28T17:17:03","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/10\/28\/garth-brooks-returns-to-oklahoma-for-rowdy-homecoming-concert\/"},"modified":"2026-10-28T17:17:03","modified_gmt":"2026-10-28T17:17:03","slug":"garth-brooks-returns-to-oklahoma-for-rowdy-homecoming-concert","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/10\/28\/garth-brooks-returns-to-oklahoma-for-rowdy-homecoming-concert\/","title":{"rendered":"Garth Brooks Returns to Oklahoma for Rowdy Homecoming Concert"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tLast Sunday afternoon, <a href=\"https:\/\/www.rollingstone.com\/t\/garth-brooks\/\" id=\"auto-tag_garth-brooks\" data-tag=\"garth-brooks\">Garth Brooks<\/a> stared down 10,000-plus fans gathered inside the BOK Center in downtown Tulsa. It was his third concert in the arena in as many days, and the matinee was a de facto homecoming show for Brooks, a native Oklahoman and a one-time resident of the Tulsa suburbs. He had been playing the biggest hits of his career for more than an hour on a tour he\u2019s calling \u201cBlame It All on My Roots,\u201d and it was time to perform its namesake. Brooks, <a href=\"https:\/\/www.rollingstone.com\/t\/country-music\/\" id=\"auto-tag_country-music\" data-tag=\"country-music\">country music<\/a>\u2019s bellwether showman for nearly 40 years and counting, opted for self-deprecation.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cI have no talent,\u201d he said from the front of the stage. \u201cI can\u2019t play guitar. But I do know this one chord.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWith that, Brooks picked the first notes of \u201cFriends in Low Places.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHe had already whipped the crowd into a frenzy with staples like \u201cRodeo,\u201d \u201cThe Thunder Rolls\u201d and \u201cThat Summer\u201d \u2014\u00a0a fan in the sixth row tracking sound levels on a smartphone app picked up readings above 110 decibels. But \u201cFriends in Low Places\u201d topped them all, as the frenetic fans gave Brooks the climax he sought. Even before he played the song\u2019s rewritten last verse \u2014 the one that ends with \u201cYou can kiss my ass!\u201d \u2014\u00a0he already had the crowd swaying and singing along with the biggest of his 19 career No. 1 hits.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt was obvious that Brooks would build his setlist toward the song, and he wanted the venue sufficiently ready and rowdy for the moment. From the time he took the 360-degree stage singing the first verse of \u201cThe Old Stuff\u201d \u00a0\u2014 after his light rigs lifted from the floor to the ceiling to rocket-ship sound effects \u2014\u00a0the seven-time CMA Entertainer of the Year was dialed in.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cThis is the time when people are at church,\u201d Brooks said before \u201cTwo of a Kind, Working on a Full House.\u201d \u201cWell, at my church in Oklahoma, we have some fun, and we raise some hell!\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhether that energy came from his gut at the spur of the moment or had been carefully choreographed over the course of his career was irrelevant. Fans had come to see Brooks douse himself and the front rows with water from his onstage bottles during \u201cAint\u2019 Goin\u2019 Down (Til the Sun Comes Up.\u201d They had come to see him dart around the stage with the abandon of a blitzing linebacker, imploring each side of the arena to scream louder than the rest. They came to see him break down in tears during \u201cThe Dance.\u201d<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThey got all of that during the two-hour concert. Brooks also revealed his camp is recording this tour for a live album \u2014 which would be his first since 2018\u2019s <em>Triple Live<\/em> \u2014 and asserted that both band and crowd nailed \u201cThe Thunder Rolls\u201d and it would surely make the record. As much as the crowd hopped to his demands to make noise, Brooks was steadfast in offering his appreciation. \u201cThanks for making me feel at home, and treating me like I\u2019m somebody, but mostly for treating me like I\u2019m from here and belong here,\u201d he said \u2014\u00a0hat in hand \u2014 before he left the stage ahead of an encore break.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis tour represents Brooks\u2019 latest effort to push back against music industry headwinds \u2014 specifically, spiraling ticket prices and bots or brokers snatching up prime tickets during onsales before fans have access. It\u2019s a cause he has championed for most of his nearly 40-year career, most notably when he capped ticket prices at $20 for his 1996-98 World Tour. On the current tour, all tickets are priced uniformly at roughly $155, regardless of their location in a venue. Brooks is also following his long-time formula of announcing a small number of dates at an arena and adding additional shows after the first ones sell to near capacity.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe process has revealed signs that even Brooks is not immune to the pressure on performers and fans as the live music industry deals with the present-day economy. His three shows in Tulsa paled in comparison to the nine he played last time he visited the city \u2014 and played the same arena \u2014 in 2015. And while the Sunday afternoon crowd was strong, it was shy of a sellout, with a smattering of empty seats visible in the upper deck. More striking is the situation in Kansas City, Missouri, where Brooks\u2019 camp recently <a rel=\"noreferrer noopener nofollow\" target=\"_blank\" href=\"https:\/\/news.pollstar.com\/2026\/10\/26\/garth-brooks-pauses-kc-onsale-after-bot-swarm\/\">halted ticket sales<\/a> to an added matinee show on Nov. 7 at the Sprint Center, after two shows announced earlier sold out. His team cited increased bot activity after tickets went on sale. That show has since been canceled.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tStill, these issues are relative and casting them as setbacks would be a stretch. They\u2019re happening to concerts added after multiple dates in the same arena have sold out or come close \u2014 a problem any touring act would relish facing at the moment.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAll of this combined had the unintended effect of spotlighting Brooks\u2019 most consistent career trait in Tulsa: He came across as genuinely grateful to be playing the show at all. He launched his career in Stillwater, 60 miles west of Tulsa, in the mid-1980s during the early years of Oklahoma\u2019s Red Dirt scene. He had a standing gig in town at Willie\u2019s Saloon, a dive bar with a tiny corner stage, and forged a reputation for playing the same high-energy show regardless of whether five people or a hundred and five were in the bar. Brooks has spent four decades backing up that reputation, and he carried it into Sunday\u2019s show at the BOK Center.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tDuring his encore, he called out that bar by name: \u201cThis is kind of like Willie\u2019s Saloon in Stillwater. That place was always singing along. There were like 13 or 14 people there every night, but they sang.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt was part of a nearly half-hour curtain call that mostly featured Brooks, playing solo and acoustic, searching the crowd for signs with song requests, and obliging. None of the requests were for his hits or even for songs that were singles. He played \u201cIreland\u201d for a fan whose request was complete with a hand-made Irish flag. When he took a request for \u201cIn Lonesome Dove\u201d of 1990\u2019s <em>No Fences<\/em>, he said, \u201cI\u2019m gonna play this for your sign, but I\u2019m gonna dedicate this to my youngest baby. She just loves this song,\u201d shouting out his daughter, the singer-songwriter Allie Colleen.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tMidway through his penultimate number, a cover of Billy Joel\u2019s \u201cPiano Man,\u201d his band returned to the stage. They closed the show \u2014 and their three-day stand in Tulsa \u2014\u00a0with \u201cStanding Outside the Fire\u201d as fog machines clouded the stage. When they finished, Brooks called the band down front-and-center, where they all locked arms and took a bow.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cIt\u2019s not the day to say this,\u201d Brooks shouted with all the voice he could muster, \u201cbut you guys fucking rocked!\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<em>Josh Crutchmer is a journalist and author whose upcoming book, <\/em><a href=\"https:\/\/backloungepublishing.com\/sonoransounds\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\"><em>Sonoran Sounds<\/em><\/a><em>, is set for release in March 2027 via Back Lounge Publishing.<\/em><\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/garth-brooks-oklahoma-concert-review-1235649275\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Last Sunday afternoon, Garth Brooks stared down 10,000-plus fans gathered inside the BOK Center in downtown Tulsa. It was his third concert in the&#8230;<\/p>\n","protected":false},"author":5,"featured_media":75988,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-75987","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/75987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=75987"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/75987\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/75988"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=75987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=75987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=75987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}