Garth Brooks @ Summerfest 2026
Tuesday, June 16, 2026
Milwaukee, Wisconsin, American Family Insurance Amphitheater
Devoted readers of The 706 are well aware that 90s country holds a special place in both my heart and my story as a music fan. That decade’s Music City gold-rush coincided with my teenaged years, a period where music lovers really start to come of age. It’s a fertile period of discovery when your listening habits begin to consist more and more of your music, rather than just the listening influences you inherit from the adults in your life. There were various genres that soundtracked these years for me, but mainstream country quickly became the prevailing centerpiece. Curiously enough, Garth Brooks was surprisingly not one of my gateway artists to that fandom; that role was reserved for the likes of Shania, Tim, Faith, the Chicks, and his future- wife Trisha Yearwood. However, it was inevitably only a matter of time before his position as the blockbuster behemoth leading country’s rise to mainstream domination, and his eventual eclipsing of Elvis Presley as the best-selling solo artist in history, before he too was occupying regular rotation on my playlists during this era and beyond.
And prior to this year’s Summerfest in nearby Milwaukee, he was also a leading contender on my all-time concert bucket-list. That all changed however with my attendance last evening to the first of a two-night run at the iconic festival’s main amphitheater stage. The twenty-plus song setlist that he passionately graced us with was quite a bit more straight-forward than the typical over-the-top Garth Brooks fanfare that has legendarily accompanied his record-breaking tours and residencies through the years. It was indeed a full-band affair. But, there was no opening act or Yearwood-duets, though the audience certainly erupted the first time Brooks mentioned his wife and long-time collaborator, in anticipation that she may emerge from behind the curtain. With the exception of an apparent surprise request performance of 2014’s schmaltzy “Mom” (which of course came complete with Garth’s notorious tears), there was no inclusion of any of his post-retirement material or upcoming releases. And with a still-generous albeit concise offering of sixteen selections from his own catalog, it certainly wasn’t the marathon-length, deep-cut showcase that he may have been famous for during his imperial run. As a result, there were not many, but enough notable exclusions of what many would consider signature Brooks hits or live pieces, among them “In Another’s Eyes”, “If Tomorrow Never Comes”, “Papa Loved Mama”, “The Red Strokes”, and most notably, “We Shall Be Free”, which would have been most-welcomed given today’s social climate, and during Pride Month no less…
The mild disappointment from those omissions aside, there was nary a complaint to be filed about my long-awaited Garth Brooks concert experience. (And honestly, the happiness I felt by the fact that it didn’t go into all hours of the night was a reminder that I’m no longer in my own 1990s “heyday” either!) But for about two hours, this concert was a thrilling trip back to the 90s. At 64 years of age, it’s clear that Brooks’ time away from the studio and the road during the bulk of the 2000s provided him with the kind of vitality that many other peers his age have not been afforded. His burly, soulful twang sounds as full-throated and powerful as it did decades ago, evidenced by a mix of powerhouse and intimate renditions of classics like “Shameless”, “The River”, “Unanswered Prayers”, “That Summer”, and of course, “The Dance”, which remains his premier centerpiece. And while he may no longer be flying over the crowd like he infamously did in Texas Stadium in 1993, both he and his long-time band emphatically proved that they still possess all of the electrifying and entertaining energy and showmanship that have always been their staples. Anthem after anthem brought the packed crowd alive with fervor and adoration, from opener “Rodeo” and “Two of a Kind, Workin’ on a Full House”, on through “Ain’t Going Down (Til the Sun Comes Up)”, “Callin’ Baton Rouge”, and especially the one-two punch of “The Thunder Rolls” (complete with the once-elusive fourth verse originally recorded by Tanya Tucker in the late 80s) and “Friends In Low Places”.
In between these career milestones, Brooks was sure to find time to tip his oversized cowboy hat to both his influences and his loyal band-members, many of whom have been staples in his roadshow since the humble beginnings of his road to world-domination. A more recent addition to his troop, guitarist Gordon Kennedy was given the spotlight to perform “Change the World”, the 1996 smash he penned for Eric Clapton (and for another country legend in Wynonna a few months earlier). Meanwhile, Brooks’ varied musical roots, ranging from honky-tonk to classic rock, was richly demonstrated via covers by the likes of Billy Joel (the aforementioned “Shameless”), Bob Seger (“Turn the Page”), Keith Whitley (“Don’t Close Your Eyes”), George Strait (“Troubadour”), and David Allan Coe/Steve Goodman (“You Never Even Called Me By My Name”). Brooks has always been revered for his natural ability to connect with and show appreciation for his audience, and plenty of show-time was devoted to this as well, with the superstar humbly fawning over the fans and their decades of support, and facilitation of the life he’s been blessed with. He may receive plenty of (at-times warranted) grief for his calculated, aw-shucks marketing and on-cue melodrama, but there remains an undeniable humility and sincerity when he strips all of that away to focus solely on audience engagement, whether they be words spoken or sung.
There’s also been plenty of very-relevant discussion in recent years about his stubborn stance as one of the few-remaining streaming platform holdouts, and the risk it poses to his legacy having a shelf-life beyond the aging Gen-X and Millennial subsets. And while those were certainly the predominant demographics making up the Summerfest audience tonight, there were also plenty of younger attendees joining them, and it was clear that the music resonated with them as well. So, while Garth may be persona-non-grata in the viral universe of Tik Tok and social media, a packed, passionate concert like this one boldly proves that Garth Brooks’ career and legacy are both still very vital. With that said, you can’t help but imagine how much more culturally relevant it could grow to become in the modern age, especially with the 90s country renaissance still very much going strong, if his music were given the same, in-touch accessibility that has made peers like Strait, Alan Jackson, and Brooks & Dunn rightful heroes to a whole new generation. Recent rumors that he may soon sell his catalog could indeed be the development that finally brings his iconic body of work into the digital age. Time will tell.
But on June 16th, 2026, it mattered not how or when you first experienced the music of Garth Brooks. All that mattered was that it led to this moment: the ultimate avenue to enjoy your favorite songs from one of your favorite artists- a live concert experience. Because for a music lover, there really is nothing better. This was a gloriously nostalgic trip back in time, backdropped by a perfect night of summer weather, an energetic crowd, and delivered by a performer that undeniably remains one of the most reliable entertainers in all of music. These are all the essential ingredients for a top-shelf live music experience, a core fan memory, and further solidification that Garth Brooks will remain one of the key figures in my overall life-story as a music lover.
(Photo Credit: Milwaukee Journal Sentinel)
Set List:
- “Rodeo”- from Ropin’ the Wind (1991)
- “Two of a Kind, Workin’ On a Full House”- from No Fences (1990)
- “The Beaches of Cheyenne”- from Fresh Horses (1995)
- “Two Pina Coladas”- from Sevens (1997)
- “The River”- from Ropin’ the Wind (1991)
- “Ain’t Goin’ Down (‘Til the Sun Comes Up)”- from In Pieces (1993)
- “Turn the Page”- Bob Seger & the Silver Bullet cover
- “The Thunder Rolls”- from No Fences (1990)
- “Mom”- from Man Against Machine (2014)
- “Unanswered Prayers”- from No Fences (1990)
- “That Summer”- from The Chase (1992)
- “Callin’ Baton Rouge”- from In Pieces (1993)
- “Shameless”- from Ropin’ the Wind (1991)
- “Change the World”- Gordon Kennedy performance; Eric Clapton cover
- “Friends In Low Places”- from No Fences (1990)
- “The Dance”- from Garth Brooks (1989)
- “Troubadour”- George Strait cover
- “Don’t Close Your Eyes”- Keith Whitley cover
- “You Never Even Call Me By My Name”- Steve Goodman/David Allan Coe cover
- “Standing Outside the Fire”- from In Pieces (1993)
The 706 
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