Bonnaroo Music & Arts Festival just canceled for the second time in three years. Continue reading…The Boot – Country Music News, Music Videos and Songs
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Why Did Bonnaroo Get Canceled in 2027?
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Why Did Bonnaroo Get Canceled in 2027?
Bonnaroo Music & Arts Festival just canceled for the second time in three years. Continue reading…Country Music News – Taste of Country
The new episodes are arriving before the end of the year! Continue reading…The Boot – Country Music News, Music Videos and Songs
The new episodes are arriving before the end of the year! Continue reading…Country Music News – Taste of Country
Hayden Panettiere would have turned 37 years old on Friday (Aug. 21). Continue reading…The Boot – Country Music News, Music Videos and Songs
Hayden Panettiere would have turned 37 years old on Friday (Aug. 21). Continue reading…Country Music News – Taste of Country
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.
The post Garth Brooks Kicks Off ‘Blame It All on My Roots’ Tour With a Sold-Out, Show-Stopping Night In Indianapolis appeared first on Country Now.
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Sometimes, a vehicle is much more than a way to get from one place to another. It can hold years of memories, become tied to the people we love and, in some cases, feel completely irreplaceable. That’s exactly what happened with Cole Swindell and his late father’s Bronco, which inspired him to turn those memories and emotions into a song fittingly titled “Bronco.”
What happened after he shared the song with his brothers made the story even more special. Inspired by the lyrics and the memories they shared, his brothers set out to find their dad’s old Ford Bronco. They eventually tracked it down and surprised Swindell with the truck during a special trip back home.
Now, with his dad’s Bronco back in his possession, Swindell has released “Bronco,” a nostalgia-filled song that takes listeners down memory lane through childhood memories, family moments, old friends and the vehicle that was there through so much of it all.
Co-written by Swindell alongside Lauren Hungate, Seth Mosley and Jameson Rodgers, “Bronco” may be deeply personal to the country star, but the story behind it is one that can resonate with anyone who has ever held onto something because of the memories attached to it.
That sentiment comes through in the song’s chorus, as he sings, “A new truck’s fine, but it don’t come close/ It’s a long shot y’all, but if anyone knows/ ‘Bout a for sale sign on an old Bronco/ Hell I’d probably get back twenty years or so/ Couple thousand miles down memory lane I’d go/ If you find it, name the price, and consider it sold.”
Swindell explained that the song came to life after he came across an old photo of himself and his brothers standing alongside their father and his Bronco.
“I had no clue when I found this old picture of me and my brothers standing with our Dad by his old Bronco just how many memories it would bring back,” the Georgia native shared. “It was a huge part of my childhood, and something I’ve always wanted to find and restore. When my brothers surprised me with it, it was a moment I never thought I’d see and now one that I’ll never forget. I’m so grateful for the memories we made with my Dad in that car, and I’m so excited to share this song with you all and sing it out on the road together.”
“Bronco” follows the release of “Girl Dad,” which became the No. 1 most-added song at country radio upon its release, marking Swindell’s biggest add date of his career. The deeply personal track finds him reflecting on the moments he wishes his late father could have experienced with him, including meeting his wife and welcoming their daughter, Rainey, into the world.
The two songs are now tied together by an incredibly special full-circle moment. While Swindell was filming the “Girl Dad” music video, his brothers surprised him by bringing his dad’s old Bronco back into his life. It was a moment that took the memories he had been singing about and made them real again, giving Swindell a piece of his past that he had always hoped he could find.
The post Cole Swindell’s Late Father Inspired His New Song ‘Bronco,’ Then His Brothers Found the Truck appeared first on Country Now.
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![<a href="https://countrynow.com/john-morgan-reveals-the-story-behind-once-in-a-mile-and-teases-his-next-musical-chapter-exclusive/" target="_blank">John Morgan Reveals the Story Behind ‘Once in a Mile’ and Teases His Next Musical Chapter [Exclusive]</a>](https://countrynow.com/wp-content/uploads/2025/01/2jmMatthew-Berinato-1024x683.jpg)
Sometimes, all it takes is a drive down a familiar road back home to bring the past rushing back. John Morgan captures that feeling in his brand-new song “Once in a Mile,” which turns a stretch of highway into a trip down memory lane filled with reflections of young love, old memories and the place he once called home.
The hit songwriter tells Country Now that he is slowly building out his next album, with hopes of releasing it sometime in 2027. Until then, he plans to continue rolling out songs that offer a preview of this next chapter, and “Once in a Mile” serves as the latest glimpse into what’s ahead.
Co-written by Morgan with his producer Brent Anderson, the new tune was born from a Zoom writing session with they were both snowed into their homes last winter. Anderson had a “really cool idea” and wasn’t about to let the weather stop them from bringing it to life.
“He called me and he’s like, ‘Can’t get out of my driveway but I have a really cool idea. I want you to hear it.’ I’m like, ‘Man, let’s hop on Zoom.’ So we actually got on Zoom and wrote the song in probably two and a half hours or something like that. It was one of the fastest songs I’ve written. I’m not usually a quick writer, but it just kind of fell out,” Morgan recalled.
The “Friends Like That” singer connected with the concept on a personal level, drawing from his own experiences of returning home to North Carolina and suddenly feeling transported back to his younger days. Driving through familiar places brought back memories of all the fun he had growing up, the shows he played early in his career and the moments that still come rushing back whenever he returns.
“That’s kind of where that song came from. I love it. It’s probably my favorite off this new album we just cut. I’m just excited to get some new stuff out,” Morgan added.
Listeners will hear the mid-tempo track channeling that same feeling through the story of an old relationship, with familiar roads triggering memories of being young and in love, from hearing “Boys of Summer” on the radio to passing the places where the couple once spent time together. Each mile brings another emotion to the surface, while also offering a bittersweet sentiment as he wonders what this woman of his past been up to in all these years they’ve been apart.
“Because here I go/ Back in time/ When we were young/ When we were us/ And you were mine/ They’re playing ‘Boys of Summer’ on that radio dial/ There goes that spot where we’re parked and left our clothes in a pile/ And that one red light I’d run to see that green eyed smile/ I only think about you baby/ Every Once in a mile,” he sings.
The song leans into a traditional country sound with hard-hitting instrumentation, and a steady mid-tempo beat, creating the kind of track that feels made for long drives. Morgan’s gritty, warm vocals carry the weight of every emotion, giving the memories in the lyrics an added sense of depth as they invite listeners to reflect on their own past.
John Morgan had the chance to debut “Once In A Mile” on stage of the Grand Ole Opry during his most recent performance in the revered circle. In that moment, he felt a mix of waves and excitement as the new track sets the tone for his next record.
“I think I second guessed myself when we were side stage wondering why I would debut a song on that stage. But no, we got up there and it went really well. And I think it’s just fun. There’s always just a little bit of excitement whenever you’re putting out new material for everybody. And I think that’s just part of the enjoyment, part of the nerves. A big part of the nerves is just following it up. And I think this record’s just a collection of songs that really do that, in my opinion, and ‘Once In a Mile’ is definitely the top of the list.”
With new music on the horizon, Morgan hopes fans have high expectations, because he and his team are determined to raise the bar with each new collection of songs. Last year, listeners got their hands on his debut album, Carolina Blue. Morgan says he was very proud of that record, mostly for his hands on work in pre-production, during which he wore a lot of hats in order to save some money and ensure his vision came to life properly.
“There are a lot of artists and bands coming out right now that are in the same world sonically, I think. And to me, I think it’s awesome to have session guys come in and make it sound expensive. But I think it’s fun to get in there yourself to get it right because I’m going to have to be the one playing it for the next 10 years hopefully,” he shared. “So yeah, I think we captured the same kind of thing on this record as well and didn’t stray too far from center. And we also tried a few things and I’m at a different stage in life too now where I’m writing about different stuff. I think people will enjoy it and I hope there’s something they’ll connect to on it.”
As he continues to write songs that capture this phase of life, Morgan says his writing process has also shifted naturally, and now finds himself wanting to add more depth to his songs.
“I think it’s just more so just trying to put a little meat in a song. I mean, I feel like you write heartbreak stuff all day, but there’s a little more to it sometimes. And I like songs that have a good storyline and just take your mind somewhere that you wouldn’t expect it to go. It’s usually my favorite. So I try to do a little bit more of that on the writing side,” he explained. “And yeah, I think naturally it’s going to relate to where I’m at in life now as opposed to six years ago when I moved to town. So it’s been cool to see that come to fruition.”
He is seeing a lot of momentum building in his career right now. On top of earning a three-week No. 1 as a writer on Jason Aldean’s “Don’t Tell On Me,” his current single “Kid Myself” is about to be Top 10.
“It’s pretty wild. You don’t know what’s going to happen with the song when you’re in the writing room and the process of making it what it is. But yeah, it’s been a long, steady climb on the charts with this song and it’s kind of stood the test of time, so to speak,” he said while reflecting on the journey of “Kid Myself.” So I’m just grateful to be in the game and it’s cool to see this one as our first single on our own.”
Plus, Morgan is looking forward to joining Brantley Gilbert on the Real American Tour this fall. He hopes to win over some new fans while sharing new music and shares he is simply just thankful to be a part of the run.
“We’re going to do our job and stay out of the way and hopefully steal some of his fans along the ride. So it’s going to be a blast. I hope people will show up and see what it’s all about.”
The trek launches on September 4 and continues through November.
The post John Morgan Reveals the Story Behind ‘Once in a Mile’ and Teases His Next Musical Chapter [Exclusive] appeared first on Country Now.
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There may be no better way for Ian Munsick to introduce his next chapter than with an album that doubles down on exactly who he is. The Mountain Goat finds the country star celebrating his Rocky Mountain roots through songs that bridge the gap between classic country and a modern sound.
Available today, August 21, the 15-song collection marks Munsick’s fourth studio album and his first full-length project released through West To The Rest Records/Triple Tigers Records. After parting ways with his previous label last year, Munsick and his wife, Caroline, felt drawn to create their own imprint, which led to them launching West To The Rest Records in partnership with Triple Tigers to release his new music.
“When we met with Triple Tigers, you could tell very easily that they’re a small team, but they’re all about passion. All of their team, they have like three roles each. They’re not going to hire out hundreds of employees and have 30 artists. They’re very careful about who they choose to work with. And their team is just a whole bunch of animals that they really are not afraid of hard work, which for me and my wife, our whole team has been very just do it all. And we recognized that early on,” he told Country Now.
Munsick carried that same kind of hard work ethic into making this record, just like he has done with each of his past projects. He not only co-produced the album, but also played nine different instruments, including acoustic and electric guitar, bass, mandolin, banjo, harmonica, piano, bouzouki and even kazoo. Additionally, he contributed to background vocals and programming.
For the Wyoming native, that level of involvement is part of what he believes makes his music feel authentic and separates him from his fellow artists. Rather than simply filling the sessions with the biggest names available, Munsick wanted collaborators who understood his artistic vision and could help him build on that without taking it over.
“Honestly, I’ve always been very hands on with all of my music from the very start. And back when I was an independent artist just getting started for my first EP, I was the only producer on it and I was the only player on it. So from the very start, I’ve known that people respond to my music the most when I’m the one that’s creating my music. So that’s always been really important for me because I feel like it’s what got me here, is me playing on my own records and producing my own records and writing my own records.”
He continued, “I just love to do it. I love to be a part of the process from the writing process all the way through the mastering process, all the way through the album cover to the artwork. I love every aspect of the creative process.”
When starting the process of making his next record, Munisck wanted to carry on his mission of bringing the west to the rest while blending “modern textures with classic traditional textures.” He says he wanted to make the music feel like it was created today in a way that will also “stand the test of time and be classic.”
So far, fans have gotten their hands on tracks like “Geronimo,” “Medicine Man,” “Cutthroat World,” “Palomino Eyes,”and more. However, they have yet to hear the opening track and title track, “The Mountain Goat,” which Musick says began as a random idea before taking on a much bigger meaning.
On the surface, it seems like Munsick is singing from the perspective of the animal, but he also cleverly gives nod to the modern-day meaning of G-O-A-T, aka “Greatest of All Time” by claiming himself as the G-O-A-T of country music’s Rocky Mountain scene.
“I kind of was writing it as a joke, but as we started to write it, Jeremy Spillman, who was the co-writer on it and also the co-producer on it, he told me that he knew it was a joke, but he’s also like, ‘there’s a lot of truth to it because there’s not a lot of people from the mountains in country music. There’s a lot of people from Georgia and Texas and maybe the Smoky Mountains, but the Rocky Mountains are a whole nother animal.’ So it’s pretty easy to be the greatest of all time from the mountains when you’re the only one from the Rocky Mountains,” Munsick explained.
A large part of building out this next chapter was securing the opportunity to take his music to country radio, something he hadn’t quite conquered yet. Luckily, the team at Triple Tigers Records immediately recognized Munsick’s potential at radio with the track “Love Is Blind.”
“We’ve had the touring, we’ve had the streaming, but radio for whatever reason radio was just not happening for us for the last few years. And they have just an incredible radio team and their track record is absolutely insane. So we played them ‘Love is Blind’ for the first time. And the president, he looked at me and said, ‘That’s going to be your first hit on country radio.’ I was like, ‘Well, there you go.’”
At its core, The Mountain Goat feels like a true representation of Ian Munsick at this stage of his career. The project gives listeners a deeper look into the artist behind the music while showcasing how he continues to evolve without losing touch with the roots that shaped him. With a sound that feels both familiar and fresh, the album marks an exciting new chapter for Munsick as he continues carving out his place in country music.
He will celebrate the release with a stop on his memorable The Road to The Mountain Goat Tour. Munsick will embark on a series of shows during album release week, including an official album release show taking place at Deer Valley Snow Park Outdoor Amphitheater in Park City, Utah on August 22 as part of the Deer Valley Concert Series.
The Road to The Mountain Goat also includes stops in Nevada, Colorado, New Mexico, Texas, South Dakota and Utah.
“Going back to the Rocky Mountains for the album tour was a no-brainer. Getting to play at Red Rocks again and going to Utah where the core of my audience is and the places that I’m most inspired to write music and the people that I really want to represent in country music, it was really important for me to go back there and do our tour there. They’re the people that have allowed me to tour in general and to do the thing that I love most. So going back to the Rockies for this album tour was just a no brainer,” he explained.
Fans attending these performances can expect to hear a lot of the new songs off The Mountain Goat in addition to the tracks that they already know well.
“We’re going to do a healthy, the combination of old music and new music, but we’re going to put on a whole new concert for those people because there’s a lot of those guys that have watched me play the last few years and we want to make sure that every year and every tour is a new experience for the audience.”
The post Ian Munsick Takes Us Inside ‘The Mountain Goat’: A Deep Dive Into His Roots, Sound and Creative Vision appeared first on Country Now.
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