Tim McGraw with 49 Winchester at Morton Amphitheater, Riverside (Kansas City) MO (2026-08-21)

The mini-set format immediately made the show seem more intimate with most band members positioned near the front edge. Home movie-like projections were shown on the curtain backdrop of he and his family through the years, and it would end with the still emotional, “Don’t Take the Girl.”

Lights dimmed as the musicians swapped out some instruments and places, then resumed with energy as the plugged-back-in group broke into 2002’s “Real Good Man.” Initial hit “Indian Outlaw” remains much more of a country banger, than a tone deaf relic and the new (and mostly true) single, “Pawn Shop Guitar” also involved McGraw awarding a guitar to a young fan up front, saying he’s looking forward to seeing her on a stage like this, playing that instrument in twenty years.

The “flip side” of the title track of his upcoming album (and what the tour is named after) was the new “Song for America”, McGraw’s celebration of the country in its 250^th year, and his small attempt (as a rare Democrat in the genre) to help bring the country more together.

McGraw was also well aware of his market, making sure to mention Patrick Mahomes and also changed the lyric in his massive hit, “I Like, I Love It” to “I ain’t seen the Chiefs play a game all year,” which drew a rave response (and even though we all know he’s really a Tennessee Titans fan).

2013’s “Mexicoma” was a fun, somewhat silly drinking song, and 2004’s “Live Like You Were Dying” is still that positive mantra and emotional centerpiece of the entire show, made even more poignant by film of his father, the late ex-baseball pitcher Tug McGraw, playing on-screen as he sang.

The encore, like the show’s beginning, began on a slow and pensive note with McGraw sitting on a center stool, lamenting about his four back surgeries and both knees being replaced over the last several years (which means he hasn’t been able to work out as much as previous; but believe us, his ‘gun show’ biceps remain impressive).

2025’s “King Rodeo” with its lyric, “We’re all gettin’ older, saddle’s hard, thе nights grow colder” has meant more to him singing it live nightly, he said, than when he originally wrote it.

“The Cowboy in Me” (a 2001 song recently revived with a ‘Yellowstone edition’) and “Humble and Kind” were both 16,000 person singalongs, with the crowd rushing forward as one towards the stage’s edge, hoping to get a fist-bump or handshake. There was one last foot on the gas for the closing, “Truck Yeah” with McGraw saying “Y’all didn’t think we were gonna get outta here without this one!” about the 2012 hit that would close the show.

With 100 million in sales, three Grammys, 14 ACMs, 11 CMAs and 10 American Music Awards, among countless other awards, Tim McGraw has nothing left to prove. But his ability to still connect with his audience; over three decades later, shows that good songs containing authentic stories and a shared audience connection, doesn’t need to be oversold with extravagant stage effects, and can transcend and outlive any changing musical trends.

​(Photography Note- the usual access was not granted for any local media, as the tour has its own photographer, so these are a few phone pictures taken from the audience.  If/when the tour provides us with official photos, we’ll happily provide proper credit and swap out for the official pics). ​​

To begin the evening, Virginia Country Rock six-piece 49 Winchester roared on stage for just shy of an hour, in support of their latest full-length, Change of Plans, released in May (via New West Records). They seemed conscious of their somewhat limited time, with singer-songwriter Isaac Gibson sticking mostly to business and the group mostly moving from one song to the next.

They didn’t even pause to note anything on their second song, “Hays, Kansas,” maybe not realizing it was located a little over three hours west, maybe to get as much of their music exposed, to fans who had primarily come to see the headliner. The band’s music combines their Appalachian roots, some Southern rock influence, and purposely rough around the edges warmth.

Playing with heart and authenticity, songs like the opening “Bluebird,” “Russell County Line,” and “Last Call” showcased Gibson’s bluesy and expressive voice, while the band’s solid musicianship enhanced the lyrics and filled the amphitheater bowl with an expansive sound.

“Let’s do one for Ozzy!” Gibson shouted, ending their set with a hard-charging Ozzy Osbourne cover, “Changes” gave the band some additional rock cred, and brought their set to a mighty close.

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