Eric Clapton Turns Fiserv Forum Into a Blues Showcase With Cream Classics, Acoustic Surprises and a Fiery Backing Band in Milwaukee
MILWAUKEE, WI — Eric Clapton spent nearly two hours at Fiserv Forum reminding the crowd why his name still sits near the top of rock and blues history. At 81, his voice no longer has the youthful edge it once did, but it has deepened into something that fit the night’s mood: weathered, expressive and full of memory.
That combination gave songs from across his career a fresh shape. From Cream’s “Badge” to a gentler acoustic take on Derek and the Dominos’ “Layla,” Clapton moved between eras with the ease of someone revisiting old rooms he still knows by heart. The result was a concert that felt less like a nostalgia exercise and more like a master class in tone, feel and timing.
Clapton leaned on the songs that built his legend
The setlist drew from nearly every major chapter of Clapton’s career, including his time with The Yardbirds, Cream, Blind Faith, Derek and the Dominos, and Delaney & Bonnie. That history showed up not as a museum display but as a living set of songs that still carried force in the room.
His approach on guitar made that especially clear. One moment he was picking out notes with precise focus; the next he was firing across the strings with speed and control. Whether he was working through familiar hits or stretching into more reflective passages, Clapton sounded committed to making each arrangement feel immediate rather than over-familiar.
That balance was part of what kept the performance moving. The concert shifted from electric to acoustic textures, giving the audience a mix of volume, restraint and emotional contrast without losing momentum.
Blues standards and Robert Johnson tributes shaped the center of the show
Clapton’s love of the blues remained the backbone of the night. Willie Dixon’s “I’m Your Hoochie Coochie Man” gave the band room to lean into the style’s grit, while the Robert Johnson material underlined how closely Clapton has studied the genre’s foundations.
He offered acoustic and electric readings of Johnson-associated songs, including “Kind-Hearted Woman Blues,” “Cross Road Blues” and “Little Queen of Spades.” Those performances highlighted how Clapton can translate old material into his own voice without sanding off what made it powerful in the first place.
The set also emphasized how much of his musicianship comes from contrast. The intimate acoustic moments were not a break from the heavier sections; they were part of the same conversation, giving the show a broader emotional shape and showing why his blues playing still resonates so strongly with fans.
‘Old Love’ and ‘White Room’ brought some of the night’s biggest reactions
One of the evening’s high points came with “Old Love,” co-written with guitarist Robert Cray. The song grew and widened as the band settled into an extended arrangement, with Clapton trading phrases with other players and letting the performance build in waves.
Fans also got the expected crowd favorites, including J.J. Cale’s “Cocaine,” but Clapton added a surprise by bringing out Cream’s “White Room.” The faster, harder-driving version gave the song a new snap and served as a reminder that, even decades into his career, he can still find a way to energize familiar material.
“Can’t Find My Way Home” also stood out, with bassist Nathan East taking the vocal lead. His clear falsetto gave the Blind Faith song a different atmosphere, turning it into one of the night’s more delicate and unusual moments.
Nathan East, Doyle Bramhall II and the rest of the band kept the energy high
Clapton was backed by a group of musicians who were more than support players. Nathan East, Doyle Bramhall II, Chris Staunton, Tim Carmon, and Sonny Emory all had chances to step forward, and each helped shape the sound in a different way.
East’s vocals brought a distinct lift to “Can’t Find My Way Home,” while Bramhall II contributed on guitar. Staunton handled keyboards, Carmon played Hammond organ and keyboards, and Emory drove the drums with steady momentum. Together, they gave Clapton a flexible framework that could shift from blues shuffle to harder rock to softer, more reflective passages.
Longtime backing singers Sharon White and Katie Kissoon also added warmth and polish. Their harmonies rounded out the mix and gave the performance a fuller, more soulful edge whenever the arrangements opened up.
Jimmie Vaughan set the tone early with Texas blues and horn-powered swing
The evening began with a sign above the stage reading “Texas Blues,” and Jimmie Vaughan made sure the label meant something. Backed by Tilt-A-Whirl and the Texas Horns, he delivered a 45-minute set that honored the bluesmen who shaped his own blend of blues, rock, jazz and swing.
Vaughan worked through material including Luther “Guitar Junior” Johnson’s “Roll Roll Roll” and Roscoe Gordon’s “Just a Little Bit,” giving both songs his own expressive treatment. The set showed how much range his band could bring without losing the rootsy feel that defines his style.
The instrumental “Frame for the Blues” by Slide Hampton was the clearest showcase for the group’s depth. With a lush big-band sound and no vocals at all, it let the musicians do the talking, and that message came through loud and clear before Clapton even took the stage.
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