Flatland Cavalry

Doc Roc Presents

Flatland Cavalry

Jason Eady

Fri Aug 16

Doors: 6:30 pm / Show: 8:00 pm

Cain's Ballroom

Tulsa, OK

$18.00 - $33.00

This event is all ages


Advance $18
Day of Show $21
Door $21
Mezzanine (21+) $33

There is a $2 fee that applies to each ticket purchased at the Cain's Box Office!

No re-entry! No smoking! No refunds!

Support acts are subject to change without notice!

Flatland Cavalry
Flatland Cavalry
There's an old adage in the music business—hurry up and wait. It’s as old as time itself and still rings true today. All too often, we’re stuck in a no man’s land where the present is almost non-existent. You look at the past, the “good old days,” with rose-colored glasses. The future is presented as when everything will be figured out and make sense—there’s an unparalleled optimism towards the future. Days drag on, but the years fly by.

With their highly anticipated sophomore album, Homeland Insecurity, Texas’ Flatland Cavalry wants to stop and smell the roses. Bandleader and chief lyricist Cleto Cordero is fine with examining and the present. There’s an appreciation for all the sharp detail and high-spirited emotions of today.

Flatland Cavalry—the aforementioned Cordero, guitarist Reid Dillon, bassist Jonathan Saenz, drummer Jason Albers, and newest member, fiddle player Wesley Hall—has been stretching their legs across the country this past year after honing their craft and voice in the music boomtown of Lubbock, Texas.

Homeland Insecurity finds Flatland further evolving as musicians and storytellers. They continue to expand their sonic palettes while remaining true to those defining characteristics that made them rising standouts years ago.

On their previous releases, Come May and Humble Folks, Cordero and company harnessed untethered emotions, feel-good rhythms, and simple raw energy to make it into the hearts of fans and critics. There was power in Cordero’s proverbial pen that resonated with the highs and lows of college life.

“We’re all just out of college,” says Cordero. “We’re in our mid-twenties. We’re all told growing up that by the time you’re out of school, you’ll have it all figured out, but that’s not really how it is. You’re still out there trying to find yourself.”

It’s not a jump into adult life. That’s a facade and outright lie. Life doesn’t happen that way. You don’t turn 25 and become a fully-formed person. Rather, Homeland Insecurity finds Flatland exploring the anxieties, unsureness, growth, resilience, falters, fear, maturation, and eventual lessons learned as your grow older.

By no means does Cordero and company feel they have it figured out, but rather, are trying to figure it out themselves as well.

“I think at some point, you feel like you need to grow-up, but you don’t know how,” says Cordero. “You’re searching for that path though. You’re overturning every rock trying to find the secret that gets on to the next. I’m not trying to be a teacher or anything. I just wish someone would have told me earlier on and saved me the heartache of it all.”

Flatland is unabashed in this search knowing that they’ve always wanted to be band where their crowd grew along with them. Cordero knows he could have just revisited old themes, young lust narratives, and drinking days glory for another album. He could have easily rehashed old ideas and gotten a pass for them as long as they were catchy, but he wouldn’t have been able to live with himself.

There’s an uneasiness in his voice when even broaching the subject of cookie-cutter songs. You can hear him loosening a tie around his neck that isn’t there.

“I had a lot I wanted to say,” says Cordero. “I knew there was a better way of saying it. I didn’t want to write at the same pace I was at during Humble Folks. And I don’t want to write at this pace in the future.”

Homeland Insecurity sees Cordero sanding and smoothing the edges as a lyricist and storyteller. He’s always had an ear for memorable melodies and a gift at finding the heart of the story. But here, he expands and challenges himself to not only write at a deeper thematic level, but to simply become a better songwriter.

“Everything I’d written before, it was always just something I had to get out. It was always spurred on by an emotion, but that doesn’t mean the lyrical side was rich,” says Cordero. “I have to really say something. Everything has to purposeful. I can’t get stuck.”

Indeed. Flatland Cavalry isn’t stuck in a rut. Despite embracing the harsh realities of modern civilization and the anxieties of life, Flatland carves out their own path on Homeland Insecurity.
Jason Eady
Jason Eady
On his last two albums, Jason Eady earned major acclaim for his ahead-of-the-curve take on classic country, a bold departure from his earlier excursions into blues-infused Americana. Now with his sixth album, the Mississippi-bred singer/guitarist merges his distinct sensibilities into a stripped-down, roots-oriented sound that starkly showcases the gritty elegance of his songwriting.

The follow-up to 2014’s critically praised Daylight/Dark—an album that “belongs on a shelf next to Dwight Yoakam’s Buenos Noches from a Lonely Room, Joe Ely’s Letter to Laredo, and yes, even Willie Nelson’s Phases and Stages,” according to AllMusic—Eady’s latest finds the Fort Worth, Texas-based artist again teaming up with producer Kevin Welch. Now longtime collaborators (with their past efforts including 2012’s AM Country Heaven, a top 40 debut on the Billboard Top Country Albums chart), Eady and Welch worked closely in crafting the album’s acoustic-driven yet lushly textured aesthetic. “At the beginning I told everyone I wanted to make a record where, if the power went out, we could still sit down and play all the songs the exact same way,” says Eady, who points out that steel guitar is the only electric instrument featured on the album.

Despite its subtle approach, the album radiates a warm vitality that’s got much to do with Eady’s gift for nuanced yet unaffected slice-of-life storytelling. “I’ve always been drawn to writing that’s got a simplicity to it, where you’re digging deep into real day-to-day life,” he notes. Here, that means touching on such matters as turning 40 (on the reflective, soul-stirring “40 Years”), his daughter’s growing up and going off to college (on the sweetly heartbreaking “Not Too Loud”), and the everyday struggle to “embrace the messy parts of life instead of trying to get the point where you’ve somehow fixed all your problems” (on “Rain,” a joyfully determined anthem featuring SteelDrivers fiddler Tammy Rogers). Throughout the album, Eady’s soulfully rugged voice blends in beautiful harmonies with his wife, singer/songwriter Courtney Patton. And on “No Genie in This Bottle,” the legendary Vince Gill lends his singular vocals to what Eady refers to as a “good old country drinking song.”

In each track, Eady reveals a sharp sense of songcraft he’s honed since childhood. “Even back in my early days of getting into music, I always cared more about the writers than the singers,” says Eady, who grew up in Jackson. “I’d look up who’d written a certain song, and then go seek out more songs from that writer.” At age 14—the same year he started writing his own material—Eady began performing in local bars and showing his natural grasp of everything from soul and R&B to blues and country. After some time in the Air Force, he moved to Fort Worth and started playing open mic nights, where he quickly built up a devoted following. By 2005, Eady had made his debut with the independently released From Underneath The Old.

For Eady—who names Merle Haggard, Guy Clark, and Willie Nelson among his main inspirations—instilling each song with so much graceful honesty proved to be his greatest achievement and thrill in creating the new album. “When you first get started making music, your ideas are grandiose and more about the big picture. But the longer I’ve done this, the more I’ve realized that the real joy comes from the process rather than the end goal,” he says. “Now it’s about getting better and finding more of myself with every album. So instead of writing what I think people want to hear, I’m writing what I want to write and trusting that—as long as it’s coming from an honest place—it’ll hopefully mean something to the people listening too.”
Venue Information:
Cain's Ballroom
423 N Main St.
Tulsa, OK, 74103
http://www.cainsballroom.com