Doc Roc Presents
423 N Main St.
Tulsa, OK, 74103
Doors 7:00 PM / Show 8:15 PM
This event is all ages
Watch & Listen
Although they became one of the most enduring bands in the alternative country-rock catalog, Old 97's drew inspiration from a broad range of genres, including the twangy stomp of cowpunk and the melodies of power pop. Formed in 1993 by frontman Rhett Miller and bassist Murry Hammond, the group spent the bulk of the decade posed on the brink of mainstream success, issuing albums that often drew warm reviews but never yielded a substantial hit. Old 97's tightened their sound as the decade drew to a close, retaining their bar-band vigor while introducing a stronger pop/rock sound on albums like Too Far to Care and Satellite Rides. Miller also mounted a solo career in the early 2000s, but the band remained together nonetheless, continuing to release material with their original lineup intact into the following decade.
Rhett Miller and Murry Hammond first partnered up in 1989, when Miller enlisted the latter’s help in producing his debut solo album, Mythologies. Although six years younger than Hammond, Miller proved to be a dedicated musician as he canvassed the Dallas club circuit, playing an blend of folk and British-styled pop to local audiences. He also displayed a knack for storytelling, having previously earned a creative writing scholarship to Sarah Lawrence College. One year after Mythologies‘ release, Miller and Hammond teamed up once again, this time as part of the short-lived Sleepy Heroes.
Although the Sleepy Heroes disbanded after issuing one album, the band’s mix of pop and Texas-styled twang helped lay the foundation for Old 97's. Continuing to build upon that sound, Miller and Hammond linked up with lead guitarist Ken Bethea and recorded a demo tape at the Cedar Creek studio in Austin. Drummer Philip Peeples climbed on board shortly thereafter, and Hammond’s childhood obsession with trains inspired the band’s new name, which paid homage to the country ballad “Wreck of the Old 97.” With their lineup intact, Old 97's released the debut album Hitchhike to Rhome in 1994. It garnered positive reviews and began to build the group’s alt-country fan base, which they consolidated on the album’s follow-up, Wreck Your Life. Issued in 1995 by the newly formed Bloodshot Records — a label that would also launch the alt-country careers of Neko Case and Ryan Adams — Wreck Your Life presented Old 97's as a sharp, eclectic country-rock outfit with a pinup-worthy frontman. Such positive attention led to a major-label deal with Elektra Records, who hoped to translate the band’s underground buzz into mainstream success.
Old 97's made their Elektra debut in 1997 with Too Far to Care, a muscular album that balanced the band’s Texas traditionalism and pop leanings. Many publications placed the band among the leaders of the alt-country movement, and Old 97's toured extensively in support, joining the Lollapalooza tour that summer and playing alongside Whiskeytown for a series of shows sponsored by No Depression magazine. Arriving two years later, 1999's Fight Songs offered another polished, pop-friendly set of songs, allowing the band to sell out 1,500-seat venues during its return to the road.
By this time, Miller had moved to Los Angeles and shed the thick, ’50s-style glasses that had become a major part of his image. He and Hammond also began performing in an informal side project dubbed the Ranchero Brothers, although a proposed album never materialized. Instead, the musicians returned their focus to Old 97's, releasing another pop-influenced record with 2001's Satellite Rides. Miller took a temporary leave after its release to work on a solo power pop record, The Instigator, which was released in late 2002. A period of relative inactivity followed, as the band members found themselves in different cities, with several of them starting families.
The hiatus ended in 2004 with the release of Drag It Up, whose subsequent tour featured prominently on the double-disc live album Alive & Wired. Afterward, Miller returned to his solo career with 2006's The Believer, which found the frontman experimenting with strings and orchestral arrangements. Old 97's returned to the studio once again in 2008, though, this time holing up in their native Dallas to help channel the energy of their earlier records. The move worked, and the resulting album, Blame It on Gravity, delivered some of the band’s strongest songs in years. While touring the country in support, Murry Hammond launched his own solo career, packaging a wealth of old-timey gospel ballads and locomotive imagery onto the album I Don’t Know Where I’m Going But I’m on My Way. Miller also found time to release a solo album, 2009's self-titled Rhett Miller, which appeared one year before the ninth Old 97's record, The Grand Theatre Volume One. Originally intended as a double-album, The Grand Theatre was followed in mid-2011 by a companion record, The Grand Theater Vol. 2.
Following the 2013 release oF the EP Waylon Jennings, featuring songs the band recorded over a decade earlier with the man himself, the Old 97’s have confirmed the April 29 release of their new album and ATO debut Most Messed Up — a revealing, 12-track meditation on 20 years in music that finds them at their raucous, boozy best. It’s “a rock opera, a way-off Broadway musical about a musician’s life, loves and lubrication,” says music critic Bill Flanagan. Recorded in Austin and produced by Salim Nourallah, Most Messed Up also features guest appearances by Tommy Stinson (The Replacements, Guns N’ Roses) and Jon Rauhouse (Neko Case) on lap-steel.
Growing up with a single mother in San Benito, Texas, the hometown of Tejano star Freddy Fender was not easy for blues singer Charley Crockett. Hitchhiking across the country exposed Crockett to the street life at a young age, following in the footsteps of his relative, American folk hero Davy Crockett, who also lived a wild life on the American frontier. After train hopping across the country, singing on the streets for change in New Orleans’ French Quarter, busking in New York City and performing across Texas and Northern California, Crockett set off to travel the world and lived on the streets of Paris for nearly a year before searching for home in Spain, Morocco, and Northern Africa.
The blues artist returned home to Texas and released his debut solo album titled A Stolen Jewel in 2015, receiving critical acclaim in Dallas and ultimately landing him a Dallas Observer Music Award that year for “Best Blues Act”. A record “rich with Southern flavor, a musical gumbo of Delta blues, honky-tonk, gospel and Cajun jazz,” Jewel proved that Crockett, born into poverty in the Rio Grande, had come home to make his musical mark on the South. Crockett, who is self-described as elusive, rebellious and self-taught, has been compared to legends like Bill Withers, Merle Haggard, and Gary Clark Jr.
He released his sophomore record In The Night, an admirable nod to his Texas country and Louisiana blues roots, on June 4 and ended 2016 having played over 125 shows. “In the Night” and Crockett’s song “I Am Not Afraid” received international recognition from top tastemakers after being picked by NPR Music as one of the "Top 10 Songs Public Radio Can't Stop Playing” and selected by David Dye to be featured on World Cafe in late July. The Fort Worth Star-Telegram called it “an impressive calling card, full of Crockett's plaintive soulfulness and swinging tempos" and Central Track noted the artist as having "the well-rounded songwriting capabilities of Van Morrison and a vocal approach that finds common ground between Bill Withers and early Dr. John." Crockett graced the cover of Buddy Magazine in May 2016, who called him “the archetype of the new American vagabond.”
He has shared the stage with artists like Justin Townes Earle, Citizen Cope, Alejandro Escovedo, Joe Ely, Sean Hayes, Tab Benoit, Turnpike Troubadours, and Leon Bridges.
$18.00 - $20.00
Tickets Available at the Door
Adv $18 | Day of $20 | Door $20
There is a $2 fee that applies to all tickets purchased at the Cain's Box Office!
No re-entry! No smoking! No refunds!
Support acts are subject to change without notice!