Produced by: Emporium Presents
Date: Wednesday, April 30, 2025
Special Guest: The Wilder Blue
Box Office opens: 5:30pm
Doors open: 6:30 pm
Show starts: 7:30 pm
Ages: All Ages
Seating: GA Floor, 21+ Reserved Balcony Seating
Tickets: On sale starting Friday, December 6 at 10am
• General Admission tickets: $34.50
• Reserved Seating tickets range from $49.50-$59.50
• Unless sold out, tickets will also be available at the box office on the day of the show when it opens.
• All tickets subject to service charges.
Flatland Cavalry: “One of the most dynamic presences in country music” (Rolling Stone), Flatland Cavalry is in the midst of a breakout year following the release of their acclaimed album, Wandering Star, last fall—their first project in partnership with Interscope Records. Of the album, No Depression praises, “They just don’t make them like Flatland Cavalry anymore…a collection of songs that feel timeless right out of the gate, warm and twangy with full-bodied arrangements,” while American Songwriter declares, “offers an upward glance that radiates within each of its 13 songs…it provides a bounty of bright light.”
Following the release of Wandering Star, the Nashville and Texas-based band was nominated for Group of the Year at the 2024 ACM Awards (their first nomination), earned their first RIAA Gold certification (“A Life Where We Work Out” feat. Kaitlin Butts), made their sold-out headline debut at Nashville’s historic Ryman Auditorium and had songs featured on two major movie soundtracks: Twisters and The Hunger Games: The Ballad of Songbirds & Snakes. Additionally, since their 2015 debut, Flatland Cavalry has earned six #1 singles at Texas Country Radio, garnered over 500 million streams across platforms, had their track, “Mountain Song,” featured on CBS’ hit show, Yellowstone and toured relentlessly including countless sold-out headline shows as well as dates with Willie Nelson, Luke Combs, Lainey Wilson, Jordan Davis, Midland and more. Flatland Cavalry is Cleto Cordero (vocals, acoustic guitar), Jason Albers (drums, percussion), Jonathan Saenz (bass), Reid Dillon (electric guitar), Wesley Hall (fiddle) and Adam Gallegos (piano, organ, keys, mandolin, banjo).
The Wilder Blue: Sharp storytelling. Gripping and gorgeous five-part harmonies. Arrangements that can swing between fun, engaging, and lively one moment and stirring, booming, and chill-inducing the next. These are the essential elements that make up the sound of The Wilder Blue, the Texas five-piece who put their own spin on rock-influenced country with their eponymous sophomore album.
Built around the keen storytelling voice of primary frontman Zane Williams, Paul Eason’s salient lead guitar, the imaginative tandem of drummer Lyndon Hughes and bassist Sean Rodriguez, and the striking, compelling mind of multi-instrumentalist Andy Rogers, The Wilder Blue are only beginning to scratch the surface of their potential.
Williams and Eason began toying with the idea of a new band in 2019 by seeking out a nimble set of collaborators. Knowing that they wanted to emphasize a rich vocal blend that could be replicated live, they soon enlisted Hughes and Rogers. When Rodriguez joined, it solidified the outfit as a cohesive unit.
“Having studio time paid for by our fan subscribers gave us the chance to relax and spread out a little,” explains Williams about the recording process for The Wilder Blue. Recording over the course of a few three-day sessions every few months allowed the band to experiment in the studio while avoiding harsh deadlines or the demand of cramming an album’s worth of material into a week’s worth of time. Often recorded to tape, a vibrant tapestry of sonic swirls emerged.
“What’s fun about tape is that it forces you to commit to a take,” adds Williams. “You don’t just record five million parts and go comb through them later.”
“The five of us were able to sit together this time around,” adds Rogers. “Since I was playing bass and other things last time around, I was having to think about a million different things. But for this, we all kind of felt like we were in our zone.”
In addition to implementing a lone studio for a cohesive sound, the months between studio sessions was an added luxury. This allowed songs and ideas to marinate and work themselves out over the course of band practices, soundchecks, and shows.
Standout single, “Feelin’ the Miles” is a prime example of a song shifting from one idea to another. What started out as a James Taylor-esque acoustic guitar stroll slowly but surely began to rise from the ashes of its former self.
“My original concept for that song was much more in the vein of ‘Okie Soldier’ or ’Birds of Youth,’” says Williams. “We all liked the song, but we didn’t need another like it so basically one day, I just came up with a totally different groove for it.”
