After-hours at Cavalcade is always lots of fun! Tickets can be purchased from our authorized online seller, at the Cavalcade office on the Pawhuska fairgrounds during the week of the rodeo, or by cash at the entrance gate. Tuesday street dance in downtown Pawhuska is free. Wednesday admission $10 all ages. Thursday through Saturday admission is $20 all ages.
The amazing line-up for this year is as follows:
- Tuesday – Riders Ford
- Wednesday – John Baumann
- Thursday – Cory Morrow
- Friday – Jason Boland & The Stragglers
- Saturday – Cody Johnson
Founded in 2008, Riders Ford cut their teeth in the bars and honky-tonks of Oklahoma. They released their first album “We Rage On” in 2010 and with no financial backing the self-produced, self-recorded CD sold over 1,000 copies. With their freshman effort Riders Ford created a full length album that covered an emotional spectrum. The depth of songwriting and musicality reverberated with fans of red dirt country music. Without organized radio push “We Rage On” received tremendous grass roots support from midwestern radio stations that featured up-and-coming independent country artists. The party anthem “Wormy’s Song” (Let’s Get Drunk & Rodeo) was given unsolicited airplay from Oklahoma City all the way to Kansas City.
Riders Ford found their sound the old fashioned way through rigorous road testing. Preferring to learn in the trenches instead of the rehearsal studio, the band honed their sound via live shows. From performing at dingy little corner bars to State Fair stages, from bike rallies to rodeos, and from small town festivals to luxurious resorts Riders Ford has gained a loyal following. The band has shared the stage with such red dirt notables as Kevin Fowler, Cody Canada, Jason Boland, Casey Donahue, Bart Crow, the Great Divide, Brandon Jenkins, the Red Dirt Rangers, William Clark Green, Rich O’Toole, Bo Phillips, Curtis Grimes, the Damn Quails, Chad Sullins and many more.
With the 2014 release of their studio album “Shot In The Dark” Riders their debut single, “This Ain’t a Song” was able to break into the top 30 of the Texas Regional Radio Report and the top 50 of the Texas Music Charts. Riders Ford charted three more songs off that album and produced the much lauded video for “The Bottle”. The band was nominated for the TRRR Newcomer of the year award and placed themselves firmly on the map of up and coming independent artists.
Currently the band is touring in preparation for the 2016 release of its much anticipated follow up album “Home to Oklahoma.”
Quietly circumventing the myriad of artists and bands in the modern day dissemination of country music, John Baumann is emerging as one of his generation’s next great true-blue songwriters.With a steadily building streak of positive responses from fans of good songwriting and a reputable live show, the trajectory of this up and comers speaks for itself.
Happiness has always come naturally to Cory Morrow. With his rollicking, soulful, feel-good Texas country, he has made thousands jump on tabletops, shimmy, scream, and suspend worries for almost two decades, like a honky-tonk pied piper––and he shows no signs of stopping. But these days, Morrow is also devoted to something more.
“I’ve always been able to find happiness and help others find happiness,” he says. “But there’s a difference between happiness and joy. Now, I feel like there’s a deeper sense of joy that’s not circumstantial.”
That deep joy courses throughout The Good Fight, released June 16, 2015. The 15-song collection was recorded at East Austin’s 12th Street Sound and polished at the Zone Recording Studio in nearby Dripping Springs, Texas. Reflecting on the process from his home in Austin, Morrow says, “I want it to be right. Looking back on other albums, I feel like I’ve settled on certain things. And this time, I really don’t want to settle.”
Listening to The Good Fight, it’s immediately clear that this is a record brimming with guts, truth, and growth––not compromises.
Morrow sings hard, proving his smooth, fiery drawl has only gotten better with age. The music revels in a life full of love and purpose, drawing on gritty rock, thumping gospel, and Morrow’s signature juke-joint country. Many of the songs address faith and relationships, both human and holy, with urgency, gratitude, and wonder. “I think there has always been a thread of spirituality in everything I’ve done––I’ve always been searching for something more,” he says. “But in the last five or six years, I’ve started to actually find it. And in the last three or four years, I’ve begun to come into really deep contact with it––to walk in it.”
As a songwriter, Morrow has retained his token wit and self-deprecating humor, two traits that play well with the album’s loftier themes. His circle of collaborators continues to expand: Nashville aces Brian Keane and Mando Saenz, along with Texas troubadours such as Carter Beckworth, joined an existing cast of favorites that includes the sagacious Owen Temple.
Morrow laughingly refers to “Running After You” as his “blanket song”––a song that covers all of his boys. “It’s the idea that they’re each individually unique and beautiful in their own way, but all loved exactly the same,” he says. In the vein of “Love Without End, Amen,” written by fellow Texan Aaron Barker and immortalized by George Strait, “Running After You” is a masterfully delivered ode to fatherly love, both earthly and divine. “I want my sons to know that truth and love from the moment that they can actually speak so that when they get older, it won’t be such a far distance from them to travel––to come back home,” he says.
When asked if love serves as a unifying theme for The Good Fight, Morrow brings up the parable of “The Prodigal Son,” and the story’s precarious conclusion: Does the angry, older son ultimately follow his father into the party to celebrate his lost brother’s return?
“I think that’s what the record is for me,” Morrow says. “Everybody is the prodigal son––they’ve gotten lost and experienced love and redemption. And everybody is also very jealous of anybody else who’s gotten the kind of love they think they deserve. I think that the point of that story is that love is there, no matter what. You can’t earn it, you can’t make it greater, and you can’t do anything to make it smaller.” He pauses before adding, “Yeah. I’d love for the record to be about that kind of love. Perfect love.”
Country music swashbucklers JASON BOLAND AND THE STRAGGLERS’ hard‐hitting new live set HIGH IN THE ROCKIES: A LIVE ALBUM is an unconstrained collection of appealingly inventive Red Dirt country. Crackling with the raw outlaw voltage that has made them one of the fastest‐rising forces in
contemporary country, the resolutely independent Texas‐based quintet’s execution and delivery is
uniformly impressive, and with material divided between Stragglers standards and fan favorites, the
album rises to a profound new elevation that is reflected in a most fitting choice of title. Whether
reveling in the Okie kickback groove of “Tulsa Time” or re‐defining the epic despair of Boland’s classic
“Bottle By My Bed,” their sound, characterized by ebullient musicianship and passionate vocals, links
country music’s past to its future with admirable expertise.
Constantly reaching out for fresh new sounds and attitudes, rippling with traces of such forebears as Waylon Jennings and Merle Haggard and illuminated by luxurious employ of dobro, fiddle and mandolin, High In The Rockies is a perfect mix of the progressive and the traditional. Released via Boland’s own label, Proud Souls Entertainment, in conjunction with the Apex Nashville label and Thirty Tigers distribution, it was recorded on four consecutive nights at January 2010 performances in
Colorado and Wyoming, and the band displays authenticity at its most ardent‐‐stubborn, proud,
completely unfettered. Throughout, the freewheeling creative promise of the Red Dirt movement never
goes unheeded. It has been a hard‐earned escalation, one that comes after Boland was sidelined by
surgery to remove a polyp from his throat, a chilling incident which led not only Boland, but the entire
band‐‐Roger Ray on steel, lead guitar and dobro; fiddler Noah Jeffries; bassist Grant Tracy; and drummer
Brad Rice‐‐to confront a potentially devastating turn of events. Typically, they flipped the experience
from defeat to victory, instilling a renewed energy and drive which resulted in this extraordinary
“We’ve got totally a different perspective.” Boland said. “That was heavy, a paradigm shift, a sea
change. It was the one thing that could park us all. But I look back on it and I wouldn’t trade it for
anything. It made us all stop and re‐evaluate life, the band, touring, but we’re back at it hard, with a
new, very achievable goal: that the most important thing is we now make music that we truly feel, and I’m thankful for that.” As a result, Boland’s commanding vocals, at once
relaxed yet fraught with tension, pack the lyrics with a depth of forthright veracity, a rich psychic quality that the band’s full throttle jams easily match, and the urgency of the Stragglers’ innate, road‐seasoned dynamism and talent further heightens High In The Rockies’ already
In a time of synthetics and plastics, folks appreciate the real thing. Musically, we look for songs that reach beyond our eardrums, touching our hearts. Cody Johnson’s unique blend of Country and Rock does just that.
Many Texas Music fans met Cody Johnson’s honest style through the radio singles from his Six Strings, One Dream album: “Nobody to Blame” (#6 on the Texas music charts in 2009); #1″Pray for Rain” (2009 – 2010); and “Texas Kind of Way” (#6, late 2010 – 2011).
At first opening for other artists, Cody has also taken the Texas dance-halls by storm. Increasingly, the Cody Johnson Band is the attraction, and an honest-to-goodness one.
Though new to Nashville recording ways, Johnson’s musical confidence showed in the Music City recording studio. Together, he and the studio musicians tweaked songs to obtain the exact intended effect. Listening to the Music City veterans, Cody adopted suggestions when they felt right, and would “hang tough” when he felt the music differently.
According to CoJo, “I don’t want to be labeled as ‘Texas’ or ‘Nashville.’ I am me: Texas, outlaw, cowboy, country, and a God-fearing man using the gift He gave me.”
You can read Cody’s bio in its entirety at
Jason Boland & the Stragglers
Jason Boland & the Stragglers