I’ve long been reserved to the fact that as a Norman native, I’m usually going to have to drive a bit to catch a show. And I’m not talking about a quick jaunt up to our more sizable neighbor 20 miles up I-35. Opolis is a godsend (for those of us over 21, at least) in this college town, and over half of my favorite concerts I’ve laid witness to have happened in that humble little spot, but that’s catching bands on the up and up. If I want to catch an artist in their prime — like Run the Jewels, Beach House or Father John Misty — I’m going to make a trip up the turnpike to Tulsa because, guess what, all three of those acts are skipping Oklahoma City this fall in favor of its 918 rival. And that thread has been the case for as long as I’ve been a patron of shows, which makes it pretty easy to proclaim Tulsa the true live music capital of Oklahoma.
That’s not saying the Oklahoma City metro area doesn’t have good shows, because they regularly do. Tulsa doesn’t seem to possess near the traction with smaller (but still talented) touring artists in the way that Opolis or the 89th Street Collective do, and frankly, I’d rather share in that experience with a couple hundred fans than couple thousand. But that doesn’t mean I wouldn’t like the opportunity to catch Royal Blood on a weeknight without spending more time driving than in the venue itself, especially with a 7:30 a.m. alarm looming the following morning. I’m not a selfish asshole, and if I really want to catch a band, I will, regardless of mileage and the lack of sleep it will entail. But I’d be ecstatic if that didn’t feel like the consequence the majority of the time.
So, being a little bit of a selfish asshole and full-time fan of OKC/Tulsa’s friendly rivalry, I welcomed the news that broke last week with open arms. New(s), as in two massive announcements that could have seismic effects in recalibrating those scales.
1). The development of The Criterion isn’t new. The 39,000 square foot, 4,000-cap room being constructed in the heart of downtown OKC fills a significant void between the admirably plucky but geographically challenged Diamond Ballroom (and forever-finding-its-legs Chevy Bricktown Events Center) and the sizable expanse of the Chesapeake Energy Arena (the Zoo Amphitheatre clocks in around 7,000-cap, but it’s subject too harsh heat, cold winters, and every other weather element God might throw at you, as those catching Turnpike Troubadours earlier this month can attest). The venue has been buzzed about for a good year now, but what is new is that the partnership between The Criterion and already-established promotion company Levelland Productions is being given a shiny third wheel: Live Nation. Yes, that Live Nation — the entertainment conglomerate that owns and operates some of the busiest venues across the country. That’s a massive co-sign, one that ensures that marquee talent will come to Oklahoma City in the years to come. When you think about the Frank Oceans or Amy Schumers of the world, there’s never been a great fit — both in terms venue and production company — in place to lure them in. This satisfies two major checklist items needed to bring premium names into Oklahoma City.
2). Many of you could honestly give a shit about whether Sam Smith or Of Monsters & Men had a suitable venue to play when traversing through the Sooner State. Fair enough. You’ll probably be more interested in the developments at Tower Theatre. I don’t know how many articles I’ve been prodded into writing stating that Tower Theatre was about to change the face of Oklahoma City music in my six or so years of doing this. Each and every time, I was told that we were a year away from seeing the historic venue thrive. This time, though, I have to say it actually feels like the case. Levelland Productions just signed on to bring bands through the spot that everyone and their mother has long-proclaimed the potential savior of Oklahoma City music. With a cap closer to 1,000 (give or take, depending on seating arrangements), this maybe fills an even more crucial void than The Criterion, at least for fans of indie and all the variations thereof. Somewhere for Wavves, Twin Shadow or Toro Y Moi to play that isn’t too small (i.e. instantly sold-out) or big. ACM@UCO Performance Lab currently is hosting some of those artists and is a nice little spot, but the atmosphere of a restored Tower Theatre (and the Savings & Loan cocktail bar that will accompany it) figures to tap into the same mystique that Cain’s Ballroom possesses.
The opening of The Criterion and Tower Theater are both tentatively set to open in Spring 2016, but that hasn’t seemed to prevent many in the Oklahoma City area from already gloating that Oklahoma City is the new capital of live music in Oklahoma. I understand the excitement, but it’s important to remember that it’s not. Not yet, at least, and the opening of the venues alone won’t make it so, either. There’s a blueprint for a takeover, but at this point it’s still a flat piece of paper to Tulsa’s towering, sustained success. Oklahoma City might be San Antonio pulling a coup in signing LaMarcus Aldridge, but Steph Curry & Co. are holding that trophy until next June. Pollstar just released its midyear worldwide ticket sales rankings for club venues, and at over 66,000 tickets sold, Cain’s Ballroom ranks above Stubb’s Bar-B-Q in Austin and just behind The Showbox in Seattle. Granted, those cities have more venues competing for shows, but it’s still a mightily impressive feat for a smaller-market city like Tulsa, which has parlayed its enviable venues, illustrious history, and generally higher level of live-show attendance into an impressive standing on a national scope. The Criterion and Tower Theatre will eat into that, but it’s going to be up to Oklahoma City music fans to see that the scales tip all the way over into their favor.
Much like Kevin Costner in Field of Dreams, I have high hopes that by building/renovating these venues, the concertgoers will come out in Oklahoma City. Opolis nearly sold out a three-night stand of The Melvins (yes), The Growlers (yes), and Bear’s Den (not quite) in mid-June, which would have been unheard of in Norman a couple summers ago. Then again, The Bright Light Social Hour — beneficiary of the Norman Music Festival Bump — wasn’t able to fill up even a quarter of the room at ACM@UCO Performance Lab late last month. It’s a fickle thing, I know, but box office grosses are going to be the deciding factor in whether Oklahoma City can take the live music crown from its neighbor up north. And a greater population and having a few glitzy new buildings around isn’t going to have the same impact as your ass in a seat/shoes on the dance floor.
