Cain’s Ballroom is valued for showing local talent as well as hosting some of the most famous artists in the U.S. The risks the venue has taken when booking musicians has helped it secure a rich history and recognition.
Tulsa is an underdog city.
It wouldn’t surprise anyone to hear of a world-famous music venue located beneath the New York City skyline or hidden off the Sunset Strip in West Hollywood. But, the mention of downtown Tulsa as a music Mecca is likely to turn some heads.
Although Oklahoma is known for farmland as far as the eye can see and not packed rock shows, Cain’s Ballroom is continuing to solidify its’ place as a premier music venue not only in Oklahoma, but also around the world.
Once 2007 ended and the numbers were crunched, Cain’s was again placed on the list of Top 100 club venues in the world, coming in at 42nd.
When Pollstar, a music industry publication, put out its annual list, it featured such venues as the 9:30 Club in Washington, D.C., and the Nokia Theatre Times Square in New York City, ranking at one and four, respectively.
The list was compiled based upon ticket sales of venues around the world with a maximum occupancy of 3,000 people or less, said Chad Rodgers, Cain’s general manager. Cain’s Ballroom sold more than 90,000 tickets in 2007.
Although the Oklahoma venue previously landed on the list in 2005 and 2006, finding out about the newest honor was still special to the staff.
“It is cool, considering the Oklahoma market is so small compared to the ones of other cities,” Rodgers said.
The latest accolade is added to a list of accomplishments for “The House That Bob Built.”
The Cain’s stage has played host to music royalty and up-and-comers alike.
Bob Wills may have started the tradition when playing the ballroom back in the 1930s. However, it has been acts such as the Sex Pistols, The Police, Cross Canadian Ragweed, Van Halen, Sugarland and more recently Damien Rice and Bloc Party that have carried the torch over the years.
With such a rich musical history, rankings are not the definitive factor in determining the success of a year in the eye’s of Cain’s staff.
“If we are not in the top 50, it wouldn’t be an unsuccessful year,” Rodgers said. “You try and look at how many sell outs and the other factors. It is a successful year when you have done all these shows, the acts give rave reviews and you re-book.”
Along with the importance of artist feedback, customer satisfaction is crucial in Rodger’s final assessment of a year, he said. The numbers for the past year are only a slight indication of the way some Oklahomans view the Tulsa landmark.
Many OSU students have experienced shows at the Cain’s.
“It is one of the best venues I have been to,” said Bryan Baggett, a computer science freshman. “It’s wide open, the people are friendly and they keep it clean. I look forward to every show Cain’s supports.”
For Jon Nobles, an sophomore advertising major, Cain’s Ballroom has been more than just a place for him to see some of his favorite red dirt acts, such as Cross Canadian Ragweed and Stoney LaRue.
“[Going to Cain’s Ballroom] is something that a lot of people have done for years and it lets you be a part of the history of Cain’s,” he said. “I don’t go there because it is the most popular place. It is not about the ticket sales, but the presence you feel when you are in there.”
By hosting acts like Stoney LaRue, Cain’s has not only become a big venue for red dirt country but also a big supporter of Oklahoma musicians.
Fostering local talent has been only a part of Cain’s success. From broadcasting Bob Wills live from the Cain’s stage in 1934 to signing a little British punk band like the Sex Pistols to a gig, it seems like the “Cain’s philosophy” has always been to book up-and-comers.
Rodgers said he believes that the past and present staff of Cain’s were and are faced with difficult but manageable challenges in terms of booking acts, such as the size of the venue and location being off most usual tour routes.
“A lot of people are like ‘Tulsa, Okla.?,’” he said. “The history always helps but we have to take risks [on acts] and pay a little more money to get them to Tulsa, Okla.”
Not every band that has graced the stage in the ballroom has become famous but it appears risks have paid off.
Rarely is something in music a certainty, but it’s portraits on the wall, the creaks in the floorboards, the stories of the past, up-and-coming acts and most importantly, the crowds, that undoubtedly make Cain’s an invaluable piece of musical history.
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