June 12th marked our first and possibly only show at Cowboys before it transformed into The Roxy. The lineup featured Forte and Pitch Black, and it turned into a turning point for that building.

Long before it was Cowboys, the place was called The Beaver Pond. In the 70s, it was a strip club where dancers floated on lily pads in a real swimming pool.

That pool never left.

The stage at Cowboys was built directly over it. Dead center stood a pole that bands constantly crashed into. When asked why it stayed, the answer was simple. Structural support. Stomp on that stage and you could hear the hollow echo underneath.

George Cunningham, who owned Fritzy’s, saw what was possible. Once he realized heavier shows could work there, the focus shifted. Cowboys faded. The Roxy took over. Rock and metal found a new home.

One address. Three identities. Strip club. Country bar. Rock venue.

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“Rollin’ in my sweet baby’s arms.”

When Leon stepped into his Hank Wilson persona, he wasn’t just covering country standards. He was honoring them. Recording under the name Hank Wilson, cutting classic covers, bringing that Oklahoma edge to traditional songs.

And when you really dig into the catalog, it’s not even close.

Leon was prolific. Across genres. Across decades. Studio work. Producing. Writing. Building bands.

He knew how to pick talent too. He signed Tom Petty and the Heartbreakers early on.

That show? Both bands were firing on all cylinders. From the outside it looked effortless. Behind the scenes, if you were a hired gun in those lineups, you knew you were standing inside something serious.

That’s Leon. Vision, volume, and range.

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It wasn’t a no-security tour.

This was the Bigger Bang era with The Rolling Stones — and the backstage setup was on another level.

Snooker tables. Game areas. Full liquor bar. Food everywhere. The most elaborate backstage environment he’d ever seen.

And then the seat assignment.

At Keith Richards’ table.

Keith comes out with his buddy, same scarf, same energy. Quiet moment. Timing something. Synchronizing medicine. Intense. That’s all that needs to be said.

Earlier at the The Waterford Marriott, there was a meeting. Comped front-row tickets. Same row. Same seats. No downgrade.

Rock and roll at its highest level.
Front row. Backstage. Observing legends in their own rhythm.

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Some moments don’t feel big when they’re happening, but time turns them into milestones. July 14, 1994 was one of those nights when Collective Soul played Bricktown Brewery and quietly checked a major box in their career.

It was their first sell-out show, and tickets were just $8. Same artwork. Same early-era vibe. No hype machine yet. Just a band catching fire at exactly the right moment.

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When the Bridges to Babylon tour rolled into Owen Field, it wasn’t just a concert. It was a
construction project.

Promoter TNA International invited media to preview the massive stage at the south end of
the stadium. Production holds were released once sightlines were confirmed, turning
previously held seats into some of the best in the house. $65.25 tickets went on sale at the
Lloyd Noble Center. Cash only.

After the OU vs Kansas State football game, the Stones’ crew took control of the field and
worked around the clock. The stage was built to resemble the top of a bridge, complete
with a massive oval video screen and a secondary stage out in the middle of the stadium.

This wasn’t a small setup. The tour traveled with 32 semi-trucks and 10 crew buses.
Rock and roll at stadium scale.

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The feud was real.
If you met Joe Cocker first and got his autograph, then walked over to Leon with the same
item, Leon wouldn’t sign it. “No way.” Not that day. Not under those circumstances.
And this wasn’t normal behavior. Leon would usually sign anything for anyone. But that day,
he wasn’t doing it.
Joe Cocker went on to become a Rock & Roll Hall of Famer. Globally recognized. Massive
career.
But in Oklahoma?
Leon Russell is different. He’s ours.
Ask the question straight up: Do you like Joe better than Leon?
“No way. I’m an Okie.”
Sometimes it’s not about charts or awards. It’s about where you’re from and who you
claim.

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At the Diamond Ballroom, Lisa built a reputation that was equal parts fear and respect. They even kept a running joke scorecard of how many people she made cry, and most of them were grown men.

If something went off the rails, one phone call and she’d show up in ten minutes ready to handle it. She didn’t tolerate excuses, and she didn’t back down.

Years later, when it truly mattered, she was still the one you could call.

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There are rules when you’re a runner.

You don’t turn the radio on.
You don’t start conversations.
You don’t insert yourself into the moment.

You wait. You answer questions. You drive.

Now imagine your all-time idol getting into the van.

The job was simple: take the band from the top of the Bricktown Ballpark down to the stage. Engine running. Band waiting. Thirty minutes later, he appears.

He chooses the seat right behind you.

You check the rearview mirror to back up… and there he is.

Bob Dylan.

#HeresTheDealPodcast #BobDylan #RockHistory #TourLife #BehindTheScenes #MusicBusiness #ConcertStories #BricktownBallpark #MaxBakerJr #JeffBrownen #oklahoma #oklahomacity

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