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Thursday, July 26, 2018

Emporium Presents

Cody Johnson

7 p.m. doors, 8 p.m. show

$20 advance, $25 day of show

All ages welcome

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Cody Johnson

Cody Johnson

When Cody Johnson's Cowboy Like Me debuted in the Top 10 on the Billboard Country Albums chart in January 2014, jaws dropped in offices all over Nashville.

"I got a lot of ‘Who is this kid?'" Johnson says with a laugh two years later. "I love that. That was a new horizon. And I'm gonna work to make sure people know exactly who I am."

Johnson does that from the start in Gotta Be Me, a follow-up project that's loaded with solid country instrumentation and winsome melodies. In the first minute alone, he paints himself as a cowboy, raised on outlaw country, who drinks too much, fights too much and won't apologize for having an opinion. By the time the 14-track journey is over, he's shared his rodeo history in "The Only One I Know (Cowboy Life)," demonstrated his woman's influence in "With You I Am" and paid homage to his gospel heritage in "I Can't Even Walk."

Johnson delivers it all with an uncanny confidence. His smoky baritone and ultra-Southern enunciations give him a voice as uniquely identifiable as country kingpins Jason Aldean or Tim McGraw. And he uses it to convey a Texas-proud swagger, a real-man charm and an unwavering honesty about who he is, where he comes from and where he hopes to go.
"I'm a God-fearin', hard-workin', beer-drinkin', fightin', lovin' cowboy from Texas," he grins. "That's about it."

The hard-workin' part is key. The other parts are easily found in his music. It's intense, focused, sincere. And when he takes the stage, there's a Garth-like conviction to his performances. Johnson inhabits the songs, recreates their emotions because they're so familiar. And he's willing to lay bare those emotions because he's always been willing to risk. He lives in the moment behind that microphone, the same way he rode bulls in an earlier day.

"That's a very, very rough sport to be in," Johnson notes. "It's very, very rough on your body. It's very rough on your mind, and it's scary. I mean there's not a professional bull rider that won't tell you it's not scary. If it wasn't scary, we wouldn't do it."
Johnson pauses for just a beat.

"I'm kind of an adrenaline junkie."

Needing a fix is part of the attraction in both the rodeo and music. In the former, there's always another buckle to chase, another bull to conquer for eight seconds. In the latter, there's always another fan to win over, another song to write. And in some ways, Johnson has been chasing something illusory, indefinable, since he first arrived on planet Earth in Southeast Texas.

Johnson grew up in tiny Sebastapol, an unincorporated community on the eastern shore of the Trinity River that's never exceeded 500 residents. Even today, it's more than 30 miles to the nearest Walmart, in Huntsville, Texas, a town best known as the headquarters for the state's criminal justice department. It's a rough and tumble area, and it comes through in the music. Willie Nelson, Merle Haggard, George Strait, Billy Joe Shaver - their songs were all essential to the local clubs, and Johnson was exposed to their mysterious allure even before he was old enough to get in.

"You could hear the music from those bars across that lake," he recalls. "I'd always hear somebody singing ‘Whiskey Bent And Hell Bound' or something like that, and I always wondered what was going on across that water in those barrooms. It definitely intrigued me. I always wanted to go see what was on the other side of the tracks."

At a young age, Johnson was given the tools to eventually work in those clubs, though his official education was grounded in the church. His father played drums for their congregation, and that was likewise the first instrument that young Cody picked up.

"Learning drums first taught me about feeling the song - feeling that dynamic of when it's supposed to be big and when it's supposed to be soft," he says. "I think that still sticks with me as a songwriter and as a performer, and in turn it's helped me shape my band, because I know what I'm looking for on every front."

Johnson learned guitar next, and when a teacher heard him playing an original song, he convinced Johnson to form a band with a few other students enrolled in the Future Farmers of America. Just a few months later, that first band finished runner-up in a Texas State FFA talent contest, creating an internal buzz that Johnson would continue to chase.
He didn't necessarily think it would be a career. He briefly went to Angelina College in Lufkin, Texas, but traded that in to become a rodeo pro. Johnson did OK in that sport - the oversized belt buckle he wears today was won fair and square on the back of a bucking bull - but he broke a litany of bones: his right leg, his left arm, two ribs and his right collarbone.

Cody started recording his own music during that phase of his life, beginning with Black And White Label, which featured his dad, Carl, on drums. Johnson sold the CDs, pressed on his own CoJo imprint, from his pickup.

Eventually, Cody took a job at the prison to pay the bills. His band kept hitting the clubs on the weekend, with Johnson kept banging away on the guitar on Fridays and Saturdays while overseeing some very hardened convicts whose crimes had cut them off from humanity.

"There's a lonely style of music that a lot of those guys listen to," Johnson says. "I worked in the field for a while, and they sang old prison work songs. Some had kind of lost hope, and I can see now that you have to sing about people that don't have hope the same way you want to sing to give them hope."

Meanwhile, his weekend crowds began to grow, and Johnson started landing hits on the Texas music charts. After the release of his third album, he won New Male Vocalist of the Year in the Texas Regional Radio Music Awards.

The music thing started to look like maybe it could be a business, not just a sideline pursuit. He was stunned when his wife, Brandi, agreed.

"It was a moment when I felt like I wasn't on my own anymore," Johnson says. "To have my fiancée at the time say ‘I'm behind you, no matter what we have to do,' it gave me a whole new level of confidence that some people might have thought I already had. But I didn't."

Even with her belief, the road wasn't easy.

"I sacrificed, and I worked my tail," he says. "I barely slept for years trying to make this thing happen, and me and my wife didn't have a lot of groceries. We didn't have a lot of things for a long time."

Johnson reached a new creative plateau when he enlisted singer/songwriter Trent Willmon, who wrote Montgomery Gentry's "Lucky Man," to produce an album in Nashville. That project, A Different Day, raised the bar on Johnson's barroom ambitions. The studio musicians he worked with challenged his own band. Johnson grew - and his bandmates grew - because they had to stretch themselves to live up to the album on the road. That pattern has continued through three projects as he continues to chase something illusory.

"It's that always-never-good-enough kind of attitude that gives us that drive," Johnson says.

When Cowboy Like Me broke onto the Billboard chart, it demonstrated that they had built an audience, but also gave them a little cache to push it even further. The band has broken beyond the red-dirt confines, drawing sizeable audiences in such far-flung destinations as California, Montana, Wisconsin and the Southeast, as Johnson wins over fans with his honest songs and on-stage ferocity.

And Johnson's built up a Twitter following of 73,000 fans - impressive numbers for a guy who's marketed and developed his career without the aid of a major label.
He approached Gotta Be Me with two major objectives: to make yet another advance musically, and to provide an authentic self-portrait to that growing fan base still trying to figure out who this Cody Johnson guy really is. He worked with some of Nashville's best songwriters - including David Lee ("Hello World," "19 Somethin'"), Terry McBride ("Play Something Country," "I Keep On Loving You") and Dan Couch ("Somethin' ‘Bout A Truck," "Hey Pretty Girl") - while drawing on his own history, rich with its own compelling subject matter.

"Every Scar" draws a life lesson from all those rodeo bruises and broken bones. "Half A Song" blends his barroom experiences with the melodic and rhythmic sensibilities he picked up at his daddy's feet. The fiddle-rich "Wild As You" embraces a freedom-loving woman whose sense of adventure is as deep as Johnson's own. And that spacious gospel closer, featuring his parents on harmony, surrenders some of the rabble-rousing, adrenaline-raising pieces of his past into bigger spiritual hands.

In essence, Gotta Be Me documents the life of a guy who's lived in the fast lane as a beer-drinkin', rodeo-ridin' cowboy, but who's also seen just enough darkness to temper that wild streak.

"You're only a couple bad decisions every day from screwing your whole life up," he reasons.

With a good woman behind him and a whole lot of promise in front of him, that's enough to keep Cody Johnson in check. The energy he put into his rebel years now goes into his work. He's not sure what he's chasing, but he knows it's paying off The "me" that Cody Johnson is becoming will continue to evolve, and it's his intent to share that journey in an honest, meaningful way. The same way that Haggard, Strait and Nelson did when they made their marks. When it's all said and done, the plan is mostly to reach the point where people are no longer asking "Who is this kid?"

"I don't want to be a blemish on country music," Cody Johnson says. "I don't want to be a dot. I'd like to be a mark."

Events

The Crystal Ballroom

1332 W. Burnside
Portland OR 97209

(503) 225-0047
Contact us

Where On Any Night, Anything Can Happen!!

In these walls...

The historic Crystal Ballroom -- now over a century old -- is one of those rare concert halls that can point to a proud, diverse history while also laying claim to an ongoing musical legacy. Every time you enter this majestic ballroom, let your imagination sense the tremors resonating from a century's worth of gatherings, and realize that you are joining a thriving, generations-long procession of show-goers. Welcome!

Looking for your Crystal Ballroom Passport Stamps?

Crystal Ballroom, Lola’s Room & Crystal Brewery Tour occurs daily at 2 p.m. - meet at Ringlers Pub (street level below the Crystal Ballroom.) The tour takes about half an hour to complete. Any questions may be directed to the Crystal box office, 503-225-0047.

Stamps for the Crystal Ballroom and Lola’s Room are also available when you see a show – ticketed or free – in either venue.

Please note: Due to private events, concert setup needs and brewers’ schedules, not all spaces are guaranteed to be available to tour daily, but our staff will give it our best shot and show you the spaces that we can.

Tech Specs

Floor and stage plan
PDF download

Lighting diagram 
PDF download

Sound manifest
Crystal:
PDF download
Lola's Room: 
PDF download

Technical and logistical packet
For Crystal Ballroom & Lola's Room
PDF download

Ballroom height and beam-to-beam dimensions
16' 11" from beam to floor
19' 11" from floor to ceiling
14' 6" in between beams

Promoter Info

Rental Expenses To Outside Promoters

RENT VARIES, PLEASE CONTACT A BOOKING COORDINATOR
$850  SOUND & LIGHTS
$365  PRODUCTION MANAGER ($54.75/hr OT)
$255  STAGE MANAGER ($38.32/hr OT)
$255  FOH TECHNICIAN ($38.32/hr OT)
$255  MONITOR ENGINEER ($38.32/hr OT)
$255  LIGHTING DIRECTOR ($38.32/hr OT)
$150  HOSPITALITY ($20/hr OT) [mileage is 33 cents per mile]
$1,000*  SECURITY ($100/hr OT)
$100  BOX OFFICE STAFF ($20/hr OT)
$200  ADMINISTRATION FEE
$ ----  PARKING HOODS
$ ----  CHAIR RENTAL ($2 per chair)
$ ----  ADVERTISING
$500  PIPE AND DRAPE/BARRICADE
$175  STAGEHANDS
$ ----  BOX OFFICE CREDIT CARD FEE (3% of Box Credit Card Sales)

* Security cost is an estimate. Additional security may be required depending on the nature of the event. 

Overtime: All expenses incurred by the Crystal Ballroom for Catering, Advertising, requested stagehands, overtime (anything over 10 hours), backline, barricade, risers, etc. will be added to total rental rate.

Deposits: A non-refundable 50% room deposit and a $2,500 'untenured promoter fee' (UPF) is due immediately in order to secure the room. If ticket sales exceed 500 the 'UPF' will be refunded; if ticket sales are below 500 the room keeps the entire $2,500 to make up for less than 1/3 capacity and corresponding lack of sales. The 'UPF' will not be refunded if the event cancels within 60 days of the event.

Settlement: Venue will pay renter with a company check at the immediate conclusion of door sales. Venue will not provide any cash at settlement.

Late Night Fee: There is a $1,000/hour additional fee for any events after 3 a.m. We may also require additional security for events of that nature.

Merchandise: Merch rate is 20% they sell. We can provide a seller with advance notice and will keep 30% of sales. The outside promoter will receive no revenue from the merchandise as that is the prerogative of the house. House keeps a percentage of all transactions.

Tickets: All tickets must be placed through the venue onto the Cascade Tickets system. All comps, label buys, and holds must be approved by the venue. There is a $2/ticket venue fee at the Box Office.

Refunds: All refunds will be directed to the outside promoter. In the absence of an outside promoter representative, the venue shall use its own discretion regarding refunds and all refunds shall be deducted from settlement.

Insurance and Licenses: Renter must provide liability insurance not less than $1,000,000 for any single occurrence naming McMenamins Inc. d.b.a. Crystal Ballroom as additionally insured. Tickets will not be placed on sale until binder is received. Promoter is responsible for all ASCAP, BMI, and SESAC fees.

Production Advance: Performers or their representative must contact venue's production manager 5 days prior to the event in order to advance production needs, otherwise runner will arrive at 6 p.m. and all rider items/requests will be greatly limited if provided at all.

Layout: The Crystal Ballroom is located on the 3rd floor. The first floor is Ringlers Restaurant and the 2nd floor is Lola's Room, both of which may have a public or private event simultaneously with the Crystal.

Cancellation/Postponement: The contract covers the specified event for the specified date. No substitution will be accepted for a cancellation. If the event is postponed the room deposit will be transferred to the date of the new event but the $2,500 'UPF' will be applied toward the date of the originally scheduled show and an additional $2,500 will be required in order to reschedule.

Capacity: The venue's capacity is 1500*. All artist and promoter guests and comps will be deducted from sellable. Comp and guest space must be reserved in advance. House is entitled to 20 guests. House guests will not effect sellable. Promoter must have guest list to house no later than 2 hours prior to doors. VIP cap is 25.

* Seated capacity is 850. Seated shows must be 21 and over. There is a $2/chair rental fee.

Venue and corporate sponsor banners may be present during event.

Marketing your event at the Crystal Ballroom

Please contact Mike Walker for information about marketing your event through McMenamins resources.

Box Office

Please note! Both the Crystal Ballroom and Lola's Room specialize in open-floor shows with a very limited amount of seats. The rare seated events will be clearly denoted as such, within the event description on our schedule page.

Box Office Information

Tickets for all McMenamins shows are ticketed by Cascade Tickets, and may be purchased at the Crystal box office (located under the Crystal's awning) and McMenamins Edgefield, by phone at 1-855-CAS-TIXX, or by clicking the "Buy Tickets" link located at the event listing on our schedules.

Tickets bought directly at the Crystal box office or any of our four ticket outlets will only incur a $1 facility charge. (Please note! Tickets to Edgefield Concerts on the Lawn will incur additional service fees.)

Crystal Ballroom Box Office Hours 
Daily, 11:30 a.m. to 6 p.m.
The box office is open later on nights when there is a performance.

The box office accepts cash, VISA, MasterCard, American Express and DiscoverCard.

Will Call

Will call is located at the box office.

Refunds

All ticket purchases are non-refundable.

Parking

There are three pay lots nearby, and street parking is available.

Accessibility

Those with disabilities may call (503 225 0047) or email in advance to arrange early admittance.

There is an elevator located in the lobby.

Hold your Private Event at Crystal Ballroom

Weddings  Meetings  Social Events

The Crystal Ballroom is a truly awe-inspiring venue with its vaulted ceilings, grand chandeliers, giant wallscapes and famous "floating" dance floor. Accommodating groups from 100 to 1000 people, this 7,500-square-foot space includes access to the Ballroom's classic corner stage, floor-to-ceiling windows, swooping balcony, and full bar service.

Tucked in the Crystal’s second story is Lola’s Room accommodating events of up to 200 guests.  Lola’s comes with a handsome fully stocked bar, original artwork, and a floating dance floor all it’s own.

For overnight accommodations, our Crystal Hotel is just a block away!

Contact our sales team to inquire or book your event.
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Art

Artwork plays an important role in the character of McMenamins locations throughout Oregon and Washington. We believe art makes life richer and more enjoyable. So, you'll often find paintings covering our walls, ceilings doors, overhead pipes, and equipment -- works as diverse and entertaining as our places for family and friends. Many artists have contributed to this vast variety of delightful eye candy. Jump in and enjoy some now!

History

 

 

Explore the Crystal Blocks

Our Crystal Hotel and legendary Crystal Ballroom are just across the street from each other, each offering their own unique spaces for live music, Northwest style fare and McMenamins hand crafted beverages.  Explore these properties and all they have to offer. 

Crystal Ballroom Property

Crystal Ballroom  Lola's Room  Ringlers Pub  Crystal Brewery

Crystal Hotel Property

Crystal Hotel  Al's Den  Ringlers Annex  Zeus Cafe

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