Odessa, TX (February 3, 2026)—Treaty Oak Revival is having a rock ‘n’ roll moment. Right now. Over the past five years, the guitar-driven, drum-pounding band has toured relentlessly, self-released singles, EPs and albums, built an audience of 29 million streams a week, appeared on Jimmy Kimmel Live, made its Grand Ole Opry and Ryman debuts, played Stagecoach, Lollapalooza and Bonnaroo, and, with the release of its third studio album, West Texas Degenerate, in late November, opened at Number One on Billboard’s Top Rock Albums and Americana/Folk Albums charts. Topping it all off, tickets are nearly sold out for the group’s just-announced 2026 headlining tour.
It’s been a wild ride for the five-piece band of friends and family from Odessa, Texas, and they’ve earned every bit of it. When they got together back in 2020—with songwriter Sam Canty on vocals, Jeremiah Vanley (uncle) and Lance Vanley (nephew) on guitars, Cody Holloway on drums and Dakota Hernandez on bass—their goal was to simply put on the best live show possible for their fans. The result was rock, country, punk, screaming guitars and songs that reflected the boom and bust mentality of their hometown, filled with the grit and reality of a life lived on the edge of poverty, parties, booze, drugs, crime, oil fields, hard work and the everyday dirt of the small-town West Texas prairies.
The band’s first release, No Vacancy (2021), was recorded in a local Odessa studio, Switchblade, by Zac Edwards. It was essentially a studio in a living room, and it was all-new to Treaty Oak Revival.
“At that time, we didn’t have a lot of money— or really any money,” says Lance Vanley. “We pretty much pooled our own money together to pay for studio time, and we don’t know how many hours this is gonna take us. We’ve never recorded a record, and we’ve got nine, ten songs. We found Zac, and he had a lot more gear than we had. Not a little bit; he had a lot more gear than we had. Then it was a three-month process of recording ’cause we had to do it on Saturday and Sunday afternoons. We all had full-time jobs.”
Logan Murphy, a friend of the Vanleys then living in Kansas City and now in Nashville, mixed and mastered the album and gave them a “good price.” All-in, Vanley says, No Vacancy cost the band about $5,000.
The second album, Have a Nice Day (2023), started out much the same way, but about halfway through, they decided to bring in producer/engineer Taylor Kimball, who had reached out to them after seeing them live and hearing the first record, to help out on drums and vocals. Kimball, in turn, brought them to The SoundBank Studios in Talco, a small town in East Texas, where he had recently set up shop.
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“We went to Taylor because we wanted to get a solid drum recording, a recording of the drum kit that sounded live,” Lance Vanley explains. “On the first and second record, we might have five mics on the kit versus 12 to 20 mics. It’s not to say that you need all that or that more is better; it’s just that we’re in a much bigger room now than we ever used to be, and we’re able to grab these different room mic placements, like hanging one outside the live room in the hallway, you know. All these things that just give us more textures and options down the road.”
Kimball would go on to mix Have a Nice Day, and when it came time to start writing and rehearsing the songs for West Texas Degenerate, he was brought in as co-producer. “I guess they were happy with how it sounded,” Kimball laughs, “so they asked me to produce the next two records. The first was Talco Tapes, which is a live-in-studio, stripped-down version of their songs, and then this record. When they got here, I had them set up live on the floor because they are very much a live band and I wanted to keep as much of that sound as possible while also kind of stepping it up a notch.”
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The band went to SoundBank in late 2024 with the first two songs for the album, “Bad State of Mind” and “Happy Face,” then returned in January 2025 to track six more, most of them fully fleshed out, a couple others worked up with all five, plus Kimball, in the room in the studio. It was clear from the start that they knew what they wanted—that they wanted to rock.
