PUEBLO, Colo. – Ryan Weaver wants you to get up for the national anthem. PBR liked that idea, and the former combat veteran’s rocking music and message so much, the league formed its own record label and has released Ryan’s first song encouraging everyone to “Get Up.” As PBR Music’s first artist, the former U.S. Army Blackhawk helicopter pilot has a poignant story matched by a passion to perform as the patriotic voice of the PBR.

Weaver, who lost his brother and brother-in-law in the Middle East, came home from war to sing about his service, his loss and his continuing love of country. He will make his PBR debut at World Finals as musical headliner on Nov 4 and 5 with a debut EP, Celebrate America, available to fans. All CD sale proceeds on the days Ryan performs will go directly to the Border Patrol Foundation. Forming its own music label is the latest incarnation of the PBR’s music strategy, demonstrating the crucial role sound and music plays in setting the bull-riding scene and rousing the crowd. When Jess Lockwood is in the steel chute on top of a quivering bull taking his wrap to the booming strains of Wiz Khaifia’s “Black and Yellow,” fans can seemingly cut the airborne testosterone with a knife. The PBR soundtrack builds drama, gets fans on their feet, and gives them comic relief.

No two shows are alike. While Joan Jett, Bon Jovi and Flint Rasmussen singing “Sweet Caroline” are staples across the tour, Biggie Smalls only pumps loud in New York and Anaheim. Places like Billings, Sioux Falls and Thackerville would instead get Keith Urban.

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On the PBR tour, city to city, venue to venue, each “room” as the audio engineers call it, has to be tuned differently. Chief Audio Engineer Brady Schwarz has to custom mix the mics, because the spoken word from arena announcers Matt West, Clint Adkins, and Brandon Bates, along with Rasmussen’s comedy, is competing with the rock, country and hip hop blasting all night long. Eagles Long Road Out Of Eden Rarlab. The Dame Was Loaded Iso there. PBR is not about to mess around with someone else’s system to get the sound right. The league brings in its own hardware.

And boy, do they bring it — a thunderous 320,000 watts at the average Built Ford Tough Series arena, courtesy of 11,000 pounds of speakers trucked in each week by the traveling production team. “Sound is everything,” PBR Music Director Marc Stephenson says. “With enough sound, you can take the crowd in different directions.” Stephenson can’t afford tinny or muffled chords when George Thorogood’s Gibson slams into “Bad to the Bone” signaling the arrival of J.B. Mauney into the chute. Every rider is now getting an identifiable walk up song – helping set up unforgettable moments bound to happen.