In this hyper-speed, fast paced society, we’re overwhelmed with stimulus on the daily. Bombarded by spam email preaching the next revolution in penile growth, enslaved by our iPhones and Blackberries, inundated by the Billy Mays’ of our lives that tell us we need the latest blanket with sleeves; it’s hard to sift through what’s important . In Wichita, we are certainly not exempt to this modern-day overload phenomenon. Just log onto Facebook and check your events section; pick up your copy of NakedCity and see what’s happening. Until cloning becomes a reality, face it, you’ve got some tough choices to make when it comes to your time.
For Wichita hip hop fans, the internal conflict of where to devote our attention has been a welcome problem in recent times. For years ICT’s urban music scene has been much like an anthill: just a few artists on the surface, but an entire empire building underground. Well, Wichita, the anthill’s been kicked open and it’s time to let the ants have their picnic. An army of talented emcees, singers, musicians, producers, DJs, promoters, and organizations has taking the hip-hop movement in the Midwest by storm.
Those who’ve been along for the revolution will tell you that it’s an overwhelming, empowering experience. Wichita artist FourTre speaks on the recent climate change in the hip-hop scene:
“[It] means the world to me, because, finally, there’s a larger group of people doing the same things I love to do. It’s a great thing to say you’re from the Dub and be able to list off a number of quality artists here. It’s incredible; look at the number of venues hip-hop is playing at! We’re finally able to shake the stigma of violence and negativity that the local scene has been stuck with since the 90s. It’s a great time to be active in the Dub right now and heal those wounds that Wichita’s hip-hop scene has been scarred with.”
His sentiments are shared with scene members and fans alike. There was a time when local hip-hop events were a rarity, a time KaeWun and Twansac were the only hometown names on the radio, and a time when the scene was practically non-existent. Mind you, there are some die-hard veterans who’ve been making music, putting on events, and making contributions in this city for years. The remarkable differences between now and then lie in two things: exposure and unity.
The parallel between exposure and unity in Wichita’s hip-hop scene begs the age-old “chicken or egg” question. There isn’t an exact distinction as to which came first, but most would argue that the exposure sparked the unity. As hip-hop professionals and enthusiasts have become more visible to each other, this great realization of “Hey, I’m not the only one doing this!” has brought people out of the woodwork, creating the most unlikely collaborations and situations.
So what’s responsible for this sudden boom in visibility, exposure, and unity?
Since the beginning of this hip-hop renaissance, media segments like Cash Hollistah’s The Cypher Show—a television and Youtube show featuring Kansas emcees delivering mind-blowing free-verse/freestyle lines—and FourTre’s The Morning Blunt, Youtube segment (one-on-one artist interviews) have made Kansas hip-hop history and gained huge followings. The Kansas DJs have been hugely instrumental in giving local talent a voice: lobbying for artists, earning them nation-wide exposure through mix shows and mix-tapes, spinning them in the clubs, and providing connections, resources, and opportunities.
Thanks to increasing respect and demand from venues, club performances and concert series have arguably made some of the biggest impact locally. Former clubs like Groove and Everest, and Club Bedz are just a few that have housed some memorable local artist events. These events have been central gatherings for all kinds of
creative minds and fans, and have earned an eclectic following.
With an incredible amount of accomplishment and support in the scene, it’s impossible to touch on everything that’s come to fruition within the last year or so alone, but it’s safe to say that what we’re dealing with here is a unique and special moment in Wichita’s history. Emcees, singers, producers, and musicians have stepped out of the shadows, fueled with what could be argued as an unprecedented sense of hope and hunger. Support for the movement is growing, and the dedication is deep. One thing is certainly clear: Wichita hip-hop is one of those things you’re about to be inundated with, and it’s one stimulus you need to experience.

photo >KARL LAMBERTE

How would you describe this film to someone who has not seen it or is not familiar with Gooding?
One guy told me, “It’s like David Lynch meets True Blood.”  I probably would tell people that it’s [a] long form music video for the rock band Gooding and then leave it at that… I know it’s a weird little film, and I accept that people are either going to like it or hate it. I have said to some people, “Michael Jackson had Thriller, Lady Gaga has Telephone, and now Gooding has No One Gets Out Alive.”  (Sorry, Gooding doesn’t dance as well as MJ or Gaga by the way.)
How did this project start? Did you have a vision and then Gooding came along, or did Gooding approach you before you developed the concept?
I’m an extremely close friend of Gooding, and he always sends me the rough tracks of songs for his upcoming albums/CDs.  And I was definitely a huge fan of the song No One Gets Out Alive from the beginning and pushed for it to be on the album. Anyway, I was out visiting Gooding last fall in L.A. and he asked me to do a music video for one of the songs off his new album, The Return.  At first I told him I didn’t think I would have time because I was planning on starting production on my first feature film… [but] my feature film was a vampire film, and I always said the lyrics to No One Gets Out Alive would fit well with [it]; and I could always see the song being used during the closing credits. So, Gooding said, “You’re doing No One Gets Out Alive, because you’re the one that fought for that song.”  So, some of the elements from my feature film script worked their way into Gooding: No One Gets Out Alive.”
Where was this filmed and how long did it take?
All of this was shot in Wichita.  We shot [it] in my bedroom, my living room, my Mom’s house, and a large chunk of it was shot in an old elementary school. And we shot on some random streets around Wichita also.
We started shooting in February and wrapped in June… we did a lot of shooting for just 16 minutes.
Were there any unseen complications?
In filmmaking there’s always unseen complications.  We blew breakers, set off fire alarms, had security guards run us off, [had] people on the set butting heads, but you always have to take it in stride and just move forward. The final film is always the goal and (as the director) you have to find a way to keep it together and get this sometimes-dysfunctional family to the finish line. It’s a gigantic juggling act, and as Rod Pocowatchit has said, “Filmmaking is not
for wimps.”
The actors you had in this were amazing. How did you find them?
Rod Pocowatchit is a very close friend of mine and I’ve had small parts in most of his films, including his zombie film, The Dead Can’t Dance, in which I played the lead zombie. Rod actually play[ed] 3 roles in my film; he plays Cowboy, one of the Reds (the red masked guys), and one of the Whites (the white robed guys with the half-
red masks).
Besides Rod, the two main stars in this film are Casondra Twitchell and Ryan Johnson. I met them on the set of The Dead Can’t Dance. They were zombie extras and we got to talking. They had said to me that they were interested in acting in any of my upcoming film projects. I’m big on “getting a vibe” off of people and Ryan and Casondra seemed so sincerely nice and humble…. I was instantly drawn to them (plus they are engaged to each other in real life, so that helps in their “chemistry” on screen).  So, when it came time for me to start thinking about the concept of the film… I thought of Casondra and Ryan. I was a little nervous because I didn’t know them at all and they could have turned out to be flaky or just crazy, but they turned out to be so awesome, hard working, and fun to be around, which is why I’m writing another feature length script based around the two of them as the leads.
Ryan also play[ed] 3 characters in this film. He’s the guy in bed with Casondra at the beginning, one of the Whites, and one of the Reds (the one with the sweet dance moves, by the way).
The 3 of them almost covered all the roles, and they were so awesome throughout all my crazy ideas and costumes. We did use Jamie Sumner, an old friend of Gooding, and Jesse as the “Large White” that carries Gooding. He was awesome and a very good sport, considering I had him dress in hot white plastic and carry Gooding all over the place.  And my bother El stepped in as one of the Whites during the Gooding stage performance.
Do you anticipate working with Gooding in the
future and if so then any ideas on what?
I have done the art and design for 15 of Gooding’s albums/CDs, including posters, logos, shirts, etc. So, we have been working together a long time, and will continue to for a long time. We have spent many hours talking and fantasizing about life and artistic endeavors. He’s like a brother to me and I always look forward to seeing what he and the guys in his band come up with next.
To view behind-the-scenes video, visit

http://www.nakedcity.tv.

To view additional photos and some of the storyboards, visit http://www.artbrutfilm.com.

What does it mean to be voracious listener of music? Is it a constant exploration into the future and past, a sense of urgency to know and understand every small nuance of what drove the artist to create and assimilate tones and melodies, or is it just a way for a teenage boy to find something to talk about with girls? It can be some of those things for most people, but for Jedd Beaudoin that would probably just be scratching the surface.
Jedd is one of the busiest and musically well-read guys in Wichita that I know. He moved here from the upper Midwest in August of 1998 in order to get his MFA in Creative Writing. 12 years later, Jedd is an English Comp instructor at BCCC, getting his masters in Public History, host of Wichita Sessions on KPTS, and most importantly is employed at KMUW 89.1 as host and producer of the newly expanded Strange Currency.
From early on in his life, Jedd was more than just a fan of music; it was something that consumed him and helped in his early development:
“I can remember being 4 years old and having my brother show me how to use his record player. I would just sit there for hours and listen to music while he was at work. I even started to lean how to read by memorizing album labels and song lists.”
With that seed planted early on in his life, Jedd would work tirelessly to find music and people with common tastes to help explore his passion, from befriending the guy in high school with a Slayer patch to understanding that a group of guys in upper Michigan could put out a record on their own and have it played on the radio. He came to the understanding that there are artists from all around that people don’t have to rely upon mainstream avenues to discover:
“Local music is important and shedding a light on that is important, [in order] to let people know… what great bands Wichita has and that they are rubbing elbows with some extremely talented people.”
Jedd’s show Strange Currency is based around the idea of music as a passport, the kind of thing that can help you find commonalities with other people, start friendships, or give you something to talk about with that one gal you like. Jedd hopes to treat his show (which airs nightly on KMUW 89.1 FM from 10pm – midnight) like an evening in his living room: the kind of thing where one song or album will trigger another memory, and so on, as well as highlighting new national and local talent.
Jedd grew up in love with radio, and his show is definitely filling a long-empty void in Wichita’s radio market. Strange Currency is something that people can bend their ear to and end up transported back in time, while their eyes remain fixed upon innovative pieces of the future.

It’s safe to say that there is a divide between the contemporary worlds of classical music and popular music. That’s not to say they are necessarily in opposition to one another, it is simply the recognition that each present and cultivate their own aspects of music. Classical music has its own repertoire, its concert and recital halls, and its etiquette and traditions. Popular music also has its own genres, its own dive bars and arenas, and its own brand of etiquette and traditions. Ask 10 people at any orchestra concert or rock show if they want to be there and 9 out of 10 will probably say yes. The tenth person may just be on a date, but that’s their own fault.
In itself, the fact that both classical and popular music are successfully drawing in their respective fans is great. Each deserves to be successful, and each deserves to have a place in the larger musical landscape. The question becomes this: how much should they be commingling? How much should they cross over into one another? How many elements and influences should they share? To be sure, the presence of popular music and culture has begun to make an imprint on classical music. A significant chunk of the music that was written in the last century, going back to the likes of George Gershwin and Aaron Copland, up through John Cage, and into contemporary times has shown this influence. New ideas and themes are rapidly permeating modern composition in much the same way that they are rushing through popular music and the whole of postmodern culture. It may even be the case that sooner or later the lines of demarcation, which separate all of these genres, will fade away and we are left with an all-encompassing typology that ends musical distinctions once and for all.
There is really no way of knowing what the future of music will look like, but in the meantime let’s look to a principle of music theory which can be traced all the way back to the origins of musical composition: the play and tension between consonance and dissonance. In musical terminology, consonant tonal arrangements sound relatively smooth and stable, whereas dissonant tonal arrangements sound relatively rough and unstable. They are tightly balanced to create a current of ease and tension that maintains interest and draws the listener along to a larger end, and an analogous application of these ideas may help narrow the gap between classical and popular music. While each type has its own deserving and comfortable fan base, the question should be asked, why not stir the pot a little? Why not allow a little bit of tension into the system? If you have season tickets to the symphony, why not take the tie off and check out one of those rock & roll dive bars every once in a while? If everyone knows your name at that dive bar, why not put on a nice shirt and check out an orchestra concert? Why not be a little bit dissonant?

He could be basking in his songwriting accolades, but Jamey Johnson remains a restlessly creative maverick. Jamey is the co–writer of the CMA and ACM 2007 Song of the Year “Give It Away,” recorded by George Strait. Trace Adkins, George Jones and Joe Nichols have also recorded his songs. But instead of sitting at home counting his royalty checks, Jamey Johnson recorded more than 40 songs during the past year.

Following a deep period of isolation and introspection, Jamey emerged with That Lonesome Song, a Gold–selling, critically acclaimed collection of extraordinary compositions that is equally noteworthy for its lyrical craftsmanship and its strikingly original sound. With the emotional heat of songs such as “Angel” and “That Lonesome Song.” Turn one corner and you’ll find the dark humor of “Mowin’ Down the Roses” and “Women.” Turn another and you’ll find the soft contemplation of “The Last Cowboy” or “Place Out on the Ocean.” Jamey’s life sets the tone for the autobiographical “Stars in Alabama” and “Between Jennings and Jones.” And speaking of Waylon Jennings, Jamey pays tribute to his idol by covering “Dreaming My Dreams” and “The Door Is Always Open.”

At the heart of That Lonesome Song is a trio of great story songs. The frank lyric of “High Cost of Living” paints a dramatic portrait of a man who hits bottom and winds up in prison. “Mary Go Round” is the cautionary tale of a woman who goes through a divorce and loses her moral compass. “In Color,” the collection’s first single, is the moving depiction of a man looking back at his life in black–and–white photographs. “The album never stops,” comments Jamey. “The whole album is one lonesome song, and that’s why it’s called That Lonesome Song. Every song is lonesome in its own way, even the funny ones.”

Since its release in August 2008, the accolades have been piling up for That Lonesome Song. Jamey Johnson has played its songs for the national TV audiences of David Letterman and Jay Leno. Rolling Stone, The New York Times, The Wall Street Journal, USA Today, The Washington Post, Esquire, The Los Angeles Times and American Songwriter are just a few of the major publications that have sung his record’s praises.

Jamey Johnson 8:00 pm Friday, August 6. Doors open at 7:00 pm. Advance tickets are on sale for $26.50 at Select-a-Seat, The Cotillion, House of Sight & Sound (Salina) and the employee clubs. Tickets on the day of the show will be $29.50. For further information and to charge tickets by phone call 316-722-4201 or logon to thecotillion.com.

Mark Your Calendars for these Upcoming Events at The Cotillion…

Jul 30: Joan Armatrading Jul 31: Lamont Carlis “Old School”

Aug 6: Jamey Johnson Aug 15: Gordon Lightfoot Aug 20: Cinderella

Oct 2: Delbert McClinton Oct 5: Daniel Tosh Oct 16: Cheech & Chong

Oct 29: Asleep at the Wheel Nov 12: Black Label Society

In support of local Wichita music, KKRDONLINE.COM, KRZZONLINE.COM, FLY92WICHITA.COM and  Q1065WICHITA.COM will host FAN & LISTENER VOTING for the BEST BAND IN WICHITA on their websites.  A panel of judges will also contribute to the choice of best band, submitting scores ala “American Idol”.

Three Wichita bands will play live outside under the awning at the STEVEN SCOOTER STORE  location on the west side of the STEVEN AUTO GROUP lot,  Kellogg near Woodlawn from 2pm til 6pm Saturdays beginning this Saturday July 17th through the summer.   The public is invited to attend SUMMER JAM BATTLE OF THE BANDS, light concessions and facilities will be available.  Visitors to the Steven Auto Group lot will be encouraged to stop by, have a cold drink, hot dog and listen to some of the best Live, Local Music Wichita has to offer.

Performance slots are still available to any local band, more info is available at websites listed below.

Further information regarding “SUMMER JAM BATTLE OF THE BANDS” is available at: KKRDONLINE.COM, KRZZONLINE.COM, FLY92WICHITA.COM, Q105WICHITA.COM, as well as NAKED CITYWICHITA.COM.   Contact Event Coordinator, Roxanne C. Stuart, SMS Media at 316-734-1025 or at roxx@smsmediapartners.com.

3 times Grammy Nominated, JOAN ARMATRADING has come a long way. With 19 stunning albums to her credit and a new album “This Charming Life” in the pipe line, Joan’s subtle and sublime music has touched millions of people all over the world. Known as a true craftsman, her distinctive vocals and consummate musicianship – she has arranged as well as played every instrument, with the exception of drums on her forthcoming album – have led to unanimous, widespread and, perhaps most importantly, consistent critical acclaim. Effortlessly eclectic, her sound has ranged from true soul to sophisticated pop driven by her passionate guitar.

In musical terms Joan Armatrading has achieved far more than most performers even dream of – she has played, and still does, with some of the finest musicians around. She has received countless gold, platinum and silver discs, she has been nominated for the Brit Award she has been the recipient of a highly coveted Ivor Novello Award, and figured large in VH1’s Top 100 voted poll The Most Influential Woman In Rock. But more than that Joan has been honored by the Queen and is one of the few female artists ever to receive an MBE.

Her debut album, “Whatever’s For Us”, was produced by the late great Gus Dudgeon and written with her friend Pam Nestor. In 1974 Joan signed to A&M world-wide and the career that has followed has witnessed a plethora of classic and memorable songs – “Love and Affection”, “Down To Zero”, “Drop the Pilot”, “Me Myself I”…..Joan has worked with members of Little Feat, Fairport Convention, XTC, the Police and Bruce Springsteen’s E Street Band. Musicians such as Darryl Jones (Rolling Stones), Mark Brzezicki (Big Country), Tony Levin (King Crimson), Manu Katche (Sting), Benmont Tench (Tom Petty), Mark Knopfler and stalwart Greg Phillingames have all joined her in the studio while her list of producers is impressive – Glyn Johns, Gus Dudgeon, Steve Lillywhite, David Tickle to name but a few. The first non-jazz artist to play at London’s Ronnie Scott’s in the main room, Joan has many distinctions to her credit. A long time Ambassador and performer for the Prince’s Trust, she lends her support to various charities across the world.

“This Charming Life” is a collection of new compositions that will see Joan return to a more rock/pop format, both commercial yet also contemporary. From the anthemic opener and title track “This Charming Life,” to the hard rocking “Heading Back To New York City” and the joyous “Best Dress On,” Joan is back with an album that will appeal to fans old and new. A consummate performer, Joan Armatrading is indeed the whole package, an excellent song writer, a powerful vocalist and as a guitarist, she is certainly one of the best female players in the world.

Joan Armatrading 8:00 pm Friday, July 30. Doors open at 7:00 pm. Reserved seat advance tickets are $55.00, $45.00 and $35.00 at Select-a-Seat, The Cotillion, House of Sight & Sound (Salina) and the employee clubs. Tickets on the day of the show will be $58.00, $48.00 and $38.00. For further information and to charge tickets by phone call 316-722-4201 or logon to thecotillion.com.

Mark Your Calendars for these Upcoming Events at The Cotillion…

Jun 27: Henry Rollins Jul 1: 20th Anniversary House Party Jul 2: Saving Abel

Jul 13: Weird Al Yankovic Jul 15: Mark Chestnutt Jul 16: Adam Lambert

Jul 29: Maic Slim & The Teardrops Jul 30: Joan Armatrading Jul 31: Lamont Carlis “Old School”

Aug 6: Jamey Johnson Aug 15: Gordon Lightfoot Aug 20: Cinderella

Oct 2: Delbert McClinton Oct 5: Daniel Tosh Oct 16: Cheech & Chong

Oct 29: Asleep at the Wheel Nov 12: Black Label Society

It is the dawn of a new era in the Kottonmouth Kingdom and the Kottonmouth Kings unleashed their epic eleventh studio album “Long Live The Kings.” For the release of this epic recording, the Kottonmouth Kings have reinvented themselves yet again by adding the Dirtball, who joins the fold as a full-time member.  Powered by the machine gun attack of his motor- mouth, Dirtball injects the group with a newfound firepower that takes the group’s sound into uncharted territories. Previously a solo artist who recorded for Suburban Noize Records, Dirtball’s ability to snap off raps with jaw dropping results has forced critics to think twice about the capabilities of white rappers.

The Kings spent 8 months in the studio producing over 45 songs to create the next chapter in the ongoing legacy of the Kottonmouth Kings. The end result is the next dimension in the group’s ongoing reign as kings of the underground. “Long LiveThe Kings” kicks into high gear propelled by the bounce of the album’s lead single “Stomp”, while “Rampage” runs some sonic destruction with the Kings’ trademark rip-hop sound. As always, the Kottonmouth Kings are on the frontlines in the fight for legalization and have recorded two new stoner anthems in “Reefer Madness” and “Let’s Do Drugs”. After over a decade of being proudly independent, Kottonmouth Kings brought in two veterans of the underground to usher in the new era. Kansas City’s Tech N9ne brings the ruckus on “Party Monster”, while Detroit’s psychotic duo, Insane Clown Posse, raise their middle fingers in “Fuck The Police”. For “Long Live The Kings” the group has also written their 21-gun salute to our brothers and sisters in the Armed Forces with the track “American Made”. The track proudly acknowledges the hardships that or brothers and sisters in the military endure in defense of our country.

With the addition of the Dirtball, the Kottonmouth Kings have begun writing the next chapter in the group’s unfolding story. “Long Live The Kings” is a true testament to how innovative and creative the Kottonmouth Kings sound has become. From mind bending hip-hop, thrashy punk-rock, and melodic acoustics the Kings music has no boundaries and continues to smash all stereotypes.

Kottonmouth Kings 8:00 pm Wednesday, September 1 with special guests Authority Zero and Big B. Doors open at 7:00 pm. Advance tickets are $20.00 at Select-a-Seat, The Cotillion, House of Sight & Sound and the employee clubs. Tickets on the day of the show will be $23.00. For further information and to charge tickets by phone call 316-722-4201 or logon to thecotillion.com.

words> KRISTEN KLUCAS

This summer is the perfect time to “Shake Your Groove Thing.” Heart of America Men’s Chorus will keep you dancing in your seat with their upcoming concert, Let Music Live. Let Music Live is a concert about music and the power of song and the role it plays in our lives.

Let Music Live will be performed Saturday, July 17 at 7:00 pm and Sunday, July 18 at 4:00 pm at the Plymouth Congregational Church. To mark the conclusion of Heart of America Men’s Chorus’ successful eighth season, a cookie and punch reception will follow each performance.

Let Music Live will support Inter-Faith Ministries two homeless shelters, Inter-Faith Inn and Ti’Wiconi Safe Haven with a sock and underwear drive. Audience members should bring new men’s underwear and socks for the shelters. All sock and underwear donations must be new and in original packaging or have the sales tags still attached.

We recognize how unusual it may seem to conduct a sock and underwear drive but then, people who know Heart of America Men’s Chorus have learned to expect the unusual from this group, said Howard Webb, artistic director and conductor of the chorus.

A variety of songs will be featured in Let Music Live including: “Pure Imagination,” “Listen to the Music,” “Shake Your Groove Thing” and “Oye La Musica.” The theme of the concert was inspired by the lyrics of “Why We Sing” which has become an anthem for the Heart of America Men’s Chorus because it expresses their mission of making a difference with each note they sing by warming hearts, building relationships, inspiring change and transforming lives.

Inter-Faith Ministries provides a variety of important services in the Wichita community. “We provide shelter for the homeless, permanent support housing, food and clothing during the holiday season, and a neighborhood revitalization program with AmeriCorps members that includes community projects focused on hunger issues,” said Kathleen Webb, development director of Inter-Faith Ministries. “We see a lot of clothing donations come in but lack in men’s underwear and socks.”

“Heart of America Men’s Chorus partners with a local non-profit for each of our concerts. We’ve long had a positive relationship with Inter-Faith Ministries and saw this as an opportunity to make a tangible and much needed contribution,” said Webb.

General Admission tickets are $18 and are available from chorus members or  by calling 316-708-4837. Group rates and military discounts are available by calling 316-708-4837 or sending an e-mail to boxoffice@hoamc.org

ABOUT THE HEART OF AMERICA MEN’S CHORUS

The Heart of America Men’s Chorus began in 2002 with five members. Their purpose was to form a mens choral organization comprised of members who enjoy singing and have a strong volunteer spirit.  Now more than 45 members strong, this all-male volunteer chorus performs at Plymouth Congregational Church, the Orpheum theater, as well as at special events and dedicates a portion of every concert’s proceeds to an area non-profit organization.

Adam Lambert will embark on his first headlining tour, an audio and visual spectacular, both theatrical and atmospheric, that will give his millions of fans something they’ll love to listen to and look at. “I hope the audience will be able to escape for a few hours and fall into a world full of glam, drama and excitement,” Lambert says. “And I would love everyone to come away with a new appreciation for the music on my album.”

Adam’s debut album For Your Entertainment (19 Entertainment / RCA Records) has sold over 600,000 copies since making it’s debut at #3 on the Billboard Top 200 chart in November. Adam’s hit single “Whataya Want From Me,” written by Pink and Max Martin, became Adam’s first #1 hit on the Billboard charts, topping the Hot Singles Sales survey as well as Hot Dance Singles Sales chart. “Whataya Want From Me” has been a smash hit on many charts, including the Hot 100, Pop Songs, Adult Top 40, Adult Contemporary, Hot Digital Songs and Hot Dance Club Play. It has also become an international hit, going top 10 in Australia, Japan, Sweden and Finland and reaching #1 in Singapore.

“Adam is one of the most exciting artists I have ever seen live on stage,” says Simon Fuller, Adam Lambert’s manager and creator of American Idol. “As great as he was been on the “American Idols Live” summer shows, this tour is going to surpass anything he’s done before. I think his millions of fans will remember this tour for the rest of their lives.”

Adam’s performances on Season 8 of “American Idol” are already legendary, his live televised collaborations with Queen and KISS were a highlight of his season and his stunning performances of songs including “Mad World,” “The Tracks Of My Tears,” “Ring Of Fire” and “Whole Lotta Love” are still widely regarded as some of the most captivating moments in Idol history.

Opening for Adam on “The Glam Nation Tour” will be fellow Season 8 “American Idol” finalist Allison Iraheta. At 18, Allison Iraheta has already begun to make her mark in the music industry. After coming in fourth on Season 8 of “American Idol,” this vibrant red-haired rocker was signed to 19 Recordings/Jive Records, and released her debut album, Just Like You, this past December. Her first single, “Friday I’ll Be Over U,” quickly climbed the top 40 charts.

Adam Lambert 8:00 pm Friday, July 16 with special guests Allison Iraheta. Doors open at 7:00 pm. General Admission advance tickets are on sale for $36.50 at Select-a-Seat, The Cotillion, House of Sight & Sound and the employee clubs. Tickets on the day of the show will be $40.00. For further information and to charge tickets by phone call 316-722-4201 or logon to thecotillion.com.

Mark Your Calendars for these Upcoming Events at The Cotillion…

Jul 13: Weird Al Yankovic Jul 16: Adam Lambert Jul 30: Joan Armatrading

Jul 31: Lamont Carlis Reunion Ball Aug 6: Jamey Johnson Aug 15: Gordon Lightfoot

Aug 20: Cinderella Oct 2: Delbert McClinton Oct 29: Asleep at the Wheel