Vortex VIP Festival Pass, Dwight Yoakam

Presented By Wichita Festivals, Inc.

Vortex VIP Festival Pass

Dwight Yoakam

Pokey Lafarge, Lindi Ortega, Carrie Nation & the Speakeasy, Moreland & Arbuckle, Cherokee Maidens, Fast Food Junkies, Julian Davis & The Hayburners, Urban Pioneers

Fri · August 4, 2017 - Sat · August 5, 2017

Doors: 3:00 pm / Show: 4:00 pm


Off Sale

Vortex VIP Festival Pass
Vortex VIP Festival Pass
Includes general admission festival pass.
Access to VIP viewing area.
Access to private VIP full bar.
Camping and Pancake Pack-Up Party passes are sold separately.
Dwight Yoakam
Dwight Yoakam
Looking at the title of Dwight Yoakam's new album, Swimmin' Pools, Movie Stars…, you might see a cheeky nod to the name of the debut album that put him on the map three decades ago, Guitars, Cadillacs, Etc., Etc. And he even reprises the title track of that groundbreaking album on his new effort for a 30th anniversary salute. But he's hardly resurrecting the style of that freshman album. Instead, he is recasting some of his greatest songs (plus Prince's "Purple Rain") in an acoustic mountain-music vein.

Bluegrass "has always been, as Glenn Frey would say, whispering in my other ear," Yoakam says. "I hope we did justice to the legacy of that genre and kept the spirit of reckless abandon. When you look back on the '30s and '40s, the bluegrassers were considered the wild men in music – on the white side of culture, with of course R&B and jump blues on the black side. Bluegrass was rock and roll, before there was such an animal. Hopefully we have that spirit in this."

The seed for this project might have been planted long ago by one of the greats of the genre. "In deference to his recent passing, I need to mention that the first person who ever mentioned it to me was Ralph Stanley," Yoakam says. "In the early '90s, I went in and recorded with Ralph around two Norman microphones with the live bluegrass band that was the Clinch Mountain Boys at that time," when Stanley had asked him to come in and record a duet of "Miner's Prayer," a song from Yoakam's first album. "And he looked at me after we finished doing 'Miner's Prayer' and said, 'Me and the band think you ought to think about being a bluegrass singer.' I said, 'Well, I guess my birth certificate gives me some credentials to own the holler that I was living in the first couple years of my life…'"

Of course, Yoakam went from living in rural southeast Kentucky – just across the Virginia state line from the area that produced the Carter Family and Stanley Brothers – to finally going west and reviving the California country sound. His legacy over the last three decades includes 10 gold, platinum, or triple-platinum albums, 14 top 10 Billboard hits, and honors from the Grammys, CMAs, ACMs, and the Artist of the Year honor from the Americana Music Awards, proving his enduring appeal in the alt-country world as well as the mainstream. He was at the forefront of the neo-traditionalist movement that many fans and critics think saved country music in the late '80s and '90s.

But he never pulled anywhere near as traditionalist a move as he pulls with Swimmin' Pools, Movie Stars… Or is it? As he says, "Let's wait a minute and — wee doggies! — see what we did to it." He sees a line connecting the new album with the cowpunk movement he was part of in the 1980s on the L.A. club scene. "Back then, we were letting it rip, doing Bill Monroe music, and that was so long gone at that point, it sounded like rock and roll. So maybe it's full circle, from there to the last couple of albums" – including his last effort, 2015's Second Hand Heart – "in terms of the emotional expression of energy."

The initial tracking took place over four days in Nashville with a core of all-star players that Yoakam describes as "part of Alison Krauss' Union Station band colliding with the remnants of the Soggy Bottom band." The ensemble included guitarist Bryan Sutton, fiddler Stuart Duncan, bassist Barry Bales, mandolin player Adam Steffey, and banjo player Scott Vestal, under the production oversight of Gary Paczosa (another Krauss veteran) and Jon Randall (the co-writer of country hits like "Whiskey Lullaby"). "And then I threw a hillbilly version of the Beach Boys at it with my harmony vocals. But that core bunch of players there in Nashville for those four days was a really fortuitous vortex, with those guys responding to what I wanted to do and me saying, 'Look, let's leave it loose and ragged at times. Rock and roll got some of its swagger from bluegrass. Let's go back there and show some of that swagger if we can.'"

The new album is a one-off for the Sugar Hill label, as "Warner Bros. graciously allowed me to take this year off in terms of delivering my next studio album for them to do this project, because they knew it was a passion project for me." The initial concept was that it would be a covers album, before it ended up being an album of Yoakam covering himself. When his two producers came in for a meeting one day to go over song choices, he recalls them saying, "You know, we started listening to your catalog, and we found songs where we thought, 'Wow, that was never a single. Nobody ever heard that. Should we do that with him?'" In the end, he says, "I let them come to me with titles that they liked. I didn't really pick; they did. We ended up with 11 tracks that had been on my earlier albums, but only two, 'Guitars, Cadillacs' and 'Please, Please Baby,' were ever hits. I don't know if 'obscure' is the word for these songs – people that had my albums have come across them – but they're the tracks that were songs less traveled. And the songs feel new for me."

The one non-Yoakam oldie was a fluke. Prince passed away two days into the Nashville sessions, and the emotion of the moment led Yoakam to try a pass at "Purple Rain" in the studio that afternoon. He still remembers what block he was driving down in Hollywood in 1984 when he heard the song come on the radio, when he was driving airfreight and working on his first indie EP, "and hearing that come on stopped my in my El Camino right there." Within a couple of years, he was at Warner Bros., working with Lenny Waronker, the same exec who signed Prince, and clearly a lover of iconoclasts in any genre. It was Waronker, still a friend and mentor, who convinced Yoakam that he had to put "Purple Rain" on Swimmin' Pools, Movie Stars… when the singer wasn't sure whether it was all about the emotion of that April afternoon or whether they'd come up with a genuinely great track.

As always, Yoakam has plenty of other irons in the fire, somehow juggling his seemingly nonstop touring and acting schedules. He just wrapped work on producer David E. Kelley's new TV series, Goliath, with Billy Bob Thornton, William Hurt and Maria Bello; it premieres on Amazon Oct. 13. On the music front, he recently indulged in "a bit of mischief" by joining Jack White for a day at the Third Man studio in Nashville to cut a one-off vinyl single for White's label.

If you're still wondering about the title of Swimmin' Pools, Movie Stars…, and how Yoakam came to choose something as unlikely as that for the name of an album that harks back to Yoakam's Kentucky roots… well, yes, it is as flippant as it sounds. But in another sense, for someone who's as much of a musical historian as Yoakam, it's completely serious.

"It's tongue in cheek," he says, "because the album started in Nashville, and ended up in… well, you know, California is the place you oughta be!" (He did the final vocal sessions in some of L.A.'s more historic studios.) "But also, I thought, well, I'm gonna give a wink back to Flatt and Scruggs and Jimmy Martin and everybody who came out here. This album really is that hybrid expression of a journey — and it's the American journey. It's the Dust Bowl '30s era blowing colloquial music out to California with all the Okie/Arkie/Texan migrants. Folks from Kansas and Nebraska and the plains all ended up out here and brought with 'em their cultural elements. Without that, you don't have Buck Owens out here, and you don't have Merle Haggard." And you certainly wouldn't have the émigré that most roots enthusiasts would crown the reigning king of California country, Dwight Yoakam.
Pokey Lafarge
Pokey Lafarge
"It really feels like I'm taking a big step forward on this one," Pokey LaFarge says of Something in the Water, his seventh album and his Rounder debut. "While we were recording it, I kept thinking, 'Hey, we're really onto something here.'"
Indeed, the dozen-song set marks a new landmark in a career that's already filled with musical highlights. The St. Louis-based singer, songwriter, and multi-instrumentalist draws from a deep well of American musical traditions to create distinctively personal music that's timeless rather than retro, transcending the confines of genre in a manner that reflects the artist's openhearted attitude.
Incorporating elements of early jazz, ragtime, country blues, Western swing, and beyond, LaFarge has created a vibrant, deeply expressive body of work that embodies an expansive musical vision and vivid storytelling sensibility that are wholly his own. He's also earned a reputation as a tireless, uniquely charismatic live performer, winning a loyal international fan base that regularly packs his rousing, celebratory live shows.
Since he began recording in 2006, Pokey has maintained an indefatigable work ethic that's yielded a wealth of compelling music. After making a grass-roots splash with his self-released debut album Marmalade and moonlighting as mandolinist with the Hackensaw Boys, he continued to gain notoriety with his widely acclaimed longplayers Beat, Move, and Shake, Riverboat Soul and Middle of Everywhere—the latter two were both named Best Americana Album by the Independent Music Awards—and the concert set Live In Holland.
Longstanding admirer Jack White added LaFarge to the roster of White's Third Man label for the 2011 EP Chittlin' Cookin' Time in Cheatham County (which White produced) and the 2013 album Pokey LaFarge, as well as enlisting Pokey as opening act on the North American tour in support of White's Blunderbuss album. Also in 2013, Pokey was featured on the soundtrack of HBO's Boardwalk Empire, performing the jazz standard "Lovesick Blues" with Vince Giordano's Nighthawks. 2014 was LaFarge's busiest year yet, with the hard-working artist performing on five continents, including tours in India, Australia and New Zealand as well as extensive roadwork in the United States, Canada, UK, Ireland, and The Netherlands.
Something in the Water finds the artist doubling down on his established creative strengths, expanding and deepening his musical reach on such new originals as the wry, rollicking title track, the swaggering ragtime workout "Wanna Be Your Man," the infectiously jazzy "Underground," the evocative instrumental "Cairo, Illinois," the exotic ballad "Barcelona" and the swinging album-closer "Knocking the Dust off the Rust Belt Tonight," whose witty lyrics underline the album's proudly Midwestern sensibility. Also featured are fresh, buoyant takes on popular blues standards "When Did You Leave Heaven" and "All Night Long."
"The Midwest is at the heart of this record," LaFarge asserts. "The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis, and there's a certain attitude that comes across in the songs and the way that they're performed. I'm born and raised in the Midwest, and my family's been here for generations. This is where I'm from and how I think, and that's reflected in the music I make.
"Americans love to reinvent themselves, but you can never really get away from the place that you come from," he continues. "And in a globalized world, I think that there are some parts of our regional identity that we should hang onto and cherish. I do buy into that old idea of the Midwestern work ethic, and it's definitely something that's been passed down through my family and something that I feel connected to, and it influences the way I approach making music."
LaFarge teamed with kindred-spirit producer Jimmy Sutton to record Something in the Water at Chicago's Hi-Style Studio. For the occasion, he recruited a diverse cast of talented players, including his own longstanding touring combo as well as members of such notable outfits as NRBQ, the Fat Babies, the Modern Sounds, and the Western Elstons. He designed the sessions' communal recording approach to push himself creatively, while bringing several new musical elements—including the more prominent use of drums and vocal harmonies—to the table.
"I knew that I really had to challenge myself on this one, and to create a slightly different take on my music," LaFarge notes. "The Third Man album put me on the map for a lot of people, so I was conscious that I wanted to take things to the next level. One thing that I really wanted to do this time was to emphasize the groove, and I was also thinking a lot about space and about juxtaposition. The ability to work with some different people took me out of my comfort zone, and Jimmy really challenged me and pushed me into some new places. And as I felt the spirit and the camaraderie that we all had in the studio, the whole thing took on a life of its own."
The resulting album is the most powerful showcase to date for Pokey LaFarge's peerless gifts as a songwriter, performer and entertainer.
"You try to make something that's cool, something that's sexy," he observes. "But when you come down to it, you can really only make music for yourself, and I feel like this album is the first time that I was really able to do that. I'm 31 and I've been doing this for awhile, but I feel like I'm only starting to make the music that I've always wanted to make. I used to put a lot of pressure on myself when I was younger, because guys like Hank Williams and Bob Dylan and Otis Redding made so much great music when they were in their 20s. But now I feel like I no longer have that pressure, so I can just be myself."
Lindi Ortega
Lindi Ortega
There's a sign on the outskirts of town.

A buzzard sits atop it. The grass brown and parched below. It's dusty, faded, chipped at the edges, graffiti filling the empty white spaces, a bullet hole or two visible in the large, black letters that read:

Welcome to Faded Gloryville. Leave your dreams behind.

In the eyes and imagination of acclaimed Canadian singer-songwriter Lindi Ortega it's a place we've all been, we're all familiar with or will one day know all to well.

Some visit. Some stay. Some escape. Some leave only to return again.

And for Lindi, it was also the source of inspiration — in title and in spirit — for her stunning new collection of country-kissed songs that make up her fourth full-length release set to come out on new Last Gang Record imprint, The Grand Tour.

It is an album that is filled with the sights and sounds and souls of those who've found themselves in Faded Gloryville, brought to its saloons, flophouses and cheap motels by drink, by debt, by vanity, heartbreak, failure, fear or misfortune.

Her first glimpse of the place, oddly enough, was in another artistic vision, that of the Jeff Bridges film Crazy Heart, which depicts a fellow musician exiled in a similar metaphorical town, down-and-out, drunk and debasing himself and his talents for those who could care less.

"I had a moment where I thought, 'Could this be me? Could I wind up like this?' " says Lindi. "That was a very honest question to myself."

That fact, the idea that she would question that shouldn't come as much of a surprise to those familiar with the subject matter of her past work, specifically 2013's Juno Award-nominated Tin Star, considering much of it was powered by Lindi's experiences as a young, struggling artist in the equally as fabled and dream-dashing place of Nashville, where she now makes her home.

Just as it shouldn't come as much of a surprise to those familiar with her incredible gifts that the feisty, fiery and fierce force of nature had no intention of taking up permanent residency in Faded Gloryville.

It was a pitstop. She took what she needed, saw the sights, hung with the locals, and high-tailed it out of there, hitting the road to capture its essence in three very different recording sessions.

The first two were with producers familiar to her work, Dave Cobb who was behind the boards for Tin Star, and fellow Canadian castaway Colin Linden, who helped her realize her vision for 2012's Polaris Prize nominated Cigarettes & Truckstops.

The results of those, Lindi says, should be pleasing to those many fans who've discovered her over the years, fallen hard for her own unique take on the torch and twang of her country influences such as Hank Williams, Patsy Cline, Johnny Cash and Loretta Lynn that has taken her around the world to enthusiastic audiences everywhere.

The final session, though, was one that took her in a somewhat different direction, towards a more Muscle Shoals sound utilized by those that came before her such as Solomon Burke, Ray Charles, Otis Redding, Sam Cooke — artists she expresses an affinity and fondness for.

Helping her navigate the new terrain were John Paul White from The Civil Wars and Ben Tanner from the Alabama Shakes, who co-produced in their studio in the deep south what Lindi describes as three of the album's more "soulful tunes."

"I feel like country music, itself, is all encompassing. There are different facets of it," Lindi explains."And I love all of it, and I've always wanted to explore all sounds country-wise. I've explored bluegrass, I've explored outlaw country, I've explored classic country. And now I'm exploring this vibe. Maybe it isn't necessarily country but it's connected to the south. So I feel that it makes sense."

And despite the three different directions Lindi took in the recording process, together, the nine originals and a heartfelt cover of the Bee Gees' classic "To Love Somebody", do all make sense, delivering what is the singer-songwriter's most assured, varied and engaging release to date.

It features everything from barnburner songs and the good ol' foot-stomping, toe-tapping numbers to the ballads that Lindi has made her calling card, all delivered with an energy and emotional investment that makes them utterly her own.

And, of course, wrapped up in those fashionably tattered yet toney musical threads are the tales of those long-time denizens of Faded Gloryville, delivered with a remarkable amount of smarts, heart and humour.

"There ain't no stars in Faded Gloryville," she croons on the title cut. "We've chased our dreams into the ground/If disillusion has some hope to kill/Here nobody wears a crown."And here's where you'll find the downtrodden and forgotten, the sinners and saintless, the jaded and jaundiced.

There's Cheech & Chong-esque enabler couple in "Run Down Neighborhood", whose derelict dates are down to the local convenience store.

There's the victim of addiction in "Run Amuck", who learns the hard way that, "When you run with the Devil you burn everything you touch/Bridges and money and everyone you love."

And here, too, is the very Lindi-like subject of affection in the song "I Ain't That Girl", who warns her would-be suitor that his money, status and Mercedes convertible aren't going to get the job done: "Ain't gonna tell you any lies/I've got a thing for long-haired guys/You're too clean-cut with polished shoes/I like 'em rugged with tattoos."

These are just some of those that find themselves in that town where dreams are left behind and all but forgotten. They may be those we know. They may be us. They may one day be.

But lest you think that the album is one with no hope, an obituary for those who find themselves at the outskirts and on their way into a life from which there is no return, Lindi points to the opening song "Ashes", which speaks of rising, Phoenix-like, out of that heartbreak and despair and finding oneself, evolving into something more. Ultimately this story, her story, everyone's story can and should be one of redemption.

"I always look at it like in order to get to Paradise you have to travel through Faded Gloryville," she says.

Carrie Nation & the Speakeasy
Carrie Nation & the Speakeasy
Carrie Nation & the Speakeasy is a high energy, acoustic brass n grass 5-piece from Wichita, KS. The band, whose sound has been described as "…a stagecoach in overdrive", has brought their eclectic blend of punk, bluegrass, and dixieland to packed bars, basements, and festivals across the US since their inception in the spring of 2007.

With a lineup of great musicians, the band's live show is never the same twice. Brothers Jarrod and Zachary Starling provide acoustic guitar and drums/washboard, along with Brody Wellman on standup bass to round out the rhythm section. Garret Briggeman (Dewayne Bro.'s, The Deedles) adds 5-string and tenor banjo to the mix, while Reverend Aaron Morris (The Band That Saved The World, Fuzz Nasty, SUNU, Bastard Squad, Blackout Drunks) adds a taste of New Orleans on the trumpet. Tyler Grubb holds down double solo duties, playing both mandolin and trombone. This blend of influences and musicality ensure a unique and interesting show each night.

Reverend Aaron Morris
Reverend Aaron Morris
CNS plays 250+ dates a year in 40 states(with a 2015 Europe tour coming up!), and has built a following with their energetic live show and ability to fit on the bill with acts ranging from bluegrass to rockabilly; punk to ska. Breakneck mandolin solos melt into blaring trombone and trumpet lines, while the standup bass and feed bucket trap set churn out driving rhythms that carry the force of a Kansas freight train.

Zach Starling
Zach Starling
Thoughtful songwriting that explores deeper, more interesting themes is what sets this band apart from the multitudes of acts content with singing about Whiskey and Women. From social satire to labor union songs to Civil War Ballads to existential journeys that explore life, death, despair, and indulgence, CNS's songs will provoke thought, incite riots, and lure your children into a life of travel and debauchery.

Jarrod Starling
Jarrod Starling
The band's DIY mentality is shown through their self-recorded albums, self-published music, self-booked tours, and a community of local and regional visual artists that show the band's distinctly grassroots approach. CNS has been pounding the highways and byways of this great country for 5 years now, bringing their songs and stories to thousands. Always providing a high energy, drink'em down atmosphere to any place they play, CNS has proven a dedication to their live shows with a solid understanding of what entertainment really means.
Moreland & Arbuckle
Moreland & Arbuckle
"Raw, dirty, primal and infectious…sizzling guitar, sturdy vocals and rude harmonica" –USA Today

"Deeply satisfying...gritty soul and blues with garage overtones and fire-and-brimstone vocals" –Living Blues

Guitarist Aaron Moreland—co-founder of the groundbreaking Kansas-based trio Moreland & Arbuckle—describes their music as "gritty blues and roots rock from the heartland." Moreland, along with harmonicist/vocalist Dustin Arbuckle and drummer Kendall Newby, electrify raw Delta and Mississippi Hill Country blues, folk, and traditional country with unrelenting punk rock energy washed in hard-hitting Southern soul. Their songs are expertly executed with musical muscle and fifth-gear urgency. When they perform more traditional blues, they play with the same decisive command. With each of their six previous releases, the band has grown musically and lyrically, creating a signature sound while earning a large and loyal worldwide fan base. Their legendary raw and raucous live shows are played with wild abandon. The New York Post says Moreland & Arbuckle have "a raw juke joint exuberance with a dirt-under-the fingernails garage band attack." The group's evolution continues with their Alligator Records debut Promised Land Or Bust, produced by Matt Bayles (Mastodon, Botch, The Sword). From the howling cosmic opener Take Me With You (When You Go) to the stomping Mean And Evil to the plaintive Mount Comfort, Promised Land Or Bust is a far-reaching musical showcase. The instantly-memorable, slice-of-life songs paint scenes of double-crossed lovers, women meaner than the devil, and isolated loners beaten down by careless love. According to Moreland, "The new album is consciously traditional but still has the signature drive and power that we have crafted over the past thirteen years." Moreland says signing with Alligator is a perfect fit. "One of our biggest influences ever, Hound Dog Taylor, was the very first Alligator artist. One of the reasons we have the non-traditional lineup of no bass player was inspired by listening to Hound Dog's music as we were coming up." According to Alligator president Bruce Iglauer, bringing Moreland & Arbuckle to the label known for its Genuine Houserockin' Music was an easy choice. "I've watched this band grow from talented interpreters of raw, traditional blues into creators of fresh, original roots-based songs. Live, the energy just pours out of them." Aaron Moreland was born December 16, 1974. He played in a number of garage bands while growing up and was influenced by punk music before having what he calls his "Son House moment." Hearing the blues legend's Death Letter Blues for the first time at age 22, he changed course, focusing his playing on nothing but acoustic blues for the next several years. Dustin Arbuckle was born December 25, 1981. He first discovered blues in his mid-teens and received what he refers to as "a calling. Getting into blues made me want to play music," he says. He played in blues-rock bands, inspired by Little Walter and Sonny Boy Williamson, while learning to sing with deep soul and honest authority. The two met at an open mic session in their hometown of Wichita, Kansas back in 2001 and they quickly bonded over their mutual love of blues. Less than a year later, they joined forces, their raw and energetic approach to the music melding perfectly. Soon after coming together, Moreland and Arbuckle played both as an acoustic duo and as The King Snakes, a four piece electric band. Keeping a bass player proved difficult, and they soon found they made a better sound without one, as Moreland kept the rhythm thumping on his guitar while Arbuckle took the music into overdrive with his harmonica and vocals. The band quickly became local heroes, filling clubs beyond capacity. It wasn't long before they started touring larger cities around the country, earning new fans with every performance. From their 2005 self-release Caney Valley Blues to 2013's 7 Cities on Telarc, Moreland & Arbuckle have grown from a fiery, crowd-pleasing duo to a genre-smashing three-piece band. Together, Moreland's simultaneous bass, rhythm and lead guitar work and Arbuckle's emotionally-charged harmonica and edgy vocals—driven by Newby's propulsive drumming—create a sound that is forceful enough to grab a listener's attention and nuanced enough to hold it. American Songwriter says the group's music is "swampy, sweaty and muggy...mixing a bluesy foundation with bits of country, folk and squawking American rock and roll." WNYC's Soundcheck says the band plays "gritty blues with a thoroughly contemporary bite." Over the course of their career, Moreland & Arbuckle have played hundreds of shows and have logged hundreds of thousands of road miles (recently replacing their van after driving it over 400,000 miles), performing in the United States, Canada and across Europe. In 2008 they spent 10 days in Iraq, playing for the troops. They've shared stages with ZZ Top, George Thorogood, Buddy Guy, Robert Cray and Los Lonely Boys. They'll return to the road in support of the new album, with dates in the United States, Europe and beyond. No Depression says, "These guys have kegs full of talent. Their songs will keep you driving fast and long." Now, with Promised Land Or Bust, Moreland & Arbuckle are ready to bust it all wide open. Arbuckle calls the new album "our best yet," and says, "we continue to evolve musically outside of the box we started in, but the bedrock—the blues —is always there." Moreland adds, "We consciously went back to where we started and it took us to a brand new place." That new place is clearly part of Moreland & Arbuckle's never ending musical journey. And for them and their ever-growing fan base, there's no turning back now.
Cherokee Maidens
Cherokee Maidens
"Straight as an arrow flies," as their signature song goes, The Cherokee Maidens deliver a charming, unabashedly throwback sound with their swinging self-titled debut."
- The Daily Oklahoman

These Maidens have more in common than just their Native American heritage. They share a love for old dogs, spicy Tex-Mex, crocheted pillowcases and harmonic melodies.

Young Jennifer Pettersen, teams up with Okie songbird Monica Taylor and Bartlett Arboretum steward Robin Macy to create a distinctive sound that harkens to another era. Think Bob Wills meets the Andrew Sisters.

Familiar territory for Macy, who has performed for decades with other girl groups, some more famous than others. Each Maiden is a songwriter: Taylor has been featured on Garrison Keillor's A Prairie Home Companion and Pettersen's own music videos have garnered more than 10,000 hits online. All have acclaimed recordings under their rodeo belt buckles. But it is this collective of timbre and shared passion for the past that sets them apart from the pack and unites them as a tribe. When the fabled Walnut Valley Festival came calling, they knew it was time to get serious. They headed straight for recording studios in Wellington, Wichita and Tulsa.

These ladies are backed by a troupe of crackerjack musicians, led by Kentucky White, their guitar-slinger who produced the seminal recording after careful study – making every attempt to keep the western-swing genre authentic and vintage. Twin fiddles. Lap steel. Yodel in a modal key.

All-American. Multi-generational. Time-traveled.
Fast Food Junkies
Fast Food Junkies
The Fast Food Junkies, from McPherson, Kansas, have shared an incredible chemistry since the Fall of 2004, when they first formed. In this short amount of time, they have played around 75 shows in Kansas and put out one album: 'Grumpyland'. Clint Snyder, Dave Crawford, and Landon Unruh have all come from heavy metal backgrounds to embrace a new movement: progressive bluegrass.

Landon, the incredibly speedy banjo picker, was formerly an electric guitarist while his childhood friend, Dave, played the drums with him in a metal band called 'Cyler'. About 7 years ago, Landon picked up the banjo which prompted Dave to thump out his rhythms on an upright bass. As Landon and Dave jammed on the dirt roads of the Walnut Valley Festival a couple of years ago, they met Clint, another passionate musician who tied everything together with his strong vocals, guitar playing and epic songwriting. Together, they merged into a metal-based, driving bluegrass sound with hints of country, rock, folk and definetely humor.

Fast Food Junkies have 35 original songs so far, ranging from ballads of moonshine feuds and Irish immigration to comic accounts of warped loves and the McDonald's drive thru. One song inparticular, 'To the Pimp', takes Landon's life-theatening accident and makes it a story of heroism and sacrifice. In July of 2005, Landon caught on fire working on an old derby car. Thankfully, his father was there to put the gasoline fire out with his own bare hands. They were both badly burned and Landon wondered if he would ever be able to play the banjo the same way as before. After weeks of excruciating pain from 3rd degree burns on his belly and 2nd degree burns on his arms and hands, he slowly picked the banjo with his bandaged fingers. Within a month, he was playing better than he ever. It seems the spirit of this band is only made stonger. Some of the band's favorite past gigs are Stage 5 at the Walnut Valley Festival in Winfield, KS, The Bottleneck and The Granada both in Lawrence, KS, and their hometown gig at Shaggy's. The band has just finished recording their second album with the bluegrass sensation Mike West. They are also collaborating with the Tulsa based bluegrass band, PoDank, for another album. The band's favorite influences are Alice In Chains, Old Crow Medicine Show, Mike West, Primus, and Hank Williams, Jr. One thing's for sure, good original music is the Fast Food Junkies' passion and you can hear it when they play.
Julian Davis & The Hayburners
Julian Davis & The Hayburners
Urban Pioneers
Urban Pioneers
With a lifetime of music between them and half a decade of music played together, Liz Sloan and Jared McGovern have been the backbone of some of today's greatest underground roots bands. Currently both members of Jayke Orvis and The Broken Band, the pair have shined light on many other acts such as Bob Wayne & The Outlaw Carnies and Filthy Still.

Most recently, Liz and Jared have been touring the United States and a healthy portion of Europe as the old-timey Americana act Urban Pioneers. Liz's awe-inspiring fiddle combined with Jared's claw-hammer banjo and storytelling lyrics recall the pure Appalachian sounds of yesterday, light-heartedly summed up by the band as "hillbilly music".

Now with Guido Greaserag on upright bass (we believe that to be his Christian name), the three-piece stick to their motto, "on tour now, on tour always", as they trek their way through the Northeast in support of their new album, Addicted to the Road.
Venue Information:
Keeper Of The Plains Plaza
650 N Seneca
Wichita, KS, 67203