King Productions Presents


Thousand Foot Krutch, MANAFEST, Nine Lashes, KIROS

Wed, March 21, 2012

Doors: 6:00 pm / Show: 7:00 pm

$16.50 Advance - $19.50 Day of Show

This event is all ages

All seating is general admission. Table & chair seating around an open floor. Table reservations for groups of 4 or more are available for an additional charge by calling 316-722-4201.

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The epic quest of finding one’s identity might be one of the most universal themes found in the pursuit of art. The hopeless wandering replaced by the hope-filled breakthrough has been chronicled time and again in painting, sculpture, prose, poetry, film and, certainly, music.

The men who make up the rock band RED have been through those trials themselves. They’ve taken those experiences to heart, mixed them with a plethora of influences – be they observations on art they admire, or communications with fans they adore – and now burst forth with a dynamic new set of songs geared toward finding who we truly are, inside and out.

The time is now for Until We Have Faces.

“We had the title before anything else,” says RED bassist Randy Armstrong. “And we didn’t set out to make a concept record. But as I sat and listened back to the final record, it’s amazing how much of the content, pretty much unintentionally, deals directly with the title of the record. From start to finish, it’s about all the emotions people go through trying to find their identity.”

It takes some doing to meld divergent inspirational resources as author C.S. Lewis with the stylings of Sevendust and Slipknot. But that’s exactly what RED has done with Until We Have Faces – merge those ideas that inspire with experiences that inform, and craft face-meltingly driving tracks as the end result.

From the out-of-the gate relentlessness of “Feed The Machine” and “Faceless” through the roller coaster of emotion of the song cycle of “Let It Burn,” “Buried Beneath” and “Not Alone,” to the hope and comfort (even in the midst of mourning) of “Best Is Yet To Come” and “Hymn For The Missing,” RED compels the listener to walk through the fire of confusion and pain to emerge confident and strong in their identities.

Simultaneously, the members of RED – Randy Armstrong, bass; Anthony Armstrong, guitar; Michael Barnes, lead vocals and Joe Rickard (named one of 2010’s up and coming drummers” by Modern Drummer magazine) on drums– have had to go through a season of rediscovering who they were as a band, with Rickard as the newest member, both a live force and contributor to the songwriting process for Until We Have Faces.

The result of that introspection is a cleaner, more focused RED in the live space, and an injection of new energy in the writing and recording situation, as Rickard made his presence felt with authority. Many of the tracks on Until We Have Faces were based on his drum parts, with the rest of the band and production team (with producer Rob Graves again at the helm) building from them; something quite rare in the rock realm, and certainly a working departure for RED.

“Joe was writing an entire song the way he would hear it as a drummer; structure, pre-chorus, chorus, turnaround, everything,” Anthony says. “And I told him, ‘If that’s how you write, that’s how I write. If you give me your drums, I’ll write over it.’”

“There’s a symmetry to everything now,” Randy elaborates. “We’ve kinda settled into this as four guys with a very serious focus. We get on stage, and it just feels different. It’s very clean and more intense. When we started out doing this, we were punk kids who just wanted to make noise,” he continues. “Now we’re really concentrated on being a great band.”

So while the ferocity of the musical attack has been amped up, so too the emotion and messages conveyed via the songs on Until We Have Faces. The job and passion of bringing those emotions to the surface falls to vocalist Barnes, a quiet and unassuming man offstage but an undeniable force on stage and in the vocal booth.

He knows the goal: connecting those hard-earned fans with the stories being told through RED’s music. “I like to think about our audience and what they’re going to feel the first time they hear the record,” Michael says. “What are some of the emotions that may impact them? I try to get that emotional feeling stirred up inside me.”

In the making of Until We Have Faces, Barnes was charged with quickly finding his place within these songs, as accelerated recording time frames meshed with playing packed shows didn’t give the band and its oft-screaming vocalist a lot of down time.

“We had so little time to get ready, because we were all doing 10 different things at a time,” Barnes says. “One of the things I did on this record was to try to push my voice to a whole other limit. It’s a lot raspier, a lot more impactful style of singing.”

“I just remember showing up at the studio, watching Michael track,” Randy says, “and on the last record, we did all the vocals first, and the screams dead last, because we knew if we did them at the same time, Rob wasn’t going to get out of Michael what he needed. “But I’d show up some nights, and Michael would be in the midst of recording the entire song, and I told Rob a number of times that Michael sounded really strong. His stamina is there.”

“There’s one song – ‘From The Outside’ – where the timbre of my voice makes it sound like I’m about to actually lose my voice,” Barnes continues. “I did ‘Watch You Crawl’ that night, and then I sang ‘From The Outside.’ We never would have done that in the past, but I think it really adds to the emotion of that song.”

“Part of me feels like this record would not have been captured the way it was if the timeline hadn’t been as tight as it was,” Anthony says. “I feel like the time pressures made us all step up to the plate like we never had; yet another way we had to find our identity through this project.”

Another crucial aspect of RED’s overall identity is the band’s relationship with its fans. Through feedback and support received with RED’s first two Grammy nominated projects, End of Silence (6/6/06) and Innocence & Instinct (2/10/09), and the five-plus years of near-constant touring, the members knew they could reach out to the fan base for inspiration and direction for Until We Have Faces.

“When we first started writing songs for this record, we put a post on Facebook asking what our fans wanted to hear songs about,” Randy says. “We got over 1,000 responses to that, and just to see what they wanted or were struggling with was incredible.”

It’s part of that ongoing and ever-changing process of trying to find out who you are, as the circumstances and definitions of the world morph around you. And it’s in that continuous examination that new answers can continue to be found, even for a band that’s been asked the origin of its name a million times.

“People ask what the name RED means and where we came up with it; it’s a power color, a very emotional thing,” Barnes says. “And I think our music gets to the core of that. We’re really trying to flesh out and draw out those emotions that may have been stagnant or just stirring up in people.”

The thing is, the members of RED really don’t mind the questions. And they’re inviting fans to help them find the answers. They know it’s in the reaching, the yearning, the struggling, the wanting and the needing that new identity is formed, emerging forged and strong, powerful and loud.

There’s little need to wait Until We Have Faces. For that time is now.
Thousand Foot Krutch
Thousand Foot Krutch
A popular 1966 poem, "Please Hear What I'm Not Saying," begs the reader, Don't be fooled by the face I wear, for I wear a mask... I tell you everything that's really nothing, and nothing of what's everything, of what's crying within me.

In 2009, Thousand Foot Krutch takes a hard rock hammer to this universal matter of hidden emotions - confronting what lies beneath us and, in turn, burning off some major tension on its fifth Tooth & Nail album, Welcome to the Masquerade.

Take off your masks, and let's let it all out. Release what's undercover 'til the truth comes out, spits front man Trevor McNevan on a title track that surges with action film adrenaline before cresting to a blunt spiritual admission: I'm not okay.

"We all wear masks," says McNevan, setting the stage for his band's theatrical new work. "We hide what we don't want people to know we're thinking or feeling. And that's easy to get away with when life is so busy. A lot of times, we have no idea what's really going on in the life of the person right beside us."

In fact, Welcome to the Masquerade reveals what Thousand Foot Krutch continues to learn from its growing legion of fans. Since the Toronto act's worldwide launch in 2003, otherwise introverted listeners have felt surprisingly comfortable pouring their hearts out to McNevan, drummer Steve Augustine, and bassist Joel Bruyere. Their unique approach to music - often as heady as it is heavy - creates a space where it's safe to go deep one moment and just cut loose the next.

"We'll meet kids who feel so bottled up," explains McNevan. "They've tried to relay their personal struggles or family issues to someone, but keep getting that generic 'It'll be okay, just look the other way' pat on the back. There has to be a way of getting that stuff off your chest."

Through these songs for the broken and brokenhearted, Thousand Foot Krutch provides that crucial outlet to a widespread audience.

Welcome to the world of no one's listening - I just want to break out and escape this prison, seethes McNevan on "Bring Me to Life," where an icy piano part melts into the fiery assault of guitars. With as much aggression but a more thumping groove, "Scream" portrays someone whose turmoil is like a mask that I don't want to wear anymore. But soon enough a flicker of promise emerges: I'd give everything I am just to feel something.

With hope comes levity, and Welcome to the Masquerade will be heralded for its rave-ups just as much as its darker depths. An early Thousand Foot Krutch hit ("Rawkfist") earned airplay on ESPN's SportsCenter and throughout the professional sports world, and in that vein, the new "Smackdown" pays perfect stomp-clap homage to Queen's "We Will Rock You." There's also "Fire It Up," an in-your-face anthem with an irresistibly simple hook.

"We were trying to capture all of what we love best about rock music," McNevan explains. "I enjoy the fusion of music with sports and movies - things TFK is blessed to have been a part of before. Now, sometimes I'll go to a football game or catch a great action or superhero film just to get that rush of excitement."

Named after an old X-Men comic from the 1960s, "E for Extinction" showcases a pure hybrid of the band's dynamic and maturing creative talents. Tapping back into the album's theme of insecurities and the need for transformation, the track mixes a sweetly melodic, stripped- down verse with a ferocious chorus marked by lyrics about how we camouflage ourselves.

Such sensitivity is further explored on Masquerade through a handful of tunes more aligned to pop radio, a direction TFK explored with great success on 2007's The Flame in All of Us.

"Watching Over Me" is musical poetry, a soul-searching ballad where McNevan sings, Take my broken glass, and help me make a window, so I can see your face. "Look Away" is equally powerful yet more ragged and rocking; a key song based on e-mails and letters McNevan has received from fans over the last few years with lyrics that plead, Take all these cuts, and make them shine, and all this pain I've held inside, so I can find my way home again.

First single "Forward Motion" is a swirling and soaring call for the entire world to find its way home again - a timely plea given the state of many nations.

"Between the economy and everything else, this is as good a time as has ever been to drop our stereotypes - all the stuff that separates us - and get down to the black and white of loving people as God intended it to be," McNevan suggests.

Welcome to the Masquerade was recorded in Seattle, Nashville, and Canada, produced by Aaron Sprinkle (Anberlin, The Almost) and Trevor McNevan with additional production by Thousand Foot Krutch, and mixed by Randy Staub (Nickelback, Metallica). Concerts promoting the album will be elaborately staged (the cover art provides a hint), but the music itself was purposefully arranged with raw public performance in mind.

"We don't like to record anything we can't pull off live," concludes McNevan.

In a world of masqueraders, Thousand Foot Krutch welcomes you to the ball.
The Chase, the highly anticipated fourth full-length album from Juno nominee Manafest, comes out as his most aggressive and sonically evolved record to date. Manafest has been organically building his fan base for the last 6 years playing hundreds of shows on three
continents and selling over 100,000 records. In 2006 Manafest released "Glory" selling over 40,000 copies, from which the rock anthem "Impossible" featuring Trevor McNevan of Thousand Foot Krutch becoming a global hit. Following up in 2008 with Citizens Activ Manafest sold over 30,000 more albums and garnered multiple TV and movie placements. The Chase, produced by Adam Messinger (Chris Brown and Brandy) hits with twelve tracks of gritty guitars and aggressive rhymes fusing rock and rap styles.

2010 is already looking hot for Manafest with two tours planned for Japan, one being the week after his street release and shooting his first music video while he's there. Headlining a 40-city tour across Canada hitting all the major and tertiary markets this late winter early spring. Then smashing festivals with his loaded arsenal of songs and then overseas once again to the U.K for a month tour. Manafest is truly on The Chase after his dream making it a reality.
Nine Lashes
Nine Lashes
Nine Lashes Began as a desire for change.They have determined in their hearts to bring a message of Hope to the Hopeless,and purpose to the lost. They prefer to think of the stages they play on as an altar.
The message is Jesus Christ.
Kiros has been a full time touring band based out of Western Canada since 2004.
We've toured North America a lot with bands. Some of those bands are Emery, Maylene and the Sons of Disaster, Hawk Nelson, Fireflight, Seventh Day Slumber, Decemberadio, The Audition, Hit the Lights, Every Avenue, Love Hate Hero, There for Tomorrow, Versa Emerge, Broadway, Blessed by a Broken Heart, Ivory Line, Secre...t and Whisper, Warped Tour, and we've played lots festivals.
We've been featured in magazines like H.M. and A.P.
Our most recent CD, A Single Strand, has now sold over 14,000 copies.
We are independent.
We love our friends and our fans. They mean the world too us.
We love music, and we believe the best music carries a message. Our message is hope and love, because that is what we've been given by God.
We work with World Vision to get poor kids sponsored. We know that along with our fans, we can make a real difference for those kids lives.
In 2011 we signed with ANGR. Our new full length cd will be out this fall!