You gotta Roll with the Punches

A QUICK NOTE FROM THE EDITOR

Ican only hope that spring will have finally kicked in by the time this note gets published, but currently it's 45 degrees outside in mid-April. Shouldn't there be some sort of law against this? I know, I know, it's the Midwest and all - wait five minutes and there'll be a whole new weather pattern. Or as David Lee Roth once sang in Van Halen's "Jump" (somewhat reluctantly, as he wasn't too keen on Eddie's now legendary synthbased creation, initially), "You gotta roll with the punches to get to what's real." Man, Diamond Dave was a poet. We could all learn a thing or two from his lyrical wisdom. But back to the matter at hand... it's cold when it should be warm and that's just not cool at all. What IS cool, however, is that we've got another month of amazing shows in the tri-state. On the music tip, there's Brooks & Dunn, Breaking Benjamin, Needtobreathe, Halestorm and Weird Al. And for those of you in need of a good laugh (that's all of us, really), comedian Tom Segura is returning to the Victory Theatre stage on May 18, some three or four years after he left a packed crowd howling for more. Something tells me he's going to have a few things to say about the Will Smith "slap heard around the world." Or maybe it will finally be old news by then - though the coverage shows no sign of abating at the moment. What's also not abating is the dire hiring situation for many businesses in the area. So we spoke to a few employers, including Vuteq and Gerst Haus, about the difficulties they and others face with keeping properly staffed in these trying times. We've also put together a Hiring Guide for those who DO want to get off the couch and back to work. Check that out and much more inside. - TE

INDIANA IS HIRING!

SUPPLIER TO TOYOTA OFFERS A GREAT STARTING WAGE, EXCELLENT BENEFITS, A FUN TEAM ENVIRONMENT AND MORE

While the nation's unemployment rate remains relatively low, the reality is that businesses across America are hurting for workers as an increasing number of people simply choose not to re-enter the job market postpandemic. It's a dire scenario for employers struggling to function with a depleted staff; many have been forced to either shut down or reduce hours of operation. Others, however, are managing to keep their heads above water by enticing workers back with the promise of higher pay - but even that's proven to be a weak selling point for some potential employees. So companies like Vuteq Indiana have really stepped up their game, offering not just a great starting wage, but excellent benefi ts, a fun team environment and more - the whole package, in other words - in an effort to continue thriving and serving as a vital part of our community.

In production since 2001, Vuteq Indiana is an onsite supplier for Toyota, assembling components for the Toyota Highlander and Sienna vehicles. (Most notably, they assemble the dashboards and headliners.) The Princeton-based branch runs two shifts, mirroring Toyota's calendar and schedule, with a current staff of approximately 700 hourly workers and roughly 60 salaried employees. While those numbers may sound impressive, the company, according to Plant Manager Banks Brewster, has never fully recovered from the impact

of the last couple of years. "Our numbers were much stronger pre-pandemic," he says. "Fortunately, we didn't have nearly the interruptions that other companies experienced, but we did have a few weeks where Toyota did not run production. That certainly had an impact on our workforce so we would like to get back to our prepandemic workforce numbers as soon as possible."

HR Specialist Heather Dunlap, like a lot of company reps across the country, assumed that once all the COVID-related financial assistance from the government dissipated, people would return to the job market en masse. But that has yet to happen. "You look at the unemployment rate in Indiana and it looks very low, but when you talk to employers, everyone is hiring," she notes, "so where are all the workers? Sometimes I feel like I just need to go out and knock on doors and ask people if they're ready to come back to work." Rest assured no one from Vuteq will be showing up at your house unannounced; however, the company is going big or going home when it comes to spreading the word about what they offer, even running commercials before movies and commissioning a jingle for radio spots. "I don't know that you could go anywhere and not see or hear something about us," Dunlap says. "It's wonderful that we're doing those things but it's just not attracting people like we would like it to." In addition to ramping up advertising, Vuteq has opened a recruitment office in Evansville (4847 E. Virginia St.) to expedite the application process, negating the need to drive to Princeton to fill out paperwork. But if the convenience factor still isn't enough to get you off the couch, check out what Vuteq brings to the table as an employer:

And those are just the bullet points. There's even more to like about Vuteq once you come on board.

Thankfully, becoming a Vuteq team member is easier now than ever. The company's rapid response to new applicants is proving to be quite lucrative in hiring conscientiously. "We are making it a point to follow through," Dunlap says. "As soon as you apply with Vuteq, a recruiter will contact you within the first 24 hours. We are urgently hiring and want people placed as soon as possible."

• STARTING WAGE UP TO $19.25/HR • INCLUDES $2.30 MORE PER HR FOR

PERFECT ATTENDANCE EACH WEEK

• SIGN-ON BONUS OF $1500

• SOME OF THE LOWEST BENEFIT

PREMIUMS IN THE AREA (CAN COVER AN ENTIRE FAMILY -

MEDICAL, DENTAL, VISION - FOR

ABOUT $75/MO)

• UNIFORM SHIRTS PROVIDED,

REIMBURSEMENT FOR STEEL-TOED

SHOES

• OPPORTUNITIES FOR GROWTH

WITHIN THE COMPANY

• FUN TEAM MEMBER EVENTS

WE ARE MAKING IT A POINT TO FOLLOW THROUGH. AS SOON AS YOU APPLY WITH VUTEQ, A RECRUITER WILL CONTACT YOU WITHIN THE FIRST 24 HOURS.

For more info or to apply, visit vutequsa.com. You may also visit the Vuteq Recruitment Center at 4847 E. Virginia St. in Evansville. Vuteq Indiana is located at 819 E. 350 S., Princeton, IN / 812-385-2584.

GERST HAUS GM PAUL ANKENBRAND

AREA BARS AND RESTAURANTS, IN PARTICULAR, ARE FEELING THE IMPACT OF THE PANDEMIC-FUELED LABOR SHORTAGE

Driving around the city, everywhere you look there's a familiar sign posted in the windows of local businesses: Help Wanted. It's an ongoing problem for employers still trying to dig themselves out of the hole created by the pandemic - a vicious circle that's seemingly impossible to escape. First there were lockdowns and forced

closures, wreaking financial havoc; and now that restrictions have been lifted and the majority of businesses are open again, there's a serious labor shortage that has caused many to either limit operational hours or shut down altogether on particular days of the week. Without question, area bars and restaurants have been hardest hit by this dearth of workers as the service industry is notoriously volatile even during "normal" periods - employees often come and go, jumping from one job to another, always in search of a better gig. But this current predicament is something entirely different; in most cases, people just simply aren't applying for positions, regardless of pay. Even those who do show interest in working often fail to follow through with the application process or don't show up for their first day on the job.

In a nutshell, it's been one big headache

for tri-state businesses. And no one's more of an expert on this topic than Gerst Haus GM Paul Ankenbrand who, as the head of a long-running, beloved Franklin Street restaurant known for authentic German food and a large selection of draughts and imported beers, has struggled to keep the establishment staffed in the wake of the pandemic. In his 20 plus years, he's never seen anything like this dire labor shortage - which he mostly pins on COVID-related payments doled out by the government, disincentivizing workers. "Especially when they forgave the first $10,000 of unemployment - if I'd known it was tax-free, heck yeah, I would have stayed home the entire time," he chuckles. Ankenbrand, while able to laugh at the ridiculousness of the seemingly avoidable predicament, wonders what it will take to turn things around - or if there's even a solution. Like other area bars and restaurants, Gerst Haus has upped wages in an effort to attract employees but to no avail. "Looking at the situation, I don't know what pay rate is going to bring people back at this point - we're paying pretty good money," he says. "But I can't think about the future because I have to worry about tonight's shift and whether or not we'll be open."

In fact, due to running on fumes staffing-wise, Ankenbrand made the decision to close Gerst Haus on Mondays, simply to give over-worked employees a rest. And there have been nights when he's had to call it a wrap early with a lack of servers to adequately cover the dining room. But Ankenbrand is hardly alone. Similar scenarios are playing out all around the tri-state as businesses desperately try to keep their heads above water. Still, it's not all doom and gloom. The customers, at least, are out there; people clearly want to patronize area bars and restaurants as evidenced by the packed parking lots that can routinely be seen - especially on weekends - on all sides of town. Indeed, Ankenbrand notes that apart from the labor shortage, business is good - Gerst Haus is full up much of the time and in line with pre-pandemic numbers. But the question remains: How long can local establishments sustain themselves without a reliable work force? Or without much of a work force at all?

Right now, Ankenbrand's biggest concern is getting the Gerst Haus kitchen fully staffed - he's still down several employees compared to two years ago. Last July he advertised for a good-paying kitchen manager position ("If you've got the talent, we'll figure out your pay," Ankenbrand says), but to demonstrate just how difficult it's been to find workers in the current job market, the number of people that have applied over the last 10 months can easily be counted on one hand. And that makes little sense because Gerst Haus is a great place to work, full-stop. Not only is it located on the coolest strip in Evansville, surrounded by hotspots like Sportsman's, Smitty's, Bud's and more, it's a tri-state tradition with a family atmosphere that's both welcoming and lots of fun. If you've been on the fence about reentering the work force - and especially if you've got previous experience as a server or cook - consider getting back into the swing of things at Gerst Haus.

And last but not least, a word to the patrons of area bars and restaurants... Please be on your best behavior and exercise patience when heading out for a drink or dining out these days. The labor shortage, as noted, has resulted in slower service in some cases or limited hours of operation. Don't make things worse by taking out your frustrations on staff - they're often at their wit's end, already. If we all just act like adults we'll get through this whole mess a lot easier, eh? And don't forget to tip generously!

WITH STONE TEMPLE PILOTS & BLACK STONE CHERRY

FORD CENTER / MAY 24 / 7 P.M. BACK FROM THE DEAD,

CONNECTING MUSICALLY

WITH DRUMMER AREJAY

HALE, THE SIGNIFICANCE OF

"BOMBSHELL" AND MORE

Hands down, she's got the biggest, most ferocious voice in rock. When Lzzy Hale announced herself - along with bandmates Joe Hottinger (guitar), Josh Smith (bass) and brother Arejay Hale (drums) - to the music world at large with Halestorm's 2009 self-titled major label debut, things would never quite be the same again. And thank god for that. Building on the legacy of iconic female singers like Pat Benatar and Joan Jett, Lzzy harnessed their incredible vocal power and then amped it up to the nth degree on early singles like "I Get Off," "It's Not You" and "Love Bites (So Do I)" off 2012's The Strange Case of.... The latter, a raw, super-charged kiss-off, earned the band a Grammy Award for Best Hard Rock/ Metal Performance.

While the recognition from the industry was greatly appreciated, Lzzy and the boys refused to chase a wider audience if it meant dialing down the aggression. Subsequent releases, including 2015's Into the Wild Life and 2018's Vicious - the former featuring the fist-pumping anthem "I Am the Fire" - went straight for the jugular, much to the delight of Halestorm's rabidly loyal fanbase. Now the band is set to release the pandemic-inspired Back from the Dead, an adrenalized collection that Smith proudly calls "a hyper-focused version of what Halestorm is and what Lzzy has to say." The album, out May 6, was preceded by the single releases of the triumphantly defiant title track and the

Not only is Arejay such a showman but then Lzzy is such a dynamic force at the front of the band. On one hand, you're one of the luckiest musicians around to be surrounded by such talent onstage, but how do you sort of create a vibe for yourself - especially since bass-playing isn't terribly flashy?

You know, I think I totally agree with you - I'm like the luckiest guy ever to be surrounded by such talent; I really am. But me personally, I try to up the musicality of the bass position with things that I do to complement, you know, Lzzy's singing or whatever, just fitting in moments when I can. But, you know, bass players can be flashy - each band is different. In my band, I'm

gospel-tinged "The Steeple."

Smith kindly spoke with News 4U ahead of the show at the Ford Center.

As a bassist, it's imperative to lock-in with the drummer to form a solid rhythm section. When you joined Halestorm back in 2004, how did you interact musically with Arejay, initially, considering that he's such a showman?

It took a lot of time. We were young and Arejay, being such a personality, is such a blessing but it can come with some hiccups when the showmanship outdoes the performance...but you know, out front, the people are loving it. So to us, it was like, 'Dude, don't ever stop that.' But when I started with the band, Arejay was 17 or 18 and I had just turned 21. So, it was so much fun to play with him - he's such a raw talent. And my background, is, you know, from jazz...and I've played in rock bands with friends from school and all. But truly, Halestorm was nothing like I had experienced before. It was quite the learning curve for me. And I have to say, all these years later, still playing together, Arejay and I are tighter, personally, but musically more than we've ever been. Arejay is playing his ass off right now. These last couple of shows we've been playing since we've gotten to start up again have been the best shows we've ever played in our lives.

there to support and to be the glue. I think the biggest thing I've tried to work on through the years live is connecting with the crowd more. I pride myself on musicianship and, like, playing a good show. But it's kind of like rubbing your head and patting your belly at the same time. Some nights it just doesn't work and I can't connect with the crowd because I'm too busy thinking about what I'm doing.

Back from the Dead sounds like pure pent-up pandemic aggression, particularly the title track.

Yeah, it's absolutely tied to the pandemic. We started writing and working and we were preparing to start in the studio for pre-production and I'M LIKE THE LUCKIEST lockdown happened. And then we were just in limbo like everyone else. GUY EVER TO BE And we had some tracks - one that made it through it all and really is a great piece on the album is "BombSURROUNDED BY SUCH shell." It is kind of an overlying concept of what the album is in general TALENT; I REALLY AM. from Lzzy's standpoint, but it [the title track] truly was the first song that Lzzy came to us with after we got back together and your reaction was the same reaction we all had - 'Oh my god, this is what we need!' And it was just so exciting - 100% written with, you know, the current events in mind as was a lot of this album. So for as hard as all of that [the pandemic] was, I think the final product is something that we're so incredibly proud of and it's such a hyper-focused version of what Halestorm is and what Lzzy has to say.

It seems like your bass playing has come more to the forefront on the new album whereas it was previously buried in the mix a bit.

I totally agree. I think I can thank Nick for that - Nick Raskulinecz, you know, for his approach to producing, but also the way he works with people. When it's each of our time to record, he's there, like, 'Try this' or 'Try that' or 'How about this?' And he's a bass player, first and foremost. Him and I really vibe together on what we're doing. The tone we have for any instrument, really...the drums just crush, the guitars sound amazing and so does the bass. You know, he brings that to the table - that dude likes to move air, you know what I mean? There's no smoke and mirrors, there's no

tricks. We're setting big amplifiers up in the room and turning them up and just getting the gnarliest sounds

we can.

While the new album is filled with flat-out rockers, there's a break at the halfway point with "Terrible Things," a beautifully dark acoustic song with strings that Lzzy completely nails vocally. Did she come in with that one fully formed?

That was her - and she worked with Scott Stevens. It

was a song that he had as an idea and they wrote it up. It's such a neat, you know, vibe and it comes from such a neat place that I think it will be fun to recreate live. Yeah, we went through so many album sequences. We listened through the album in different ways so many times to come to this and where each song is placed. Every time I listen back I go, 'Yeah, we made the right choice.' It's so funny, like, I don't think a lot of people do that anymore [worry about the sequencing] - it's like going for a ride, you know, to listen to an album in its entirety. You want to enjoy that and you want to think why the songs are where they are - and it's something that we really enjoy doing.

For tickets and more info, visit fordcenter.com. The Ford Center is located at 1 SE MLK Jr. Blvd. in downtown

Evansville.

BEAVER DAM AMPHITHEATER / MAY 28 / 7 P.M.

FOUNDING MEMBER/LEAD SINGER DON BARNES ON NOT FEARING THE HIGH NOTES, THE AMAZING

BACKSTORY OF GUITARIST JERRY RIGGS, COLLABORATING WITH SURVIVOR'S JIM PETERIK AND MORE

Their biggest songs may not have all been chart-busting hits, but each is a classic in its own right, beloved by fans of good old fashioned rock music around the world. Yes, 38 Special's catalog runs deep with tracks that, as founding member/lead singer Don Barnes describes, "mean something to people's lives" after all these years: "Caught Up in You," "Hold on Loosely," "Rockin' into the Night," "Back Where You Belong," "Second Chance," "Fantasy Girl" and so many more. All of which receive regular airplay to this day, demonstrating the lasting power of a wellwritten melody. Talk about lasting power, 38 Special continues to perform 100 shows each year with no dip in quality. Barnes still sounds remarkably good and the current lineup of the band - featuring bassist Barry Dunaway, drummer Gary Moffatt, keyboardist/vocalist Bobby Capps and "newbie" guitarist Jerry Riggs - brings the intensity to every show, night after night. As Barnes notes, “We never wanted to be one of those bands that had maybe gotten a little soft or complacent over the years." Mission accomplished.

Barnes kindly spoke with News 4U ahead of the show at Beaver Dam Amphitheater.

Many singers from your era are struggling vocally these days on stage - Jon Bon Jovi and Vince Neil come to mind - yet you still sing with power and precision. How have you been able to maintain such vocal quality after decades of performing?

I'll tell you, Jon Bon Jovi opened for us back in the '80s and every night I would hear him singing from his face. He was a young kid and I'd already been through chorus in school and learned how to sing with your diaphragm way down there. Greg Allman famously said sing like somebody's punching you in the stomach. When you hold your stomach hard, you're

singing from all the power down there and not really pushing a lot of air out of the pipe. Well, Jon was doing the opposite; he was pushing all that air right out of his face. And I thought then, this guy's not going to make it 30 years, 40 years; he's going to ruin his voice. Vince Neil - same thing. They ruin their voice by doing that. To answer your question, if you sing correctly, you can sing all throughout your life.

It must be nice not having to fear the high notes.

It's a mental thing. I look out from the stage and I'm placing all those high notes on exit signs; somebody's shoulder; on top of their head. So you visualize that note and you don't freak out when it comes up. It's actually kind of a Zen thing - you go the opposite way and relax, hit it and move on. Put it on that guy's shoulder out there and leave it.

The band's current lineup includes guitarist Jerry Riggs who joined in 2019. He plays so intuitively, it's as if he came out of the womb with a guitar in his hands - like it's always been there.

He's an absolutely jaw-dropping, Jeff Beck-level kind of player. And he's got a great backstory - this is the funny part. Jerry's a responsible guy with two sons and he's reached for the brass ring many times and slightly missed it. That's a king is delivering mail! So when I called him up I said, 'Man, are you still doing work at the post office?' and he goes, 'Yeah, yeah.' I asked him if he had any plans of retiring soon, and he said, 'I could.' And so he put his notice in and he said, 'These guys aren't going to believe it [that I'm joining 38 Special].' They went and had a retirement party for him - after 22 years he was going to leave and get his pension and all. And so at the party - he told me the story - all of his friends have been working at the dock there at the post office and said, 'So, Jerry, what are you going to do now that you're retiring?' and he said, 'Well, actually, I'm going to go play with 38 Special.' They didn't believe him - didn't even know he played guitar. He's a real quiet type. Now they've been out and seen him and are like, 'What the hell?' I just love that story because it shows what great strength of character he has.

Jim Peterik of Survivor was a frequent collaborator with 38 Special over the years, cowriting some of the band's biggest songs. Why did you click so well with him?

This guy is the most giving artist - just wide open. Anything you have, he likes. Well, you've got to have a chemistry there; I guess he doesn't like everybody's songs. But he had written "Rockin' into the Night" for Survivor and that was a demo, so it was never released. And we were on our third album and got sent the cassette

WHEN I HAD THE IDEA FOR THE LYRIC "HOLD ON LOOSELY"

HE IMMEDIATELY SAID, 'OH YEAH, BUT DON'T LET GO.' IT WAS

THE FIRST THING OUT OF HIS MOUTH. IT WAS THE PERFECT

BOOKEND - THAT SAID EVERYTHING IN ONE SENTENCE.

why he deserves to be there now. But he had to change his responsibilities like a good father and man - and he went and worked for the

post office for 22 years. This guy that plays like that had that demo on it. Well, we listened to it and it was totally different from anything we were doing, you know? But it had that anthemic thing that groups are always looking for - like Free's "All Right Now." This song wasn't even in our wheelhouse but it had that chorus [sings "Rockin' into the night, rockin' into the night..."]. I can sing that - we're rock with big guitars; we can do that. So we went back in the studio and cut it in, like, two days. And our writing partnership with Jim continued after that - when I had the idea for the lyric "Hold on loosely" he immediately said, 'Oh yeah, but don't let go.' It was the first thing out of his mouth. It was the perfect bookend - that said everything in one sentence. So we were off to the races.

It's kind of shocking that "Hold on Loosely" barely scraped inside the top 30. Based on airplay over the last 40 years, you'd be forgiven for assuming it was a huge smash in '81.

Yeah, because the door was only cracked open a little bit. "Rockin' into the Night" cracked the door open a little bit, but it wasn't a full nationwide hit; it was kind of regional - in certain places it climbed the charts. I think it made it to [number] 45. But there's an old saying that you're only as good as your last hit. You have to follow up whatever door you've slightly got open at radio because there's only 24 hours in a day and everybody's vying for your three minute time slot. So, yeah, it's highly competitive. So, you have to back it up. And we did that with "Hold on Loosely" which pushed the door open a little further and then "Caught Up in You" knocked it wide open. We've always learned in show business that the light's only going to shine on you for awhile; take advantage of it. You have to build up this catalog and history of songs that mean something to people's lives. And that's something we hadn't counted on - we didn't realize it was going to be the fabric of these people's lives.

For tickets and more info, visit beaverdamtourism.com. Beaver Dam Amphitheater is located in Beaver Dam, KY.

SummerFest

DOWNTOWN HENDERSON, KY / MAY 21 / 5 P.M.

INAUGURAL COMMUNITY EVENT OFFERS DELICIOUS FOOD & DRINKS, VENDOR BOOTHS, A FREE CONCERT AND MUCH MORE

While Evansville has more than its share of popular outdoor festivals, 15 minutes south in Henderson there's been a warm weather entertainment void just waiting to be filled. But that's all about to change this month thanks to the inaugural SummerFest set to debut on May 21 in the downtown area. Featuring a beer garden, vendor booths, activities for kids, food trucks, a free concert and much more - including the Boys & Girls Club of Henderson Superhero 5K Run and Walk - this much-anticipated community event seems primed for success. Such is the buzz for SummerFest that people from all over the tri-state are marking their calendars, excited to be a part of such a dynamic new concept.

The brainchild of three friends and Henderson residents - Jonathan Dixon, Brian Bishop, and Greg “Moon” Mullins - SummerFest has been in the works for several years now, the logical next step after the trio established the annual Henderson Wiffleball Classic and, particularly, the Sons of Henderson, a non-profit organization dedicated to developing local events that benefit local charities. Indeed, while SummerFest is free to attend, the intent is to raise awareness for organizations that serve those in need. This inaugural event will focus on spotlighting Audubon Kids Zone, Healing Reins of Kentucky and The Chloe Randolph Organization.

While SummerFest aims to give back to the community in a big way, one of its other main objectives is to make you dance and forget your worries for one night. Organizers, keen to achieve that goal, have put together an amazing evening of music featuring headliner Paradise Kitty, an LA-based, all-female Guns N' Roses cover band. Described as a "sexy, smoldering, dead serious tribute," these five "badass babes" intend to blow the roof off of downtown Henderson. Figuratively speaking, of course. Support acts Annabel Whitledge and Lindsey James Williams, both Henderson residents, will get the party started at 7 p.m. The former is an upand coming country singer starting to gain traction in Nashville, while the latter is a well-known singer-songwriter who creates a full-band experience using loop stations. (Whitledge's new single "Loser" drops May 18, by the way.)

Don't miss the inaugural SummerFest on May 21 in downtown Henderson at the intersection of Water and 2nd Streets!

For more info, visit summerfestky.com.

WHILE SUMMERFEST IS FREE TO ATTEND, THE INTENT IS TO RAISE AWARENESS FOR ORGANIZATIONS THAT SERVE THOSE IN NEED.

KANSAS "POINT OF KNOW RETURN" TOUR

VICTORY THEATRE / JUNE 11 / 7 P.M.

Guitarist Rich Williams talks Absence of Presence, the twists and turns of Kansas, following up the success of Leftoverture and more

There are few more signature moments in rock & roll than the opening vocal harmonies of 1976's "Carry On Wayward Son." In just 15 short seconds, Kansas summed up the sound of that adventurous musical era, ultimately going multi-platinum with the release of Leftoverture , a progressive rock masterpiece that featured the aforementioned track plus such intricate pieces as "Miracles Out of Nowhere" and "The Wall." Undaunted by the album's overwhelming success, the band wasted no time producing an equally brilliant follow-up, selling another four million copies of Point of Know Return, featuring the haunting ballad "Dust in the Wind" and punchy, organ-driven title track.

Numerous lineup changes and many albums later, Kansas remains a prominent force in rock, anchored by founding member/drummer Phil Ehart and longtime guitarist Rich Williams. Remarkably, the band not only continues to perform at the highest level but excel creatively - 2020's Absence of Presence captured the indelible spirit of Kansas in every way imaginable, building on, and ultimately surpassing, the excellence of 2016's The Prelude Implicit. Still, the classic status of Leftoverture and Point of Know Return is undeniable, with both releases only growing in stature as time goes by. This tour sees the band celebrating the latter in full, while also cherry-picking fan favorites and new cuts.

Williams kindly spoke with News 4U ahead of the show at the Victory.

Absence of Presence really built on - and ultimately exceeded - The Prelude Implicit. Several of the songs, including the beautiful ballad "Memories Down the Line," were written by new keyboardist Tom Brislin. Was it understood from the beginning that he would contribute creatively?

I agree - I think [Absence of Presence] was a logical progression. The new group was fi nding itself and we did it really strongly. Just in talking with him [Tom Brislin], he was very interested in joining up with us. But he had questions and one question was would he be able to submit material? And we said absolutely. And so from the get-go that was a known. Sure, write away. Come up with something and we'll run it through the process and see what comes out.

The history of Kansas reads like a soap opera with so many lineup changes and endless twists and turns. And yet, there are bands like U2 that have had the same members for four decades. Ideally, would everything have stayed the same circa 1976?

Of course we wanted to always have the original

band - that's what we were, we never dreamed it would be any different. But... things change. We started seeing some success and then we signed a terrible record deal. Song royalties for writers were always untouchable. So suddenly the songwriters are starting to make a lot of money, but the others in the band still haven't really seen anything. And so that changes the drive to some extent. And so eventually, and philosophically, some people started changing a bit to where it was just wasn't working anymore. And so people would leave; I never wanted to leave. I never thought I needed to leave these guys because they're holding me back and the world can't wait for a Richard Williams solo album. That never crossed my mind. I really liked being in this band with these guys, so me and Phil kept...with every adversity, we'd go, 'Ok, what's next? What do we do?' It happened enough to where it was no longer a panic - it was just like, 'Ok, we've been here before.' I'm very grateful for all those changes now, because they were necessary to get us where we are today.

Do you recall feeling pressure to match the success of Leftoverture or was it just the confi dence of youth at the time that led to another bullseye with Point of Know Return?

The fi rst three albums it was just kind of a gradual...they sold this much, then this much, then this much. And we could see it climbing; we were building a fanbase. And then there was starting to be a bit more pressure from the record company - like, 'Guys, we love you but it'd be great if we could have a hit.' And so [music publisher] Don Kirshner, the money man, you know, he was a hit guy; he wasn't the leader of the progressive rock movement in any way. And I could understand that - he was our benefactor, the only person ever interested in signing us. But we were still just being ourselves. And as we got into rehearsals, things felt really positive as we were learning the album. And Kerry [Livgren] was on such a roll - songs were just fl owing out of him.

When performing an album in full, do you feel it's imperative to play it chronologically? Is the original running order sacred?

I don't know if "sacred" is the word but it just makes sense. There are a few things that I noticed when we started doing it with Leftoverture, like, why is this song here? Why is it all in this order? Oh yeah, because it was vinyl and it was two sides. What do we end side A with? Well, we need a strong starter for side B. And what are we ending with? We don't want it to be a throwaway song; we want to make a statement. So there's all this consideration going on in the vinyl process. And then you're " THE NEW GROUP WAS FINDING ITSELF AND WE DID IT REALLY playing it linear. Had albums just been one-sided, the order would probably be different, but it made sense at the time so we stick with it. For tickets and more info, visit victorytheatre.com. The Victory is

STRONGLY. located at 600 Main St. in downtown Evansville.