TECH N9NE

TECH N9NE

Brotha Lynch Hung, Krizz Kaliko, Stevie Stone, Ces Cru

Wednesday, May 24

Doors: 7:00 pm / Show: 8:00 pm

$28.00 - $30.00

This event is all ages

Absolutely no refunds - no exceptions. Lineups and times are subject to change.
 No re-entry.

TECH N9NE
TECH N9NE
Given the chaos enveloping the world and his status as an artistic visionary, Tech
N9ne realized he could create the change he wished to see. The pioneering platinum
Kansas City rapper spent about a year crafting Planet, his remarkable new album
that represents a world much different from the one we inhabit.
“I wanted to create my own planet because this one seems to be having so many
problems with hatred and murders,” Tech N9ne explains. “I just wanted to leave this
planet by creating my own, with love and hella lyrics.”
Tech N9ne’s lyrical supremacy and appreciation for love shines throughout the
Planet track “Levitation.” Here, Tech N9ne raps over ethereal sonics about how the
adulation he gets from his supporters makes him feel like he’s floating.
“I feel like David Blaine when I’m on that stage,” Tech N9ne reveals. “But the love I
get when I’m on the same level as them, like at the meet and greets, when they’re
not looking up to me and they’re looking straight at me saying that my music kept
them alive, that my music helped them through their mother’s death, that my music
helped them through suicidal thoughts and is the reason they’re here now, that’s
beautiful. When they say that what I went through with my mom lessened their pain
to know that somebody that they look up to is going through the same thing, it
makes me feel like I’m levitating. They hold me up high, put me up high because I
can save lives, like a doctor or a paramedic. That makes me feel like I’m levitating,
the people and their stories of how I helped them through life has me floating.”
Tech N9ne then delivers what will likely become one of his signature songs with
“We Won’t Go Quietly,” an elegant and eloquent piano-accented track where he
examines the roots of racism, emotional pain and fear, and notes how to overcome
them with a loving and caring spirit. The source of Tech N9ne’s optimism came from
a special person in his life.
“The whole song was based around love, and I learned to love from my mother,”
Tech N9ne reveals. “Since I’m trying to bring everybody together instead of separate
and discriminate, the whole basis is love. If we didn’t fear each other, we could stand
near each other. My mother’s last words to me were, ‘Liberty and justice for all.’ She
just kept saying it. That’s why the gist of the song is togetherness with love, since
that’s what we’re lacking on this planet since I’ve been on it.”
Ever since Tech N9ne’s been on the planet, though, his love of hip-hop culture
(graffiti, breakdancing, DJing and rapping) has been a driving force in his life. One of
the songs that helped shape him as a breakdancer was Hashim’s “Al-Naafiysh (The
Soul),” the famous 1983 dance track best known for its up-tempo beat and futuristic,
robotic “It’s time” refrain. Today, Tech N9ne pops with his tongue, and wanted to
remake “Al-Naafiysh (The Soul)” as a nod to his childhood. The resulting “Tech N9ne

(Don’t Nobody Want None)” reflects Tech N9ne’s b-boy background and his lyrical
gymnastics as his undulating and varying flows match the song’s mystic aura.
“It’s an honor to be able to re-do ‘Al-Naafiysh (The Soul)’ on my record to pay
homage to all the breakdancers and all the DJs, all the dance crews,” Tech N9ne says.
“That’s me. I just started rapping and it took the place of my dancing.”
Now that Tech N9ne focuses on rapping, he takes the craft seriously, approaching it
as the master craftsman that he is. On the bouncy “How I’m Feelin’” with Snow Tha
Product, he flows in normal, single and triple time to demonstrate that rappers can
excel while employing a variety of flows. It’s an exercise in top-tier floetry in defense
of rap’s expansive artistry.
Elsewhere on Planet, Tech N9ne utilizes a stop-and- start style on “Drink Up” over a
striking EDM aural collage. Then, with “No Reason,” Tech N9ne takes a
confrontational approach. Backed by a menacing soundscape that matches his
abrasive words, the Strange Music head uses middle finger energy to go after a
bogus label that emerged in 2016 with a name strikingly similar to the one that Tech
and partner Travis O’Guin have been building for more than 15 years. “How dare
you try to steal that name, Strange,” Tech N9ne says rhetorically, “after so much
work we’ve done, and dilute it like that?”
Indeed, Tech N9ne and his Strange Music have become iconic rap brands, so he has
good reason to be protective of his musical turf, his family, and his legacy. Fiercely
independent since the early 1990s, Tech N9ne and Strange Music made their mark
by creating mind-blowing music, touring relentlessly, delivering one of rap’s best
live shows, dominating the merchandising game, and cultivating legions of fans
around the world who swear by Tech N9ne’s music and the Strange Music brand.
The proof of Tech N9ne’s reach is evidenced by several metrics. On the sales front,
he earned his first platinum plaque June 20, 2017 with “Caribou Lou,” a standout
selection from his 2006 album, Everready (The Religion), a remarkable feat given
that the song was released 11 years earlier. As a performer, Tech N9ne also
regularly does more than 150 concerts a year, headlining his own domestic and
international tours, and appearing at festivals and special events. He does this while
releasing albums, compilations, and working on the projects from his stable of
artists. This steady and successful work is the reason Tech N9ne remains a fixture
on Forbes’ Cash Kings list.
Now, after focusing on creating the world and vibe in which he and others can
thrive, Tech N9ne is ready to share his latest masterwork, one overflowing with an
optimistic take on mankind and its potential.
“I went on my own planet and did my own thing,” he says. “I wasn’t worried. I was
relaxed constructing my planet. I didn’t have to worry about time restrictions or
anything because it was coming like water.”
Welcome to Tech N9ne’s Planet, a utopian melding of message and musical mastery.
Brotha Lynch Hung
Brotha Lynch Hung
Hip-hop ambitions are often described in terms of "hunger", but no known MC has an appetite quite like Brotha Lynch Hung. This is not simply the peckishness of a seasoned artist still making music while his former contemporaries have long passed their sell-by date. This is the ravenous hunger of Mannibalector, Brotha Lynch Hung's flesh-chomping, gore-streaked altered ego and the antagonistic protagonist at the dark heart of Coathanga Strangla, the genuinely stunning new album by Brotha Lynch Hung.

Coathanga Strangla re-introduces listeners to the not so nice but strangely sympathetic guy they met on Lynch's 2010 album Dinner and a Movie. The "autocratic automatic reaper" instantly joined the entertainment biz pantheon of indelible killers like Mannibalector's cinematic predecessor, Silence Of The Lambs sicko Hannibal Lector. "I watch a lotta horror movies and I really love meat," says Lynch, "so I put that together and out came Mannibalector."

Longtime fans will, of course, recognize these deviant tendencies. Brotha Lynch Hung's 1993 debut, 24 Deep (Black Market Records) found his "human meat pot luck" already underway (who can forget the image: "find your brain cookin' in a barbecue pit"?). The 1995 release of the Sacramento (CA) native's certified Gold classic, Season of da Siccness, followed and Lynch has released a steady stream of music ever since, making him an ideal match for the do-or-die work ethic of his current label home, Strange Music.

Kansas City-based Strange Music is currently the most successful outfit in independent hip-hop and home to Tech N9ne. Dinner and a Movie was Lynch's first album released by Strange, but Tech N9ne and Brotha Lynch have history: Tech appeared on "187 On A Hook" from Lynch's Blocc Movement in 2001, and in 2006 Lynch delivered a standout verse on "My World" from Tech N9ne's Everready album. "Strange Music understands me, they've really given me a fresh start," says Lynch. "As strange as it sounds, I feel like I'm just getting going with my career."

Make no mistake however: what feels like a fresh start for Lynch is coinciding with a high point in his artistic evolution. Always one to look to movies for inspiration, Lynch says that repeated viewings of the Hostel films had a direct effect on Coathanga Strangla. "Some horror movies are too ridiculous," he says, "but Hostel has a very realistic feeling. It's not scary like boo! — it's more like this could happen. That's an authenticity I'm going for in my music."

It's that sense that gives Coathanga Strangla its compelling core. With its bowel-bothering bass line and toothpick percussion (courtesy of producer Michael "Seven" Summers), "Mannibalector" is a cannibal lecture (replete with requisite slaughter) the reveals the crucial facet of Lynch's artistry: his alter ego is not a two-dimensional creation but a character full of humanizing doubts, fears and paranoia. Allmusic.com's David Jeffries has noted Lynch's facility at going "from gross to scary to sympathetic and personal, and then back again, all without losing a step or trying your patience."

When it comes to digesting Lynch's art however, it helps that his raps are leavened by what can only be called "gallows humor." Who else would refer to his manner of cooking victims as "Operation McPasta", as Lynch does on the new album's "Mannibalector"? While Brotha Lynch Hung is often credited as the originator of the rap genre known as "horrorcore", most so-called horrorcore rappers would be content with a standard disemboweling; Lynch goes all the way, a meal plan immortalized on the new album's "Spit It Out" wherein Lynch chortles: "If anything taste funny spit it out."

"Friday Night" features Lynch's fellow rap madman C.O.S., thumping production by Michael "Seven" Summers, and Brotha Lynch's "body sweatin' like a Juggalo." "I love the Juggalos man," says Lynch of the cult-like, face-painted fans who have embraced him. "They're good people with good hearts who are looking for an outlet from life's pain. I can relate to that." Standout cut "Blinded By Desire" is a sadistic travelogue following Lynch as he drives from California's Bay Area southward towards Los Angeles ("524 miles to SoCal..." begins Lynch) where mayhem will undoubtedly ensue.

Coathanga Strangla is the middle album in a conceptual trilogy, which began with Dinner and a Movie and is slated to conclude with 2012's Mannibalector. Each of the three albums has spawned three videos, which together will comprise the visual document of the terrifying times of Mannibalector. "The three albums and nine videos are about a rapper who's having a bad life and is about to give up on the world," explains Brotha Lynch Hung. "You can hear he's about to walk the thin line, past the thin line, and then go way over it."

Join Brotha Lynch Hung as he continues to obliterate that line like no other artist can do.
Krizz Kaliko
Krizz Kaliko
It's not every day a musical genius is born. On July 14, 2009, KRIZZ KALIKO will release his second solo CD, GENIUS,. Along for KRIZZ KALIKO's aurally eclectic rollercoaster ride are E-40, Kutt Calhoun, Big Scoob and, Strange's flagship artist, Tech N9ne. Powered by a fusion of funk, rap, rock, R&B and opera – a self-made style KRIZZ KALIKO calls "Funkra" – GENIUS covers the entire spectrum of genres, from the slow and seductive "Get Off" with Tech N9ne and the rock-flavored "The Chemical" to the street anthem "Back Pack" and the album's crossover single, "Misunderstood."
Ces Cru
Ces Cru
Introduced to each other in late 2000, Ubiquitous and Godemis found an immediate chemistry on stage and began performing as CES CRU. Their first full-length album, Capture Enemy Soldiers, was released in 2004. Since then, they have won numerous MC battles, been nominated for three Pitch Music Awards and collaborated with local favorites, Mac Lethal, Miles Bonny and Human Cropcircles. The Playground, is available now! Hit our website www.cescru.com or just google cescru. We are on Itunes and physical copies are available at local Kansas City music outlets such as Streetside records or 7th Heaven. Keep digging and enjoy!