“Right now, after giving birth, I really understand the power of my body,” she explained to the mag. “I just feel my body means something completely different. I feel a lot more confident about it. Even being heavier, thinner, whatever. I feel a lot more like a woman. More feminine, more sensual. And no shame.”

With help from a heavy tribal beat, Beyoncé’s latest song, “Grown Woman,” which leaked last night (May 20), touches on the power of femininity. Whether single, married or somewhere in between, this Timbaland-produced ladies anthem is seemingly meant to get every woman up on her feet singing, “I’m a grown woman/I can do whatever I want.” Let’s consider it the sequel to “Run The World (Girls).”

Mrs. Carter has always been a powerful figure in music, but on her latest song there is a new (and different) sense of confidence here. She starts off the track by letting people know she’s been working at this since she was a little kid and she’s no one-trick pony: “Told the world I’m gonna paint this town/ Now b****** I run this.”

On the track, a snippet of which debuted in Bey’s recent Pepsi ad, she continuously touts her power. She sings, “They love the way I walk/Cause I walk with a vengeance/And they listen to me when I talk/Cause I ain’t pretending.” She ends it all by explaining that it took some time for her to get this ego boost and she’s not giving up on it anytime soon. It’s almost as if she’s letting all the ladies know, “If I can do it, so can you.”

When she delivers lines like, “I can be bad if I want/I can say what I want/I can live fast if I want/I can go slow all night long,” it’s clear she’s not apologizing for anything anymore.

Near the end of the over five-minute song, she sounds fiercer than her alter-ego Sasha ever could be, making one thing clear: “B**** I can do whatever I want.” Then with a simple, but stern “uh-hmm,” she sends a warning to anyone out there who’s been flapping his or her mouth about her music’s intentions to just keep quiet. (We’re pretty sure she’s looking at you, Rush Limbaugh.)

While most of us were busy trying to decipher whether Bey is really expecting baby No. 2 (as of right now, it’s a no), she seemed to be teasing her new attitude towards life on Instagram.

In the post, which was quickly taken down after going up on Friday (May 17), she wrote: ”I can’t stop the rumors from starting, and I can’t really change peoples minds who believe them, all I can do is sit back and laugh at these low life people who have nothing better to do than talk about me.”

Bey even seems to be poking fun at the low-lifes on “Grown Woman,” chalking her superstardom up to a pretty face and a nice booty, something she’s surely heard before. It’s almost as if she’s saying, “Can you believe these people?” And let’s all agree, we can’t.

As much power as Beyoncé exudes through her music, however, there are many who see lines like those about her looks as a step back for feminists everywhere. Case in point, when Ms. Magazine, one of the oldest and most well-known feminist publications in the nation, put her on its most recent cover with the headline “Beyonce’s Fierce Feminism,” many had a bone to pick. (Radio.com on the other hand, happens to think Bey has a lot in common with Gloria Steinem. Read our take here.)

In the essay, writer Janell Hobson, who is also an associate professor of women’s studies at the University of Albany in New York, writes, “When women like Beyoncé proudly proclaim feminism, they tend to invite more debates than affirmation.” A post on Ms. Magazine’s Facebook, which stated that the essay tries to answer the questions: “Has Beyoncé ‘earned’ her feminist credentials? Why do we even question her feminism at all?,” received over 80 comments ranging from those who find her music “empowering” to one person who believes it must be “easy to be a ‘feminist’ these days.”

Some want Beyoncé to grab the feminist torch, while others want her to remove the word feminist from her vocabulary, but either way, Bey’s not quite sure how she feels about the F-word. She recently told Vogue UK, “I guess I’m a modern-day feminist. I believe in equality.”

Whatever she chooses to call herself though, the superstar would like to be an inspiration to women everywhere. And with her new song, she does that. On the track, Beyoncé explains to all the ladies of the world that power lies somewhere within one’s self. You just need to let it out.

“So many tornadoes come through there but I don’t ever remember one hitting an elementary school right square on the button like this one did,” he said, his voice shaky with emotion. “It’s devastating. My sister’s house got hit. It’s a mile north of my mother’s house on the farm where I was raised.”

Keith took to Twitter to bring awareness to the tornado that struck his hometown.

Hometown got hit for the gazillionth time. Rise again Moore Oklahoma. Godspeed.Prayin – T

— Toby Keith (@TobyKeithMusic) May 20, 2013

“This storm has devastated the community that I grew up in,” he continued. “I rode my bike through those neighborhoods. I have family and friends in Moore. My heart and prayers go to those that have lost so much. But Moore is strong and we will persevere. God be with you all.”

The tornado took 24 lives, including at least seven children when it hit a local elementary school, CBS News reports.

“You just gotta hope that everyone takes cover,” Keith said. “Oklahoma has great meteorologists and they prepare you for this. Oklahoma people are just so resilient and are used to dealing with this in the springtime. They did the best they could do, I’m sure.”

Oklahoma native Carrie Underwood also voiced her prayers on Twitter as did Miranda Lambert, Blake Shelton and Joe Diffie.

Growing up in tornado alley, you always know what could happen…it doesn’t change how devastating it is when something does happen. #pray

— Carrie Underwood (@carrieunderwood) May 21, 2013

I’m thinking about and praying for my beautiful home state and the people in it tonight.

— Carrie Underwood (@carrieunderwood) May 21, 2013

Pray. That’s all we an do. Pray for peace for Oklahoma.

— Miranda Lambert (@mirandalambert) May 20, 2013

Just landed in LA and hearing about all the tornados in Oklahoma right now… Get somewhere safe!!!

— Blake Shelton (@blakeshelton) May 20, 2013

So sad to hear of all the devastation and deaths in my home state. Can’t imagine what the folks who lost loved… fb.me/G0IA0zx5

— Joe Diffie (@JoeDiffieOnline) May 21, 2013

Many more country artists chimed in as well, including Willie Nelson, Ronnie Dunn, and Trace Adkins, who each showed fans wanting to help easy ways that they can donate to the Red Cross and other organizations.

You can support #Moore response & other disasters by txting REDCROSS to 90999 to give $10, or online at redcross.org- Team Trace

— TraceAdkins (@TraceAdkins) May 21, 2013

Oklahomans… Texts get thru better than calls.Verizon lost 1 tower in last night’s twister…20 TODAY !

— RONNIE DUNN (@RonnieDunn) May 21, 2013

Add’l ways to help & donate to OK text STORM to 80888 for Salvation Army REDCROSS to 90999 FOOD to 32333 for Regional Food Bank #OKTornado

— Willie Nelson (@willienelson) May 21, 2013

And soon enough, he says the words that so many on the floor came to hear: “My name is Giovanni Giorgio, but you can call me Giorgio” (just slightly different than how he phrases it on the record). With that, the beat for Daft Punk’s “Giorgio by Moroder” drops, and the staggeringly brutal sound system at Output carries Giorgio Moroder into the future.

On the eve of Random Access Memories’ release, it seemed odd to be celebrating an Italian producer whose connection to the record was at most tangential and influential. But his influence on disco and funk (and subsequently, Daft Punk) is undeniable, evidenced by the rousing cheers for his spin of the aforementioned Donna Summer classic. The party that hosted Giorgio is called Deep Space, a Monday night party hosted by Paradise Garage and Studio 54 veteran Francois K that’s become a fixture in Manhattan’s West Village. This particular event was put on by the Red Bull Music Academy, and the crowd skewed young — a room filled with twenty- and thirtysomethings gawking at a senior citizen who made the records their parents got wild to in the discotheques. The music had transcended generations.

Though irrepressibly enthusiastic, Giorgio didn’t do much mixing at this, his first, DJ set, which kicked off around 12:15 a.m. and went just past 1:30. He spent most of his time conducting, matching his hand to the beat as wisps of silver hair swirled about his receded hairline. He played some percussive notes on a sampler, and peppered in vocoded vocals when it suited him. He played the hits: Donna Summer’s “I Feel Love,” Bad Girls,” “On the Radio,” and “Hot Stuff“; his classic “Chase” theme from Midnight Express; the From Here to Eternity suite; and even the new track he wrote for a Google Chrome game, “ Racer Experience.” He also spent some time on the air bass, and tried his hand at pumping up the crowd. “Are we still having a fun time?” he taunted. “Do you want some more?”

A newbie to a club setup, he often had to be reminded where to find things, or seemingly, what to do. It would have been obvious this was Giorgio’s first time behind the decks, even if the event hadn’t been expressly billed as so. A younger man with two laptops appeared to be running the show in the booth, setting up Giorgio’s cues, reminding him which buttons to press, and chatting him up throughout the set.

But the set felt more like a coronation than a club debut; a celebration of Giorgio’s music, energy, and his contributions to dance music. Francois K appeared to be his biggest fan. Despite spending the start of his own first set smugly railing against contemporary electronic dance music, once Giorgio hit the stage, Francois showed humble deference. During the end of Giorgio’s set, he broke in to heap praise on the star of the show, beckoning to the crowd, “Let him know how much his music has meant to us over the years!”

In the end, Giorgio’s visit to Williamsburg was less mind-blowing than it was heartwarming. And after watching him follow his records to the club — only 40 years later — it seems you really can teach an old dog a new trick.

- Words and photos by Matthew Ismael Ruiz, NYC

Although the Doors effectively ended in 1971 after the death of Jim Morrison, Manzarek spent a good amount of his life maintaining the band’s legacy. Other than his tours with Doors guitarist Robby Krieger, he also worked on keeping the band’s recorded work in the marketplace through a series of reissues, best-ofs and box sets. The most recent release was the live concert film, Live At The Bowl ’68, which shows the band at the peak of their powers.

Manzarek was beaming through the phone as he told Radio.com about the show in a late 2012 interview. He said that some of his, and the band’s, favorite artists had played that stage, so it meant a lot for them to be booked at the Hollywood Bowl. “It was momentous. That was the granddaddy of all venues in Southern California. Igor Stravinsky conducted there! The Beatles played there! And we were playing at the same place. But up to that point, very few rock bands played there. We were very honored.”

With their second No. 1 single under their belt (“Hello, I Love You”; the first was “Light My Fire”) the band was on top of the world, having realized all their dreams of becoming rock stars in just a few short years.

“The best laid plans of mice and men had not gone astray yet,” Manzarek mused. “We dreamed of putting a rock and roll band together on Venice Beach in the summer of 1965. This is now the summer of 1968 and we had attained the goal. We wanted to be as big as the Beatles and the Rolling Stones, and we had arrived at that place.”

Indeed, at that time, The Doors — Manzarek, Krieger, drummer John Densmore and  Jim Morrison — had a powerful grip on their audience; Manzarek himself exclaimed that, in that moment in 1968, “Those four guys were the four horsemen of the apocalypse!” After the Hollywood Bowl gig, the Doors became even more popular and eventually headlined Madison Square Garden. Had Morrison lived a longer life, would they, like the Stones and Paul McCartney, have upgraded to football stadiums? “I’m not sure if you are still a rock and roll band or if you turn into a circus at that point,” Manzarek said.

However, Manzarek noted that if the Doors had been popular enough, they most likely would have tried to play the largest venues possible: “It would have been a theatrical challenge to do something like that. The Rolling Stones do it on a grand scale. So what would The Doors have done on a grand scale? All things would have been possible, unfortunately Jim didn’t make it.”

Referencing the massive popularity the band still enjoys decades after Morrison’s passing, he said, “The Doors were an underground band, out of the mainstream. That’s where Jim and I always wanted to be.”

But Manzarek noted that there was always a compromise between being an outsider and being obscure. He put it frankly: “I’d prefer to have the Doors’ music being played on a radio station in a gas station than not being played. We wanted our music to be heard by as large of an audience as possible.”

Without question, the Doors was Manzarek’s greatest musical achievement. But he also enjoyed a great “second act” after the band split up. In the ’80s, he produced legendary L.A. punk band X’s first four albums, 1980′s Los Angeles, 1981′s Wild Gift, 1982′s Under The Big Black Sun and 1983′s More Fun In The New World. As Manzarek noted, he wasn’t even paid to produce X’s debut, which has long been a critical favorite. And yet, he couldn’t say enough positive things about the sessions and the influential albeit underground band, whom he called “far and away, America’s best punk rock band.”

Following Manzarek’s passing, X posted to their Facebook: “We are very saddened by the news that Ray Manzarek has passed away today. He was not only a musical icon but a close friend. He will be sorely missed. RIP Ray.” X followed up the statement with a YouTube clip of their cover of the Doors’ “Soul Kitchen,” produced by Manzarek. It goes to show the far-reaching influence of a band like the Doors and, in a lot of ways, Manzarek himself. For Manzarek to have the amount of success he did with the Doors — a band so synonymous with a psychedelic sound — and then for him to focus his energies and resources into a totally opposite band like X, is a testament to his spirit of experimentation and curiosity about the musical underground.

Judge Demi Lovato will also return for next season, rounding out the panel.

Cowell commented in a press release, saying, “It’s taken more than a decade, but I’m delighted to finally be on a panel with three girls (I think!). Paulina and Kelly both have great taste and massive experience in the music industry and together with Demi, this is going to be a fun panel. It just feels like the time to do something different.”

This duo certainly add something different to The X Factor. Rowland — a founding member of Destiny’s Child, an R&B solo star and the voice behind the massive dance hit “When Love Takes Over” with David Guetta — possesses variety but can potentially help identify R&B talent, which has gone unrecognized on the show this far. Rowland is no stranger to The X Factor family, having previously served on the panel for the U.K. show.

Rubio is a legend in Latin music and should assist The X Factor in tapping into the ever-growing Latino audience. While she doesn’t have the cross-over appeal of Jennifer Lopez on American Idol, she does have credibility that could potentially draw a segment of the viewing audience who haven’t considered X Factor previously.

Fox execs are throwing their support behind the new judges also. In a press release, Mike Darnell, President of Alternative Entertainment, Fox Broadcasting Company, said, “We are thrilled that Kelly and Paulina are joining Demi on the panel this season, in what is sure to be a triple threat of talented and successful women against Simon week-to-week.”

Until now the show has been on a downward slide in ratings, losing out to The Voice when the two shows went head to head last fall. They will face off again this fall, with both shows starting new cycles around the same time. With Christina Aguilera set to return to The Voice’s judging panel and Cee Lo’s commitment still up in the air, The X Factor is betting that Rowlands and Rubio can face off against them.

It’s got white sand, blue water and tiki bars, along with plenty of drumming and dancing–but it also involves such antics as hatchet tossing, jet pack flights, and human catapulting. While it’s not exactly Jackass, the idea of being shot out over the water by catapult (with or without beer in hand) will certainly give the saner minds among us pause.

There’s actually a story within the video, involving a character named Flody Boatwood and his musical partner Danny. The band released a behind-the-scenes video that gives a bit more background. It also shows what a great crew of artists and supporters Zac and the band have gathered around them.

“Jump Right In” is the current single from the ZBB’s 2012 album Uncaged.

The band is on tour this summer in the U.S. and the U.K.

This extends Strait’s record for holding the most No. 1 songs on all charts of any artist in any genre (Conway Twitty previously held the record with 55). It also means that the Sixty for Sixty campaign, to help Strait earn his 60th Number One while he was still 60 years old, was a success (Strait turned 61 on May 18).

George offered his thanks to fans in a message on his website:

“I didn’t realize we were making history — I just hoped we were putting out music that my fans would enjoy. As always, I’m thankful to the fans and country radio for their support on all 60 of these number one songs as well as my entire career. They are the ones who made this happen.”

It’s official, George makes history with his 60th #1 single!!! Thanks to all of YOU for your hard work and support! youtu.be/NFbCgcxd2XE

— George Strait (@GeorgeStrait) May 20, 2013

Fans and artists alike have been rallying for months in support of the song and Sixty for Sixty. Many of George’s friends and fellow artists, in fact, created videos honoring “King George” and his music.

“George, he doesn’t have to do any tricks,” Ashley Monroe told Radio.com. “He gets up there and sings these songs that are so important, and you know he cares, and that’s all that he needs to do.”

“He just delivers a song like nobody else,” said Darius Rucker.

“Give It All We Got Tonight” was written by Tim James, Phil O’Donnell and Mark Bright. It was released last October, and is the first single from George’s most recent studio album, Love Is Everything, which was released May 14.

“It is a little risque,” Strait said about the song in a recent interview. “I’m sure you’ve been parking before…but that’s kinda what it’s about.”

Doors drummer John Densmore battled with Manzarek and guitarist Robby Krieger in court in recent years over the rights to the Doors name, but that did not stop him from sharing a tribute on his Facebook. “There was no keyboard player on the planet more appropriate to support Jim Morrison’s words,” Densmore wrote. “Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother.”

Krieger, who toured often with Manzarek over the past decade said, issued his own statement. “I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today,” he wrote. “I’m just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him.”

Slash, who got his start in L.A. rockers Guns N’ Roses – who played many of the same Sunset Strip clubs that the Doors did two decades later tweeted:

The Doors represent the LA sound to me. It was the 1st band I remember hearing when I came from England; “Light my fire,” I’ll never forget.

— Slash (@Slash) May 20, 2013

Joe Perry of Aerosmith (who covered “Love Me Two Times” in 1990) tweeted:

I am very saddened by loss of Ray Manzarak now he’s with Jim. They mean as much to me today as they did 40 years ago.

— Joe Perry (@JoePerry) May 20, 2013

American Idol‘s Randy Jackson added:

Wow, r I p ray manzarek .one of the greatest artists ever.

— Randy Jackson (@YO_RANDYJACKSON) May 20, 2013

De La Soul’s DJ Mase pointed out that Manzarek’s keyboards reached hip-hop:

R.I.P Ray Manzarek (The Doors)De La sampled The Doors (Bro’s a Basehead) & they were sampled by Hov & Kanye on this: youtube.com/watch?v=xMHtwy…

— DJ Maseo(De La Soul) (@DeLaSoulsDugout) May 20, 2013

Hard rocker Dave Dramian of Disturbed weighed in as well:

RAY MANZAREK OF @thedoors HAS PASSED AWAY TODAY. ANOTHER VISIONARY MUSICIAN HAS BEEN LOST. LOVED HIS MUSIC SINCE I WAS A LITTLE BOY. RIP

— DAVID DRAIMAN (@DAVIDMDRAIMAN) May 20, 2013

Fellow keyboardist Benmont Tench from Tom Petty & The Heartbreakers expressed gratitude for Manzarek’s influence:

Ray Manzarek. His playing showed me the path to, and the joy of, improvisation. Indescribably important. Rest well. Rest well…

— benmont tench III (@benchten) May 20, 2013

Los Angeles punk rock legends X – who enjoyed a close relationship with Manzarek, as he produced their first four albums – posted a note to Facebook: “we are very saddened by the news that Ray Manzarek has passed away today. he was not only a musical icon but a close friend. he will be sorely missed. RIP Ray.”

As the administrator of ODB’s estate, Icelene Jones said she is the single person that can greenlight the use of her late husband’s likeness.

“I am disappointed that Rock the Bells would not contact me directly about the use of my husband’s image,” Jones said in a press release. “I am looking forward to talking to Wu-Tang about this matter and coming up with a positive solution in order to bring my husband to the stage once again.”

“They need to come to me. I’m so available,” Jones told HipHopDX. “I’m accessible. I’m easy to contact. I just want to make that understood. I’m a nice person. It’s just that people are doing things without my knowledge.”

Jones continued: “I know it’s something the fans would like. I don’t want to stop anything like that. Bringing him back to life again—it would be a beautiful thing to give the fans what they want. I don’t want control or anything like that.”

Despite the uneasiness she feels about being left out of the mix, Jones said that her son, Boy Jones, who has performed at Rock the Bells, is looking forward to being part of the festival again.

“My son, Young Dirty Bastard, [Boy Jones] has always performed at Rock the Bells,” she said, “and looks forward to working with his Uncle RZA every year.”

Chang Weisberg, the President of Guerilla Union, the company putting on Rock The Bells, told Radio.com that he has heard that Jones is unhappy, but contrary to reports, “Guerilla Union and Rock The Bells have not received a cease and desist.”

“I’m aware that she’s disappointed,” he said. “But the fact she’s reaching out to RZA and Divine [Mitchell Diggs, RZA’s brother] is a great thing. We’re working through it.”

He added, “We are going to work with the entire ODB family, including Divine and Cherry [Jones], ODB’s mother. It involves quite a few people actually. We want to do the right thing. We’re having all the right discussions. We’ll be speaking with all the right people. You can best believe that at the wishes of RZA and Divine from Wu-Tang Clan, as long as this looks and feels the way they want it to go down, it’s absolutely going to happen.”

Weisberg expressed his excitement about working with RZA on the virtual performance some are calling a hologram-like experience. Without giving too much away, he teased fans, saying that they will definitely be more than impressed by what Rock The Bells and Wu Tang have up their sleeves.

“When you see what we’re going to do with the virtual performances,” he said. “I think it’s just going to be a whole ‘nother level.”

Other acts appearing at Rock the Bells 2013 include Black Hippy, Danny Brown, Tyler the Creator, Jurassic 5, Kid Cudi and more. Additional artists are to be announced in late June.

Rock the Bells 2013 tour dates:
September 7-8 – San Bernardino, California
September 14-15 – Mountain View, California
September 28-29 – Washington, D.C.
October 4-5 – East Rutherford, New Jersey

For the sophomore album, titled Surfers Paradise (out July 16), Simpson said he knew exactly how he wanted it to sound and the type of music he wanted to represent him as an artist. He describes it as a “classic summer album” and said to expect a few pop songs like his latest single, “Pretty Brown Eyes,” a light-hearted club track which introduces his rap skills, along with a few quieter acoustic tracks.

“I grew up playing the acoustic guitar and I decided I really wanted to go back to my roots on this album,” he told Radio.com. “I grew up listening to Jack Johnson, Jason Mraz, and John Mayer so they definitely inspired a lot of the album too. There’s a really mellow, acoustic sound to it.”

Along with writing his own songs, Simpson also produced a number of tracks on Surfers Paradise, including “Awake All Night,” which he recently released online.

Simpson explained that the production credit happened naturally. He was originally headed to the studio to record a track someone else had written for him, but the song just didn’t feel right. So, he abandoned the track and began to write “Awake All Night” with the desire to compose a lullaby on his guitar.

“[I] produced it almost entirely myself,” he said. “It turned out to be something that happened super quick.”

Simpson added, “A lot of artists will either write the song or just sing the vocal. It was a big step for me, especially at 16, to write and produce and play every instrument.”

One song fans should look forward to hearing is “Summertime of Our Lives,” which Simpson said is his favorite song on the album.

“It’s an all-around beautiful record,” he said of the song. “Acoustic guitar, ukulele and vocal and that’s it. It’s definitely an indicator to how I’m growing as an artist, how my music and sound is evolving.”

Fans will be able to hear songs of Simpson’s upcoming album during his recently announced Paradise Tour, which kicks off May 30 in Jacksonville, Florida. He has a few surprises up his sleeve and while he wouldn’t go into specifics, he said fans will get a better glimpse into who he is as a person.

“With this show, just as with the new album, I really wanted to share myself and share my lifestyle and share who I am as a person, more than just sharing myself and my music,” the Australian surfer said.

Cody Simpson’s Paradise Tour:

5/30 – Jacksonville, FL, Times Union Center for the Performing Arts Moran Theater
5/31 – Tampa, FL, Straz Center for the Performing Arts
6/2 – Birmingham, AL, BJCC Concert Hall
6/4  - Atlanta, GA, The Cobb Energy Performing Arts Centre
6/6  - Houston, TX, Bayou Music Center
6/7  - Dallas, TX, Palladium Ballroom
6/8  - San Antonio, TX, Lila Cockrell Theatre
6/9  - El Paso, TX, Plaza Theatre
6/12 - Phoenix, AZ, Celebrity Theatre
6/13 - Tucson, AZ, The Historic Rialto Theatre
6/14 - Los Angeles, CA, Club Nokia
6/16 - Las Vegas, NV, The Joint at Hard Rock Hotel & Casino
6/19 - Fresno, CA, Saroyan Theatre
6/20 - San Francisco, CA, The Warfield
6/21 - Sacramento, CA, Sacramento Community Center Theater
6/22 - Portland, OR, Roseland Theater
6/23 - Seattle, WA, Paramount Theatre
7/2 – Minneapolis, MN, State Theatre
7/5  - Chicago, IL, Akoo Theatre at Rosemont
7/12 - Philadelphia, PA, Tower Theater
7/13  - Pittsburgh, PA, Carnegie Library Music Hall
7/14  - Washington, DC, DAR Constitution Hall
7/17  - New Brunswick, NJ, State Theatre
7/18  - New York, NY, Best Buy Theater
7/20  - Boston, MA, House of Blues
7/23  - Detroit, MI, Royal Oak Music Theatre
7/24  - St. Louis, MO, Peabody Opera House
7/25  - Kansas City, MO, The Midland by AMC
7/26  - Wichita, KS, The Cotillion
7/27  - Denver, CO, Ogden Theatre

(Additional reporting from Shannon Carlin)