Violet Chachki and Gottmik’s Knockout Tour was a defiant night of LGBTQ+ resistance
Violet Chachki and Gottmik // Photo by: Rowan Bickelhaupt
The Knockout Tour landed at The Truman on Oct. 12, treating Kansas City fans with a sensational drag spectacle. Starring RuPaul’s Drag Race icons Violet Chachki and Gottmik, the show displayed a vibrant blend of music, fashion, burlesque, and theatrical storytelling. It depicted a lighthearted “battle” between two drag legends: Gottmik’s gritty, punk-edged style vs. Violet’s glitzy, showgirl elegance.
A formidable lineup of local queens kicked off the evening, each performing two numbers, creating the mood for the evening’s fusion of artistry, talent, and camp. Kora Kayyy opened the night with flair, a charismatic dancer whose comedic timing took center stage during her second number—a hilarious cow-themed routine to “Milkshake”. EV Vega followed, being the only performer of the evening I had not seen before, and she did not disappoint. Her performance thrilled the audience with her contagious energy. Rounding out the trio was Lana Luxx, who absolutely tore through both her sets, first embodying her “Japanese Barbie” persona in stunning drag-ified traditional Japanese attire, then switching to an outfit using the trans pride flag colors in her second performance. Each performer brought a distinct personality to the stage, celebrating drag in all its diversity and brilliance.
Then came the main event. Violet and Gottmik strutted onto the stage in boxing robes and gloves, ready to “fight” for drag dominance. Their opening look—pink for Violet and green for Gottmik—set the visual tone for the duel ahead. With each round revealing various facets of their artistry, the show’s concept unfolded like a theatrical boxing duel.
Gottmik opened the first round by performing one of her original tracks, “Holy Disco“, while donning glow-in-the-dark skeleton attire and framed by a glowing cross. The performance was sleek, avant-garde, and visually stunning, punctuated by clever costume reveals that showed off Gottmik’s flair for fashion-meets-performance art.
Violet’s first round countered with a breathtaking homage to old Hollywood burlesque. Her gown was literally unwrapped from her body as she spun. Then, her number transformed seamlessly into a sensual chair act suspended midair. Her flexibility, poise, and control were mesmerizing. Every movement felt sculpted, and every reveal was intentional.
After the first set, the queens broke from competition to invite two audience members onstage for a surprise lip-sync battle to Lady Gaga’s “Abracadabra”. The crowd erupted as contestants duck-walked, split, and vogued the house down for their chosen queens, ultimately securing a win for Team Gottmik.
Round two raised the stakes even higher. Violet returned in an eye-popping neon BDSM-inspired ensemble, whip in hand. She mixed camp and kink to hilarious effect, at one point “walking” her dancers on leashes and later mounting a giant prop dildo that shot white streamers into the audience. Her finale was absurd, daring, and unforgettable.
Gottmik’s second round took a darker, more emotional turn. She dominated the stage as she performed “So Gorge” and “Skullfucker,” more of her original songs, while wearing a huge cage-like garment that obscured her dancers underneath. The performance became a statement of resistance when Gottmik paused to address the ongoing persecution of the queer and trans communities. While skeleton-clad dancers swayed beneath a bright backdrop of trans flags and pulsating images, she shredded an electric guitar after stripping down to a trans flag tied into a skirt that read “Let’s Crash the Cis-tem”. The moment was unabashedly queer, raw, and defiant.
For their grand finale, the two reunited in fabulous leotards and transformed into coordinating Showgirls-inspired outfits for an incredible acrobatic and aerial hoop display. Suspended high above the stage, they swirled, entangled, and formed nearly impossible elegant forms, symbolizing unity over division. Ultimately, both queens were declared winners and were rewarded with glittering boxing belts and thunderous cheers.
Despite their powerful on-stage personas, Violet and Gottmik were warm and humble when they met fans at the merch table after the performance.
The Knockout Tour emerged as a celebration of queer tenacity, eccentric artistry, and overall, friendship. The concert was dazzling, gritty, and completely captivating. From exuberant camp to heartfelt activism, the tour delivered a punch worthy of its name.
