Carrie Underwood's Play On is spending its second straight week at the peak of Billboard's country albums chart. But there's a new champ on the list of top country songs. It's Lady Antebellum's "Need You Now," which bumps Underwood's "Cowboy Casanova" into second place.

Dolly Parton's Live From London, arriving at No. 36, is the week's highest-charting new album. Also making their first entrances are Big Kenny's The Quiet Times of a Rock and Roll Farm Boy (No. 37), Rodney Carrington's Make It Christmas and Mickey & the Motorcars' Live at Billy Bob's Texas (No. 72).

The Zac Brown Band seems to have impressed a sizable number of music buyers with its appearance on the CMA Awards show. The group's Live From Bonnaroo EP returns to the chart at No. 63, and the Cracker Barrel restaurant edition of its hit album, The Foundation, comes back on at No. 75.

Keith Urban claims the week's highest charting new song with "'Til Summer Comes Around." It bows at No. 41. The other first-timers are the Zac Brown Band's "Highway 20 Ride" (No. 54), Chris Young's "The Man I Want to Be" (No. 58), Clay Walker's "She Won't Be Lonely Long" (No. 59) and the Brooks & Dunn-Mac Powell pairing, "Over the Next Hill" (No. 60).

Rolling in behind Underwood in the Top 5 albums are Taylor Swift's Fearless, Lady Antebellum's self-titled debut, Tim McGraw's Southern Voice and the Zac Brown Band's The Foundation, in that order.

At No. 3 through No. 5 on the country songs chart: Luke Bryan's "Do I," Reba's "Consider Me Gone" and the Zac Brown Band's "Toes."

Did you notice this column bristles with references to the Zac Brown Band? Spooky, isn't it?

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Jennifer Lopez plans to include fireworks and an on-stage costume change in her performance at the American Music Awards. "American Idol" runner-up Adam Lambert will incorporate leather and chains into his.

Lopez and Lambert will be among more than a dozen performers at Sunday's ceremony, and they took time out Thursday to perfect their performances.

Lopez is in top form, but she's still a little nervous. She'll be singing a song fans have never heard before and performing live on TV for the first time in years.

"You know what you're doing and you feel very good about it, but at the same time, you wouldn't be human if you're not afraid," she said after her rehearsal.

She's set to perform "Louboutins," the first single from her new album, "Love?" — due in stores next year. Flanked by backup dancers, the 40-year-old entertainer busts out her Fly Girl moves in a number that begins in a boxing ring and ends in the audience. Famed sports announcer Michael Buffer is in the act, too.

"I think it's going to be good," she said. "Dancing again, singing, the lights and the costumes — it all feels like second nature."

Veteran choreographer Kenny Ortega, director of "Michael Jackson's This Is It," gave Lopez's performance a positive review.

"Awesome," he said after dropping by the Nokia Theatre to watch her rehearse.

Lambert, 27, said he's eager to see how the star-studded crowd responds to his provocative performance, a sexed-up rendition of "For Your Entertainment," the first single off his upcoming album of the same name.

"I can't wait to see people I look up to as artists in the audience watching. I think that will be a trip, and exciting and motivating all at the same time," he said after his rehearsal. "It will be really interesting to see what kind of reaction the number gets. It's different. It really does have an edge to it."

The performance is heavy on leather and chains and includes Lambert dragging a woman across the stage.

Other artists set to perform at the 37th annual American Music Awards include Rihanna, Whitney Houston, Green Day, Lil' Wayne, Lady Gaga, Eminem, Keith Urban, Jay-Z and Carrie Underwood.

Janet Jackson will open the show with a medley of songs, but producer Larry Klein wouldn't say whether her performance would be a tribute to her late brother.

"It's a surprise," he said.

Fans voted online to choose the winners of the American Music Awards, which honor the year's top-selling artists in eight popular genres. The ceremony will be broadcast live on ABC from the Nokia Theatre.

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Sting's "If on a Winter's Night..." may feature holiday-inspired songs, but don't call it a Christmas album. "The whole season is much broader than that," he says. "Winter is about inspiration and imagination."

While culling source material for "Winter's Night" -- which debuted at No. 6 on the Billboard 200 and has sold 139,000 copies since its October 26 release, according to Nielsen SoundScan -- Sting found inspiration in everything from a 14th-century carol ("Gabriel's Message") to traditional lullabies and poems.

He also collaborated with a host of musicians from the British Isles and performed with the ensemble at England's Durham Cathedral in a concert that will be broadcast Thanksgiving night on PBS' "Great Performances" and released November 23 on DVD.

Billboard: How did you decide on the concept for "If on a Winter's Night ...?"

Sting: It was during last winter that I decided I would do an album based on the season. It has this kind of gravitational pull toward one's roots -- the family home, the cradle or church -- but a lot of people face it without any of those things. The sadness of not being able to go home is probably encapsulated best in "Christmas at Sea," which is based on a 19th-century Robert Louis Stevenson poem about a sailor who is sinking off the coast and realizes his home is on the cliff top. He's pulled toward home, yet he's in terrible danger. That sums up the ambiguous feeling of this record. It's not entirely happy, and I also avoided symbols that I think have been overused, like Santa Claus or Rudolph the Red-Nosed Reindeer.

Billboard: What was it like recording with such a large group of musicians?

Sting: My first instinct was to look for traditional musicians from north of England: Kathryn Tickell, who plays the Northumbrian pipes; her brother, Peter, who plays the fiddle; and the Melodeon player Julian Sutton are all from my hometown. We started recording in my house in Italy last January. We sat around the kitchen table with the fire on, huddled up with coats and scarves and explored these songs together. It was like method recording -- it had to be cold for us to begin this thing.

Billboard: Many of the songs on "Winter's Night" are deeply rooted in Christian themes. Did you have to reconcile your own agnosticism with recording nonsecular material?

Sting: I was brought up in the church, and the Christian story is part of my background. At the same time, I can't really accept a lot of the elements of those stories as articles of faith. I think there is one true unassailable religion, and that is the human ability to tell stories -- to make myth of why we're here and what we do. So I put those Christian stories next to pre-Christian stories. I treated them with a great deal of reverence and respect. But again, I'm not singing articles of faith; I'm singing magical stories.

Billboard: Your daughter recently said in an interview that your practice of tantric sex is just a myth. What's the real story?

Sting: People get very silly about what tantra is. It's using your normal life as a devotional practice, which includes breathing, walking, eating, being and making love. All of those things are practiced consciously, and that's really what it's about. Music is my tantra. It's my way of saying "thank you" to anything, whatever it may be.

Billboard: What was it like reuniting with the Police through last year?

Sting: We tied up a lot of loose ends with the last Police tour. I was glad I did it, and people were very happy to see us together again. They came out in droves to see us play. It was an exercise in nostalgia, but we don't need to keep repeating that. I need to be doing something new all the time.

Billboard: Would you like to make another concept album?

Sting: I don't know, we'll see how this one does. It's an interesting way of working, collecting or writing material around one theme rather than just writing songs. But if you said to me, "Are you going to do spring next?" No, that would be far too expected.

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At what may be the height of her early career, teen sensation Taylor Swift finds herself facing the downside of stardom -- naysayers.

The 19-year-old pop/country singer-songwriter heads in to Sunday's American Music Awards with a leading six nominations after a dream year of sold out concerts and the best-selling album in the United States.

Swift will compete Sunday against the late Michael Jackson for artist of the year, and is nominated for favorite female artist in the pop/rock, country and adult contemporary categories, along with favorite album for "Fearless".

But her higher profile, including becoming the youngest person to win the Country Music Association Entertainer of the Year award, has left her open to recent sniping by some music lovers who complain about her voice in live performances.

Just three years after releasing her first single, the pop/country singer-songwriter has struck an emotional chord with millions of fans for heart-felt songs like "Fifteen" and "You Belong With Me" about first loves, being an outsider and the perils of high school.

"I can't think of anyone else (in pop) music who inspires the level of passion in their fans on the scale she does right now," said Rob Brunner, music editor of Entertainment Weekly.

Still, that view is not shared by all and in recent weeks, her detractors seem to have raised their level of criticism just as Swift has seen her star soar into the stratosphere.

"Wobbly" and "embarrassingly weak" are some of the comments -- many from disgruntled fans of traditional country music -- found on web sites after recent live performances, including on television show "Saturday Night Live."

"I think the songs are great, the records are great. But she doesn't have the pipes," said Bob Lefsetz, a former music industry executive and author of The Lefsetz Letter blog.

NO TOPPLING TAYLOR

The negative chatter has done nothing to dissuade fans from snapping up tickets to Swift's recently extended concert tour. Nor has it curtailed sales of "Fearless" -- the biggest selling U.S. album of 2009 with 2.1 million copies, and No. 3 in 2008.

And many industry watchers question the importance of technical ability in an era where Britney Spears can happily lip-synch her way around the world during her "Circus" tour, and where the vocal pitch correcting device, Auto-Tune, is widely used in recording studios and at concerts.

Swift, who plays guitar and piano, never lip-synchs. As for Auto-Tune: "I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise," she said in a statement to Reuters.

She has performed live for more than one million people and won a slew of awards voted on by fans and the industry. If her singing is occasionally off-key, that's what makes her genuine and is what she brings to the music arena, her managers say.

"(Taylor) tries to hold herself to a better standard but perfection is not one of them. At 19-years-old, I don't know how she deals with the nerves (of singing live). And sound issues are not always in our control," Robert Allen, one of Swift's managers, told Reuters.

Lefsetz agrees with music critics that Swift "is phenomenal live". But he added: "I think it is a sad state of affairs when one of the biggest artists in the world can't sing."

Brunner said comments like that are missing the point.

"I don't listen to pop music to hear people hitting the note but because it connects with me in some profound emotional way. While it may not be a Celine Dion or Barbra Streisand voice, whatever she's got is something that people are really connecting to," he said.

Swift will not be at the AMA's on Sunday because she is on tour in England ahead of going to Australia in February.

Taylor Swift booking agent | Taylor Swift booking agent | Taylor Swift booking agent

It's 5 a.m., and while most of his neighbors in Los Angeles sleep, Puddle of Mudd frontman Wes Scantlin is lounging on his couch with an acoustic guitar, a six-pack of beer and a small recording device to capture new song ideas for his rock band.

His early-bird method of songwriting has proved a success on radio. Since Puddle of Mudd's 2001 debut album, "Come Clean," the group has had five No. 1 songs on Billboard's Mainstream Rock chart, tied for second most this decade with 3 Doors Down, Godsmack and Linkin Park.

But some of those hits have come at the expense of a concerned wife, who often comes down the stairs at about 4:30 a.m. to ask Scantlin, "When are you coming to bed? Are you ever coming to bed -- ever?" he recalls with a laugh.

But Scantlin knows how to make the best of the situation. On Puddle of Mudd's fourth studio set, "Volume 4: Songs in the Key of Love & Hate," due December 8 on Flawless/Geffen, the musician used his wife's complaints as inspiration for the song "Pitchin' a Fit."

"She's my little muse," he says, noting that new track "Keep It Together" is another love song written for her. "I get a song out of any mood that my wife is in."

In contrast, the first single from "Volume 4" -- the follow-up to 2007's "Famous," which has sold 363,000 copies in the United States, according to Nielsen SoundScan -- is the sexually charged rocker "Spaceship." The track is No. 11 on Mainstream Rock, No. 11 on Active Rock, No. 15 on Heritage Rock and No. 33 on Alternative. "Spaceship" premiered on AOL Music's Noisecreep blog in mid-October and has sold 10,000 downloads, according to SoundScan.

The band embarks on a North American tour of small arenas in January and February.

Meanwhile, Scantlin says he's already busy working on the group's next album.

He collaborated with his bandmates -- including guitarist Paul Phillips, who rejoined the band in February after leaving in 2005 -- for several songs on "Volume 4." And he's willing to do it again for future material -- if, of course, they can stay up past their bedtime.

Puddle of Mudd booking agent | Puddle of Mudd booking agent | Puddle of Mudd booking agent

When R&B artist Omarion sings, "I done cut the braids, low cut, got my grown on," in a raspy croon on his new single "I Get It In," he's referencing a turning point in his career.

"I felt like my braids defined who I was, and there's so much more to me," says the 25-year-old singer, who shed his signature hairstyle in July, like Ludacris and Mario before him. "I'm not a kid in the industry anymore; I have a sense of self."

"I Get It In" is No. 26 on Billboard's Hot R&B/Hip-Hop Songs chart and No. 18 on Mainstream R&B/Hip-Hop. The track, which features a cameo by in-demand rapper Gucci Mane, provides a solid setup for the former B2K singer's third solo album. Due January 12, "Ollusion" will be released on the artist's own Starworld Entertainment imprint through EMI Label Services.

"It's the first record I've put out since (2005's) 'Touch' that has a high-energy dance vibe," Omarion says. "I have a new look and my own label now, so it felt like the right way to kick things off."

Omarion, whose real name is Omari Grandberry, recently released a highly choreographed music video for "I Get It In." His second single will be a song he co-produced with four-person production team 253. Titled "Speed'n," the midtempo number recalls past hits "O" and "Ice Box."

Other tracks include "Hoodie," a boastful jam featuring Jay Rock, and "What Do You Say," a ballad Omarion co-wrote with his friend Chris Brown.

In early August, the future of "Ollusion" and Omarion's label home looked unclear. The singer's deal with Young Money fell through two weeks after label founder Lil Wayne introduced him at a concert. This followed an earlier split from Timbaland, who was set to produce and release Omarion's new album under his Interscope-distributed Mosley Music Group.

"Timbaland had so much on his plate," Omarion recalls. "And when I saw I couldn't have the relationship I wanted to have with him, I knew it wasn't the home for me. With Young Money, it was getting close to the end of the year, and I wanted to build momentum for the first quarter. Wayne had other plans, though ... he's the captain of his ship."

Those events could easily have derailed another artist's career. Yet Omarion pushed ahead, striking a new deal with EMI by late September.

"Everyone was speculating that I was out for the count," he says, "but I never sweat. Stepping out as an entrepreneur was the smartest thing I could do."

Omarion already has a stable of acts at Starworld: one female and one male solo singer, a singing group and a male rapper, whom he'll likely introduce while touring in support of "Ollusion."

The singer says he's ready for the challenge, noting that he's been especially determined to take his career to the next level ever since his idol, Michael Jackson, died. "I was sitting at his funeral next to Chris (Brown)," he recalls, "and I just had this moment where I said to myself, 'I have to step up to the plate now and drive myself further than I've ever gone before.'"

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Adam Lambert -- the man with the outsize personality who delivered an audacious octave-and-a-half sitar-tinged purr of Johnny Cash's "Ring of Fire" on the most-watched TV show in the country, dodged sex toys thrown at him onstage during the "American Idol" tour and did it all without smearing his eyeliner -- is curled in the fetal position.

Balled up in a patio chair on the 10th-story balcony at the offices of 19 Entertainment in Los Angeles, Lambert is the portrait of the goth as a young man -- black clothes and combat boots; dyed black hair and black nail polish; Egyptian-themed jewelry matching the Eye of Horus tattoo on his wrist.

He grabs his knees and constricts himself even tighter as he reveals why he's so emo right now: He's attending the premiere of the film "2012" in a few hours. And his song, "Time for Miracles," plays over the closing credits.

"I'm going to be like this, in my seat, hiding in my popcorn bucket," he says. "It's going to be really weird."

Lambert laughs, unfurls his legs and straightens up in the chair. His worry is, of course, all a joke, an act, a performance. Because, true to the title of his upcoming album, Lambert is here for our entertainment.

DREAM CONTESTANT

When "American Idol" launched in 2002, creator Simon Fuller must have dreamed of a contestant like the 27-year-old Lambert -- one who mixes style and substance, one who can sing anything and cares about cultivating his public image. In a year, Lambert's gone from being one of a herd of auditioners at the San Francisco tryouts to landing the covers of Entertainment Weekly and Rolling Stone before his album, "For Your Entertainment," was even released.

For Fuller's music company, 19 Entertainment, the eighth season of "American Idol" was something of an embarrassment of riches. The eventual winner, Kris Allen has sold 1.1 million digital downloads of his "Idol" songs, according to Nielsen SoundScan, and contestant Allison Iraheta, with her preternaturally gravelly vocals and artful red and blue hair, is prepared to court the Hayley Williams/Avril Lavigne demographic.

But in a year when the clubby stylings of Lady Gaga and the Black Eyed Peas are setting sales records, it's Lambert's slinky set of dance songs that are poised to steal the spotlight. "For Your Entertainment" will be released Monday (November 23); the title-track lead single sold 18,000 in its first week of release, according to SoundScan, while "Time for Miracles" has sold 68,000 in three weeks. This comes on top of the 997,000 digital tracks sold of Lambert's songs from "Idol."

"He's an artist with a true sense of who he is," RCA Music Group general manager/executive VP Tom Corson says. "It's our job to work with him and present him with options to help steer the ship -- but ultimately it's his call. He has a vision."

'ENTERTAINMENT' TONIGHT

The cover of "For Your Entertainment" shows Lambert as a three-dimensional version of Patrick Nagel's artwork for Duran Duran's "Rio": all glam makeup and sharp angles. It's not subtle in any way -- Lambert is gleeful as he points out that he wore all that makeup -- but it's true to his image as a showman who combines singing talent with a theatrical bent.

It's an image he flaunted throughout "Idol" -- and was never more exemplified than in Lambert's retort to judge Simon Cowell's critique that one of his performances was too "Rocky Horror." ("I like 'Rocky Horror,'" Lambert patiently explained.)

But it's rare that a persona crafted on "Idol" doesn't go through some sort of intensification as the performer transitions from contestant to professional: Texas cutie Kelly Clarkson took on a pop sheen; Carrie Underwood's country chops were honed on the show.

For Lambert, he was "Glambert" from the start.

"I think there's a misconception -- people think that 'Idol' is like a Svengali puppeteer," Lambert says. "I think that may be the perception because certain people that have gone through the system didn't have a strong idea of what they wanted to do visually. I think the minute you do, they respond to that. And I've been very verbal and opinionated about what I want to create, and they've been nothing but supportive of that."

When Lambert moved to Los Angeles from San Diego eight years ago and began working in theater and as a session singer, he quickly learned that business acumen was just as important as musical talent. At 27, he's in the upper age range of "Idol" contestants -- the cutoff for the show is 28 -- and the simple fact of his added life experience could serve him well as he transitions away from the spotlight that is built into the show.

"I do consider myself part artist, part businessperson," Lambert says. "I find marketing interesting, I find publicity interesting. I find the whole process interesting. I think there's some artists that are really focused on the music and the artistry, but I also think being a showman and being an entertainer is more than just being a musician. It's everything -- it's something to look at and to listen to."

SURPRISE FACTOR

The songs on "For Your Entertainment" rely heavily on dance beats, but there are a number of ballads for contrast. "When I was picking my singles, I thought maybe I should do more of a rock thing because that's what people expect. But if I did what people expected of me, I don't think I would have gotten through 'Idol' the way I did," Lambert says. "It's part of my shtick as an artist to keep surprising people."

One defining characteristic is the A-list writing and production credits throughout the album: "Soaked," which Lambert says is about a one-night stand, was written by Muse's Matthew Bellamy and produced by Rob Cavallo, who worked on four tracks on the album; "Strut" was written by Lambert, "Idol" judge Kara DioGuardi and Greg Wells, who also produced; Ryan Tedder wrote and produced "Sleepwalker" alongside co-writers Aimee Mayo and Chris Lindsey.

"If an artist has the skills and ambition to write songs, then we will actively encourage and pursue this, often by pairing our artists with the world's very best songwriters, allowing them to learn and develop their writing skills," 19 Entertainment founder/CEO Simon Fuller says.

The announcement of the pairing of Lambert and Lady Gaga on the track "Fever" was fodder for gossip blogs, but Gaga doesn't actually perform on the track, Lambert says, explaining, "She was on the other side of the glass just egging me on."

Of the title track, which was produced by Dr. Luke, who co-wrote it with Claude Kelly, Lambert says, "I wanted to release something that would be played in a club, that would make you dance on New Year's."

He means that literally -- "Dick Clark's Rockin' New Year's Eve With Ryan Seacrest" is one of the TV appearances lined up for Lambert in the coming month. The promotional campaign starts Sunday (November 22) with his show-closing performance at the American Music Awards.

'IDOL' GIVES BACK

All of this is the result of a heady year. At this time in 2008, Lambert was waiting for the Hollywood elimination rounds of "Idol" to start. In TV time, it takes six months for "Idol" to crown a winner, but the production process runs year-round.

Despite the artifice of the show, it does drop-kick contestants into the media spotlight -- a valuable lesson for any pop star. "They put you through it to see if you can hang," Lambert says.

The 2009 season of "Idol" attracted an average of 25.1 million viewers, according to Nielsen, the lowest average in several years; but it's still the most-watched show on TV, as it has been since 2004. The finale in which Allen was proclaimed the winner over Lambert drew 28.8 million viewers -- 10 million more than the 2009 Grammy Awards.

"The finale of 'Idol' was pretty epic," Lambert says. "I got up there and was singing with Queen and Kiss -- I got to put on a costume. I really feel the finale summed up what I'm trying to do, and what I'm going to do. I think that being onstage with legendary people like that reminds you of what showmanship is."

Weeks after the "Idol" season wrapped, the top 10 contestants embarked on the Idols Live tour -- a valedictory sprint of 52 cities in three months that grossed $30 million this year, according to Billboard Boxscore.

While group numbers are a standard part of the touring show, each high-placing "Idol" contestant gets his or her chance to shine in a solo. Lambert did a medley of David Bowie's "Life on Mars?," "Fame" and "Let's Dance." He saw it as a chance to stage-test the sound he had in mind for his debut. "I always wanted to do Bowie songs, and I never did them on 'Idol' because it wasn't ever the right fit," he says. "We did a different, slightly modern production, which is basically what I'm doing on my album."

And much like the TV show, the "Idol" tour puts its participants through the wringer. "I've done theater for years and I've sung for a long time, but I've never done a solo set in concert night after night while traveling," Lambert says. "It was a good way to learn about how to take care of yourself and how to pace yourself while on the road."

PERSONAL MATTERS

With the fame come challenges; Lambert has become a favorite subject of the tabloids and paparazzi. "Yeah, it's weird," he says. "You know, it's like, 'Hi, I'm just walking to my car -- why do you care?'"

It's very likely that they care because of the wink-wink, nudge-nudge game that was played in the media about Lambert's sexuality during his "Idol" tenure. Lambert didn't answer the questions about whether he was gay until the Rolling Stone cover article in June; since then he's become Adam Lambert, Icon for Gay Youth -- not a mantle he shoulders easily.

"I don't want to be a spokesperson for anybody, no matter who they are," he says. "I'm not following this career path to be a role model or to be a poster child for anything except for music. If there's an indirect impact that my presence has on certain issue, then I think that's a good thing."

It's an issue that will get raised again and again -- as he walked the red carpet for "2012," for example, he was asked if he brought a date. His laughing response? "My date is my jacket, actually."

A few days after the premiere, Lambert is sitting in Fuller's office, swiveling back and forth in a white office chair as he prepares for another long day of media interviews. The movie, as it turned out, was a blast, and "Time for Miracles" was warmly received. "People stayed and listened," he says, honestly happy.

Of course they did. That's entertainment.

Adam Lambert booking agent | Adam lambert booking agent

New York police shut down a mall appearance by teen pop singer Justin Bieber (BEE'-ber) after thousands of young girls showed up and got a little too wild.

Nassau County police say girls and adults in the crowd of nearly 3,000 started pushing and shoving as they waited for the 15-year-old sensation to arrive Friday at the Roosevelt Field Mall in Garden City.

Five people were taken to hospitals with minor injuries.

Police arrested a vice president from Bieber's record label, Island Def Jam Records. They say he wasn't cooperating with attempts to disperse the crowd.

Some fans had camped out overnight for the event.

Bieber never made it into the building. He told WBLI radio that police turned him away.

Bieber's debut album, "My World," was released Tuesday

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One person was killed Friday (Nov. 20) when a bus traveling as part of Miley Cyrus' concert tour overturned on Interstate 85 near Dinwiddie, Va., a community located 41 miles south of Richmond, Va. Cyrus, who was traveling separately from the caravan of buses, was not among the 10 people aboard when the accident occurred shortly after 8 a.m. Authorities said the bus driver, William G. Douglas, 53, of Austin, Texas, was killed. Another member of the entourage, Marty Zilio, 48, of Canada, was taken to a nearby hospital for treatment of a broken nose. Most of the passengers were believed to be sleeping when the bus overturned. They escaped the wreckage by crawling through the front windshield. In a statement posted on Cyrus' Web site, she and her family said, "We are deeply saddened by the loss of Bill 'Uncle Bill' Douglas. Members of our tour are like members of our family. Our thoughts and prayers go out to his family in the midst of this tragedy. He will truly be missed." Cyrus appeared Wednesday and Thursday (Nov. 18-19) at the Nassau Coliseum in Long Island, N.Y., and is scheduled to perform her next concert Sunday (Nov. 22) at the Greensboro Coliseum in Greensboro, N.C.

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Rascal Flatts will participate in an episode of Jamie Oliver's Food Revolution TV show being taped Saturday (Nov. 21) in Huntingdon, W.Va. The 30-minute acoustic concert will begin at 2:30 p.m. at the Keith-Albee Theatre. The episode, hosted by the celebrity chef, is expected to air on ABC in February. The free performance will take place during a food festival in downtown Huntingdon that will feature 30 local food vendors.

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