The traveling part of America’s pop-cultural phenomenon comes to Maine next week, when the “American Idols Live” tour arrives in Portland for a 7 p.m. show Thursday, Sept. 21, at the Cumberland County Civic Center.

Taylor Hicks, the 2006 “American Idol” winner, and runner-up Katharine McPhee will be there, as will the rest of the top 10 finalists: Elliott Yamin, Chris Daughtry, Paris Bennett, Kellie Pickler, Ace Young, Bucky Covington, Mandisa Hundley and Lisa Tucker. After all, they’re contractually obligated to do the tour before they can cash in on other opportunities in the music business.

However, Taylor, Katharine et al aren’t contractually obligated to speak with the press. It’s a dirty secret of the music business that if ticket sales don’t need a boost, the performers are unavailable. The “American Idols” tour has been one of the hottest selling this waning summer. And with only a couple of hundred tickets still available for the Portland show, well, let’s just say phone calls aren’t getting returned by the tour publicist.

So instead of pondering the wit and wisdom of Hicks, that gray-haired soul man from Alabama, let’s instead consider “American Idol,” living proof of Andy Warhol’s dictum that “everybody will be world famous for 15 minutes.”

What is it about Fox’s “American Idol” that draws 30 million viewers a week, and turns no-names into household names in a few short months, that has housefraus and tween girls alike referring to contestants by first names, like they are members of the family?

Talent shows are nothing new, hearkening back to Ted Mack’s “Original Amateur Hour” in the 1950s. But from the end of “Amateur Hour” in 1960 until “American Idol” hit the scene in 2002, the talent show largely disappeared, except for sporadic bursts of “Star Search.” (Chuck Barris’ “Gong Show” was more of a no-talent show.)

Why here, why now? First, let’s blame corporate radio. It’s no longer local DJs taking requests, it’s computers following playlists. Listeners have no control over the music coming out of their radio. But as “AI” viewers, they control the fates of the contestants. Their opinion still matters there, and that imbues them with a pride of ownership. And that’s comforting in uncertain times.

Second, unlike much of reality TV, “AI” requires some talent, not just the ability to back stab and conspire. It seems cleaner for that.

Also, getting to choose from thousands of applicants, the show’s producers can find inoffensive contestants with at least a modicum of talent. One may be a little bit country, another a little bit rock ‘n’ roll, another has a little bit of soul. But no one looks like they’ve just emerged from a drug den or prison.

Finally, Americans love their archetypes, and “American Idol” gives them that in their judges. There’s a villainous id, a mothering female and an affable clown. It’s a great country where a Brit media mogul, an over-the-hill pop tart and an industry suit can reinvent themselves as the voices of musical authority. Out front is a Ken doll as host.

Will “American Idol” be a reliable source of future pop stars? Only time will tell. For every Kelly Clarkson, there’s a pop-cultural punch line (i.e. “Kelly Clarkson is the new advertising spokeswoman for Ford. Meanwhile Justin Guarini is living in his Ford”).

So concert-goers in Portland will again enjoy their “American Idol” favorites, in many cases for the last time. For most, their 15 minutes are nearly up.

For ticket availability, call the C.C.C.C. box office at 775-3458 or Ticketmaster at 775-3331.