Tag: Goner Records

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From Hex Dispensers to BBQ glory: Goner hosts Austinite’s food trailer tour

Tom Micklethwait

Austin band The Hex Dispensers were a delicious mix of punk and pop that won over a lot of Memphis fans. They had a good run and even played Gonerfest a couple of times. How things have changed. Tomorrow, one of the band members will be passing through town while touring up to New York for a Goner-sponsored event. But it’s not what you’re thinking. He won’t be playing the Hex Dispensers’ “Pile of Meat,” he’ll be serving it, and you should get on out and git you some.

Tom Micklethwait was always passionate about food, and had a day gig baking for an Italian restaurant. But around 2012, he began delving into the world of barbecue, and it has succeeded beyond his wildest dreams. Though based out of small food truck, Micklethwait Craft Meats has developed quite a reputation in Texas. As Food & Wine wrote last month, the eatery has been “turning heads at its Austin trailer. Unorthodox offerings like pulled goat, brisket Frito pie, and pork belly kielbasa helped put Micklethwait on the BBQ map.”

It hasn’t dimmed his love of music, either. Recently, he combined his passions by recreating the feast featured in the gatefold of Z.Z. Top’s Tres Hombres album…and ate it. Billy Gibbons reportedly quipped, “I stand in awe of what he accomplished.”

Goner co-owner Zac Ives says, “His BBQ is insanely good, totally unlike anything you can get in Memphis.” At Memphis Made on Friday, you can find out for yourself, while Ives and Hot Tub Eric spin vinyl on the wheels of steel. Oxford’s Tyler Keith will be there as well, playing a solo set. While it may not shake everyone’s faith in Memphis’ reign as king of the ‘cue, it could do us all some good to get some strange for once. It’s free and family-friendly.

From Hex Dispensers to BBQ glory: Goner hosts Austinite’s food trailer tour

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A Record Swap at Ground Zero for Choice Vinyl

Memphis is a record-lovers town if there ever was one. Maybe it’s the city’s storied history, and the megatons of vinyl that originated here. Maybe it’s due to the rich subculture of thrift stores and estate sales, so ripe for bin scavenging. Or it could be the high per-capita density of musicians, who tend to favor the rich sound of analog. For whatever reason, and probably all of them, we have an embarrassment of riches when it comes to records stores, with three top-notch shops in midtown alone.

But the availability of vinyl is about to increase exponentially over the weekend. The Soulsville Record Swap this Saturday, June 17, will bring together local record dealers and others from as far away as Louisiana, Alabama, Georgia, Virginia, New York, and Minnesota. Hosted by the Stax Museum of American Soul Music, in collaboration with Goner Records, music lovers can expect crates upon crates of vinyl, from the common to the ultra-rare. DJ’s will spin their favorite platters, and food trucks from Arepa 901, Sandwiches & More, and MemPops will be right outside, making this an event worth seeing and hearing even if you don’t buy any wax at all. The event is free, though any early birds seeking that rare copy of The Worms can pay $10 to be the first in the door at 10:00.

And if you want to warm up to the event, there’s a pre-swap party at the Memphis Made Tap Room on Friday, where you can hob-nob with fellow enthusiasts. That’s where one can often learn a thing or two. And to keep the conversation flowing, Memphis Made has crafted a special brew, Hop Swap, which will be on tap and in carry-out bombers. Goner DJ’s will be manning the turntables as well. Here’s a little ’45 to get you in the mood…maybe you’ll find a copy for yourself.

A Record Swap at Ground Zero for Choice Vinyl

Soulsville Record Swap will be held at the Stax Museum of American Soul Music, 926 E. McLemore Ave. (in the Stax Music Academy Building next door), 11:00-4:00 p.m., free admission; 10:00 a.m. early bird entry for $10.00.

Pre-swap party is at Memphis Made Tap Room, 768 S. Cooper St., 7:00 p.m., free admission.

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Music Music Features

Vinyl Heaven: It’s Record Store Day

CREDIT: Jesse Davis

April 22nd may be the busiest Saturday this spring for Memphis music lovers and vinyl hounds. Shangri-La Records and Goner Records are both opening early to participate in the 10th anniversary celebration of Record Store Day [RSD]; Burke’s Book Store is hosting a reading and concert for Jim Dickinson’s I’m Just Dead, I’m Not Gone in the Cooper-Young gazebo; and Lucero’s annual Block Party closes out the festivities in the Minglewood parking lot.

I’ve done the math, and it seems like, with determination and careful planning, it’s possible to see Tall David, Some Sons of Mudboy (twice), and end the day on a blanket in front of Minglewood, counting a stack of rare 7-inchers to the sounds of Son Volt.

The official list of RSD exclusives is nine pages long and includes rarities from Link Wray, Emmylou Harris, Prince, Ramones, Spoon, and the Kinks, not to mention a previously unreleased Diamond Dogs-era David Bowie concert. As if that isn’t enough to get any music junkie out of bed early, Waxploitation Records is releasing a “literary mixtape” of stories written by Nick Cave, Jim James, and others. And I haven’t even mentioned the children’s record by Johnny Cash or the third and final installment in Big Star’s three-part release for Complete Third.

“We’re participating in a huge way,” says Shangri-La owner Jared McStay. “We ordered more stuff than we ever have.” McStay says he’s not allowed to let slip which of the RSD exclusives he ordered for the store, but he’s excited about what’s coming in. The store cleared out some space with their Fool Fest sale, and McStay says they have been stockpiling some special rarities as well as local records to put out on Saturday alongside the RSD exclusives. “We’re open early,” McStay says. “And we’ve got a band playing at 2 p.m.”

Last year, while waiting for a show to begin at the Mercy Lounge in Nashville, I watched as David Johnson, the leader of Tall David, led the crowd — or at least the Memphis contingent of it — in an enthusiastic sing-a-long rendition of Harry Nilsson’s “Without You.” (I don’t want to add fuel to the feud, but no one from Nashville joined in the sing-a-long.) This year, fresh from an opening slot at Dead Soldiers’ album-release show, Tall David will lead the festivities at Shangri-La with an afternoon performance in the store’s parking lot.

Jesse Davis

“Come expecting to see the world’s tallest rock-and-roll crooner. Come early,” Johnson says of the free show. However, most Memphis music junkies will split time between the Madison record shop and its Cooper-Young counterpart, the holy grail of garage rock, Goner Records.

“One year we had a memorable guitar shred-off with some people playing their best licks back and forth,” Goner guru Eric Friedl says, but this year, Goner is letting Burke’s Book Store take over the performance duties with a reading from Jim Dickinson’s memoir by Mary Lindsay Dickinson and a performance by Some Sons of Mudboy.

“That seemed like enough [live music],” Friedl says, but guest DJs will spin soul and punk records in the store throughout the day. And the store will have coffee and donuts for the early birds.

“We’ve got the usual batch of exclusive RSD releases that everybody’s scrambling to get,” Friedl says. The store is also releasing Golden Pelicans’ Disciples of Blood LP on red vinyl. “We do have a secret release from NOTS that’s only going to be available in the store and from the band,” Friedl continues. “We were trying to figure out the best way to leak the word, but the NOTS Live at Goner [LP is being released for RSD]. We wanted to find a good way to release it, and tying it into RSD from the record store where it was recorded seemed pretty good.”
That’s right; Goner’s dropping a new, used-to-be-secret NOTS record this Saturday. And it’s not the only new Memphis LP coming just in time for RSD. A smorgasbord of spring releases by groups with Memphis roots is bolstering the RSD exclusives.

Valerie June’s The Order of Time led the blitz of spring releases, but hot on her heels were Dead Soldiers with The Great Emptiness, Chris Milam with Kids These Days, and Cory Branan’s Adios. At the time of this writing, Milam and Branan’s LPs are barely a week old, but Memphis-based psychedelic rockers Spaceface are dropping their debut LP Sun Kids on colored vinyl the day before RSD.
Though the band strived to record something that felt organic and could be replicated live, there were a few guest appearances — the band invited Flyer favorite Julien Baker to give a guest vocal performance. “[It] has our friend Julien Baker on there. We knew she would kill it,” Daniel Quinlan says.

With live music and new and exclusive releases from every genre, Memphis is primed to celebrate the 10th anniversary of Record Store Day. Whether it’s the new NOTS or the new Spaceface, the pop perfection of Tall David, or the country-punk attack of Lucero, there’s something to satisfy every listener.
For a list of all Record Store Day releases, visit www.recordstoreday.com. Tall David at Shangri-La Records, Saturday, April 22nd at 2 p.m. Free.

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Film/TV Film/TV/Etc. Blog

Music Video Monday: Aquarian Blood

Today’s Music Video Monday has a taste for blood.

Aquarian Blood started life as a home recording project by husband-and-wife duo JB Horrell and Laurel Horrell. JB is the guitar strangling mastermind behind Ex-Cult, and Laurel is a former member of feminist punkers Nots. The sound they created together is grounded in Memphis punk, incorporating songwriting influences as diverse as 1960s psychedelia and industrial noise. Their new album on Goner Records, Last Nite In Paradise just dropped last Friday. You can see them perform songs from the new album at their record release party at Murphy’s this Friday night. The first music video, directed by Benjamin Rednour, gives the song “Parasite Inside” the psychedelic setting it deserves.

Music Video Monday: Aquarian Blood

If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com

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Film/TV Film/TV/Etc. Blog

Danny Says Reveals Untold Story of the Punk Revolution

To a lot of America in the 1970s, it seemed like punk rock just appeared out of nowhere to challenge the content mediocrity of the status quo. But that’s not really how it happened. Punk did not spring forth fully formed like Athena from the head of Zeus. It was shaped and midwifed by a series of writers, hucksters, and hustlers, the most prominent of whom was a New York promoter named Danny Fields.

Fields is the subject of Danny Says, a new documentary directed by Brenden Toller, that will have a free screening at Studio on the Square on Tuesday, November 22 at 7:30 PM. The film explores the lasting impact the hype man had on American music, from his promotion of The Doors to his careful shaping of the rough public images of artists like Iggy Pop and The Ramones, whose song about Fields gives the film its name. Goner Records and Magnolia Pictures are sponsoring the screening, which, although it is free, does require a ticket to get in. Passes are available at Goner Records while supplies last.

Danny Says Reveals Untold Story of the Punk Revolution

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Sharp Balloons Reunion at Bar DKDC

Sharp Balloons live at Goner Records.

This Saturday night one of the most interesting punk bands to come out of the Goner records scene will reunite for a show at Bar DKDC. Formed after Sector Zero bit the dust, Sharp Balloons featured Joe Simpson (True Sons of Thunder, Rat Traps) Zac Ives (Final Solutions, Son of Vom) and first time bassist Heather Simpson.

Sharp Balloons Reunion at Bar DKDC

The band had an unwritten rule that if a member wrote a song they had to sing it, making for songs that were as unpredictable as they were catchy. Sharp Balloons frequently played the local punk haunts of the last five years, including the final days of the Poplar Lounge, in addition to familiar places like the Buccaneer, the old Hi-Tone, and Murphy’s.

Sharp Balloons Reunion at Bar DKDC (2)

While the gig on Saturday appears to be more of a reunion show than a full fledged re-appearance, Saturday night should serve as an interesting window into the Memphis punk scene of the past. Check out a live video of Sharp Balloons covering the Toy Love song “Pull Down the Shades” in Jackson, Mississippi below, and get to Bar DKDC by 10:30 p.m. this Saturday night. As always, the cover is $7.

Sharp Balloons Reunion at Bar DKDC (3)

Sharp Balloons Reunion at Bar DKDC (4)

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Music Music Features

Down By The River

CREDIT: Amurica.com

Now in its third year, the River Series at the Harbor Town Amphitheater behind the Maria Montessori School has quickly become one of the best places to see live music in Memphis. Featuring some of the best live bands the city has to offer (the Reigning Sound’s original lineup, NOTS, Chickasaw Mound, etc.), River Series shows are fun for the whole family, drawing a diverse crowd made up of rock-and-roll enthusiasts of all ages.

This Sunday afternoon at 4 p.m., the African Jazz Ensemble will take the waterfront stage. Made up of members who have toured with Michael Jackson, Al Green, B.B. King, Eric Clapton, the Dells, Luther Allison, and Rufus Thomas, the African Jazz Ensemble originally played as the soul group the Exotic Movement before changing their name to Galaxy. The 10-piece band rarely performs live, and this is their only scheduled 2016 show. I caught up with River Series founder Zac Ives to find out more about the outdoor concert series.

Memphis Flyer: How did the River Series start?

Zac Ives: I was trying to figure out a way to do something to give back to the school. We’d done these school events in that location on campus at the amphitheater behind the school, but they were always private. There are Memphis musicians who have students who go there, and the shows were always awesome. It’s one of the best places to see a show, but it had never been open to the public.

After we decided to start having public shows there, I went to the Downtown Music Commission to find some funding for it, and I got them to give me a starter fund to pay bands. Then I went to Wiseacre, who agreed to sponsor the series, and so did Miss Cordelia’s. After that, I got with Robby [Grant] and came up with a handful of bands we wanted to see play. It’s grown organically from that into what it is now. The cool thing about it is that’s how shows started there in the first place. The teachers [at the Maria Montessori School] are parents first, and they wanted to teach their kids in a different way. I think the River Series is a reflection of that.

How do you decide who’s going to play? The longer the series has gone on, it seems like the more diverse the shows have gotten. Would you agree with that?

I think when we initially started there were enough interesting bands that it was cool, and there was a fee that made people want to play it. I didn’t want it to just be a Goner set up. It was important to have other people’s input on the lineup too. I wanted it to be more diverse and push boundaries — find different bands that people don’t usually get to see. It’s fun to throw those things out there, because we can count on different people showing up each time. We’re curating it interestingly enough so that people can always get something out of it. I know what I’m going to like, but I want to think about it in terms of “What’s my mom going to want to come out and watch? What are my kids going to want to watch? What are the parents going to want to watch?”

One of my favorite things about the River Series is it seems like you’re constantly trying to outdo the last show. Do you think that’s true?

Yeah, it probably is. The idea of having the African Jazz Ensemble play actually came to us from another parent. The band rarely plays live, and the members have musical ties that go back to the early ’70s. They were all in soul bands, but at some point they wanted to work on more African-influenced music. They play a little bit of everything — taking the soul and R&B that they played in huge bands and mixing it with the stuff that they do now in African Jazz Ensemble. They are basically this cosmic jazz, 10-piece band with all different kinds of instruments. They don’t play very often. Their first show was at the Stax Museum, and this is the first time the band has played this year.

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Gonerfest Weekend: May The Circle Be Unbroken

Gonerfest Saturday is The Longest Day.

A pair of Goners feeling the love at Murphy’s outdoor stage.

OK, it’s not like D-Day or anything. It’s just 12 hours of rock, with a short break for Pho Binh in the middle. 

Archie and the Bunkers

The Saturday day show at Murphy’s split 10 acts between two stages, one indoors and one outdoors. With low humidity and the temperature peaking out at 85 F, the weather could not have been more perfect in the venerable Midtown venue’s shaded back parking lot where the outside stage offered bands from as far afield as Ireland. Oh Boland made the trek across the Atlantic to play some no-nonsense punk that, in the idyllic conditions, sounded more uplifting than angry. King Louie’s contribution to this year’s festival, Iron Head, on the other hand, was full of nonsense—and I mean that in the best way. Louie and his New Orleans cohort plowed through a sloppy, fun set punctuated by arguments over where the guitar solo was supposed to go.
Saturday’s afternoon show is not only the most communal phase of the festival, but it’s also prime time for unexpected discoveries. This year’s big reveal was Archie and the Bunkers, a pair of brothers from Ohio who channeled Quintron and The Damned in a frenzied half-hour set. These younguns were clearly the band most excited to be playing Gonerfest, and, despite the hours upon hours of garage punk variants I was exposed to over the long weekend, it was their cover of “Neat Neat Neat” that played in a loop in my head.

The World

The World, a postpunk band from Oakland brought a welcome change of pace outside some sax-driven tunes reminiscent of James Chance and The Contortions’ No Wave dance party. Then the soundtrack to the sunset on the crowd at Murphy’s grove was provided by Spray Paint, the beloved, Goner vet noise rockers from Austin.

Sick Thoughts

Weary Goners trickling into the Hi Tone that night were greeted with the anomalously chill sound of Couteau Latex from Geneva, Switzerland. But any peaceful vibes were quickly dispelled by Sick Thoughts, a Trampoline Team side project from New Orleans whose singer DD Owen bashed around the stage like a cocaine fueled bull in a nunnery. After repeated leaps into the crowd, he finished the set off by basing headfirst into the drum set, where he and the drummer lay for a long moment in a tangle of equipment. I was about to yell for a medic when they finally stirred to leave the stage. I guess they were just resting.

Control Freaks

One man band don’t get much weirder than Bloodshot Bill, the Canadian psychobilly rambler who had to take the stage as the sound guys cleaned up the destruction left behind by Sick Thoughts. You have to be brave to pull off a full solo routine like that, and Bloodshot Bill bantered fearlessly with the audience between strange songs where his voice veered between singing, screeching, yodeling, and a vocal fry that approached tibetan throat singing territory. Then the Control Freaks from San Francisco alternated between sounding like a Mack truck barreling down the 101 and a barrage of insulting anti-humor from Friday night’s MC Greg Lowery.

Kid Congo and the Pink Monkey Birds

The California trend continued with fellow San Franciscans Midnite Snaxx, and the Saturday night headliner, Kid Congo & The Pink Monkey Birds. Headlining Saturday night is a double-edged sword, because the crowd is going to be thoroughly worn out by 1 AM, but the best acts manage to overcome the audience’s rubbery legs. Kid Congo was one of those acts. I didn’t think I was going to make it more than one or two songs, but I ended up staying until the bitter end, and dancing harder than I had all fest. Big kudos to Kid Congo!

Rev. John Wilkins

I was going to write this blog post on Sunday, but I found my brains turned to mush, so my wife and I wandered over to watch Gonerfest end where it began, in the Cooper-Young gazebo. A few years ago, the Mid South’s own Rev. John Wilkins was introduced to the Goner crowd with a deep set of soul-tinged gospel delivered at the Murphy’s sunset slot. I wrote at the time that we here in Memphis are jaded by all the amazing soul and blues that permeates the air like the perfume of blossoms in the springtime, but the out-of-towners from Australia, New Zealand, Germany, Japan, The Netherlands, Switzerland, and the UK werre slack-jawed in amazement when presented with The Real Thing. This happened again on Sunday at the Gazebo, when the Rev led his impromptu congregation through soul claps and call-and-response celebrations of life, brother- and-sisterhood. By the end, he and his crack band had us all beseeching the heavans with a Stax-y rendition of “May The Circle Be Unbroken”. It was the perfect illustration of the Saturday night/Sunday morning dichotomy that defines Memphis music’s unique appeal, and the perfect capper for one of the best Gonerfests ever.

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Gonerfest Friday: Woozy, Brutal, Beautiful

Gonerfesters got a running start on Friday with an afternoon superkegger at Memphis Made’s taproom on Cooper. Memphis Made created a pair of custom beers for this year’s festival: A tart saison IPA and Gonerbraü, a smooth creme ale. Both proved popular with the rockers assembled in the sun to watch a four-band bill. New Orlean’s Trampoline Team turned in the most turnt tunes of the afternoon.

Yes, I just wrote that sentence. I probably should have just deleted it, but I’ll leave it to show the effects 48 hours of pounding beats are having on my synapses.

Trampoline Team riles up the crowd at Memphis Made.

The eventful Hi Tone Friday night got rolling with Opposite Sex from Deundin, New Zealand. They led with an impressive one-two punch in bassist/screamer Lucy Hunter and guitar squealer Reg Norris, who is able to get an huge range of sounds from just a wah pedal and a souped up stomp box. (TurboRat represent!)

Opposite Sex

The Hi Tone was filling up quickly as Memphis family affair Aquarian Blood howled to life. The husband and wife duo of Memphis hardcore OG JB Horrell and Laurel Fernden, supported by drummer Bill Curry and Coletrane Duckworth (son of Memphis guitar legend Jim Duckworth), gets better every time I see them. Between Horrell trying his best to strangle his ax into submission and Fernden switching between a clean microphone and one with rubbery echo effects—sometimes within a single lyrical line—they sound like no one else.

Aquarian Blood

When I walked into the Hi Tone Big Room to see Power killing it, I briefly wondered if I had stepped back in time to 1974. Like their countrymen Wolfmother, the Melbourne, Australia trio have embraced butt rock, mullets and all. And the Gonerfest audience went right there with them.

Power and the crowd.

I have to admit I totally missed Buck Biloxi and the Fucks. I was visiting the food truck out front for a much needed gutbomb burger when the party (it may have been a hip hop show, I wasn’t clear on the details) across the street at the erupted into a shirt-ripping brawl. There was at least one shot fired, but no one was hurt, and cop cars quickly swarmed the area. It was a strange, tense scene: on one side of the street, an African American crowd rapidly dispersing as police arrived; on the other side of the street, sweaty, mostly white punks from all over the world watching with a combination of horror and fascination, wondering if we were going to be witnesses to some kind of racially charged incident that has dominated the news in 2016. Fortunately, the first wave of cops to arrive seemed focused on de-escalating the fighting, and the situation cleared up without further violence or—judging by the lack of ambulance—injury.

The Blind Shake demonstrates unorthodox guitar technique.

Flashing blue lights provided the background as The Blind Shake took the stage. The Minnesota brothers Jim and Mike Blaha, who describes themselves as an “extraterrestrial backyard surf party”, are Gonerfest regulars. This year, they topped themselves with the tightest, snarlingest set I’ve seen from them. “Shots fired next door,” Jim said from the stage. “It’s an old marketing ploy.”

Black Lips

When 1 AM rolled around, the wrung out crowd milled around, trying to catch our breath as Black Lips meandered onto stage. The original Gonerfest grew out of a Black Lips show, and the band represents something of a garage rock ideal. The sound they have been chasing for the last decade and a half is something like a drunken 60s girl group backup band practicing in the stairwell where John Bonham recorded “When The Levee Breaks”. This is the strain of punk rock that originated in Memphis with the immoral Panther Burns. With the addition of a new saxophonist, the Black Lips pushed ever closer to the Panther Burns party vibe, gathering steam with each woozy rocker until “Katrina”, their 2007 underground lament of New Orleans devastation sent the crowd into a frenzy from which we didn’t emerge until the lights came up.

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Music Music Features

Gonerfest 13

In 12 years, and coming up on 13 iterations, Gonerfest has firmly established itself as one of Memphis’ signature live-music events. Initially created on a DIY whim, the festival has grown from an impromptu collection of bands crossing through Memphis on a particular weekend to a more than bona fide tourist attraction. According to a 2014 University of Memphis study, Gonerfest nets over a half of a million dollars each year for local businesses. Organizers and Goner Records big-wigs Eric Friedl, Zac Ives, and Madison Farmer spoke to the Flyer this week about Gonerfest 13 and beyond.

The Memphis Flyer: Why did you create Gonerfest?

Zac Ives: We did the first one in January 2005. We had just put out that first King Khan and BBQ Show album, and the King Louie One Man Band album, and Mark and Khan were going to do a tour. We called a few other bands, got Louie up too, and tried and make a big weekend of it. Everyone we called wanted to come up and play. We booked two nights at the Buccaneer. We had no idea if anyone would come in town to see it, but the shows were packed and completely wild. We moved to the Hi-Tone that September and made it an annual thing.

Did you have any idea that it would become a regular thing?

Eric Friedl: We had no intention of throwing a festival. “Gonerfest” was sort-of a joke name — but people really wanted to come to Memphis.

Zac Ives: We really wanted to bring bands and rock-and-roll fans here to Memphis. The idea was Memphis deserved to see these great bands from all over the place, and these folks deserved to see Memphis and all these great bands we had. I think it’s probably exceeded our expectations. I think the international aspect of it has been surprising and a lot of fun.

What is the booking process like?

Zac Ives: We have to agree that a band is a good idea, then whoever makes the initial contact usually takes care of the coordination of that band. Madison helps with press, promotion, volunteers, and a lot of the coordination as well.

Eric Friedl: We all propose bands and ideas for the festival. We try to figure out a budget in our heads — which bands we can afford, what kinds of different sounds or locales we should try to work in. I try to get the program guide done. Somehow that is the biggest hassle every year.

What bands are you excited about?

Madison Farmer: I can’t wait to see Fred & Toody. Total heroes of mine.

Eric Friedl: I’m really excited to have Tom Lax from Siltbreeze DJ-ing Saturday night. He’s sort of an underground legend, and the fact that he digs the festival makes me really happy. Tom Scharpling, too, who does The Best Show podcast. We’re so proud these people want to come to hang out in Memphis. Every year I’m surprised by some band that just blows my head off. That’s really what I’m looking forward to.

Do you think you’ll keep doing it?

Zac Ives: I don’t see any reason to stop. It’s a rock-and-roll reunion in Memphis.

Madison Farmer: I’m down as long as the guys are! Even if it turns into a backyard cookout with a couple bands, I’m in for life.

Eric Friedl: I don’t know what Gonerfest looks like when I’m 90, but for now, there’s no stoppin’ us!