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Summer Arts Guide 2024

Memphis, it’s summer. Officially. June 20th marks the start of the season. So that means it’s time for the Flyer’s Summer Arts Guide, and never one to disappoint, the Flyer has it ready, not a moment too soon, and not a moment too late. 

ON DISPLAY

“Memphis 2024”

Memphis 2024 celebrates artists working in Memphis today through more than 50 works.

Dixon Gallery & Gardens, through June 30

“It’s All Relative”

Morgan Lugo’s metal work examines how our unique perspectives shape our experiences.

Metal Museum, through July 7

“Progression”

Sowgand Sheikholeslami’s colorful paintings exist outside of realism. 

Dixon Gallery & Gardens, through July 7

The WE Art Gallery

This year’s annual exhibit at the Woman’s Exchange features new works by established local and regional artists and a number of talented newcomers.

Woman’s Exchange, through July 31

“People Are People”

This exhibit honors famed American designer Christian Siriano’s electrifying contributions to fashion. 

Memphis Brooks Museum of Art, through August 4

“Branching Out”

Discover intricate connections between students, teachers, and casting communities, which branch out much like a family tree. 

Metal Museum, through September 8

“Summer Art Garden: Creatures of Paradise”

Monstrous bugs and tiny Thumbelinas relax in a fantasy landscape in Banana Plastik’s installation. 

Memphis Brooks Museum of Art, through October 26

“Bracelets, Bangles & Cuffs: 1948–2024”

This collection of contemporary bracelets reveals the wide-ranging creativity of artists working in this jewelry form. 

Metal Museum, through November 17

“2023 Wilson Fellowship: Danny Broadway, Claire Hardy, Thad Lee, and John Ruskey”

The Dixon has partnered with the town of Wilson, Arkansas, to help bring cultural activity to the Arkansas Delta through an artist residency program. This exhibit features work by the inaugural cohort of Wilson Fellows, Danny Broadway, Claire Hardy, Thad Lee, and John Ruskey.

Dixon Gallery & Gardens, July 14-September 29

“Health in Enamel”

Themes of health, healing, and spirituality crystallize with a survey of current enamel holdings in the Metal Museum’s permanent collection and a community-based quilt project.

Metal Museum, July 14-September 29

“Southern/Modern: 1913-1955”

This exhibit tells the tale of progressive visual art in the American South.

Dixon Gallery & Gardens, July 14-September 29

“Beyond the Surface: The Art of Handmade Paper”

This exhibit explores the shape-shifting quality of paper.

Memphis Brooks Museum of Art, September-December

“Roll Down Like Water”

Memphis-based Peruvian-American photographer Andrea Morales’ portrayal of the Delta South is deeply rooted in the communities she engages with. 

Memphis Brooks Museum of Art, September-January

ON STAGE

Catch Me If You Can

This musical tells the thrilling adventure of a con artist who poses as a pilot, doctor, and lawyer, all while being pursued by the FBI.

Playhouse on the Square, through July 14

Josh Threlkeld at The Grove (Photo: Justin Fox Burks)

Concerts in the Grove

Enjoy music, food trucks, and corn hole. Scheduled to perform are Cyrena Wages (June 20), Alice Hasen and Josh Threlkeld (June 27), and MSO Big Band (September 19).

Germantown Performing Arts Center, select Thursdays

Orion Free Concert Series

The Orion Free Concert Series welcomes local, national, and international acts. Find the full lineup at overtonparkshell.org/freeconcertseries. Opera Memphis will give a special Opera Goes to Broadway performance on September 29, and Tennessee Shakespeare Company will perform a special production of Shakespeare’s The Comedy of Errors on October 20. 

Overton Park Shell, select dates

Happy Hour in the Grove

Enjoy a free concert, drink specials, deals on local beer, and $5 wine. Scheduled to perform are Short in the Sleeve (June 21), Soulshine (June 28), Bedon (July 12), Alexis Jade and D Monet (July 19), and rising talent from the Circuit Music Seen (July 26).

Germantown Performing Arts Center, Fridays through July

Cinderella

The iconic saga of rags to romance comes to life in Rodgers and Hammerstein’s Broadway classic.

Theatre Memphis, through June 30

9 to 5: the Musical

Collierville Arts Council presents this fun musical, based on the titular film, with music by Dolly Parton.

Harrell Theatre, June 21-30

Come From Away

Residents of small town in Newfoundland open their homes to 7,000 stranded travelers on 9/11. 

Orpheum Theatre, June 21-23

Coco Queens

Four women confront the deep and often painful challenges of love, forgiveness, and Black womanhood.

TheatreWorks@TheSquare, July 12-28

MAMMA MIA!

The characters, the story, and the timeless hits of ABBA are what make this the ultimate feel-good show.

Orpheum Theatre, July 23-28

Carmen Jones

Hattiloo Theatre puts on this World War II-era musical about a love that turns deadly.

Hattiloo Theatre, July 26-August 18

Coconut Cake

A woman moves to town and tempts Eddie and his retiree buddies with her mysterious ways.

Hattiloo Theatre, August 9-September 8

Bill Cherry … The Final Curtain

World-renowned Elvis Tribute Artist Bill Cherry returns to the Halloran Centre with special guest Ginger Alden.

Halloran Centre, August 14

Grease

Grease is the word in this iconic musical. 

Theatre Memphis, August 16-September 8

Ride the Cyclone

Six high-school choir members have died on a faulty rollercoaster. A mechanical fortune teller offers one of them the chance to return to life.

Germantown Community Theatre, August 16-September 1

Waitress

Jenna, a skilled pie maker and waitress, is trapped in a loveless marriage with an unexpected pregnancy, but finds hope in a baking contest. 

Playhouse on the Square, August 16-September 15

PJ Morton

The five-time Grammy-winning soul singer, songwriter, performer, producer, and Maroon 5’s full-time keyboardist for the past 12-plus years comes to Memphis.

Orpheum Theatre, August 18 

Jazz in the Box: Alexa Tarantino Quartet

Get up close and personal with live jazz, including performances by the Alexa Tarantino Quartet on September 6 and Tierney Sutton and Tamir Hendelman on September 27. 

Germantown Performing Arts Center, September 6 and 27, 7 p.m.

Memphis Songwriters Series: Victoria Dowdy, JB Horrell, and Raneem Imam

Hear from three of Memphis’ own seasoned musicians.

Halloran Centre, September 12

Southern Heritage Classic Presents Patti Labelle

The Godmother of Soul brings her effortless ability to belt out classic rhythm and blues renditions, pop standards, and spiritual sonnets.

Orpheum Theatre, September 12

A Midsummer Night’s Dream

Theatre Memphis puts on one of the Bard’s most popular comedies.

Theatre Memphis, September 13-29

Little Shop of Horrors

This deviously delicious Broadway and Hollywood sci-fi smash musical has devoured the hearts of theater-goers for over 30 years.

Harrell Theatre, September 13-22

What the Constitution Means to Me

Playwright Heidi Schreck skillfully breathes new life into the Constitution through her innovative play. 

Playhouse on the Square, September 13-October 6

Rachmaninoff’s Rhapsody on a Theme of Paganini and Copland’s Third Symphony

Memphis Symphony Orchestra kicks off its 2024-2025 season with this performance.

Cannon Center, September 14, 7:30 p.m. | Scheidt Family Performing Arts Center, September 15, 2:30 p.m.

Roman Banks as ‘MJ’ and the cast of the MJ First National Tour (Photo: Matthew Murphy, MurphyMade)

MJ 

Michael Jackson’s unique and unparalleled artistry comes to Memphis in MJ, the multi Tony Award-winning new musical centered around the making of the 1992 Dangerous World Tour.

Orpheum Theatre, September 17-22

Patterns

Germantown Community Theatre presents emerging local playwright Michael Hoffman’s world premiere of Patterns.

Germantown Community Theatre, September 20-29

Avatar: The Last Airbender in Concert

This captivating experience blends a live orchestral performance of the iconic series soundtrack with an immersive two-hour recap of the animated show’s three seasons on a full-size cinema screen.

Orpheum Theatre, September 25

AROUND TOWN

Super Saturday

The Brooks offers free admission and art-making during its monthly Super Saturdays. 

Memphis Brooks Museum of Art, first Saturday of the month, 10 a.m.-noon 

Stax Family Day

Join the Stax for a fun-filled afternoon with free admission, games, activities, and music. 

Stax Museum of American Soul Music, second Saturday of the month

Live In Studio A: Summer Series with 926

Join the Stax Museum of American Soul Music for live music by 926, the Stax Music Academy Alumni Band. Admission is free for all Shelby County residents.

Stax Museum of American Soul Music, Tuesdays, June and July, 2-4 p.m.

Munch and Learn 

Grab lunch and enjoy a lecture presented by local artists, scholars, or Dixon staff, sharing their knowledge on a variety of topics.

Dixon Gallery & Gardens, Wednesdays, noon-1 p.m.

Whet Thursday

The Metal Museum hosts a free after-hours event with demonstations, admission to the galleries, food, and drink. 

Metal Museum, last Thursday through August, 5-8 p.m.

Wax & Wine: Soul Records + Southern Chefs + Global Wine

Wax & Wine is a fundraiser benefiting Stax Museum of American Soul Music, and celebrating the unmistakable character of southern soul and R&B music, food, and wine. 

Stax Museum of American Soul Music, June 28, 7 p.m.

Glam Rock Picnic: Fundraiser, Art Market, & Interactive Sculpture Party

Participate in the making of local artist Mike McCarthy’s newest sculpture, The Aladdin Sane Weathervane, a 9-foot tall statue honoring David Bowie. Featuring live music, art vendors, face painting, Eric’s food truck, and a David Bowie-themed bar, this event has something for everyone.

Off the Walls Arts, June 30, noon-5 p.m.

Exhibition Lecture: Hidden in Plain Sight: Reconsidering the South’s Role in Modern American Art

Exhibition curator Dr. Jonathan Stuhlman will discuss how “Southern/Modern” was conceived and organized, and introduce the key artists and themes found in the show. 

Dixon Gallery & Gardens, July 14, 2-4 p.m.

“Christian Siriano: People Are People” Inspired Pattern Making Workshop with Jayla Slater

Teaching artist Jayla Slater leads a hands-on fashion workshop and explore fashion as a designer.

Memphis Brooks Museum of Art, July 24, 5:30 p.m.

Christian Siriano’s “People Are People” (Photo: Courtesty Memphis Brooks Museum of Art)

A Fashion History Tour of “Christian Siriano: People Are People” with Ali Bush

Get an inside look at how fashion history informs contemporary designers like Christian Siriano from Ali Bush’s point of view, in the “People Are People” exhibit.

 Memphis Brooks Museum of Art, August 1, 6-7 p.m.

Art on the Rocks: Garden Cocktails & Craft Beer (21+)

Art on the Rocks brings botanical cocktails, craft beer, wine, and more together in the gardens. Guests will enjoy a variety of drink tastings, bites from local restaurants, and live music.

Dixon Gallery & Gardens, September 6, 6-9 p.m.

6×6 Art Show-Canvas for a Cause 

Join the UrbanArt Commission for the 6×6 Art Show-Canvas for a Cause where artists showcase their talent on small canvases to support a great cause.

UrbanArt Commision, September 12,6-8 p.m.  

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“It’s a Fine Line”

Since opening her Sheet Cake Gallery in December 2023, Lauren Kennedy has enjoyed pairing artists together in two-person exhibitions, making aesthetic connections that wouldn’t have been made otherwise. For the upcoming show, “It’s a Fine Line,” with Stephanie Howard (Greenville, SC) and Khara Woods (Memphis), Kennedy says both artists reflect on the passage of time — “feelings of impermanence and lack of control” — both through meticulous linework, repetition, and attention to detail. 

“For Stephanie, in sitting down and really getting lost and meditating in the practice of making these really intricate detail drawings, she finds that she can suspend a moment in time in the work that is going to live on forever as that finished product,” Kennedy explains. 

Andromeda, 2024, Spray Paint on Wood Panel (Photo: Courtesy Sheet Cake)

Meanwhile, the precise, geometric forms in Woods’ woodworking evoke her deep love for architecture and desire for structure in a chaotic world. “Specifically in this body of work for Sheet Cake, she’s gotten really fixated on thinking about the life cycles of stars,” Kennedy says. “And we use the stars and celestial bodies to mark time or to measure unimaginable distances, but at the same time, they’re so beyond our reach and so outside of our full comprehension. So there’s both this process of exerting her own control through the way that she is making the work, and being able to create these highly ordered and clean, precise woodcut panels, but also kind of honoring the universe in which we’re existing and in these things that are really beyond her control.”

“These are concepts that really can be very overwhelming and consuming,” Kennedy continues, “but then to take that and to make something really specific and just find their way through it by the process of creating art, I find it really poetic in a way.”

Yet when seeing the show, Kennedy encourages viewers to seek out whatever makes their “heart sing.” “It’s totally valid to have your own experience and understanding of it,” she says. “I would just want people to come in and feel moved by the work and to feel excited about the work.” 

“It’s a Fine Line” Opening Reception, Sheet Cake Gallery, Saturday, June 29, 5-7:30 p.m.

On view through August 9.

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24 Hour Plays

In 24 hours, six playwrights will write six 10-minute plays, which six directors will then direct for 24 actors to then act in. It’s the ultimate challenge for any theater-lover, a beloved format founded in New York City back in 1995 and adopted by LoneTree Live for Memphis in 2022. This June marks Memphis’ third 24 Hour Plays.

On Friday, June 28th, the six writers will write overnight, says Julia Hinson, LoneTree’s executive director. “I almost think of it like a theater lock-in. Their plays are due at 6 a.m. and then we print all the plays. And then the directors come just a little bit later, and the actors, and then we rehearse all day. And then by seven o’clock the next night, we perform all six plays.”

24 Hour Plays: “There’s always a kooky kookiness.” (Photo: Courtesy Theatreworks)

Of the day, Hinson says, “It’s fun. It’s exhilarating. There’s usually a moment in the day for the actors, where they are like, ‘Why did I sign up for this?’ Because it can be pretty scary to think you’re gonna go on at the end of the night.”

Perfection is often unattainable for the performances, which actually can be creatively freeing in stages as early as the writing process. “At a certain point you just have to be done, yet you still get a production,” Hinson says. “In the world of theater, you’re not always guaranteed a production. We love to give local talent the opportunity to shine.”

The plays themselves range from comedy to drama. “Then, there’s always just a level of absurdity,” Hinson says. “I don’t know if it’s the late hours or just how quickly we have to do it, but there’s always kooky kookiness.” She adds, “It really is a celebration of the theater community.”

Before the production and in between plays, musician and composer Eileen Kuo will perform. There’ll also be donated beer from Hampline Brewery, popcorn, and cotton candy.

24 Hour Plays, TheatreWorks@Evergreen, Saturday, June 29, 7 p.m.

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Clandestine Creative Club

On any given Thursday evening, if you walk into the back of the Ink Therapy, you’ll find a group of artists — hobbyists and those looking to break into the scene professionally alike — working on their craft, whether it’s drawing, painting, graphic design, jewelry-making, or crochet. They call themselves the Clandestine Creative Club, and anyone’s welcome to join. 

The founder of the club Noah Womack, who also goes by the artist name Braincrumbs, says he was inspired by a similar club called the Grind Shop that only lasted about a summer in Memphis a few years ago. “Artists would come together and work on projects,” he says. “After that ended, I think everybody was kind of missing that. And then after the pandemic, there was really a lack of community, and everybody felt very isolated and distanced. And I know, especially for a lot of my artist friends, especially after the pandemic, with a lot of their social anxiety, it was really hard to get out and meet people and get together after the pandemic. So after feeling that for several years, I wanted to put it back together.”

Photo: Courtesy Ink Therapy

So last summer as David Yancy’s Ink Therapy was still getting its licensing in order, the tattoo shop opened its doors to the club which held meetings there for a while until the business opened. “This January, [Yancy] had bought that additional back room and had built a little area for us in the back,” Womack says. “So he invited me to start it back up, and so we’ve been doing it ever since then.”

The weekly meetings are free and non-committal, with members so far ranging in ages 19 to 35. “I consider anybody who’s been to the club meeting at least once to be an official club member,” Womack says.

Recently, the club started having theme nights, such as a “Clay Day” and an “Everybody Draw Everybody” night. “People seem to be a lot more engaged during those nights,” Womack says. “So I think I’d like to do some of those more often.”

Clandestine Creative Club, Ink Therapy, 485 N. Hollywood, Thursdays, 7-9:30 p.m. Keep up with the club on Instagram (@clandestinecreativeclub).

Categories
Music Music Features

Chris Milam Goes Back to the Future

You can trace the shifts in Chris Milam’s songwriting style through the type of guitar he’s opted to play over the course of his three albums. And music fans who’ve come to appreciate the more sparse Americana of his first two albums, Kids These Days and Meanwhile, will hear the change immediately when they play his latest album, Orchid South. The songs mine an anthemic, power pop vein that he’s hinted at before, but never embraced to this degree. And of course, with power pop comes the sound of electric guitars. In this case, the triple guitar team of Milam, Steve Selvidge, and Luke White.

Electric guitar has always been in Milam’s toolbox, but never in quite this way. “In the lead up to making Kids These Days, and then touring that album in 2017, I was playing solo electric. There’s a lot of acoustic guitar on there, too, but the main guitar you hear me playing on that album is a hollow body, Gibson-sounding, reverbed-out electric. So yeah, there was a couple years there where I was doing a fair amount of electric playing — in solo shows. But then I shifted to acoustic surrounding Meanwhile.”

Chris Milam (Photo: Lisa Mac)

That sophomore effort, released in 2020, was a sparse masterpiece of which Milam said at the time, “I inadvertently wrote a good album for quarantine, honestly. It’s basically 10 different versions of how we deal with loss, or survive being in limbo.” Along with that pensive mood came pensive music, with acoustic guitar at its foundation.

Now that’s all changed.

“For this one, I don’t know, maybe this is impolitic to say,” he says, “but I’ve just been bored to tears by so many singer-songwriter albums” with acoustic guitar at their heart. “I just was like, I think that you can discuss weighty topics and still make an album that is fun and dynamic and that people actually want to listen to.”

And that’s a fair description of Orchid South, which seems custom-made to burst from radio speakers while blasting down the highway on a hot summer night. “I’ve always been a big fan of power pop from the 1970s and alt-rock of the 1990s,” he says. “That was the stuff that I was listening to when I first picked up a guitar and when I first really fell in love with music. That was really the soundtrack of my adolescence.”

Yet it wasn’t until recently that Milam, now 40, felt he could address those years with the proper tone and voice. And the tone, he knew, would have to be full of jangle and crunch. Who better to bring that sound than Selvidge and White?

“Most of the lead guitar is Steve, and all the 12-string Rickenbacker guitar is Luke, kind of on the left channel. With Steve on the right. I added rhythm guitar, for the most part.” Moreover, the album gains its immediacy and energy by virtue of having largely been tracked live, with the players all in the same room. “At the heart of the album, the core band was Shawn Zorn on drums, Mark Stuart on bass, and then me and Luke. And then Steve came in for an overdub day, and the horns [Art Edmaiston and Marc Franklin] did an overdub day. And that was pretty much it.”

The end product is a big, radio-friendly sound that conjures up the longings and impulsiveness of adolescence. And ironically, though Meanwhile came out during the onset of Covid, this album is even more of a product of that time. “A good chunk of the album was written during quarantine,” Milam says. “And I was probably going a little stir crazy and wanting to be loud and kick out the jams.”

Yet he was also applying his more finely-honed writerly chops to an earlier version of himself, the young man listening to alternative radio in the ’90s. “When I was a teenager, growing up in Memphis, I was listening to 96X [FM],” he recalls. ““Hey Jealousy’ was one of the first songs I learned on guitar, and there’s a lot of Gin Blossoms influence on this album.” But there was more to evoking his youth than turning his amp up to 11.

“My earlier stuff had been more in the Americana or folk realm, and so the lyrics were a little bit more of that narrative style,” reflects Milam. “But when I was a teenager, I didn’t really experience things in that way. It was all very heightened emotions, very amplified feelings, and everything was just evocative and impressionist. That was the type of writing I did when I was that age and I wanted to get back to that again, but hopefully do a better job on it. Instead of narrative lyrics, I wanted stuff that had more freshness, or was a little bit more evocative. That makes emotional sense, even though it doesn’t necessarily make literal sense.”

Chris Milam is in the midst of a national solo tour now, but will celebrate the release of Orchid South with a full band at Railgarten on Saturday, August 10th, with Alexis Grace opening.

Categories
Book Features Books

The Ron Hall Chronicles

There are record collectors, and then there are record collectors. Holding strong against the tides of time, which have rendered recorded music as weightless as a cloud, streaming past us like raindrops and just as ungraspable, Memphis is yet home to many mini-librarians. We curate our own collections of vinyl, tapes, and CDs, still attached to those miniature works of art and the ritual of listening that they require. Yet, among this haven of gatherers — raging, raging against the dying of the vinyl — there once walked among us the ur-collector, and the ultimate documentarian of the history behind his stacks of wax. 

His name was Ron Hall. There was no one more committed to the history and lore of local music than he, and no bigger fan of Memphis wrestling.

When Hall passed away in March at the age of 73, after suffering a major stroke two months earlier, the city lost not only a gifted private archivist but a gifted author. Shangri-La Projects, who published his entire oeuvre, posted this on social media as a response to his death:

“Ron was a savant in shining a light on what it meant to grow up in the middle of the post-war pop culture explosion in one of the most influential pop culture, music, and professional wrestling cities in the world. Ron’s three books, two CD compilations, documentary film, and Memphis music calendar solidified him into being one of the craziest chroniclers/fellow fanatic travelers of all that is wacky in Memphis’ creative cauldron of the ’50s/’60s/’70s/’80s.”

Here, then, is a recap of Hall’s important body of work.

Playing for a Piece of the Door: A History of Garage and Frat Bands in Memphis, 1960-1975

This was the book that started it all, and it remains a constant reference source for this writer and many others in Memphis. Tellingly, the introduction begins with Hall’s memories of actually performing with a band, when “the 13th Muse took the stage at a home for unwed mothers in the Oakhaven area of Memphis, Tennessee,” in late 1969. Though they only played the one show, Hall recounts, “I was doing what hundreds of other kids in Memphis wished they could do.”

That everyman spirit informs this look into the stories of over 500 local bands that cropped up in the title’s 15 year span. Some went on to stardom, others were only locally celebrated, and some weren’t even that. Yet all are cataloged with an inclusive, democratic zeal by Hall, who not only collected the sometimes obscure 45s that made these bands immortal but saw many of them performing in their prime. This lends crucial historical context to the groups. Take The Embers, for instance, “one of the top bands in the Jackson/Humboldt, Tennessee, area in the mid-to-late ’60s.” 

Starting in 1964, many (most?) of these groups were inspired by The Beatles. This is, after all, an undeniably partial collection of groups, centered on the largely white ensembles that sprung up in The Beatles’ wake. But Hall reaches back before the Fab Four’s heyday as well, as with his entry on The Monarchs, who, starting in 1959, were “one of the few surf bands in the area.” Hall fills out his archival research with interviews with some of the players, making this book a kind of oral history as well. “The Beatles killed us,” recalls Charles McAllister of the Monarchs.

And, as the book takes us into the ’70s, we see the post-Beatles groups flourish as well, with power pop and California rock-tinged groups like Big Star, Target, and Cargoe hitting their stride. In all, it’s one of the most important chronicles of how sounds morphed through a decade and a half of the city’s golden years at the top of the music industry.

The Memphis Garage Yearbook, 1960-1975

When Playing for a Piece of the Door came out in 2001, it sparked a new surge of demand for all that was obscure and garagey in Memphis music, and soon after Shangri-La Projects released two CDs compiling the best tracks from Hall’s and others’ vinyl collections. Concerts were held on the Shangri-La Records porch, featuring onetime ’60s artists like Jim Dickinson, B.B. Cunningham, and the Castels. Ultimately, a second book was released which covered much the same ground, but through a different lens. Put together like a high school yearbook, and relying more heavily on rare photographs and show bills collected by Hall, it’s a stunning visual accomplishment. The book being organized chronologically (rather than alphabetically, as the first book is) sheds a different light on the evolution of the groups and the various players who shuttled between them. And the live performance photos underscore that this book, as well as its predecessor, doubles as a chronicle of the era’s key venues as well as its bands.

Sputnik, Masked Men, and Midgets: The Early Days of Memphis Wrestling

Hall was not only fascinated with local music, as this 2009 volume made clear. If many, like me, first became aware of the connection between early pro wrestling in the city and rock-and-roll by reading Robert Gordon’s It Came from Memphis, Hall seems to have gotten it organically, from being a dedicated fan of the sport since his youth. Rare 45s by more sonically ambitious wrestlers like Jackie Fargo, Sputnik Monroe, and (of course) Jerry Lawler are featured in photographs and on the book’s accompanying CD. Moreover, Hall called on some key fellow collectors for the visuals here, namely Robert W. Dye Sr., a local amateur photographer; Jim Blake, owner of the record label that released Lawler’s musical ventures; and many others. The result is a galvanizing compendium of eye-gouging action shots, tough guy poses, screaming show bills, and detailed write-ups from Wrestling, King of Sports, a local wrestling rag from the era. Not long after this book appeared, Shangri-La Projects released the film Memphis Heat: The True Story of Memphis Wrasslin’, which relied heavily on this book by Hall, who also served as the film’s executive producer. 

Memphis Rocks: A Concert History, 1955-1985

While retaining much of Hall’s fascination with all things Memphis, this book expands the scope of his research, documenting more than local bands. In a photo-heavy format closer to Hall’s wrestling book than Playing for a Piece of the Door, it collects concert photos, ticket stubs, show bills, and print media ads for practically any major concert in the city over a 30-year span. This includes both national and local groups, with a focus on the former: the big concerts that music fans flocked to, now cherished in the memories of those who attended. Yet smaller shows make the cut as well, and this, like Hall’s other works of music history, serves as an important chronicle of now-forgotten venues. Contrary to the subtitle, for example, the book actually begins in 1954, devoting a page to every local live performance by a certain Elvis Presley that year. Many of them were at Eagle’s Nest. Who knew? 

It’s also a de facto celebration of the Mid-South Coliseum, charting the many stellar shows there over three decades, from James Brown in 1965 to The Beatles the next year to Iron Maiden in 1985. Resonating with any fan savoring the experience of such shows are the “Concert Memories” compiled by Hall, where local musicians and others recall the power of seeing pivotal performances in their lives. As such, this, like all of Hall’s painstaking works, is a compendium of not only Memphis music and Memphis memories, but key moments in the history of American culture as a whole. 

Categories
Music Music Features

The Subteens Level Up

The resurgence of vinyl records has not only brought a plethora of new material sporting colorful platters and beautiful cover art, it’s given a second life to albums that were originally released when CDs were king. The vagaries of time having winnowed the wheat from the chaff, albums from decades past that have only taken on more artistic value can now be elevated to a more perfect medium: vinyl.

None are more deserving than the Subteens’ 1999 CD-only debut, Burn Your Cardigan, freshly reissued on wax by Back to the Light Records last month. Recorded just after seminal punk/indie drummer John “Bubba” Bonds joined the group, it revealed what a perfect complement he was to the visions of co-founders Mark Akin (guitar and vocals) and Jay Hines (bass), and established the Subteens, with their mastery of adrenaline-charged pop-punk originals, as one of the best Memphis groups at the turn of the 21st century.

Yet, as Hines relates today, Bonds was nervous about the sessions. On the first day of recording, Hines says, “We had to go find him, and it was raining really hard. He was down at the South End or somewhere, and we had to go get him, get his drums, and then go by Buster’s to get him a fifth of Jack or something. Then we went back to the studio and got busy.”

Album Cover Artwork: Mike McCarthy

Not that any of them were plastered as they recorded. They took the album very seriously. “We were just trying to get him to relax a little bit,” says Hines. “He didn’t get sloppy or anything — he played to a click track on a lot of that. But that made him nervous. Also, he had just joined the group. We had had maybe one practice and maybe one show with him at that point. But he just nailed it. Most of those [songs] were done in one or two takes. So miraculous!”

Also seemingly miraculous at the time was the studio’s proximity to cheap eats. The sessions were booked at Robbie Pickens’ Nu-Star Studio, not a well-known recording destination even then. “It was over off Summer behind Sonic. You could literally walk out of the studio, climb over his back fence, and be at Sonic. So that was amazing,” Akin recalls today.

“Robbie was not a typical person that a Midtown fan would seek for help producing a record, you know?” notes Akin. “I can’t remember why we ended up with him. Maybe he was just cheap. But for whatever reason, the stars aligned. Robbie really understood the punk that we were coming from. But I think he also understood that we wanted a little bit of gloss on it, a little bit of pop sensibility. Robbie was able to have a foot in both of those worlds and bring it together. I just can’t overstate enough how helpful Robbie was.”

Surprisingly, for a band that seems to have had great guitar sounds dialed in from the start, the crunchy riffs of Burn Your Cardigan came down to Pickens’ production skills. “I could not get the guitar sound right,” says Akin. “And finally, Robbie was like, ‘Mark, leave. Go to Sonic! I’m going to get your guitar sound.’ Later, he calls me to come back in and listen to it, but he won’t let me see what he’s done. And it sounds fantastic. Then he said, ‘Okay, let me show you how I got it.’ He had put a really small amp, like a Pignose, in this tiny closet, and had somehow gotten this magical guitar tone out of it.”

The end result was indeed a perfect blend of noisy punk attitude and the band’s unmistakable pop instincts. “Even our favorite punk bands are really pop bands at heart, or at least my favorite punk bands,” says Akin. “The Sex Pistols, the Ramones … And Jay’s really into the Buzzcocks, Sham 69. I’m really an AC/DC [fan]. That’s all hooky pop, just with harder rock guitar tones and different tempos. And every single one of those songs are arranged with a purpose and they’re arranged in a sensible, linear way.”

The ultimate statement of this approach may be Side One’s closer, Billy Joel’s “You May Be Right,” thrashed out with complete sincerity as if it were the latest track by the Clash. There’s a defiance to the track that helps one understand the band’s historical context. The late ’90s were trending away from the punk/pop axis, toward more introspective, watery styles like “shoegaze.” Shoegaze bands, it must be said, often ditched the rock-and-roll threads of jeans and a T-shirt in favor of … sweaters.

“The title of the album was totally Mark,” says Hines. “This was back when he was working at the Memphis Pizza Café, and I came in and he had this funny look on his face. He said, ‘What would you think about …’ — and he sort of hesitated, I guess because he thought I would laugh at it — ‘Burn Your Cardigan?’ And once I realized where he was coming from, I thought it was perfect.”

No shoegazing was going on with these guys. As Akin remembers, “When we first came out, we weren’t super well received. I feel like people didn’t quite know what to make of us at first because we wrote songs with beginnings, middles, and ends. We tried to have a chorus that got in your head and we tried to make the songs short. We would just go to play 10 songs and get the hell offstage. But then when that record came out, I think it really represented what we were all about. ‘This is what we are!’ And we started getting more people at the shows, and that never stopped. It’s always fun to have people come and watch you play.”

The Subteens cap off the Record Fair at Soul & Spirits Brewery on Saturday, June 15th, and will celebrate the reissue of Burn Your Cardigan with the River City Tanlines at Bar DKDC on Saturday, July 6th.

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Film Features Film/TV

Music Video Monday: “Ride” by Dead Soldiers

Dead Soldiers are back from the dead! Or at least from a hiatus. No strangers to Music Video Monday, the sprawling big band of Ben Aviotti, Nathan Raab, Krista Wroten, Michael Jasud, Clay Qualls, Paul Gilliam, Victor Sawyer, and Jawaun Crawford plays “city music,” not country music.

Director Joshua Cannon is a fan, so he was excited to get the nod to direct their first music video in six years. “Dead Soldiers fall in line among the best bands to come out of Memphis. We’re so lucky we get to claim them as our own. Seeing them live is really something special — just supremely talented and good-natured people.

“We kicked around a few concepts for this video, but with a song like ‘Ride,’ and with the eight of them doing what they do so well, I decided to keep the focus there and keep the camera moving. Working with my buddy Ryan Parker on this was a ton of fun. He cooked barbecue and we watched The Last Waltz a lot to prepare. Michael Jasud also turned us onto a performance of The Animals playing ‘House of the Rising Sun,’ which was real sick and inspired the composed moments. Overall, it was one of the best experiences I’ve had making anything, thanks to an amazing crew of talented people who are so good at what they do and to the Soldiers, who are a great hang.”

Guitarist Ben Avioti says the feeling was mutual. “He [Cannon] was such a joy to work with. The whole crew was awesome and they totally put up with our antics for 14 straight hours.”

You can see a lot more of the Soldiers’ antics and hear “Ride” live on June 21st at The Green Room in Crosstown Concourse. But first, check out the video.

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

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We Recommend We Recommend

Bluff City Liars’ Ball with Louise Page and Rosey

Improv and music go hand in hand. After all, how do you make music without a little bit of improv? But Zephyr McAninch, director of the improv troupe Bluff City Liars, wanted to add more music into their improv because who doesn’t like a little bit of music with their improv? So they came up with the two-night Liar’s Ball, where the Liars will play improv games inspired by and backed by the tunes of Louise Page on Friday and Rosey on Saturday.

“Our regular shows typically don’t have a musical element,” McAninch says. “Every now and again, we’ve been able to work in a musical game. … But the ball aspect is there’s music very heavily integrated into the show [with the special musical guests].”

This ball will be the Liar’s second, with last year’s featuring Dandelion Williams and HEELS. “It was just such a success. I think it’s my favorite show we’ve ever done,” McAninch says. “It makes me feel like more of a rock star right there with the band. Everything we’re doing is a little bit silly, but it feels cooler when you’ve got Rosey giving you the backing track for your doo-wop song, or you got Louise Page laying down the piano for Hoedown [a musical improv game you might recognize from Whose Line Is It Anyway?].”

The show will also give audience members a chance to hear Page’s and Rosey’s originals in between games. “I can’t recommend these bands enough,” McAninch says, “so I’m excited for the possibility of getting to introduce somebody to either of them.”

But, of course, being the improv aficionado they are, McAninch is also excited about the possibility of introducing anyone and everyone to improv. “I think everyone should try improv,” they say. “I was the quiet, shy one before I started doing improv [in college], and when I told my parents I joined an improv troupe, they said, ‘You?’ … I just kind of fell in love with it. It’s a wildly fun, massively accessible art form, and it’s weirdly applicable to so many other parts of your life.

“Improv is just not knowing what’s happening. That’s everything that’s ever happening in your life. And on top of that, when kids play, they’re just improvising; they just have fun. We forget how to do it, so I just want to help people remember how to do it.”

So, in addition to shows like the ball this weekend where folks can watch childlike play in action, Bluff City Liars hosts a free improv workshop where attendees can take part in the play themselves at TheatreWorks@The Square on the first and third Monday of each month at 6 p.m. “It is no-commitment,” McAninch says. “You just drop in whenever you feel like it. We adapt what we’re talking about that week to who is there and what skill level is present.”

Keep up with the Liars at bluffcityliars.com, where you can also purchase tickets for the upcoming Liars’ Ball.

Liars’ Ball, TheatreWorks@the Square, 2085 Monroe, Friday, June 7, 8 p.m. | Saturday, June 8, 8 p.m., $12/advance,
$15/at the door.

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Music Music Blog We Recommend We Recommend

Blues Hall of Fame Museum Unveils Interactive Hologram of Taj Mahal

The Blues Foundation’s Blues Hall of Fame Museum has unveiled a brand-new interactive hologram of blues musician Taj Mahal, making it the first museum in Tennessee and second in the United States to have a full-body hologram, says Blues Foundation CEO and president Kimberly Horton.

Horton says when she found out about Folk Americana Roots Hall of Fame’s hologram of philanthropist Ernie Boch Jr., whose personal collection of guitars were on display at the museum at the time, she knew she “had to have one for Memphis.”

The Blues Foundation’s first hologram features Blues Hall of Famer Taj Mahal. “It’s him. Like he’s actually sitting in there, actually sitting in the [holographic] box,” Horton says. “You could actually have a full conversation.”

That means that guests can ask whatever question comes to mind, and the hologram, which has been trained with AI, will generate a response as Mahal himself would answer. “We had Taj Mahal sit still for 12 hours one day and just asked him all these questions, about 250 questions, and filmed him while he was doing that,” Horton explains. “So this is his voice. And these are his mannerisms. These are his hand movements.”

From the beginning, Horton says she knew Mahal would be a part of the debut of the permanent exhibition, which will spotlight other artists in the future. “He’s just great,” she says. “When it comes to music, he’s multi-Grammy-winning. He has touched every genre of the industry. He’s got his hand in everything. Taj will be 82 this month, so it was imperative that he was the first person that was in the hologram.”

After all, Horton says, “If you want to preserve something or preserve history, then what better way to do it?”

The Blues Hall of Fame Museum is located at 421 South Main Street. Admission is $10/adults, $8/students, and free for kids 12 and under. There is an additional charge of $10 to interact with the hologram. Museum hours are Tuesday to Saturday from 10 a.m. to 5 p.m.

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Cover Feature News

Take Me to the River

“It must be something in the water” is a phrase you often hear when the subject of Memphis music arises. It resonates because the beats, bards, and blues springing from this city for over a century have a mysterious power matched only by the majesty of the Big Muddy itself, our sounds evolving over time like a river in its banks, their shape-shifting flows connecting north and south, east and west, old and new alike. Setting a music festival on the Mississippi’s banks was the stroke of genius that defined the Beale Street Music Festival (BSMF) for decades. Now a new player is keeping it there, and it’s called RiverBeat.

Spring: A Time for Music

A kind of imperative informed the founding of RiverBeat Music Festival in its infancy — the feeling that, regardless of the promoters or the festival’s name, when spring comes to Memphis, some kind of music must be made at the water’s edge. So when Kevin Grothe, vice president of sponsorships for the nonprofit Memphis in May, announced last October in an email to media outlets that “the Board of Directors has made the very difficult decision to suspend the Beale Street Music Festival in 2024,” many felt a powerful sense of loss.

There was even some bitterness evident in the announcement, as James L. Holt, Memphis in May president and CEO, noted that, as well as losing nearly three and a half million dollars due to low attendance in 2023, BSMF was being sued for $1.4 million in property damages by the Memphis River Parks Partnership. “With a pending lawsuit and the event now unwelcomed in the new Tom Lee Park, future Beale Street Music Festivals will face fundamental challenges,” he wrote.

But the Memphis River Parks Partnership (MRPP) clearly wasn’t opposed to music by the river in principle. Within days, MRPP president Carol Coletta had announced that Forward Momentum, the private company behind the Mempho Music Festival and Mempho Presents, would be taking the reins. “With its successful track record and deep financial strength, Forward Momentum was a great fit for a signature music event in Memphis,” she said.

Indeed, as Mempho Presents spokesman Jeff Bransford says today, the MRPP actively sought out the company, which by then had a presumably successful track record with the Mempho Music Festival every October since 2017, as well as growing success in promoting one-off shows through the year. “We were approached to fill the gap in springtime and we jumped at the opportunity to do it,” he notes.

And “jumped” is the right word, as the Mempho team had only a few scant months to book the open weekend in May. “We’ve been dealing with a very compressed timetable to get year one off the ground,” Bransford says, but he is clearly proud of what they accomplished. The lineup has “a little wider demo[graphic] compared to what we’ve traditionally done at Mempho. That means more urban, more pop, and more country types of things that typically we have not done as much of.”

Odesza (Photo: Courtesy Mempho Presents)

Now, with headliners like Odesza, the Fugees, and Jelly Roll topping the bill at Tom Lee Park each night, May 3rd through May 5th, it seems Mempho Presents has pulled off the impossible in a very short time, with the momentum of over four decades’ worth of gatherings by the river maintained and only growing.

Take Us to the River, Boo

One noticeable difference between RiverBeat and the BSMF is the lack of focus on the blues. The Blues Tent, once a fixture in the older festival due to its roots on Beale Street, is no more. And yet, as if to compensate, the city’s legacy of R&B and soul music is more present than ever. As Grammy-winning producer/engineer Boo Mitchell notes, that can be summed up in just five words: “Take Me to the River.”

That’s the title of the 1974 Al Green hit produced by Boo’s dad, Willie Mitchell, of course, but since 2014 it’s also served as a catch-all title for projects in film, music production, and education that are deeply connected to Memphis music history. It started as the brainchild of North Mississippi Allstar Cody Dickinson and director Martin Shore, who wanted to connect the legendary blues and soul musicians of Memphis with younger artists. The resulting film documented the in-studio creative collaborations between Mavis Staples, Snoop Dogg, Al Kapone, Frayser Boy, Yo Gotti, Lil’ P-Nut, Otis Clay, Bobby Rush, Bobby “Blue” Bland, Charles “Skip” Pitts, and William Bell, all underpinned by the Hi Rhythm Section, who had played on the original Hi Records hit from which the film took its title.

Boo Mitchell (Photo: Ronnie Booze)

Take Me to the River, the film, then grew into a franchise of sorts, leading to years of touring, a similar film pairing classic New Orleans players with younger artists, and an educational curriculum developed with the Berklee College of Music. Now a third film, Take Me to the River: London, is in the works. Yet for Boo Mitchell, nothing can top the initial epiphany he had when the original film was made. “That movie changed my life,” he says. “I started working on the film around 2011, about a year after Pop [Willie] had passed away, and I didn’t really have any of my own [production] credits up until that point. And then my whole my career changed. The film gave me a chance to show people what I was, what I could do.”

Original Hi Rhythm members Leroy and Rev. Charles Hodges, Archie Turner (Photo: Ronnie Booze)

Now, 10 years on, Mitchell is especially proud to bring the Take Me to the River Live band to the RiverBeat stage, tying together multiple threads of Memphis music history. While technically not the headliners, their performance on Friday is arguably the heart and soul of the entire festival.

In part, that’s because of artists who died since the film was made, singers Otis Clay and Bobby Bland and guitarists Skip Pitts and Teenie Hodges. The latter, brother to fellow Hi Rhythm players Charles and Leroy “Flic” Hodges, was critical to their unique sound and left some big shoes to fill. Yet Mitchell feels they’ve bounced back by adding someone from the younger generation.

Lina Beach (Photo: Caleb suggs)

“Now,” says Mitchell, “Hi Rhythm features Lina Beach, who is officially filling in the Teenie Hodges guitar spot. The band has adopted her as their sister. She’s the official guitarist and she’s also an artist. So she’ll be opening with Hi Rhythm because she’s working on an album at Royal [Studios] that I’m producing.”

Eric Gales (Photo: Courtesy Mempho Presents)

That alone keeps the current touring band true to the film’s original mission of connecting generations, yet Take Me to the River Live will feature more legends than just Hi Rhythm (which also includes Archie “Hubbie” Turner and Steve Potts). “We’ll also have local hero Jerome Chism, who sings three nights a week at B.B. King’s Blues Club and is a really incredible performer,” Mitchell says. “Then next, Eric Gales. And then Carla Thomas, and lastly, the great William Bell.”

Hearing these virtuosos, including Gales’ stunning guitar work, plus originals by Beach and the classic hits associated with Thomas and Bell, just as dusk settles in on the Mississippi River, will surely be a charmed moment in Memphis musical history that may never be repeated.

The Memphis Flex

Yet Mitchell is excited about far more than just his own band’s performance. Because of his deep absorption in local music history, he can see Memphis refracted through most of the acts featured at RiverBeat. He rattles off the many acts who developed in Memphis only to achieve national recognition: The Band Camino, 8Ball & MJG, Al Kapone, Talibah Safiya, Lawrence Matthews, Marcella Simien, the Lucky 7 Brass Band, Qemist, Mark Edgar Stuart, Salo Pallini, Bailey Bigger, Dirty Streets, and Southern Avenue. The latter, Mitchell notes, are the latest in a long history of Memphis success stories who have worked at Royal Studios. “They were in the studio the day before yesterday,” he says. “I recorded and mixed their new album. I mean, this is going to be a next-level record. And they’ve got a crazy tour coming up, opening for Bob Dylan and Willie Nelson.” Festivals like RiverBeat, Mitchell notes, are the perfect training grounds for local bands like Southern Avenue to level up. “Putting local artists on big stages is so huge.”

That’s always been in Mempho’s brief, and RiverBeat will be no different. The curated acts reach across generations and state lines alike, from the world-touring Don Bryant, who once wrote songs for Hi Records, then found success later in life fronting classic soul aficionados The Bo-Keys, to Rodd Bland’s tribute to his father, Bobby “Blue” Bland, to Mississippi acts who’ve long been associated with Memphis like Charlie Musselwhite, Kenny Brown, The Wilkins Sisters (who once backed up the late Rev. John Wilkins), and Jimbo Mathus. Looking at it this way, putting all this regional talent in front of thousands of music fans this weekend might be considered quite a flex for Memphis and the Mid-South. And no other festival compares to it in that sense.

Surprising Connections, and Making Memphis Proud

Finally, it’s worth pointing out that some of the other major names on the bill have deep Memphis connections. Mitchell vividly recalls his first encounter with Sacred Steel virtuoso Robert Randolph a decade ago. “I cut a record with him under the band name The Word, which is when Robert Randolph, the North Mississippi Allstars, and John Medeski got together. My aunt cooked for them during the sessions and they ended up naming the album Soul Food,” Mitchell laughs.

Kid Maestro with Lauryn Hill (Photo: DJ Rampage)

Another local tie-in, and perhaps the most consequential, is with festival headliners the Fugees. When the Memphis Flyer recently profiled producer Kid Maestro, who’s been a standout member of the Unapologetic collective for years, he revealed his enviable side gig as playback engineer for Ms. Lauryn Hill. Hill, of course, first gained prominence as the cofounder of the Fugees, with Wyclef Jean and Pras. When their second album, The Score, blew up in 1996, she became the first woman to win a Grammy Award for Best Rap Album, then went on as a solo artist to craft one of the best-selling albums in history, The Miseducation of Lauryn Hill.

Hill has resumed performing in recent years, including extensive touring last year to celebrate Miseducation’s 25th anniversary. Along for the ride has been Kid Maestro, who, as playback engineer just offstage, is essentially a member of the band. Not often acknowledged, playback engineers are critical players in hip-hop performances.

“Ms. Hill’s needs are very unique in terms of playback engineering,” he says. “You’ve got to be super fast, paying attention, and when she puts her hand up to mute, you’ve got to be ready to stop with the band. Otherwise, if the band stops but there’s a beat playing in the background, it just doesn’t have that impact.”

He even interacted with hip-hop history on a very deep level with Hill, preparing him for his upcoming role in the Fugees’ RiverBeat show. “Right before this particular tour started,” he recalls, “they found the DAT tapes for The Miseducation of Lauryn Hill album. So we got to really break down the original stems in the live show. It was really cool.”

Now he’s living the dream of working with one of the most influential and creative hip-hop groups of all time. “My first time meeting the rest of the Fugees,” he says, “it just became immediately clear why they worked. They were so intensely creative and powerful. Their energy, simply being in the same space working on the same thing, was palpable. And it was inspiring to see how different they are as people.”

Other Memphis artists will be thrilling to the Fugees as well, albeit from the audience, or possibly backstage. Talibah Safiya makes it clear that they had a profound impact on her life and her art. “I grew up listening to them. Lauryn Hill has been a huge influence, as somebody who could both rap and sing so well. I don’t think we’d had anybody able to do both of those things at her level. And to be able to stand next to these men who are such incredible lyricists and rappers, the combination of them really has guided my understanding of blending genres, for sure. To be able to be on the same stage as the Fugees, I’m incredibly honored.”

As Boo Mitchell noted, sharing the stage with such stellar talent is a boon to any artist and will only help foster the local scene all the more. It’s part of what makes RiverBeat unique, and don’t be surprised if the city’s up-and-coming artists rise to the occasion and blow your socks off. “This RiverBeat festival is going to be something that Memphians are going to be proud of,” says Mitchell. “There’s never been anything like this in Memphis. There’s even going to be a Ferris wheel at the top of the hill! It’s going to be next-level.”

Categories
Music Music Features

Cooper-Young Porchfest ’24 Mixtape

Last Saturday, April 20, 2024, was the fourth annual Cooper-Young Porchfest. More than 100 bands played on porches, in driveways, and on lawns all over the neighborhood. The weather was cool, and it was a little cloudy, but the tunes were hot all over the Coop.

I was there with a camera trying to see as many sets as I could, which was just a tiny fraction of the talent on display. In the “Cooper-Young Porchfest Mixtape” you’ll see performances from Bluff City Vice, Cloudland Canyon, Dead Soldiers, Little Baby Tendencies, Above Jupiter, and the Walt Phelan Band, with a little bit at the end featuring Moth Moth Moth’s front lawn drag show. Settle in for some of the best music the Memphis scene has to offer.

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Music Music Blog

The 2024 Lineup at the Overton Park Shell

The lineup for the 2024 Orion Free Concert Series at the Overton Park Shell was announced today, and it’s in perfect keeping with the series’ steady evolution towards ever-greater diversity. Running May 17th through October 12th, the Series will showcase 34 free entertainment experiences, including more funk, soul, hip hop, and house music than ever before, not to mention country, Americana, blues, indie rock, and whatever MonoNeon is.

“This year, we are crossing all genres and creative programming to give access to The Shell’s mission boldly and without barriers, with special emphasis on Memphis artists,” Overton Park Shell Executive Director Natalie Wilson said in a statement. “We are truly honored to be a safe, joyous place for all walks of life in Memphis and Shelby County as we celebrate the incredible talent of our Memphis arts and music scene.”

Familiar local partnerships with the likes of the Memphis Symphony Orchestra, the Memphis Country Blues Festival, the Stax Music
Academy, the PowerPop Festival, Shakespeare at the Shell with Tennessee Shakespeare Company, Opera Memphis, and DreamFest Weekend will all make a return, along with this year’s notable additions, the Memphis Black Arts Alliance Gospel Night, featuring the Tennessee Mass Choir, and BODYWERK, the Shell’s first electronic dance event.

Some performances will resonate with Memphis’ rich music history, as when the iconic Bar-Kays, who have appeared at the Shell
numerous times since their band’s beginnings, celebrate their 60th
anniversary this September. And they’re just one example of the many local and regional groups that will take the stage this year. Lukah with Hope Clayburn & The Fire Salamander, Cedric Burnside, Black Hippie, Talibah Safiyah with MadameFraankie, MonoNeon, Cyrena Wages, Healy, Aaron James, the Memphis Harvest Band, and the North Mississippi Allstars will all make appearances, the latter with the great Ruthie Foster at the Country Blues Festival in October.

See the full lineup below, also available with more details here.

SUMMER SCHEDULE:
All shows start at 7:30 p.m.
Friday May 17th-Sunday, May 19th: Dreamfest Weekend
Friday, May 24th: Lukah with Hope Clayburn & The Fire Salamander
Sunday, May 26th: Sunset Symphony
Thursday, May 30th: Black Opry
Friday, May 31st: BODYWERK with Takuya Nakamura
Saturday, June 1st: Laura Denisse
Thursday, June 6th: Sister Hazel
Friday, June 7th: King & Associates
Saturday, June 8th: Perpetual Groove
Thursday, June 13th: Cedric Burnside
Friday, June 14th: Lamont Landers
Saturday, June 15th: Black Hippie
Thursday, June 20th: Magnolias
Friday, June 21st: Talibah Safiyah with MadameFraankie
Saturday, June 22nd: Sweet Lizzy Project
Thursday, June 27th: Shemarr Allen
Friday, June 28th: Cowboy Mouth
Saturday, June 29th: Annual Stax Academy Summer Showcase

FALL SCHEDULE:
All shows start at 7 p.m.
Friday, August 30th: MonoNeon
Saturday, August 31st: Power Pop Festival: Matthew Sweet
Saturday, September 7th: Cyrena Wages
Friday, September 13th: Healy
Saturday, September 14th: MBAA Gospel Night: Tennessee Mass Choir
Friday, September 20th: Canti Records
Friday, September 27th: Aaron James (Unapologetic)
Saturday, September 28th: The Bar-Kays
Sunday, September 29th: Opera Memphis: Opera Goes to Broadway
Friday, October 4th: Stax Museum Presents: Los Yesterdays
Saturday, October 5th: Memphis Harvest Band
Saturday, October 12th: Memphis Country Blues Festival 
Sunday, October 20th: Shakespeare at The Shell: Comedy of Errors