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Mempho Mingles Memphis Music with Megastars

With Memphis in May having canceled the 2021 Beale Street Music Festival entirely, back in those uncertain days of spring, concertgoers are thanking their stars that the city has a fall alternative. This Friday, the Mempho Music Festival launches its fourth iteration with a lineup that, true to form, mixes local luminaries with national acts. This year, it will be more convenient than ever, setting up shop in the Memphis Botanic Garden rather than Shelby Farms.

Everyone is pinning their hopes on their favorites. One friend is focused on Austin’s Black Pumas, described by some as “Wu-Tang Clan meets James Brown”; another lights up at the thought of seeing Memphis native Julien Baker; still others are dead set on hearing the gritty, soulful stomp of Nathaniel Rateliff & the Night Sweats. Mempho is sure to have all tastes covered, though there are markedly fewer hip-hop acts than ever relative to previous years, when such artists as Anderson .Paak, Nas, or Wu-Tang Clan were featured.

Black Pumas (Photo: Courtesy Chris Duncan)

Still, the diversity is impressive, and audience members can seamlessly see every artist on the bill. In addition to the Garden’s permanent Radians Amphitheater, a second stage will be set up. As one act performs, the next can set up in the other space, ready to hit it soon after the previous act’s finale. And then there’s the Incendia Dome, sponsored by Whatever, complete with pyrotechnics and DJs playing to wireless headsets issued to everyone who steps inside. Onlookers peeking in will see only a throng of dancers gyrating in complete silence.

One thing is clear: With all due respect to co-headliners The Avett Brothers, the kings of this event are Widespread Panic, who cap off both the sold-out Friday and Saturday slates. Mike Smith, the festival’s head of production, who’s also worked for years as Widespread Panic’s production manager, says that’s not unusual, especially with everyone’s favorite jam band.

“They almost never do just one night in a location,” he says. “They always play at least two nights everywhere they go. Usually three. Widespread Panic realizes that they’re creating music destinations for people, making it easier for ticket buyers who might say, ‘Hey, let’s go to Chicago for the weekend, or Memphis.’”

Indeed, for Panic fans, the uniqueness of each performance makes multiple shows a real draw. “One of the things with Widespread Panic is, they never repeat a song night to night,” says Smith. “Their repertoire is so large that it may be three or four or five shows before you hear the same song repeated in a set list. And there are literally songs that they may not play for two or three years at a time. There are fans out there ‘chasing that song.’ They come to every show, just hoping that that’s the night their song is going to get played.”

The band’s devoted following also brings a different demographic to bear on this year’s Mempho Festival. As Smith points out, “The Widespread Panic crowd is a very mobile crowd. If you look at our ticket sales, we’ve got a lot of people coming in from Georgia and the Carolinas. And a lot from Colorado. I think Denver’s one of our top three markets that tickets are sold in right now. Typically for any festival, you get some travelers, but this year, because of this lineup, we’re getting a lot more people from out of town.”

That also helps bring a fresh audience to Memphis-based groups, always an important ingredient in the festival bearing the city’s name. “We always try to incorporate what we consider to be some of the local stars that we have to offer,” Smith notes. “Memphis has some of the best talent in the world playing in our backyard. That’s definitely one of the missions of Mempho, to introduce those talents to new people.”

Mempho Music Festival takes place October 1st-3rd at the Memphis Botanic Garden. Gates open at 3 p.m. Proof of vaccination or a negative Covid-19 test is required. Covid testing available on site. Visit memphofest.com for details.

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Sing All Kinds We Recommend

Memphian Rules the Road for Widespread Panic

Joshua N. Timmermans

(L to R) Mike Smith (Production Manager), Jeff Duckworth (Merchandise), John Herman (Keys), Steve Lopez (Tour Manager), John Bell (Lead Vocals & Guitar)

Widespread Panic will play the Orpheum for two nights, October 18th and 19th. The Athens, Georgia-based jam band is in their 28th year of touring and still play from 70 to 100 dates a year, despite the members being in their 50s and older. None of that deters the new and long-time fans who follow the group and come to multi-night engagements.

Manning the helm of their nightly show is production manager and Memphian Mike Smith, who has worked with the band on and off since 2001, and who has done work for TCB Entertainment, the North Mississippi Allstars, and Big Ass Truck. I was a member of that last band and watched Smith learn the trade. He’s come a long way from being a bank teller (he counts cash like a machine) to our small van to managing a daily retinue of 50 people over 15-hour days. 

“When we were doing Big Ass Truck, you had an AAA card and a pocket full of quarters,” Smith recalls of early tours in the 1990s before smart phones. “Now, everyone has everything they need to know on the phone. It was just riding through the night. If you broke down and something happened … It’s amazing.”

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“It’s shifted over the years for sure,” Smith said while on a break from setting up in the Von Braun Center in Huntsville, Alabama.  “When I started for the Allstars, it was similar to my role with Big Ass Truck: a little bit of everything, helping load in, helping sell merch. But when it comes to the larger acts, they have a tour manager and a production manager. The tour manager just handles the artist and their needs on a day-to-day basis: making sure hotels, press, and things like that are covered. The production manager handles everything related to the show itself. My responsibility includes dealing with all the vendors we use: trucking companies, staging companies, pyrotecnics. I deal with all the vendors and work within the budget they’ve given me for the show. I advance the show in terms of production aspect. I determine the load in time and load out times. The number of personnel has changed over the years. When I was working for Big Ass Truck, there were one or two of us working for the band. When it was the Allstars, there were three or four of us. Now, we are a 26-person traveling crew, not including the band themselves. I manage 26 individuals on the road every day. Today we’re loading into the Von Braun Center in Huntsville and have about 26 stagehands that are working for us.”

Touring is Panic’s bread and butter. The job requires tremendous discipline and professionalism, even within the seemingly relaxed atmosphere of a Widespread show.

“When you work for Panic, who don’t sell a lot of records anyway, touring is their revenue stream; it’s how they make their money,” Smith says. “It’s amazing to see, with how elaborate a show we put on, how cost-effective it is. We keep everything in check cost-wise on a regular basis. It’s not like when we were promoting and doing shows like Foo Fighters, who are selling millions of records and using shows as a marketing tool to sell more records. They throw money at touring, but it’s really like throwing marketing dollars at selling a record. People who know me know that I don’t get mad very often. I don’t yell and scream. Some production managers have that stigma. We like to have a good time in a laid-back environment. But at the same time, we have to be very professional. So they know if Mike Smith is mad, there’s a major problem. Someone’s at risk of getting hurt or something.”

It’s a good gig that has more than it’s share of great nights and good feelings.

“The Panic guys do some outrageously cool things like Tunes for Tots. We play a benefit show in a city. And whatever city they play in, they donate the proceeds to a local high school band. Since 2005, they’ve raised $2.5 million for this program. So a little over $200,000 has gone in each year. It’s amazing. We’ve had band directors tell us they were expecting a few drum sticks and things like that and then how amazed they were when a semi-truck showed up full of everything. I never knew that they have to pay licensing on all of the sheet music they use. That’s an outrageous expense for a high school. This covers all of the licensing. It’s great when you enjoy what you do, and it’s a nice twist when it’s something good at the end. We do food drives at every show. Our management ties into the local food bank at every show. Since 2008, we’ve raise over $80,000 in donations. So at the end of the day, we feel like we had a great show and were able to do something positive.”