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Music Music Features

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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Music Record Reviews

Dirty Streets Live Platter Takes You Back to Pounding ’70s Riffs

Don’t sleep on the Streets! Good advice in any context, but in this case it means keep Dirty Streets, the band, on your radar. Because if you need a fix of slamming old school hard rawk, they deliver it and then some on this year’s release, Rough and Tumble (Alive Naturalsound).

They’ve honed their sound for over a decade on the Memphis scene, to the point where this live album has an offhand power and precision bespeaking years on the stage. In this case, the room was the sound stage at Ditty TV, the internet broadcast studio on South Main that mixes live performances with a steady feed of music videos. It’s ostensibly Americana-oriented, but the diversity of their programming makes it clear how inclusive that genre has come to be.

Whenever a band performs on Ditty TV, they receive a video of the moment that they can use any way they see fit. This also goes for the multi-track recording, often engineered by the great Doug Easley.  That’s exactly how it went down when Dirty Streets performed there, and this album is the result.

For that very reason, it may be the least rowdy live album ever recorded. Performances at Ditty TV typically have few if any audience members — certainly, there are none to be heard on this album. Indeed, the performances are so tight that many may not realize it was recorded live. Nonetheless, that setting of a live taping for broadcast seems to have brought out in the band a focused energy and drive that rarely comes out in purely studio-based recordings. These songs were slammed out one after the other in real time, with no overdubs after the fact. And the consistency of this album is a tribute to how together this band really is.

What they deliver is a wide ranging set from their catalog, brimming over with hard rock nuggets that might have had them touring with Free or Nazareth back in the day. Justin Toland, the power trio’s singer and guitarist, has the classic voice of the soulful rocker, well suited to shouting tunefully over pounding guitar riffs. Indeed, when they try their hand at not one, but two songs by the classic writer Joe South, the rock/R&B hybrid that emerges evokes the similar aesthetic of Detroit’s Scott Morgan.

The rest of the set is a stroll through their originals, which, like the White Stripes, can feel like a tour of ’70s riffs without the cringe-worthy sexism that usually goes with the music of that era. For my money, the highlight is “Take a Walk,” where Toland breaks out the wah-wah pedal to great effect. 

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Music Music Features

Dirty Streets Ride the White Horse

For the past eight years, Dirty Streets have been carving out a niche as one of the most reliable rock bands in Memphis. Once again working with Alive Naturalsound records and Matt Qualls (the Memphis engineer who worked at Ardent in addition to running Brass Tacks Audio), Dirty Streets have honed their James Gang-meet-Blue Cheer sound into their most cohesive album yet with White Horse, and rock critics from all around the country are taking notice. Singer and guitarist Justin Toland sat down with me the week before the White Horse record release show at the Hi-Tone to tell me more about working with Alive records, his thoughts on being a Memphis band, and what exactly the White Horse means to him.

The Memphis Flyer: How long have you guys been working with Alive records now? So many bands approach working with indie labels on a record-to-record basis. What’s made you want to stick with them?

Justin Toland: This is our second album for Alive. The first two were released independently. Alive normally does record-to-record deals, which is honestly why we like working with them. You can basically negotiate your contract every time a new album comes out, and Patrick [Boissel], the guy that runs the label, is super laid-back about stuff. We had some friends in other bands that recommended working with Alive, and that meant a lot to us. If we wanted to leave the label, we could. He lets the bands have control over everything, which is another reason why we like working with them.

Let’s talk about the album name White Horse. I’m pretty sure you guys aren’t riffing on the Taylor Swift song of the same name. What’s the inspiration there?

The idea of the white horse is this mythical thing that you’re trying to find. It represents a creative inspiration that you feel when you’re writing music. I started researching the white horse, and it shows up in so many different traditions, from Native American traditions to Greek mythology. It just seemed fitting. We went over a bunch of titles, and everyone liked White Horse the most.

What’s the feedback for White Horse been like?

So far it’s been great. It’s also been the fastest response that we’ve ever had. The reviews have all been positive, and there’s been some good press. I definitely feel like this is our best album, mostly because we worked so hard on it. Every record we’ve done, we’ve gone in and worked harder than before. It’s been two years since we’ve had a record, and before this one we were trying to bang them out every year.

Part of the reason I think this album is so strong is because we went into the writing process trying to make everything come out naturally. There was no fear of criticism or wondering what people might think about it, we were just trying to write an album that we would like and want to listen to.

You guys have been a band for eight years, and other than moving from a four-piece to a three-piece at the very beginning, there haven’t been any lineup changes. Being so comfortable with each other must make the writing process easier.

Definitely. Our bass player, Thomas [Storz], is really good at arranging stuff, but I think in the beginning he was less inclined to jump in and tweak a song. I’d write a song, and he’d be like, “that’s cool.” But now, he’s not afraid to jump in and suggest that we move parts around. There will be times when I hit a brick wall with writing or I’ll show him a demo that I don’t even really like, and he will come up with parts that make me like it. That’s a new thing that never used to happen.

Matt Qualls has been your main man in the studio for a long time now, but he recently moved to Northern California. Does this mean you’ll be looking for a new producer moving forward?

He helped work on the last record, and we did a single with him a year ago, and both of those just sounded so good that we got him to do everything for White Horse. I mean, we are really trying to work with him on the next record.

I guess that means Alive records will just have to fly you to California.

I think we might. We are definitely going to cut a single out there the next time when we are on tour. Even if all we do is stop in for a few hours and lay something down, it’s something we all want to happen.

You guys don’t play Memphis that often. Is that a conscious decision? You and I have talked before about the difference between being a locally loved Memphis band and being a Memphis band that’s trying to tour.

We got to a point where we were playing all the time here, and it was awesome. Things were really good for us in Memphis about four or five years ago, but so many people told me, “don’t worry about playing in Memphis. Don’t worry about winning awards here, because regardless of how great it is here for you, you don’t want to be the band that’s always there.” Now it’s just a thing where we have more stuff going on out of town. We just have more opportunities happening out of town than we used to. I have to book the shows here on my own, but other people book us out of town. The shows we play here at this point are more about introducing out-of-town bands that I like to a Memphis audience.