Dreamfest:Friday-Sunday, May 16th-18th

Although the line-up for this year’s Dreamfest Weekend hasn’t been released yet, the event has more than earned our trust at this point. This marks the 14th (!!) iteration of the 3-day weekend fest, which is all about promoting Memphis music and artist collaboration. Arguably the best annual showcase of the Bluff City’s R&B and hip-hop artists, Dreamfest weekend always brings the vibes and just gets better every year. Stay tuned for more information at https://www.dreamfestweekend.com/.

New Breed Brass Band ft. Trombone Shorty: Saturday, May 31st

As a former resident of the Big Easy, it’s hard for me to overstate my deep love of New Orleans brass bands and second line culture, which very well may be the most fun music ever created. New Breed Brass Band, a group of young and fiercely talented New Orleanians steeped in the tradition, will be joined by the great Trombone Shorty. Incorporating elements of Caribbean music, Cash Money-era NOLA rap, and Anderson Paak-esque R&B, New Breed Brass Band is the new wave in Crescent City brass.

Corey Lou & Da Village + Savannah Brister: Saturday, June 7th

You know we had to give some love to the home team, right? This summer’s season features several great homegrown acts that we plan on catching, including performances from Mak Ro and the Stax Music Academy, but we’ve got this unexpected co-headlining pairing of soul-funk band Corey Lou & Da Village and former The Voice contestant Savannah Brister. If you’re looking for an excuse to break out your dancing shoes, look no further.

Eddie 9V:Thursday, June 12th

Eddie 9V’s brand of soulful blues is undeniably retro, yet his sharp observations of modern America place him solidly within the current moment. Although the Georgia-born bandleader has yet to reach the age of thirty, he’s already a seasoned veteran who has earned favorable comparisons to blues greats such as Freddie King.

Alejandro Escovedo-Friday, June 20th

NPR Music recently referred to Alejandro Escovedo’s career as “one of the most fascinating paths in music,” and once you’ve read over his biography, it’s certainly hard to disagree. Beginning as a notable figure in NYC’s ‘70s punk scene, Escovedo went on to play an important role in the development of roots rock (the True Believers) and alt-country (Rank & File) and is now a living legend in his hometown of Austin, TX. Whether or not you’ve heard his name, Escovedo is one of the greatest musical chameleons of his generation.

Eggy-Thursday, June 26th

If you can get past their exceedingly goofy band name, then Connecticut jam band Eggy really does have a lot to offer. Known for their electric live shows, the quartet has mastered the art of creating fun, funky feel-good music perfect for the summer. Think Phish with a few more contemporary influences as you’ll be close to capturing Eggy’s unique sound.

For more information about this summer’s Orion Financial Free Concert Series, visit https://overtonparkshell.org/calendar.

The post 6 Must-See Shows for This Season’s Orion Free Concert Series at the Overton Park Shell appeared first on We Are Memphis.

PreauXX-“Lost Airpods”

I seek therapy but never commit/I got trauma I could never forget/I got people who gon’ love me no matter/But watch the ones who gon’ hate from the fence…

As you can see, lost airpods aren’t the only concern on Preauxx’s infectious new single, but damn if he wouldn’t like to know where they are. Over understated, hazy production from LEE MVRS, PreauXX tells the tale of a hungover morning that continues to spiral out of control (despite him sounding cool and collected throughout). As we’ve become accustomed to, the Unapologetic rapper once again delivers proof that he’s one of the city’s most unorthodox and outstanding talents regardless of genre.

Frank McLallen-“Manic”

To say that we are living in stressful times would be quite the understatement, so Frank McLallen’s new sweet Beatles-esque pop track “Manic” has come like a much-needed salve. McLallen, a veteran of the local music scene who has been a member of bands including Ex-Cult, the Sheiks, the Tennessee Screamers, and Model Zero, confidently takes center stage on the first single from his upcoming solo album Extra Eyes. A perfect laid-back ditty for these beautiful (if stressful) spring days.

Zen Desire ft. Ronin-“Good Coffee”

Still not relaxed enough? Fair enough! May we suggest “Good Coffee,” the new single from local singer-songwriter Zen Desire? Grounded by Desire’s dulcet vocals and acoustic guitar and featuring an unexpected but welcomed guest rap verse from Ronin, the track blends elements of R&B, folk, and hip-hop to create a breezy and vibey track that is as comforting as–you guessed it–a cup of good coffee.

TANGELA-“Miso”

While one of our primary goals with this segment is to highlight songs that are hot off the presses, we can be convinced to revisit a previously-released track, especially when it goes as hard as TANGELA’s February release “Miso.” Produced by Ethan Hunt & Ryan Peel and featuring Elliott Ives on guitar, “Miso” is an exhilarating hodgepodge of trap, hard rock, and pop that just demands to be played LOUD. Our only complaint is that with a run-time of just under two minutes, we’re left wanting even more.

Bleu Levees-“Vieux Carre”

Earlier this month, Bleu Levees dropped his highly-anticipated debut album The Way of the Cat, which we’ve had on repeat ever since. We’ve been fans of the Memphis by the way of New Orleans rapper for years and his signature sound and conscious lyricism are both in top form throughout the project. One of our favorites is “Vieux Carre,” a sultry late-night jam that takes its name from NOLA’s oldest neighborhood (as well as a bourbon cocktail from the Crescent City). Be sure to check out the upcoming listening party for the album this Saturday (April 19th) at the Memphis Listening Lab!

The post WAMM In Rotation: 5 Songs for April ’25 appeared first on We Are Memphis.

Brezay

Although Brezay isn’t necessarily a new face on the Memphis music scene–we published a profile of the rising rapper back in 2022–this year is shaping up to be a truly break-out moment for the multi-faceted performer. This month alone, she dropped the ground-shaking anthem “Pinky on My Grillz” and performed during halftime at a Grizzlies halftime show, proving that her time has finally arrived.

Suroor

Since moving to Memphis in 2022, Pakistan-born pop star Suroor has hit the ground running when it comes to taking her music career to the next level. A self-described “industrial hyperpop” artist, Suroor first began winning over fans with her high-energy live performances and has since helped to start a DIY music label called Purgatory Pressings and release her debut album LAVENDER SHOWERS.

Raneem Imam

Arab-American singer-songwriter Raneem Imam has been gaining attention from the local music industry since she was still a student at Rhodes College, earning several prestigious fellowships. Since graduation, she has continued to hone her craft and expand her fanbase with her soft brand of R&B and electropop.

Haley Ivey

Probably best known as a member of the delightfully unhinged duo Little Baby Tendencies, Haley Ivey has been playing her part in keeping the city’s punk scene thriving for years. In today’s fraught political climate, she has also been a fearless voice in speaking out against injustices of every stripe with righteous anger in recent songs such as “Flight of the Fascists” and “Walking While Woman” from the 2025 album Burn Down the State.

Nubia Yasin

At this point, Unapologetic’s track record of discovering some of the city’s brightest and boldest young talent is unimpeachable, and rising pop priestess Nubia Yasin is proof that the label is still at the top of their game when it comes to scouting talent. With a wide-range of eclectic influences and a sound that is both fresh yet steeped in tradition, Nubia Yasin is certainly an artist to keep a close eye on.

Victoria Dowdy

In case you haven’t noticed, Americana music has been having a true renaissance over the past couple of years, and singer-songwriter Victoria Dowdy has been at the forefront of Memphis’ vibrant scene the whole time. As both a solo artists and as a member of the duo Oakwalker, Dowdy’s modern take on classic folk and country has made her a key figure in the local singer-songwriter community, a position she isn’t likely to give up any time soon.

Alice Hasen

If you’ve yet to see violinist/fiddler Alice Hasen perform live yet, believe us when we say that it is truly a sight to behold. The Vermont-born musician has a virtuosic control over her instrument that is absolutely spellbinding, earning her praise from across the country.

Isabella deFir

Despite still not being of legal drinking age, Isabella deFir already has over a decade of musical experience to her name. As both a solo artist and a member of the up-and-coming synth-pop duo Isabealla&Sebastian, deFir’s uniquely beautiful tone and gift for lyrics places her in a league of her own.

Glockianna

Two years ago, we here at WAMM told you that rapper Glockianna was a homegrown talent worthy of your attention, and that sentiment has only grown stronger since. Much like labelmate Duke Deuce, Glock is keeping the classic Memphis crunk sound alive with a seemingly endless stream of elbow-throwing bangers. The most exciting part? She’s still in her teens and only getting better.

Rachel Maxann

Much like Valerie June before her, Rachel Maxann’s gorgeous blend of soul and folk is bolstered by her rare and unparalleled vocal talent, making her a true star within the city’s Americana scene. For anyone who still holds the wrongheaded notion that folk is somehow a so-called “white” genre, Maxann is a living testament to Black artists’ many contributions to the genre.

The post The Future is Female: 10 Women Who Are Defining the Future of Memphis Music appeared first on We Are Memphis.

Let’s start at the very beginning. Tell us a bit about the formation of WIMM and the people behind it.

It had been an idea running through my head for a while since 2020/2021 when I’d see monthly listings at venues and wondering why I didn’t see many women acts on the boards when I was meeting so many female musicians around town. I’d run a successful live-streamed show in NY and thought, we should do that here, for women! I mentioned it to my friend Alice Hasen, who thought it was a good idea and WiMM was born. We enlisted a few others to help out and then in March 2022 we hosted our first showcase at BSIDE. It has grown from there and honestly, there really is no limit because if you can dream it up and execute it, it lives. Currently, it is a one-woman operation but we are always collaborating with other movers and shakers here.

For those who may be unfamiliar with WiMM, give us an overview of your typical work and programming.

WiMM is “Women in Memphis Music.” We are committed to providing a platform that highlights and uplifts female and female-identifying musicians and provides a space to connect and create a community that thrives, collaborates, supports, and promotes one another. That has been our mission statement from day one. We want to offer up-and-coming musicians trying to get their footing here in Memphis a resource and place to start by meeting other women musicians and a platform dedicated to highlighting their talents.

You recently celebrated your third anniversary as an organization (Congratulations!). Reflecting back on the past three years, what are some of your personal highlights?

Thanks! Hosting Carla Thomas’ 81st birthday will always remain a highlight. Hosting an all female-fronted music festival with all genres represented; from Glockianna to Joyce Cobb to Oakwalker to The KLiTZ. Seeing the crossover of women playing in each other’s bands at showcases is always cool. Hearing that musicians met at one of our events and play together now, is the reward! I purposely combine genres with each show to help “cross-pollinate” and introduce artists who may never cross paths otherwise. Having people come up to me after the shows to say what a beautiful night it was and they felt the good vibes of camaraderie and love through the evening always warms my heart. We are all in this together, unity is the only way!

We certainly won’t ask you to pick favorites, but share some of the up-and-coming women artists that you think more people should have on their radar this year.

There is simply no way I could pick any one artist or artists because with every show we host, I am constantly blown away with the talent in this city. The caliber of female artists here is vast and covers all genres! I invite people to check out our YouTube page that contains the last 3 years of archived performances and find your new favorite artist in the city! Or come to a monthly showcase! Nothing beats live music!

What are some of your plans for WiMM, both the in the near future and longer-term?

We plan to keep hosting monthly showcases, happy hours, informational events, vocal workshops, representing at events across the city, connecting women, amplifying women’s presence in the music scene here and we’d love to produce another successful female fronted music festival! I’m sure other things will transpire as well, we want to keep growing and connecting.

What are the best ways to connect with WIMM, both for artists and fans?

You can reach us anytime via email (connectwimm@gmail.com) for more information on how to be a featured artist and through our IG page (@womeninmemphismusic). We’d love to hear from you and if you are an artist, host you! We also hope to see you at a show soon!

The post Three Years In, WiMM Continues to Showcase the City’s Brightest Women Artists appeared first on We Are Memphis.

5 Fridays of Jazz at the Benjamin Hooks Library (Every Friday in March)

The annual 5 Fridays of Jazz series is returning yet again for another stellar season of free local jazz at the central library. This year’s slate includes local luminaries such as Joyce Cobb, Deborah Swiney, and the Jazz Ensemble of Memphis. Food and drinks will be available for purchase, making this the perfect way to kick off your weekend in style.

The Rock Orchestra by Candlelight at the Orpheum (March 13)

The Rock Orchestra is a collective of classical musicians who breath beautifully dark energy into legendary rock and metal songs from legendary acts such as Metallica, Rage Against the Machine, and AC/DC. Surrounded by an ethereal candlelit setting and elaborate costumes, this is truly a one-of-a-kind experience that will make you hear some of your old favorites in a completely new way.

Isley Bros+ Keith Sweat and the Landers Center (March 14)

There are few musical acts more legendary than the Isley Brothers, who have been churning out classic hits since the late 1950s. Featuring original members Ronald and Ernie Isley, the group will soon be headed to the Landers Center for an evening of sweet soul music featuring guests Keith Sweat and Keke Wyatt.

Aaron Lee Tasjan at Growlers (March 15)

Songwriter, singer, and sideman guitarist (New York Dolls, Drivin’ n’ Cryin’, Everest) Aaron Lee Tasjan is a true musical chameleon with a seemingly endless array of musical styles, ranging from country-rock to funk. That said, he has most often earned comparisons to singer/songwriters like Harry Nilsson, Tom Petty, and Randy Newman, which ain’t bad company to say the least.

Optic Sink + Greg Cartwright at Lamplighter Lounge (March 15)

Before heading out of town to record their third album, local synth-bunkers Optic Sink will be hitting the stage at the Lamplighter to preview some of their new songs. As if that wasn’t enough, they’ll also be joined by Hartle Road and Greg Cartwright, making this arguably the finest local line-up of the month.

Bright Eyes w/ Hurray for the Riff Raff at Minglewood Hall (March 17)

Over 20 years, Bright Eyes and lead singer Conor Oberst have become synonymous with cripplingly melancholy indie rock that speaks directly to the sad boys and girls across the globe. With his warbling voice and deeply intelligent songwriting, Oberst has famously been called his generation’s Bob Dylan. Don’t forget to bring a few tissues to dry your tears on your way to the venue.

Kraftwerk at Overton Park Shell (March 25)

The Shell Yeah! Benefit Series has brought many notable performers to Overton Park over the years, but this just might be their crown jewel. Kraftwerk–the pioneering German electronic group that forever changed the face of popular music–will be bringing their world-renown multi-media extravaganza to the Shell for what is arguably the most anticipated show of the spring.

Paul Taylor at The Green Room (March 26)

To celebrate the 10th anniversary of his critically acclaimed EP “The Old Forest Trail,” Paul Taylor will be returning home from the Great White North for a rare performance at the Green Room at Crosstown Arts. Paul, a multi-instrumentalist who has worked with a countless number of Memphis musicians, is well-known around these parts for his musicianship and abilities as a live performer and is sure to draw a great crowd.

Heavy Meddle Fest at Meddlesome Brewing Co. (March 29)

Cordova’s Meddlesome Brewing Co. is rocking the suburbs yet again with their annual Heavy Meddle Fest, a free day-long festival of face-melting metal. This year’s line-up is particularly stacked, featuring performances from some of the area’s best hard rocking acts, including Epoch of Unlight, Ohms, Anemoia, and others.

Betor Fest at the Hi Tone (March 30)

Betor Fest, the annual fundraising concert for the harm reduction non-profit A Betor Way, has quickly become one of the best days for local music and a great way to give back to a critical cause. This year’s line-up is their biggest and best yet, featuring a full slate of some of the city’s best rock acts.

The post 10 Must-See Concerts for March ’25 appeared first on We Are Memphis.

Syl Johnson-“Is It Because I’m Black”

“After Martin Luther King got killed, I wanted to write a song…. I didn’t want to write no song about hating this people or hating that people… I really didn’t have no vendetta against people. It’s a sympathy song,” soul artist Syl Johnson once said about his mournful anthem “Is It Because I’m Black.” Released during the tumultuous year of 1969, the slow-burning track laments a world that willfully tries to hinder the opportunities of people based on race. Despite the song’s obvious heartache, Johnson still sounds prideful and resistant.

MonoNeon-“Breathing While Black”

Like Sly Stone before him, MonoNeon is probably best known for his funked-out feel-good bangers, but still has the ability to come out with thoughtful laments about the harsher realities of the world. During the revolutionary summer of 2020 that found tens of millions of people hitting the streets as part of the Black Lives Matter movement, MonoNeon released this modern classic that became a rallying cry for many here in the Bluff City.

Jordan Occasionally- “Dear Broad, Bingham, and Beale”

As with MonoNeon, Jordan Occasionally is equally as capable of soundtracking a protest as they are at filling up the dance floor. From the very beginning, the nonbinary activist’s music has always been unapologetically political, which is the case with this anti-gentrification track that speaks to the frustrations and anger felt by many when their neighborhoods seem to be sold off to the highest bidder.

Negro Terror-“The Voice of Memphis”

Before bandleader Omar Higgin’s untimely death in 2019, Memphis’ all-Black hardcore band Negro Terror had established themselves as one of the city’s most exciting bands and seemed poised for a national breakout. While the pain of Omar’s loss still lingers, the band’s music lives on, especially “Voice of Memphis,” a reworking of the white-supremacist/neo-Nazi skinhead band Skrewdriver’s “Voice of Britain.” Now THAT is punk rock.

Brandon Lewis-“Black Man”

Brandon Lewis’ “Black Man,” which was also released during the summer of 2020, is both deeply personal and a call to pride for Black men everywhere. “Part of being an artist, my responsibility is to not just make the things that we dance and groove to, but also music that implements a sense of social awareness,” Lewis said at the time. The song’s video is also a beautiful homage to the city’s deep ties to the struggle for racial justice, largely shot at the historic Clayborn Temple where the iconic “I AM A Man” signs were first produced.

The post “Talking to the People, Ya’ll:” 5 Memphis Anthems for Black History Month appeared first on We Are Memphis.

The genre’s development was bolstered by legendary producers like Willie Mitchell, who worked with Al Green and Ann Peebles to craft timeless tracks. Meanwhile, Stax Records became the epicenter of southern soul, producing hits by artists such as Isaac Hayes, Sam & Dave, and Carla Thomas. Their contributions created a unique musical identity that continues to resonate today.

Key Characteristics of Memphis Soul Music

• Emotional Vocals: Inspired by gospel, singers like Otis Redding and Al Green brought unparalleled depth and passion to their performances.
  
• Dynamic Instrumentation: A hallmark of Memphis soul is its use of brass and strings, creating a rich, layered sound.
  
• Gritty Production: The lo-fi and unpolished quality of recordings from studios like Stax added authenticity to the music.
  
• Collaborative Spirit: Bands like Booker T. & the MG’s, an integrated group of musicians, epitomized the unity and innovation of the genre.
  
• Cultural Impact: Themes of love, resilience, and community resonate deeply, reflecting the experiences of Memphis’ African American community.

Contemporary Artists and Resurgence

While legends like Al Green and Otis Redding paved the way, contemporary artists continue to carry the torch of Memphis music. Artists like Don Bryant and Susan Marshall blend traditional elements with modern influences, ensuring the genre evolves while honoring its roots.

Platforms like streaming services and documentaries such as Stax: Soulsville U.S.A. have reignited interest in southern soul, connecting a new generation of listeners to Memphis’s rich musical history.

Memphis Soul Music Venues

Stax Museum of American Soul Music: Located at the original site of Stax Records, this museum immerses visitors in the rich history of Memphis soul with exhibits featuring iconic artists like Isaac Hayes and Carla Thomas.

Beale Street: As the heart of Memphis’s entertainment district, Beale Street offers live performances that celebrate the city’s musical legacy, from rhythm and blues to modern interpretations of soul music.

Memphis Rock ‘n’ Soul Museum: A Smithsonian-affiliated museum that explores the intersections of rock and American soul music, highlighting Memphis’ pivotal role in shaping both genres.

Legendary Memphis Soul Artists: Past & Present

Southern Avenue

This soulful ensemble combines elements of soul, blues, and gospel to create a fresh and energetic sound. Led by the powerhouse vocals of Tierinii Jackson and the skillful guitar playing of Ori Naftaly, Southern Avenue has garnered acclaim for their captivating live performances and soul-stirring lyrics. Tracks like “Don’t Give Up” and “Keep On” showcase their ability to infuse traditional soul with a modern edge.

Valerie June

With her distinctive voice and poetic songwriting, Valerie June has become a rising star in the contemporary soul music scene. Her music effortlessly blends elements of folk, blues, and soul, creating a unique and captivating sound. Songs like “Pushin’ Against a Stone” and “Astral Plane” highlight her soulful delivery and introspective lyrics, showcasing her ability to transcend genres.

Talibah Safiya

Talibah Safiya’s music style is a captivating fusion that defies easy categorization. Drawing from a wide range of influences, her music seamlessly blends elements of soul, R&B, jazz, and electronic sounds to create a truly unique sonic landscape. Safiya’s velvety smooth vocals, combined with her poetic lyricism, create an intimate and emotive listening experience. Her music often carries a sense of introspection, exploring themes of love, identity, and self-discovery. With her rich and soulful voice, Talibah Safiya effortlessly navigates through genres, delivering a mesmerizing blend of contemporary and timeless sounds.

Don Bryant

A veteran of the Memphis soul music scene, Don Bryant has recently experienced a resurgence in his career. Known for his work as a songwriter and performer for Hi Records in the 1960s and 1970s, Bryant returned to the spotlight with his critically acclaimed album “Don’t Give Up on Love.” With his smooth and soulful vocals, Bryant continues to captivate audiences with his timeless sound and heartfelt delivery.

Joyce Cobb

A true legend of Memphis soul, Joyce Cobb has been a staple of the city’s music scene for decades. Known for her powerful voice and dynamic stage presence, Cobb’s music embodies the soul’s essence. From her early hits like “Dig the Gold” to her recent releases, such as “Love Infection,” Cobb’s soulful delivery and captivating performances continue to captivate audiences.

The Bo-Keys

This Memphis-based band blends soul, funk, and R&B into their signature sound. With a lineup of seasoned musicians and members who have played with iconic artists like Al Green and Otis Redding, The Bo-Keys deeply understands the soul music tradition. Their albums, including “Heartaches by the Number” and “Got to Get Back!”, exemplify their ability to deliver grooves that honor the rich legacy of Memphis soul.

Al Green: Known as the king of Memphis soul, Green’s smooth voice and hits like Let’s Stay Together and Love and Happiness made him a global icon. His collaborations with Willie Mitchell at Hi Records defined the sophisticated sound of the genre.

Otis Redding: Often hailed as one of the greatest soul singers, Redding’s tracks like Dock of the Bay remain timeless anthems. His emotive delivery and profound lyrics embody the essence of soul music.

Sam & Dave: With classics like Soul Man, this duo epitomized the energy and harmony of American soul music. Their work with Stax’s house band remains a defining example of the genre.

Isaac Hayes: A trailblazer of Memphis music, Hayes’s deep baritone voice and orchestral arrangements brought sophistication to the genre. His work on the Shaft soundtrack earned him an Academy Award.

Carla Thomas: Dubbed the “Queen of Memphis Soul,” Thomas’s hit Gee Whiz showcased her vocal elegance and helped establish Stax Records.

You might also be interested in: Famous Memphis Musicians | Memphis Singers

The post Memphis Soul Music – Past and Present appeared first on We Are Memphis.

Prior to the concert, we caught up with both women for a preview of what fans can expect from the most anticipated show of the year so far.

Before we get into the upcoming show, let’s play a bit of catch-up. You both released some of our favorite projects of 2024, which we’d love to hear about, but let us know what else you’ve been up to in recent weeks/months:

Marcella Simien: I’m feel so honored and flattered! Thank you for supporting and listening to the new music. I’ve been building a new live experience involving a cylindrical art installation I’ve built with my amazing group of collaborators: my husband Dustin, plus Yvonne Bobo and Graham Burks. It’s a metal structure Graham and I designed and Yvonne did a beautiful fabrication. When we build it out for shows, we adhere screens on the exterior and we project imagery onto the cylinder. It’s been a really exciting new chapter and it’s allowed me to integrate my visual art degree into my music career in a whole new way. I just released a 90’s club inspired dance song I wrote with Ryan Peel called Manifest It. I’m about to release the deluxe version of the album including remixes, instrumentals, a meditation track and an alternate version of Lelia. I’m really excited to be exploring new sonic avenues and writing more than ever! Also been integrating music into special yoga monthly events I’ve been offering around Memphis. Just played Sony Hall in NYC this weekend. Feeling overjoyed to be able to do the work I’m currently doing.

Talibah Safiya: Lately, I’ve been focused on my next rollout for a new project. I’ve been reading a lot, cooking, resting, hanging out with my boo. We’re very much in winter mode.

How did this collaborative concert first come together, and have you two ever worked together before?

MS: Talibah and I actually met through Memphis’s favorite music advocate, Elizabeth Cawein, in 2018 where we were partnered up for the first annual Tambourine Bash. We developed a mutual admiration for each other’s work and then reconnected in 2023 where Talibah invited me to play the frottoir and sing background vocals on Black Magic. Then it sparked ann excitement about working together. I joined her at Riverbeat, she joined me at Overton Park Shell. Then I did a lil percussion and sang on her song “Sure Thang.” And we just both have a lot of parallels in our work and similar ideologies. I’m honored to call Talibah a friend and a sister in sound- because she is truly a brilliant artist who inspires me.

TS: Our first time working together was for the Tambourine Bash in 2019 (love to Elizabeth Cawein of MEM). I recently found a recording of us rehearsing for the first time and we just sound so good singing “Bag Lady” by Erykah Badu. Since then, we’ve added some fairy dust to a few tracks for each other and made guest appearances at each other’s shows. That seed started a friendship that has been watered over time.

Without giving away too much, what can fans expect in terms of what you have planned for the show? Will you be performing together, separately, or a bit of both?

MS: We will def do a lil somethin together! We have our own sets, but there will definitely be collaboration happening. We have sonic elements of African, Blues, Electronic, Creole and ofcourse Soul. Since my new album was me on all the instruments I’m entering new territory, working with electronics as well as live instrumentation. It’s going to be a fun and entirely new way to experience my music.

TS: We will be doing our own thing and supporting each other. We want our audiences to connect because we have such similar themes and sonic journeys, we know they’d be delighted to discover one through the other.

Infinity Stairs (the A/V project of Graham Burks) will be providing visuals during the show as well. For the uninitiated, could you tell us a bit about his work and how you all collaborated for this particular show?

MS: I saw Graham’s work when he did his first maiden voyage of his project Infinity Stairs that he and Thomas Corbin have been developing. They did something at Black Lodge and I saw video and I was completely blown away at the experience. I thought I was going to be a digital cinema major when I first got into MCA, and had dreams of being a music supervisor. So my love for placing music with imagery and vice versa- started very young watching Michel Gondry films where Jon Brion worked on the score and a huge inspiration for me was Mark Mothersbaugh and Wes Anderson and those soundtracks helped shape my music taste early on as a pre-teen. I always wanted to dig into imagery with music, because since I was a kid I was a BIG dreamer and when I let my imagination lead the way I was able to tap into a whole other level of my artistry.

And so seeing what Graham was doing cracked my consciousness on video art wide open!!! I had been teaching his song Graham III voice lessons and then reached to him about collaborating for this new show idea I had. Dustin and I started with a geodesic dome we bought and built that did not go as planned so we tried another structure for the Eyes On music video and that was cool but we knew we could do better and I wanted a softer edge, a round shape, I intentionally wanted soft lines for this because it lends itself to the content of the album. Circles are wonderful places to connect and sit in community. So we created another circular shape, the cylinder.

Graham and I have worked closely for the last year developing the show. I knew the color story of the album as I was writing the songs, I knew going into the project that I wanted the live experience to be otherworldly. I used chakra points that related to the stories of the songs and the colors that corresponded with those chakra points. I referenced elements in nature, celestial patterns and ether. And there’s just so much compelling imagery that Graham and Corbin put together based on a long idea sheet I wrote out of what I envisioned would resonate with each song. Each song has its own lil visual matrix that helps to tell the story. I don’t wanna give away too much.

Graham is a genius at projection mapping and he’s not only a brilliant multi-instrumentalist but he is a bonafide computer whiz. Dustin and I have learned so much from him. Then with Dustin’s knowledge of live sound and his visual art background working in glass sculpture and neon signs for over 20 years. And Thomas Corbin has a great eye, and our aesthetic is aligned, so when we all lend our talents – it makes for a stellar team. I feel blessed to be creating with these folks who are just as excited about the work as I am!

Graham uses state of the art technology and outdated old tech too in his visual creations. Which I love! He has an appreciation for the old and is up to speed on all the current innovative tools for our toolbox. He’s worked on shows at the planetarium, he’s working on visuals for some upcoming projects on a national level. I’m so glad people are taking notice on a National scale, because he is insanely talented, he and his work deserves to be celebrated. This is such an innovative exciting moment for Memphis music. I love this creation of more immersive multi-disciplinary work.

This is an amazing way to help kick off 2025, so we don’t want to be greedy, but do you have anything else planned for the year that we should be anticipating?

MS: 2025 is going to be fun, I cannot wait for Talibah’s new music- I got to hear her new body of work… and y’all! I’m so excited. headed out to play the Legendary Rhythm and Blues cruise literally the next day after the Crosstown Theater show! Then headed to play Montreal in February.

I have some dates as a special guest with my father’s band in the spring. I’ll be down in New Orleans around JazzFest for a few solo and special guest performances. We are planning to bring this new show overseas. And I have another single slated to come out in the coming months. And who knows? Maybe you’ll see me and Talibah on tour together in the future!

TS: New music, of course!

Event Details

• What: Marcella Simien ft. Infinity Stairs + Talibah Safiya
• When: January 25, 2025
• Time: Doors 7pm | Show 7:30pm
• Where: Crosstown Theater (1350 Concourse Ave, Memphis, TN 38104)
• Tickets: HERE

The post Two Memphis Queens–Marcella Simien and TalibaH Safiya–Team Up for a Special Performance at Crosstown Theater appeared first on We Are Memphis.

Memphis music is truly unstoppable, constantly evolving and shaping the soundscape with its rich history and innovative artists. Every month brings fresh talent and exciting new releases, making it clear that the city’s musical legacy is as strong as ever. November has been no exception, with an impressive lineup of projects that showcase the heart and soul of Memphis’ diverse music scene. Here are five standout releases we’ve been playing on repeat this month, and we’re sure you’ll love them as much as we do. Dive in and discover your next favorite Memphis artist!

Al Green-”Everybody Hurts”

Although Al Green’s recently-released cover of R.E.M.’s 1992 classic “Everybody Hurts” was certainly not something we were expecting, the iconic soul singer’s excellent rendition of Lou Reed’s “Perfect Day” from last year gave us at least an inkling that such things were possible. Ever since Johnny Cash scored a late-career hit with his cover of Nine Inch Nails’ dour “Hurt,” aging legends have often returned to the deep well of angsty Gen X anthems for inspiration. Count this one amongst the best, especially as Green is able to imbue the song with a sense of optimism. 

In his social media posts announcing the song, the good Reverend wrote “Recording ‘Everybody Hurts,’ I could really feel the heaviness of the song, and I wanted to inject a little touch of hope and light into it. There’s always a presence of light that can break through those times of darkness.” Amen.

IMAKEMADBEATS-”MAGIC”

Last week, producer extraordinaire IMAKEMADBEATS made his triumphant return with a mesmerizing performance of his new album WANDS at the Planetarium. As is true with albums such as J. Dilla’s Donuts, WANDS is best experienced in-full, but to keep with the theme of this article, we’ll suggest starting with “MAGIC,” one of the album’s many stand-outs. If you haven’t check out the album yet (and you absolutely should), think of it as “Lo-Fi Hip-Hop Beats to Study and Travel the Cosmos To.”

Hitkidd-”Lookin’ For Ah Trick”

Earlier this month, Memphis producer Hitkidd released his newest album Hitkidd For President, yet another collection of trunk-rattling bangers that proves crunk is still very much alive. As he’s been known to do in the past, Hitkidd assembled some of Memphis’ baddest women for a posse cut with the undeniably great title ”Lookin’ For Ah Trick.” Featuring Jucee Froot, La Chat, and the late great Gangsta Boo, Hitkidd transports us back to the elbow-throwing mid-2000s. Also, shout out to Talibah Safiya, who provides a gorgeous outro to the album on the track “Land of the Free.”

General Labor-”Calculator”

From Lost Sounds to NOTS and Optic Sink, Memphis has been a strong breeding ground for kick-ass synth punk bands for a couple of decades now. General Labor, the duo of Thomas Corbin and Elijah Poston, have established themselves as worthy entrants into this tradition, especially with their new album  The Airtight Garage. Album opener “Calculator” has been released as the first single and is a perfect summation of the band’s sound and philosophy: using technology to rage against the machines.

ISpeakWithAGift Ft. Preauxx- “F.T.O.S.”

and is a perfect summation of the band’s sound and philosophy: using technology to rage against the machines.I honestly can’t remember if we’ve ever covered the artist ISpeakWithAGift before in this space, but if not, shame on us. The rapper-producer, who has been regularly releasing music for the better part of a decade, has earned a dedicated following with his unique production and smooth flow that seems to grow more skillful with each release. His newest single “F.T.O.S.,” which features an excellent feature from a very hungry sounding Preauxx, is a woozy banger reminiscent of early releases from A$AP Mob. 

The post WAMM In Rotation: 5 Songs for November ’24 appeared first on We Are Memphis.

Memphis music is truly unstoppable, constantly evolving and shaping the soundscape with its rich history and innovative artists. Every month brings fresh talent and exciting new releases, making it clear that the city’s musical legacy is as strong as ever. October has been no exception, with an impressive lineup of projects that showcase the heart and soul of Memphis’ diverse music scene. Here are five standout releases we’ve been playing on repeat this month, and we’re sure you’ll love them as much as we do. Dive in and discover your next favorite Memphis artist!

Suroor-“!TOXIC!”

Memphis-based Pakistani hyperpop artist Suroor has gained quite the local following since dropping their debut album LAVENDER SHOWERS in 2023. Since then, their unique blend of pop–which borrows elements of Eastern genres such as bhangra and qawwali–has regularly been on display during their high-energy live shows. Today, Suroor is back with their newest single “TOXIC,” and it’s an absolute banger. Utilizing a classic Bollywood sample 3 different ways, Suroor has created a track that is both playful and aggressive, harkening back to the golden age of M.I.A.

Virghost-“MOP THA FLO”

Although he has been releasing music for over a decade, Memphis’ Virghost remains an underappreciated talent in the local hip-hop scene. To his credit, he just continues doing what he does best: regularly dropping gems that showcase both his verbal dexterity and the production skills of regular collaborator KingPin Da’ Composer. Virghost recently blessed us yet again with “Red on All Sides,” a three-track EP that is a great starting point for anyone who has missed out thus far. “MOP THA FLO,” which borrows liberally from the classic ‘90s Memphis sound, has been blasting in our car all month.

Marcella Simien-“Lelia”

Marcella Simien’s Louisiana roots have always been an integral part of her musical identity, but the Bayou State’s influence has never been stronger than on her new single “Lelia.” An ode to Simien’s great grandmother, “Lelia” begins with the sounds of the swamp, followed by a spoken-word tribute to a woman that Marcella never met, but whose influence is clearly felt. From there, the song absolutely floats, bringing the listener on a journey through time and space. The single is featured on the singer’s brand new album To Bend to the Will of a Dream That’s Being Fulfilled, which we’re sure we’ll spill more ink on soon.

Nonconnah-“An Escape From Doomscroll Valley”

Memphis noisegaze stalwarts Nonconnah recently dropped their new album Nonconnah vs. the Spring of Deception, their first in several years. As we’ve come to expect, the duo has once again delivered a masterclass in loud, messy, and oftentimes beautiful drone. While the album is best listened to as a cohesive whole, the opening track “An Escape From Doomscroll Valley” is a great way to tip your toes into their particular brand of deep and murky water.

Chinese Connection Dub Embassy “Stay Focused”

CCDE, Memphis’ premiere reggae act, is back with a laid-back and motivational new single featuring Kween Jasira called “Stay Focused.” Featuring a classic dub beat, the song is a reminder to not let outside distractions, haters, or anything else knock you off of your course. Our only complaint is that the song wasn’t released a couple of months ago, as its the perfect summer time jam.

The post WAMM in Rotation: 5 Songs for October ’24 appeared first on We Are Memphis.

Cover Photo: Justin Friesen

Mak Ro–the soulful duo of Filipino-American cousins Eric Makapugay and Kristoffer Ruaro–have been self-releasing music since 2019, winning over a dedicated local fanbase in the process. Now, the group is finally prepared to release their debut album, a beautiful and emotionally honest 8-song LP entitled Love in the Dark. Set to release on Friday, October 18, the duo have already released the first single from the album, a sensual slow-burner called “Hero.”

We caught up with Mak Ro to discuss their origins as a group, the process of creating the album, and what fans can expect over the next few weeks.

Before we get into the new album, let’s talk about your musical journey so far. Tell me a bit about how you both first got into music and when you began working together.

Kris: Being cousins, we’ve been around each other our whole lives since our families grew up super tight. But I’ve been singing my whole life and at some point – after trying a ton of different hobbies – Eric’s parents gave him a guitar and he ended up dropping everything else. Prior to becoming Mak Ro though, we both had our own separate music projects – I was doing some solo stuff and Eric played guitar in a couple bands. It wasn’t until 2016 when we accidentally wrote “Elevator” from a seemingly inconsequential guitar riff that Eric improvised during a jam session. After that, we just kind of kept accidentally making more and more songs and we haven’t been able to stop since.

Eric: I still remember before I did music going to Kris’s singing performances watching him do his thing. He has always had that performance energy and movement that you just can’t forget. At the time, we had different musical tastes in terms of the artists we listened to, so when I started playing guitar at 13, we didn’t really play too much music together. We both took our own musical journeys around the 2010’s, but eventually our worlds linked when one of my bands needed a singer for a show. I called up Kris, and that was honestly the start of it all. We kept jamming together at family gatherings and that eventually led us to accidentally writing songs.

Photo by Kris Ruaro

Although you have been releasing music for years now, “Love in the Dark” will be your first full-length album. How did the process of crafting an album differ from making singles, and what was each of your roles in that process?

Kris: What’s funny is, when we make music, we’re not thinking, “Let’s create a hit single” or “We need to make an album.” Like with our singles, we just ride the waves of inspiration whenever they come, without the pressure to release something. That’s really important to us—it keeps our creative intentions pure and lets us be fearless in what we create. Over the past five years, we’ve written over a hundred songs, and at some point, we realized these eight tracks felt connected. From there, we just kept building the world and figuring things out as we went. Honestly, we’re still in the thick of it, so we’re not even sure where this whole process of presenting the album will take us. We’re letting the wind guide us and experiencing it all along with everyone else.

Eric: For us, it’s just whatever we’re feeling at the time. Writing the singles, we just threw a bunch of paint at the wall and shared songs once they felt really good to us. For the album, I feel like we threw a bunch of songs or diary pages on a table, and out of the pages that seemed to connect, those are the ones that ended up forming the book. Our creative process is always collaborative. We both have different technical skill sets but overall our vision is combined in every part of the process from the songwriting, producing, mixing, video editing, marketing, etc.

You continue to blend a variety of different musical genres on this project, which has become a calling card for ya’ll. Who and/or what were some of your sonic inspirations for this particular project?

Kris: I’m not the most knowledgeable when it comes to pinpointing musical styles or linking techniques to specific artists, but I’ve always loved a wide variety of music, and I think that naturally influences what I create. For example, the first album I ever bought was a Destiny’s Child CD from a gas station in the Philippines, which I obsessed over for a while. I was also hooked on Mariah Carey, Brian McKnight, Luther Vandross, Stevie Wonder, Whitney Houston, and tons of R&B growing up. My dad introduced me to classics like Jackson 5, Nat King Cole, and Donny Hathaway. Then, when the iPod came along, it was game over—I went through phases of country, EDM, singer-songwriters, pop, rock, Lady Gaga (and that one I’m still going through tbh).

Looking back, though, I’ve always been drawn to music that feels good, and having such a broad range of influences gives me more emotional shades to work with. Ultimately, when I’m writing lyrics or producing vocals, my goal is to create something that feels as good as the music I connect with.

Eric: I’m trying to remember the art that I was experiencing at the time, but in terms of sonic inspirations, I think I was listening to a lot of Rosalia, Men I Trust, Khruangbin, The Doors, Sam Gellaitry, Billie Holiday, Jordan Ward, and others at the time. I didn’t really think about listening to artists for inspiration on our album, although I’m sure a part of that came out from within my subconscious during the writing process. Usually, I unknowingly take inspiration from non-music related art as well, so it all just kind of blends together like a boiling stew. I don’t really think about genres too much, because in my head I’m like “ooh what if I combine this 808 bass sound with light-hearted drums on top of fluttering guitars, but with a twist of dissonant synth chords while making it all feel like it’s coming out of a broken speaker.” I listen to a lot of different kinds of music, so I take inspiration from it all, put it in a boiling pot, stir it, and taste it until it feels good – because why not!

Photo by Justin Friesen

Of course making an album takes a whole team of people. Tell us about some of the people you worked with and what the recording process was like.

Kris: Yes, shoutout to our team—though it’s just the two of us! We’re really hands-on with our creative process and handle almost everything ourselves. Even when recording vocals, I prefer to be alone to fully dive into the moment without outside influences. From writing and production to marketing, press releases, and booking, it’s just Eric and me at the moment. However, we do collaborate with some amazing people. Specifically for Love in the Dark, Dr. Ford Music, our long-time friend and engineer, has mixed most of our tracks, and Randy Merrill at Sterling Sound mastered the album and pretty much our entire discography – and though we’re all in different cities, they always nail our vision. As for visuals, Jamie Harmon (Amurica Photo) really helped bring the album cover to life, and Morgan Bell (Belltoll Media) captures our videos with a unique, cinematic touch. Our team is small but mighty, and we love it that way.

Eric: We love the people we collaborate with, and we especially are appreciative of how open they are to our ideas. Our recording process is very minimal. We make the music at our home studio, and I’ll usually create the music with a combination of recording instruments, samples, and mixing. Kris records himself and writes the entire vocal production and lyrics. We combine the instrumentals, vocals, and lyrics that feel the best to us and filter out the ideas that we don’t fully resonate with. It’s a back and forth process that gives us a lot of flexibility, and we both are collaborating throughout every part of it.

Photo by Jamie Harmon

I imagine that you will have a few events and live performances to celebrate the album’s release. What are some things that fans should be on the look-out for?

Kris: In tandem with the album releasing, we are holding a few special events in October in Memphis because hometown eats first! On Thursday, October 3rd, we’re hosting a secret listening party at the Memphis Listening Lab at 7:00 PM. Very limited seats are available, so we ask that folks RSVP via our website. Also, on Saturday, October 19th, we’re holding our album release show at Crosstown Arts’ The Green Room at 7:30 PM. That night, we’ll be playing some of our discography favorites, as well as the full album! We have another cool thing planned for the end of October, but we’ll save that for another interview. Folks can get tickets at www.makromusicofficial.com or the links on our instagram bio.

The post R&B Duo Mak Ro set to release debut album “Love in the Dark appeared first on We Are Memphis.

Bleu Levees ft. Dame Mufasa – “Hashtag”

There’s truly nothing better than when two formidable artists link up and join forces. Together they can elevate an already great song, and push it to a standout level. Case in point: “Hashtag,” Memphis rapper Bleu Levees latest single which also features Memphis heavyweight Dame Mufasa. The two seamlessly play off each other, as they trade their own signature styles over slithering production by EMPEE. Fingers crossed there’s more collabs like this in the future.

She’Chinah- “Gimme A Reason”

She’Chinah has an unparalleled voice. It wraps itself around you, slowly and purposefully as it paints a feeling of pure bliss. Don’t believe me? Listen to “Gimme A Reason,” She’Chinah’s latest single. It’s a sugary-sweet, uptempo offering that perfectly highlights her vocal prowess. Get familiar.

Therèse ft. Idaly Maceano – “Bitch You Thought”

The talent of Memphis’ female artists is unreal. These women consistently raise the bar with each new song, and “Bitch You Thought” is no different. The track is the latest from singer and rapper Therèse (formerly Mai Ty) who brings her trademark rich vocals and velvety delivery to some smooth, R&B beats courtesy of LJ1S. She also taps fellow Memphis rapper Idaly Maceano, who ferociously delivers a flawless guest verse. This is a must add to your most recent playlist.

Slimeroni – “Skyami”

On her newest single, Slimeroni starts the track by rapping the very question all her fans are asking: “Slime, where you been?” The answer is, thankfully, hard at work in the studio readying a slew of new music. To quench our thirst in the meantime, the Memphis artist offers “Skyami,” a track that perfectly pairs gritty, bouncing production with Slime’s relentless delivery. She sounds sharper and more confident than ever, making us that much more excited to hear what she’s been cooking up.

Cameron Bethany – “Want Me To”

You know that scene from The Office where Micahel Scott freaks out and tells everyone, “Oh my God it’s happening! Everyone stay calm!” as he runs out of the building? That’s almost exactly what I did the morning I woke up and saw a new song from Memphis singer Cameron Bethany had dropped. “Want Me To” is an absolute bop, complete with dance-ready, poppy production overwhich Bethany layers his soulful vocals. Put this on repeat as you close out summer 2024.

The post WAMM in Rotation: 5 songs for August ’24 appeared first on We Are Memphis.

Our city’s soul is described by generosity that knows no bounds and the thousands of Memphians building community with each other on the daily. It’s the activism that stirring in our hearts, pushing each other and the world to see better and do better. It’s in the limitless innovation fueling insatiable curiosity and so, so much more. Memphis has always been a place of big hearts and even bigger ideas, where the spirit of soul finds its home. So, when you’re seeing your fellow Memphians’ faces across the city, you’re seeing a mirror reflecting our collective pride.

We’ll be sharing stories of how your fellow Memphians connect with our city through food, fitness, music, and so much more! Be sure to keep an eye out for billboards across the city featuring some familiar faces!

Meet DJ Alpha Whiskey

Memphis is a city with soul, and no one knows how to tap into that energy better than DJ Alpha Whiskey. As one of the city’s top DJs, she’s not just about spinning tracks—she’s all about connecting with Memphis on a deeper level. In this article, DJ Alpha Whiskey shares her favorite ways to experience the heart of Memphis, from hidden gems in the local music scene to the best spots for soaking in the city’s rich culture. Get ready to discover Memphis through the eyes (and ears) of a true local legend!

What are your top 3 places you love to visit in Memphis?
Aww man I know you said 3 but I have 5 places that I always recommend. They are my favorite places in the city and never let me down! Central Station Hotel, Hive Bagel & Deli, Andalusia, Sage, MBABAZI House of Style. 

How does Memphis as a city inspire you or impact the work that you do? 
Memphis is a city with a tremendous amount of soul and rich history. The musical legacy here is known around the world and it fuels creativity and passion in various forms. For someone like me who loves music and creativity , I am in my happy place. I am able to share my wonderful experiences and knowledge with people from all around the world when I travel to DJ. Also as an Air Traffic Controller I can literally say that we “Move the World” in Memphis because of FedEx and its international flights, delivering packages all over the world. We make sure those FedEx planes get in and out of Memphis safely, efficiently and expeditiously. 

What are you most excited to see happening in Memphis now?
I’m excited that our new Mayor Paul Young has been working hard to improve the city. That includes decreasing crime, improving our infrastructure, and investing in the youth. It takes time to build a better future , and I believe we are headed in the right direction . 

Is there another Memphian who has inspired you, impacted the work that you do, or who you’d like to shout out?
I have a few Memphians to shout out : Jared JB Boyd, DJ Crystal Mercedes, Jana Mitchell and Zach Word. These four individuals represent Memphis like no other and inspired me to do the same! 

How do you hope to inspire change in Memphis?
In addition to making people dance and having a wonderful time while DJing I have recently started my own nonprofit organization, Enlightened Leaders Initiative that will foster future leaders through STEM education, Agriculture , Leadership , Music, and Aerospace education nurturing well-rounded, innovative minds for a dynamic world. My purpose  is  work within the community to inspire youth to achieve their goals and dreams. 

The post Bring Your Soul – DJ Alpha Whiskey appeared first on We Are Memphis.

Photos by Shane Smith

Lukah, the South Memphis rapper with a rapidly growing profile, seems to take the idiom “strike while the iron’s hot” as a personal mantra, releasing an astounding 5 full-length albums over the past three years. “I want to see a change in the way that hip-hop has been trending. There’s a lack of balance right now, and I’m driven to help bring that back. People’s attention spans are so fucking short, you’re almost forced to keep going and going and going. I have a lot of shit in my head that I just have to get out.”

Lukah (born Timothy Love Jr.) is certainly an anomaly in today’s rap scene, an old soul with a sound that harkens back to hip-hop’s vaunted “Golden Age.” Raised in a deeply musical family of women, Lukah seemed prime for a life in entertainment from the beginning. “Everybody had their talent in my house and there was always music playing-Michael Jackson, Prince, the Temptation, Al Green-I grew up listening to everything, and I first got into music by singing.” Rapping came soon after, and there was no turning back. “I remember I was at a sock hop in elementary school and Crucial Conflict’s ‘Hay’ came on. I saw the way that we all reacted and I said to myself ‘I want to do this.’”

In addition to his musical upbringing, Lukah was also surrounded by family members with radical and revolutionary political beliefs, a fact that should be unsurprising to anyone familiar with his art. “My grandfather is an influential community activist and an advocate for Black people, but I was also raised in a neighborhood where I was exposed to the trials and tribulations of the streets. I say it best in a song… ‘all my life I was torn between gangsters and freedom fighters.’ I grew up in a loving family, but once I was off the porch, I was on my own.”

In middle school, Lukah briefly relocated to Chicago to live with his aunt and uncle. It was there that he first began to really dig into the rich history of hip-hop. “My uncle told me ‘if you’re really serious about this rap thing, then you need to learn where this shit came from, where it’s going, and where it’s at.’” Nas and his unparalleled ability for observational street narratives became especially influential and provided a blueprint for the type of music that Lukah hoped to one day make. “His words and storytelling really spoke to me, man. It’s like ‘this guy is me, I’m just in Memphis.’”

All of these factors–musical, political, and societal–all play key roles in Lukah’s ever-expanding discography, perhaps most notably on last year’s excellent Permanently Blackface (The 1st Expression), a bleakly honest concept album focused on systemic racism and its many grotesque iterations. “At its core, all my music is about breaking the chains of this passed-down trauma and bringing awareness to not just Black people, but white people as well. Because of our shared history in this goddamn country, it’s very hard to get over shit and move forward. Whether that’s right or wrong, I’m not sure, but it’s true and deserves to be discussed.”

Just six months later, the prolific rapper is back with Temple Needs Water. Village Needs Peace. As with all of his albums, the title gives you a clear indication of its underlying themes and concept. “I think the title is relatively self-explanatory, but there are some double entendres there as well. For example, temple can mean body, while water represents knowledge. I came up with that because I genuinely feel that that’s what the world needs at this time.” Produced entirely by L.A.’s Real Bad Man, a kindred hip-hop classicist who was first connected to Lukah from their mutual collaborator Boldy James, Temple Needs Water. Village Needs Peace. is in many ways a response to the embittered and dark Permanently Blackface. 

“It’s largely about people getting back to the roots of nature and realizing what a gift the earth is, and how much you can learn by reconnecting. I’ve been thinking a lot about the circle of life, which of course includes death. My favorite song is called ‘Burial,’ which features Talibah Safiya, and it’s about burying my old self. There’s a line on there where I say ‘this is my higher self, I put the lower in the burial/ Beautiful ceremonial, on to the next embryo.’ As we talked about earlier, that line is really about trying to bury the fucked-up trauma so as not to pass it down to my kids,” he says. 

In this season of rebirth and renewal, it’s a welcomed sentiment and yet another example of the artist’s depth and wisdom. “This project is about the community, or the village. As long as you offer something–and I’m not talking about money–but whatever it is you can bring to the table, you’re welcome to participate and help this thing thrive.”

Temple Needs Water. Village Needs Peace. will be available for streaming on March 29th. Physical copies are expected to be released sometime after. Follow https://lukah.bandcamp.com for more information.

The post On New Album “Temple Needs Water. Village Needs Peace,” Memphis Rapper Lukah Finds Peace Through Nature and Community appeared first on We Are Memphis.

Big Star-“Thirteen”

1970’s power pop icons Big Star have their fair share of songs about both love and heartbreak, but none of them resonate quite as strongly as “Thirteen,” a gorgeous ballad dedicated to the magic of adolescent love. The song was listed on Rolling Stone’s list of the 500 greatest songs of all time and has been covered by everyone from Wilco and Elliot Smith to Yeah Yeah Yeahs and Garbage, proving that it’s a certified classic despite never placing on the charts.

Otis Redding-“These Arms of Mine”

It would be fairly easy to write a top ten list of love songs written by Otis Redding alone, so narrowing it down to just one is a daunting task, but “These Arms of Mine” feels like an appropriate choice for several reasons. First and foremost, its simply an exceptional and timeless ballad that has been a mainstay on wedding playlists for half a century. Secondly, it’s the song that officially introduced Big O to the world,  becoming Redding’s first-released Stax Records single.

KIRBY-“Loved By You”

The self-proclaimed “granddaughter of soul” certainly lives up to her moniker on this neo-retro hit from 2016. The sparse instrumentals lets the singer’s powerful vocals shine, and the sense of yearning is absolutely palpable. A wonderful addition to the long and proud canon of Memphis love songs.

Mark Edgar Stuart-“Remote Control”

While the rest of the songs on this list deal with romantic love, we just had to include this heartfelt beauty from Mark Edgar Stuart about familial love, specifically the type between a son and his father. Stuart has long been considered one of the city’s finest singer-songwriters, and this emotional ode to his late father is a great example of why.

George Jackson-“Talking About The Love I Have For You”

Although George Jackson was an accomplished songwriter best known for penning hits for other artists, his solo work is absolutely worth checking out, particularly the lively love song “Talking About The Love I Have For You.” This infectious ditty gets stuck in my head quite often, and I’m certainly no complaining. In a more just world, this would have been a major hit for the elusive singer.

Jesse Winchester – Sham-A-Ling-Dong-Ding

A song with a title this silly shouldn’t be so powerful, but that’s part of the reason why Jesse Winchester was considered one of the greatest singer-songwriters of his generation. Similar to “Thirteen,” the song is a wonderful ode to young love and remains one of the iconic singer’s most beloved tracks.

Cameron Bethany-“Love is a Bill”

This 2022 neo-soul banger from Cameron Bethany is a confident and slightly cocky love song that is reminiscent of Miguel (in the best way). Sure, it definitely counts as a love song, but Bethany seems to know that he is the real catch in this situation.  The sleek music video fits the song’s sultry vibes perfectly.

Al Green-“Simply Beautiful”

The king of 1970s sultry soul has enough classic love ballads to fill an entire wedding reception, but we’re going just slightly deeper for this pick. A true slow-burner, Green’s “Simply Beautiful” is a masterclass in simmering sanctified soul that never fails to hit me in the feels. As this song illustrates, the good Reverend can out-sing nearly everyone without raising his voice much higher than a whisper.

Bailey Bigger-“No Falling Out of Love”

This country-tinged ballad from Bailey Bigger straddles the line between a love and heartbreak song, an impressive feat from the young singer-songwriter. Americana music is certainly having a moment, and Bailey Bigger is well-positioned to be one of the city’s next big stars, especially if she continues to churn out emotional ballads such as this one.

Elvis Presley-“Can’t Help Falling in Love”

While I will always prefer Elvis’ early rockabilly days on Sun Records to anything else he produced, it’s hard to deny that “Can’t Help Falling in Love” is one of the greatest and most iconic love songs of the past century (as the song’s nearly 1 billion Spotify steams helps to attest). Whether you loathe or love the King, this is truly a timeless classic.

The post 10 Memphis Love Songs for Your Valentine’s Playlist appeared first on We Are Memphis.

MonoNeon – “Church of Your Heart”

Bassist extraordinaire (and all around badass musician) MonoNeon is set to release a new album this year, and to give us a taste of what’s to come, he recently shared the first single off the upcoming project. “Church of Your Heart” is an upbeat and profoundly inspirational track that perfectly pairs MonoNeon’s soulful vocals over his signature funky production. The highlight of the song though is the message, which reminds us that no matter how hopeless we may feel, we all possess a powerful inner strength. Yea, there’s truly no one cooler than MonoNeon. 

An official video for “Church of Your Heart” is scheduled to be released on January 28, but here’s a sneak peek for all you impatient folks…

91′ Co. – Drmst8 2 

Memphis rapper 91’ Co is one third of rap supergroup Supa Glock Bros, but on his latest release we see him return back to his solo venture. Drmst8 2 is an ambitious yet undeniably impressive project that features hazy, vibed out beats and 91’ Co’s sharp delivery. The album also nicely showcases his deep artistic range as tracks like “WORK TO DO” and “Like Skrt” find 91’ Co effortlessly switching between rapping and singing. If Drmst8 2 is any indication of what else he has in store for the year, 2024 is about to be big.

Kid Maestro – “Tajin Tapes Vol. II”

Kid Maestro is one of the creative masterminds behind Memphis collective Unapologetic., but he doesn’t step into the spotlight himself very often. In fact, you’ll most likely find Kid locked in his studio in Outerspace, cooking up his next mind-blowing production. Luckily for us though, he’s starting 2024 by sharing his work in a new series called the Tajin Tapes. Each week, he’s hand delivering a collection of beats and so far, each beat is absolute fire. Listen to what he’s shared so far in the Unapologetic World App and keep an eye out for what’s next. Based on these first offerings, you won’t want to miss a note.

Life’s Luckii – “Ugly Beautiful Life”

I’m gonna say this right now – Life’s Luckii is special. Her delivery is ferocious. Her words are impactful and poignant. She controls any and all beats with an expertise that would make the most seasoned of artists jealous. She possesses the makings of a truly gifted artist and proves it yet again with her newest single, “Ugly Beautiful Life.” Over melodic production, Luckii muses about the inevitable high highs and low lows of life. However, she’s quick to remind us that the most beautiful aspect of this journey is the growth we experience as a result. This one will be on repeat for the foreseeable future, please DND.

HitKidd ft. GloRilla, Gloss Up, Aleza, Slimeroni, and K Carbon – Renegade

While everyone was busy getting their tree up and Christmas gifts wrapped, HitKidd quietly released Renegade, a collaborative album featuring Memphis’ hottest female MCs: GloRilla, Gloss Up, Aleza, Slimeroni, and K Carbon. Spanning 17 tracks, the project features some singles we’ve heard before (like smash hits “F.N.F” and “Shabooya”) and some standout brand new tracks like the menacing “Luv A” or the hypnotic “No Comment”. HitKidd’s production is nothing to play with, but the stars of the project are (unsurprisingly) the women, who yet again show that while they’re formidable apart they’re even better together.

The post WAMM in Rotation: 5 New Songs for January ’24 appeared first on We Are Memphis.

Cover photo by Ahmad George

In September 2022, Lawrence Matthews performed his last public show as his musical alter-ego, Don Lifted. It wasn’t a small show, either (a headlining event at the iconic Overton Park Shell) and it didn’t come during some lull in his career. In fact, at this time Matthews was still riding the huge success of his critically acclaimed album, 325i. He had every reason to stay in the spotlight, but he didn’t. 

After the performance, Lawrence Matthews disappeared. 

When I say disappeared, I don’t mean that Matthews relocated to some remote cabin in Alaska where no one could reach him. Rather, I mean that the persona that Matthews had carefully crafted and nurtured for the last 10 years essentially no longer existed. “I had done such a good job of commodifying what the quote-unquote ‘Don Lifted experience’ was, that people started to project that experience back onto my artistic process,” he states. “You set the rules, then you share these rules for so long and so consistently that now people can’t see you outside of that. I wanted to do more. I wanna play more. I wanna try more. I want to experiment more.”

Which makes sense. Matthews created the idea of Don Lifted when he was still a teenager. He had long outgrown the songs he wrote at this time. 325i is a stunning collection of ambient-rap love songs, but that wasn’t reflective of who Matthews was anymore as an artist or a person. “I no longer had any direct connection to what those songs were. I was growing and learning things. Singing about some of the experiences that I had when I was 16 and 17 was fine, but the ones that are more specific started to feel a little icky. I realized like, dang, what is the future of this?” So, in order to explore what could be, Matthews had to close the chapter on what was. Don Lifted had to die.

Photo by Sam Leathers

Like most necessary endings, this one too spawned a new beginning. With the dissolution of Don Lifted, Matthews has been able to properly explore his full artistic potential without anyone’s preconceived notions. “The only rule I followed when I started writing new music was not to sound like or do anything I’ve done before,” he says. It’s a mentality that’s proved fruitful – Matthews tells me he has not one, but two new projects completed, with the first set to drop later this year.

Which brings us to now. On Friday ,January 26, Matthews will make his long-awaited return to the stage at the Green Room at Crosstown Arts – this time as just simply himself. When I ask him why he chose to come back now, Matthews–without hesitation–has his answer. “The only reason I felt the need to do it is because I felt like nobody was speaking to what the fuck was happening. I saw how people were feeling in the world and in Memphis specifically. This is the reason why I’m doing the show. I’m not doing the show to really even promote the music per se, or myself or any of that. I felt it was time for me to say something,” Matthews declares. 

It appears he’s not the only one who felt this way. The show has already sold out with a formidable waitlist, prompting him to do a second performance following the original one.

With a message as important as this, Matthews’s vision for bringing it to life is gripping in its simplicity. “I just need a microphone and a stool. That’s it. I don’t need anything else. I’m not trying to do all this visual shit that you all have known me for. It’s just gonna be me, because I have something to say and I have something to express. That should be at the forefront.”

Despite the minimalistic nature of his idea, it’s incredibly ambitious. Not only has Matthews been away from the stage for a year and a half, but he’s also introducing fans to someone entirely different – himself and only himself. No frills, no extras, no reliance on what has been. It’s raw, it’s vulnerable, but most importantly, it’s real. That’s what Matthews hopes fans take away from this. “I hope that when people walk out of it, they feel heard and seen and loved on. I hope they have gotten out their aggression or their frustration. I hope after they can look forward to something that is speaking to what they are actually feeling.”

Having been lucky enough to hear Matthews’ new project, I know this to be true. There’s a lot more I want to say about what he has planned, but instead, I’ll leave you with this: if you haven’t gotten tickets yet, buy them. Now. You may think you’ve heard Don Lifted before, but I promise you – you’ve never heard Lawrence Matthews before.

*As of publishing, tickets are still available for the second 9PM show, which are available here. 

The post “I Felt It Was Time For Me To Say Something”: Lawrence Matthews on His Return To the Stage, His New Music, and the End of Don Lifted appeared first on We Are Memphis.

Preauxx

“2023 Was The Most Successful Year Of My Career. I’m Every Way, But It Was The Most Stressful Year. A Lot Of Wins And More Lessons Along The Way. I Never Do A Good Job Of Reflecting..But I’m Extremely Grateful For This Year. 2024 I’m Just Focused On The Re$ults. I Didn’t Get A Chance To Drop Any New Projects. I Was Touring The World, Modeling, And Getting To A Bag All Year At The Same Time. But I Got Plenty To Talk About Now. Thanks To All On This Journey With Me. 2024 Is Already Looking Fruitful.”

Lawrence Matthews

“In terms of 2023, this has been the first full year after retiring the Don Lifted name and gearing up to move forward as myself Lawrence Matthews. At the end of 2022 I thought I had a really good idea of what that would look like but I had no idea how that very personal journey would reflect into how I presented myself artistically. I never stopped making music, it’s been a very prolific year in that way. It’s been a year of getting to know this me within public context. What’s the context for me and these stories? I didn’t do any shows but I rehearsed all year. I just fine tuned everything. Spent time exploring what do I want to do, how, when? A lot of little tests.

In 2024 I’m going to be very active. Active exercising all my new found understanding in myself and my craft. A long way to say a lot of music is coming.”

Supa Glock Bros

“2023 didn’t really begin for us as Supa Glock Bros until the top of September where we conceptualized and committed to the idea of making “Supa Glocktober” happen. The goal for us was to compound interest over time. The music, the storyboarding, and the planning part was easy money for us…but the real work began when it came time to shoot/edit the content and commit to the schedule. The process was mostly done in house between us 3 and we were not mad at the results and reception that we received in just 31 days, special thanks to fellow Memphian R.J. Powell (aka ibreathemusicallday on IG) for having shown both of our recent EPs love on his platform via his recommended list of releases, which helped boost our visibility to new fans organically.

The plan for us in 2024 is to continue where we left off in “Supa Glocktober” with consistent visual content for both EPs, new music, and seamless cross-promotion, connecting and expanding what we call the “SGU (Supa Glock Universe)” with our individual works as Spek Was Here, Dame Mufasa, & 91’ Co and, to quote Dame on our track “305 Jamaica House”, turn pennies into zeros.”

Uni’q

“2023 has been a ride. Thinking about all the things that I’ve done and accomplished from the end of December 2022 to now the end of December 2023 is wild. From performing with my friend Cameron Bethany, to performing and headlining for Noname, writing lullabies for a company with IMAKEMADBEATS, to going back and doing more stuff with the Grizzlies and writing a song for the Grizzlies mascot…I’m like dang! There has been so much this year.

Next year, I’m looking forward to new beginnings within myself. I’m looking to be more of an influence, not only in other people’s lives, but in my son’s life and in my life. Just continuing to be a strong, single mother. Shit gets hard, you know life be lifing, but it’s alright. You know it’s gonna be OK.

I’m looking forward to producing more. I’m looking forward to getting to work with other like-minded artists and producers and being able to collaborate with them. I’m planning on releasing my EP on May 1. It’s a project that I produced, I wrote, I arranged, I sang on, and I’m directing the visual that’s gonna come behind it (but I won’t talk too much about that because it’s still at the ground zero phase). It’s crazy because I’ve never recorded on my own stuff before. Like, this is the very first time that I’ve taken the time to actually record my own music that I produced. I’ve always felt better recording on other peoples tracks. I don’t know why…maybe the confidence in myself wasn’t there yet but that’s changed. Mad kind of pushed me to do it and I appreciate Mad for that. Mad pushes me to limits I never thought I could go to and when I finally cross that hurdle, I’m always like, “Wow that was easy. What was I waiting on?” I was pretty much just waiting on myself. That’s what this next coming year is gonna be about: not waiting anymore. I’m just gonna do it. I’m a doer. Period.”

AWFM

“I spent most of 2023 either touring and meeting new people around the country, or making new tracks, and specifically paying attention to the variety of different headspaces I’ve been in while creating. I think it’s easy to ignore what unique stuff you have on your mind in order to prioritize making stuff that feels interesting for everybody. In 2024 I plan to drop way more than 2023 with higher quantity and quality, but I feel like what I have to give and what I have to say will be a lot more “if you get it cool, if you don’t, I don’t care.” I don’t know how that will go.. but we will see.”

Talibah Safiya

“2023 was an incredible year for my career. It really helped me expand my idea of what’s possible. I had my first chance to get in the writers room and write for TV shows as well as other artists. One of my favorite things I did in 2023 was release my first live album, which was called Love Spells (Live). It was a really special offering to my audience.

Another amazing thing I did in 2023 was being able to write some music for HBO Max’s Rap Shit, which was such a cool experience to work with all these new artists I had never met before, and just have a bunch of fun with these folks.

In 2024, I’ll be releasing my project Black Magic, in collaboration with the University of Memphis, which I’m so excited about. I have some other secret things that I’m working on – including writing for more TV shows and some new music that I’ve been working on with Ari Morris.

So Black Magic is coming, and then new magic is coming. I’m so excited to continue to express music in these different genres that speak to my soul. And I’m so excited to see what other Memphis musicians are up to in 2024 as well.

Spek Was Here

“2023 for me was BUSY, as both a creative journey and a learning experience. It was my first year fully leaning into the role of leadership and everything that comes with it after having departed from Studio 88 a year prior, as well as my first year under a new moniker (f.k.a. Spekulate the Philosopher). I made a promise to myself to always remain a student of my craft and maintain creative flow by always being open and curious to new ideas and approaches to music, which yielded some great results for me in my production and audio engineering. My only regret from this year was that I didn’t get to release more of my own work aside from my 2-piece “Ruff Luv” back in February.

As a newborn leader, working with multiple personalities so closely day by day presented some personal challenges for me (as an introvert) but showed promise, because I believe wholeheartedly that the artists in my crew are some of the best artists I’ve ever worked with and they inspire me to learn more and do more to be better. My standouts this year were from: Ash Léon (co-founder of iNGud Co), Austin Crui$e, and MAFIA 9.

In 2024, I look forward to releasing more music as Spek Was Here (cause trust, I have plenty) and breaking new ground with my team at iNGud Co. through all forms of our art as a collective and individual artists; especially from Starbunny, TheGoddessie, & Rose A.”

Graham Winchester

“2023 was a year of musical-life highs and some personal lows. I lost my grandmother and one of my best friends, which made trying to celebrate the good times feel sort of juxtaposed and strange. Nevertheless, I’m happy I was able to achieve some major goals in 2023 and push the music forward. And thankfully, music is the best medicine anyways. I released my solo record “Nobody Waters the Flowers” this past year. I recorded and produced it in my home studio, Cheyenne Marrs heard it and hit me up, asking me to produce/record his debut solo album “Everybody Wants to Go Home.” It was an amazing process to get in the studio with him, and I’m super stoked that both of our records are now being picked up by Red Curtain Records, a new Memphis label being run through Memphis Magnetic Recording studio.

Recording myself and Cheyenne led to others asking me to record/produce tracks at the home studio, including Spacer, Magik Hours, Dandelion Williams, Screamer, Oakwalker, Jeff Hulett, Jacob Church, JD Westmoreland, Orion Overstreet, Frank McLallen, Eli Wilson, and more. Some of these recordings have been released, and some are upcoming in 2024! In September, I was able to tour Europe with my band Turnstyles (Seth Moody and I). On past Europe tours, I’ve been there supporting Jack Oblivian, but this was the first time to “fly solo” with a band of my own. It was an amazing experience; we made lots of new friends, and we are going to return in 2024. I was also able to start playing with hero Alicja Trout in her band Sweet Knives in 2023, and we embarked on a super fun Midwest tour in July.

All through 2023, I was able to continue my weekly SongSwap at DKDC featuring songwriters in the round, and we were able to keep 18 years of weekly gigs going with Devil Train at B-Side, every Thursday at 10PM. In other continuing annual traditions, we played DKDC Thanksgiving and Christmas night with The Sheiks and Jack Oblivian, and The MD’s (my Booker T and the MG’s tribute band) played the Booker T. Xmas album at Stax for the 8th year in a row. The Tennessee Screamers gigged all year long and did the annual Dolly Parton show at Wiseacre again (coming up yet again this January).

A few years ago I started a local record label called Blast Habit Records with Jared and Lori McStay. Jared also owned the record shop Shangri-La Records. Sadly, we lost Jared to cancer this year, and his passing has had a huge impact on both myself and the community. Shangri-La records remains in good hands as one of the greatest shops on the planet. Lori and I are going to continue Blast Habit, and plan to continue putting out vinyl for bands we love! So Gung Ho, a band I had with Jared, played its last show on my birthday back in April. I will miss playing with that group!

Moving into 2024, I want to make Jared proud. I want to go to OTHER people’s shows more, and celebrate the successes of our entire music scene like he did. I look forward to thr Europe return with Turnstyles, and I’m pumped to represent Memphis at Folk Alliance in Kansas City this February, performing as a solo artist. I’m going to keep producing and recording other people, and gonna keep having songwriting sessions with friends. Also, this year I’m debuting my country band The Silver Broncos, playing some of my original music as well as songs by all the country greats (as if I needed another band). I’m stoked to play more shows with Coco & the Hitmen, a punk band fronted by my friend Coco Moody who beat cancer last year. She’s back with bells on. Overall, I just want to enjoy every moment with my friends and bandmates in 2024. Soak it all up and be thankful.”

The post Memphis Musicians Reflect on ’23, Look Ahead to ’24 appeared first on We Are Memphis.

Growlers in Midtown Memphis is packed. Overflowing really. There are people in groups in the parking lot talking, people in line waiting to get in, and some just hanging out around the venue. Inside, it’s even more crowded. It takes 10 minutes just to get to the bar and another 15 to get drinks. There’s an excited buzz emanating from the audience, but that buzz immediately dulls once the music starts. All at once it seems everyone’s attention is locked up front. Because it’s been almost 5 years since Healy played a hometown show, and he just walked on stage.

A lot’s changed for Healy (born Ethan Healy) in this time. He moved to LA, then to NYC. He released a handful of new music, including his sophomore album Tungsten in 2021 and his latest EP, “Look at God,” just this past summer. His single “Nikes On” was even included in the Adam Sandler film “You Are So Not Invited to My Bat Mitzvah.” 

While this is all undeniably impressive, this isn’t what I mean when I say a lot’s changed for Healy. In summer of 2022 while shooting a music video, Healy tore his eardrum. “When it happened, people’s voices that I’d heard my entire life sounded different. They had to recreate my eardrum,” he recounts. 

Prior to this accident, to say Healy was a perfectionist would be an understatement. He essentially taught himself the guitar in one summer after high school, leading him to start experimenting with other instruments and writing and recording his own songs. In 2015, he put a few songs out on Soundcloud and Spotify that quickly went viral. At the same time, Healy was entering his doctoral program at the University of Tennessee in physical therapy. By 2018, he had not only signed with a major label, recorded his debut album, and been on tour, but he also earned his PhD. So, yea, Healy’s not only an incredible musician, but he’s also a whole doctor too.

An injury like a torn eardrum for the regular person is traumatic, but for a musician, it can be career-ending. “I thought my profession was done and music was completely removed from my life,” he tells me. Instead of giving up, Healy found strength in those around him. “It’s corny, but when it happened, I had my friends, family, and actual love itself to fall back on and that really just restructured a lot of the way I look at life.”

His new perspective also changed how he approached his music. Before, he’d agonize over every breath, every note, every self-proclaimed “flaw.” During his recovery, he realized the beauty in letting go. “Immediately after it happened, I knew that I couldn’t do 15 mix revisions on one song anymore. I had to trust my collaborators. I had to just like, let go. There was no point in trying to beat it to a pulp anymore.” 

For his forthcoming project, Healy tells me that he’s finding inspiration in the experimentation. “I’m just leaning into the space of wanting to bend the rules more within myself. I’m just trying to throw paint at the wall and see what sticks,” he says. “I have a couple of demos where I’m, like, screaming and then ones that are very polished. I’ve allowed myself to reinvent myself and shed past skins. I really look forward to the process of discovering.”

Healy’s always had the undeniable talent, but there’s something more radiating from him as an artist now. He’s found the power in abandoning perfectionism. It’s clear this Healy isn’t afraid to take risks because he’s no longer worried about failing. If whatever he has planned works, that’s great – but he’s ok if it doesn’t. In fact, the very idea of trying something unique and it not landing almost seems to excite him. “I’ve realized that my music doesn’t have to go a certain way. More often than not, it’s gonna end up where it needs to be.”

Listening to Healy’s most recent releases, this is resoundingly true. His songwriting has matured, his melodies are both intricate and saccharine, and he expertly navigates an even wider stylistic range. Healy’s never been scared to blend genres, but on his new projects, he fully embraces it. On stage, he moves with a comfortability and ease that only comes from truly knowing who he is as an artist. It’s no wonder he drew the massive crowd he did at Growlers.

After Healy and I discuss all that’s happened in the past 5 years, I ask him about the future. “I’ve learned how much I thrive on connection. I thrive on being connected with people. I just want to continue to connect with my fans in a bunch of different ways,” he tells me adamantly. After witnessing the unpredictability of life this, he says, is the one thing he’s sure about. As for everything else? “I really don’t know where my music might go. And I think that’s a beautiful, beautiful reality.”

The post Following Life-Altering Injury, Musician Healy is Ready to Embrace the Unknown appeared first on We Are Memphis.

Talibah Safiya ft. MadameFraankie – “Papa Please”

When we talked to singer Talibah Safiya back in October, she told us that she was readying a new 5 song project titled “Black Magic”. While the full EP hasn’t dropped, Safiya did share the first single off the upcoming record. “Papa Please” finds Safiya soulfully crooning over crunchy, gritty guitar courtesy of MadameFraankie. It’s the perfect teaser – just enough to wet our appetites while making us that much more excited for what’s next.

A Weirdo From Memphis – “Officer Tenpenny”

Over the past year, Memphis rapper A Weirdo From Memphis has been busy performing alongside Unapologetic labelmates PreauXX, CmaJor, and Kid Maestro on their Weirdly LuXXurious tour. Luckily, his schedule hasn’t stopped him from creating and sharing new material. In between traveling, AWFM has been gifting his Instagram followers some standout loosies and freestyles. His latest, “Officer Tenpenny,” is yet another next level offering. Over production by CmaJor, AWFM showcases his impeccable delivery and lyrical prowess with lines like, “lack of wings never stopped me from my failed attempts at flyin.” Damn. If these are just the loosies, imagine what he has in store for his next official release.

https://www.instagram.com/reel/CzXDvHPvavk/  

Brandon Lewis – Frozen Hearts EP

When Memphis singer Brandon Lewis shared his new EP, Frozen Hearts, he posted the project alongside one singular lyric: “Started reflecting on all the rejection my heart accepted…” It’s this broken-hearted feeling that drives the narrative for his new 4-song project. Lewis expertly layers his smooth, emotive vocals over lush yet melancholy production, as he muses about the aftermath of a love lost. The EP is an intimate journey, one that by the end will have you asking if that chill you feel is from the seasons changing or Lewis’ palpable heartache.

A.R. The Mermaid – “Mama Raised A Savage”

When I tell you that the female rappers coming out of Memphis are nothing to play with, whew, I mean it. A.R. The Mermaid went viral a while back with her effortless freestyle abilities, and here we get to see her showcase those once again. “Mama Raised A Savage” is a minute and a half of the rapper confidently talking her shit over a vibed out, laidback beat. A personal highlight? When she dropped the line “Yea I know I’m 5’1” but my heart 6’4”” because as someone who is also 5’1”, I felt that deep.

Marco Alexander, CmaJor, and The Jackson Symphony – “Reimagined Requiem”

Earlier this month, The Jackson Symphony put on a special performance called “Reimagined Requiem.” For this, they invited Memphis musician (and principal double bass in the orchestra) Marco Alexander to take the Mozart classic, rearrange it, and put his own unique take on it. The result is breathtaking. I keep trying to describe it but nothing I write can do it justice. This is one you have to hear and feel. Music is magical and this…this is something special.

https://www.instagram.com/reel/CzMz0KEr31-/ 

https://www.instagram.com/reel/CzQB8xrsyPx/ 

https://www.facebook.com/reel/7061017727295346

The post 5 Songs in Rotation for November ’23 appeared first on We Are Memphis.

1. Before moving to Wisconsin in 2020, you were one of the city’s go-to sidemen and a celebrated solo artist as well. Just to set that stage, give us a brief rundown of your career and of your many notable collaborations for readers who may not be familiar with your work.

Aw heck, I’ve been very blessed (non denominationally speaking of course) to have a toe in many different scenes for pretty much my whole life.

Obviously, I had the great fortune of growing up a second gen Memphis musician. I learned so much from my dad Pat Taylor. As a child, I would beg him to let me hang out all day in the recording studios while he worked (aside from being a legendary guitarist and vocalist, he was also a recording engineer at Ardent) and through that I was equally fortunate to meet and fall in with the Dickinsons and Selvidges, who would become lifelong musical associates. That connection was also pivotal inasmuch as it was mostly through Jim Dickinson that I was educated on Memphis music and it’s history.

In the 1990s I was doing all kinds of random stuff. For instance- making very left-of-center Cloud Wow Music with wizard Shelby Bryant whilst also doing one-off tours as a bassist with people like Ann Peebles. At some point I became a serious student of jazz drumming. In the early aughts, I was touring with Dave Shouse in The Bloodthirsty Lovers as a drummer and then coming back to Memphis to play Beale Street as a bassist with the Gamble Brothers Band, or subbing as a drummer with Charlie Wood at King’s Palace- while also making my own brand of lo fi electronic music, which I dubbed Leftronica, under the pseudonym Interrobang. For many years, I also played drums for Amy LaVere.

Around the early 2010s, I was playing bass with lifelong friend Eric Gales, and touring with San Francisco legend Chuck Prophet as a drummer. Having backed up every great guitarist in Memphis from Calvin Newborn to Eric Lewis to Shawn Lane- in the last 12 years, I decided to start gigging as a guitarist and band leader in my own right with my band the Merry Mobile, and various other outfits, whilst also continuing to work on my solo acoustic act, trying in vain to do my best imitation of David Cousar, who I was lucky enough to make a good bit of music with over the years.

In the 2010s I played drums with Hope Clayburn’s Soul Scrimmage, The Mighty Souls Brass Band, subbed a bit as a bassist with Outer Ring; and most crucially to my late life development, I played guitar for the better part of 5 years in the Reba Russell Band, while also playing guitar with those fabulous twins, The PRVLG. All the while I’ve been putting out my own records under my own name and then using my nom de plume New Memphis Colorways. I need a nap just thinking about all of this. I’m sure I’m forgetting over half of it. This is the short answer!

2. As previously mentioned, you are now residing in Wisconsin. How do you think the move has changed your art and music over the past three years, and what do you miss about Memphis as a musician in particular?

It’s a damn good question. My own sense of self value has always inextricably been wrapped up in being a Memphis Musician- all of my self worth and pride has been in that identity.

Extricating myself from that gerbil wheel of my hectic musical life there has allowed me the time to reset spiritually and musically. Yet also somehow, I’ve carried that identity up here to Door County with me. It’s still an enormous badge of honor to be a Memphis musician. No matter where I live, I will always be that.

But my new vastly different environment-with lots of water, snow, ice and such- has inspired music and songs I certainly would’ve never written in Memphis. Look at where Sister Bay, WI is on a map! It’s like Mississippi farmland surrounded by an inland freshwater ocean that freezes in the winter. Quite mind-blowing for this southern boy!

And I’ve befriended a whole community of musicians up here – I’m basically doing the same things I’ve always done, filling in wherever I’m needed on whatever instrument is required!

But of course I do sorely miss the Memphis groove, which truly can only be felt when making music with my Memphis brothers and sisters!

3. On November 17th, you will be returning home to play your first show back in the Bluff City in over three and a half years at the Green Room at Crosstown Arts. What are you most excited about the show, and what should fans be expecting?

I am terribly exited to breathe the Memphis air, see my friends, feel the aforementioned Memphis rhythm emanating from the soil! Crazily enough- I haven’t seen any of my dear friends there since BEFORE the pandemic period- it’s been almost four years. So, I look forward to lots and lots of big hugs!

And also worth mentioning- folks may not know that I actually was the very first musician in the Crosstown Arts Artist Residency Program, and then wound up employed at Crosstown Arts for almost two years running a project studio as well as helping host the first shows that happened in the Green Room. I dearly love that space. It will be good to be back!

And I have new songs and new jams and a new band of awesome musicians!

4.  As you noted, you’ll be joined at the show with your new band Three Springs. Tell us a bit about the group, how it formed, and how the music differs from your previous work.

Welp, as I became immersed in the Door County music community, I found some like minded musician friends in drummer Adam Cain and bassist john Frater. I had been kicking around the idea of resurrecting some of the songs off of my first two solo records- a few of which I think are amongst my better songs, but which suffered from me being a novice record maker way back then.

So ostensibly, we formed to play those old songs- and breathe new life into them; but of course, we wound up writing new songs and incorporating instrumentals and some of John Frater’s excellent songs (I would compare his writing to Jonathan Richman or Stephen Merrit). It’s everything from power pop to funky experimental instrumentals.

5. Earlier this year, you and your longtime collaborators Luther Dickinson and Steve Selvidge released an excellent project entitled MEM_MODS Vol 1, and you also just released the new New Memphis Colorways EP, “Let The Mystery Be,” which is similarly awesome. (I will link to both). Tell us a bit about both projects and where folks can find them, along with your earlier work.

MEMMODS came about during that uncertain otherwise dismal Spring of 2020. One day out of seemingly nowhere, Luther Dickinson emailed me several WAV files of some minimal bass parts he had written, and asked me to overdub drums. I did so, and suggested that he send it to Steve to flesh out (we all have gone recording rigs which facilitate this kind of long distance interaction)! A fire was lit, and the next thing you know we were seemingly making a record, and we were using the Marco Polo video chat app daily, that was a huge part of it. In a time of otherwise isolation, we were chatting and catching up, reconnecting, and furiously working on this music. It was cathartic- I think I can speak for all of us in saying that It probably saved our sanity and provided hope and purpose. As such- that horrible scary and tragic time for most people was probably the greatest summer I can remember! I like to say that we FINALLY made the music we were trying to make when we first got together as teenagers. It only took 3 decades and a global pandemic for it to happen!

And when we wrapped up around August of that year- I then used the residual momentum and steam to make my New Memphis Colorways 2021 record ‘It Is What It Isn’t’ – a fusion-y funk freak out that has many similarities to MEMMODS.

Bearing in mind this is pre-vaccine and was the most uncertain time- my wife and I then decided it was a good idea to move to Door County Wisconsin to ride things out! We weren’t sure if we’d stay or not but it has turned out to be a very happy place to live. That first winter up here made me feel like I was living in the movie Tron! … and that inspired me to return to programming music, which I was hugely into as a teenager. In an isolated waterfront cabin on a frozen bay- I wound up delving into this strange hybrid of live and programmed elements which was quite unlike anything I’ve done before; but then those tracks sat unfinished for the last few years. Miraculously, on the first day of spring this year I decided to go on a sober jaunt which continues to this day. A huge wave of inspiration came over me and I found myself writing lyrics and melodies to those cabin tracks.

I added guitars and other sprinkles, did a ton of editing- and then mixed it- all within a week or two. I should mention that I also decided to make a concerted effort to use more accessible song forms. Repetitive hooks, tight verses etc. I’m proud of it- it’s a departure from my standard non-standard fare!

And the inspiration didn’t stop- I then went on to write many many new songs, many of which I’ll be playing with Three Springs at the show! And we aren’t just coming to Memphis to play this show- we are coming to make a record! I’m bringing these guys to soak up that Memphis groove and catch that vibe, and eat ALL of the BBQ!

Paul Taylor with Three Springs will be performing at The Green Room at Crosstown Arts at 7:30PM on Friday, November 17th. Tickets are available here. 

The post Memphis’ Prodigal Son Paul Taylor Makes Triumphant Return This Week appeared first on We Are Memphis.

I’m in a rush when I go to meet Talibah Safiya. I was at work later than I expected, putting me about 10 minutes behind schedule. As I park, I start stressing about making someone else wait so I channel my inner New Yorker and powerwalk to our meeting place. I arrive semi out of breath (embarrassing), hair messy (embarrassing), and probably sweating (very embarrassing). Normally I’d be supremely in my head about all the above, but the minute I actually meet Talibah, it magically all melts away. Her spirit is calming, tranquil, and begs you slow down and be present. 

This effect she has should really come as no surprise. When you listen to her music, that same energy permeates throughout. Her songs are a stunning collection of healing, growth, self-forgiveness, and most of all, self-love. She explores these concepts with a grace and patience that feels both therapeutic to her and her listeners. 

Despite the gentle way she approaches life in her music, Safiya is fiercely ambitious. After graduating high school, she moved to Washington, DC, to attend Howard University, where she studied theater. However, after a few semesters, Safiya grew unfulfilled. “It didn’t work out. I just felt like that type of education wasn’t for me, so I started to really dig into studying the art of music and the art of songwriting.” Safiya is an avid reader and deeply talented writer. She started studying the songwriting of people like Amy Winehouse and Nina Simone, creating her own form of education and school along the way.

This led her to New York City, where she found a new home and artistic community to work with. “I started to kind of hang out with the music school kids of New York, like the Berkeley dropouts and graduates. They really helped me to kind of feel more confident in myself as a musician, having not necessarily been a trained instrumentalist. They just really poured life into me and gave me a musical community for the first time.”

New York City is invigorating and inspiring, but it can be exhausting. After 6 years there, Safiya felt the urge to return home to Memphis. At the time, her now-husband was running a local club called Dizzy Bird which she describes as “an epic little moment in Memphis music, for those of us who know.” He started hosting local music nights featuring up and coming talent in Memphis. Safiya flew out twice to perform and quickly noticed a shift in the city.

“There was something bubbling in the city. I could feel the difference. I could feel that there were people that were my age that were excited. They were not only trying to help advance and rebirth our original music scene, but also the fashion started to become more exciting. The visual artists are coming out, photographers are around, it really felt like the start of a thriving community of artists. I’m like, well if I can work with artists figuring out their niches in New York, I could do that at home.”

 Photo: Anthony Lorenzo

And that’s just what she did. In the time since she’s been back, she’s recorded and released countless original songs, filmed incredible visual accompaniments, collaborated with big names like KAMAUU, and had her songs featured in national outlets. Oh, AND she (along with her husband) created a sustainable living company called Mama’s Sundry. See, I told you her drive and determination is different.

“I’m in a place where I really, really believe in what I’m doing. And if you really believe in what you’re doing, it comes with an urgency, because you know that you’re connected to a certain type of energy and that energy might have an expiration date. So, for me, it’s not about being in a certain mood or something. It’s about the fact that we’ve set a goal, and we’re going to get it done.”

Next on her list is her upcoming EP titled Black Magic. The 5 song project will take listeners on a journey of Black music in America from its inception. “It’s such a short project, but it’s very cohesive. I kind of broke it down where it’s like environmental love, relationship love and self/God love,” Safiya tells me. “There’s a lot of influences for this because it tells the story of Black music in Memphis and the Delta. That means you’ll hear anything from some field music to blues music to soul and rock.”

Safiya can seamlessly inhabit these different sounds and styles because, regardless of genre, there’s one unifying element at the core of all her music: peace. To know Safiya’s music is to know peace. She exudes it in every note and every word. It’s not performative or sporadically sprinkled in. It’s genuine and unapologetic. You deeply feel whatever emotion or story she’s conveying with her songs and you, beautifully, understand yourself better after hearing them. 

Photo: Kai Ross 

“It’s redemption music,” she elaborates when we talk about this. “Like, I’ve been through this thing, I made this mistake, I had this experience, but I KNOW who I am because of it and I’m gonna keep celebrating myself and my story.” 

It’s an empowering message because Safiya herself is inheritably empowering. Towards the end of our time together, I ask her where she sees herself as an artist over the next few years. She tells me that making music and creating is something that she knows she’ll be doing for the rest of her life. 

She pauses and then says adamantly, “I can do this for the rest of my life because I’m not burning myself out. I don’t burn myself out. I take breaks. I’m gonna rest. I love myself. I LOVE myself. I don’t just associate my love for myself with my work. I love myself. I love my family. I love the way I make home and the food I cook. I fucking love sleep. So ain’t nobody gonna burn me out. I can do this for the rest of my life.” Thank God for that.

**The first single from “Black Magic” will be released on Halloween day. Updates to follow!

The post With New EP “Black Magic,” Talibah Safiya Explores Love Through the Rich History of Southern Black Music appeared first on We Are Memphis.

1. First things first, the Tambourine Bash is obviously a major annual fundraiser for Music Export Memphis. Tell us a little bit about the organization and your personal goals.

Music Export Memphis is a non-profit export office for Memphis music. We’ve been around since 2016, and we really grew exponentially during the pandemic because we ran an almost half-a-million dollar COVID relief fund for musicians and music professionals. This helped to massively increase our donor base and our revenue, but also the number of local artists who were aware of our work. Our primary focus is on subsidizing working artists through unique and innovative programs that all address elements of career promotion and building audiences outside of the city. So we’re funding tour grants, merchandise, and the like. We recently launched two new grants that help to fund publicity and marketing, both of which are incredibly key in building your career and helping to get your music out into the world. We believe that when we help artists extend their reach, it helps the whole city because it allows artists to remain in Memphis and build their careers here.

2. When did the Tambourine Bash begin and how has it changed over the years?

The Tambourine Bash started back in 2018 as a pretty straight-forward benefit event. One thing that eventually became  a thread linking the first event with the subsequent event was that the two bands we had performing were completely different. One was reggae and the other was Southern rock. That next year, we really embraced the idea of collaboration. That really came from recognizing that this was really the only event we were holding in Memphis every year, so we really wanted to push the creative ceiling and create something that was bigger than just a concert and silent auction. This idea of collaboration really grew in 2019, when we paired Talibah Safiya and Marcella Simmien together, along with Nick Black and Daz Rinko and Future-Everything and Unapologetic.

After having to cancel the 2020 event, we were concerned about getting people together in ’21 due to the ongoing pandemic, which is largely what led us to the Overton Park Shell as an ideal outdoor venue. As you know, the Shell is a massive venue, so it also allowed us to go even bigger than we had in the past. It was honestly a big leap for us, but with the help of our sponsors we were able to pull off a really successful show with a ton of artists. I knew that I wanted to end the night with a “super jam” finale, which was largely planned by Boo Mitchell, who is returning again this year for assistance.

While we now do more events during the year in Memphis, the Tambourine Bash is still our marquis night that continues to push the creative boundary of our artists. We also wanted to do something that you would never see again, and I can guarantee that the Tambourine Bash will give you some performances that will never be replicated.

3. Collaboration between seemingly disparate artists is at the core of what makes the event so unique. How do you go about pairing up different artists that may have not worked together before?

First of all, I’m already working on the 2024 event because I am constantly hearing from artists who want to participate or getting suggestions for artists. I also have particular concepts that I want to execute each year, so a perfect example of that is this year we have Dirty Streets collaborating with Alexis Grace and Deonna Sirod, who are both unbelievable vocalists. Dirty Streets rock so hard, and while I love their vocals, I knew I wanted some big powerhouse vocals with a gritty rock band. There are plenty of other examples like that as well, but I think finding artists who are in different genres but who share a similar spirit is at the core. There are also times when I’m a bit scared or apprehensive when I pair the artists together, but so far it’s always worked out! A perfect example of this was during last year’s event when Lucky 7 Brass Band, Aquarian Blood, and Rachel Maxann were paired up. It was completely ridiculous–there were like 17 musicians on stage at one time–but it was incredible. I mean, people still come up to me and want to talk about that set. I especially love when the artists tell me “there is no way we would have collaborated together otherwise, but now we’re working together on a new song or project.”

The other thing is, now that we’re going into the fourth year of the event, I think artists are much more understanding of the concept and therefore less hesitant to try out something that on its face may seem absurd. This year especially, I’ve found that artists are particularly enthusiastic because they’ve been wanting to participate.

4. Tell us a bit about this year’s line-up and what may be different from years past.

One thing that is different about this year’s Tambourine Bash is that we have a headliner, which we’ve never done before. In the past, we always had equal billing and set time for everyone, but in brainstorming ideas of how to get even more people in the audience, we decided to have a headliner. One thing that was really important to us was ensuring that the headliner was an artist that the city claims, which is certainly true of Cedric Burnside. There obviously needed to be that collaborative element as well, but Cedric’s partners have yet to be announced. I’m thinking we may keep it a surprise until that night, but that’s still to be determined.

Other than that, I would say the formula is pretty much the same, but because we never repeat artists, it will be a completely different show from years past and each of the sets will be totally unique.

5. I know that this is probably a tough question, but do you have any favorite performances from the past that you think exemplify what the Tambourine Bash is all about?

So I already spoke about one, especially when talking about what exemplifies the Tambourine Bash, and that would be last year’s set featuring Lucky 7 Brass Band, Aquarian Blood, and Rachel Maxann. To me, that is such a beautiful example of what we try to do. There are also some other favorite moments, like Jody Stephens, Steve Selvidge, and Amy LaVere doing a set together. While those three musicians had played together before, they had never done a trio performance like that. We also got to see Jody singing the Chris Bell classic “You and Your Sister,” and you could’ve heard a pin drop. It was such a beautiful and memorable moment, especially from a guy who always claims that he’s not a singer. There are always these great unexpected moments and I think each individual in attendance tends to leave with their own. Oh, and how could I forget the “super jam”! Having all of the artists come together is just magical and a reminder that you can’t get anything quite like this in any other city than Memphis. That level of talent coming together is just off the charts and always a great reminder of why we do this work.

6. Before I let you go, is there anything else that you wanted to add?

Beginning on September 18th, we’ll be rolling out our big annual giving push as a lead-up to the Tambourine Bash, which will include artist testimonials, a new video podcast called “Export 101,” along with a lot of other content. One thing that’s more Tambourine Bash related is the silent auction, which will be held online this year. That will also go live on the 18th. Finally, I think it’s important to stress that no other city has this type of organization or is doing the work that we’re doing. It’s incredibly unique to say the lease and when I travel for conferences or festivals and meet folks from other cities, they are flabbergasted at the work we’re doing. In fact, other cities have begun to reach out to us about assisting them with getting their own artist support programs set up. I just want Memphians to know that this doesn’t exist elsewhere and that when you come out to support us, you’re ensuring that we can continue to innovate and grow and keep Memphis as a world class music city.

*All Photos by Craig Thompson 

The post The Tambourine Bash is Back with Even More Stellar Music Collaborations appeared first on We Are Memphis.

When I walk into the studio that R.U.D.Y is working in, there’s a rare moment of stillness. Everyone is seated around one of the computers quietly immersed in their own world. Then a beat starts playing. It’s subtle at first, but grows louder, causing everyone to stop whatever they were doing and pay attention. R.U.D.Y stands and nods along to the twinkling production. “It’s kind of crazy how the fear go away when I hear the 808,” he raps off the cuff to the beat. He repeats the line a few times then he turns to me. “Ok, now I’m ready. Let’s go.”

This is the type of artist R.U.D.Y is. He has the blessing (and the curse) of a brain that never shuts off. His work ethic is relentless. He’s in a constant cycle of reflecting, writing, and creating. He’d live at the studio if he could and when he’s not there, he’s doing something to better himself for when he’s back. He exists simultaneously between the project he’s currently working on, and the next 50 projects he plans to do.

His hustle might sound motivating, but R.U.D.Y would disagree. “I just really wanna inspire more. Inspire, not motivate, because motivation is bullshit,” he says. I ask him to tell me more. “It’s like when you’re motivated after watching a video about exercising and you can’t wait to go on a jog. Then you put on your shoes, and you open the door, and it’s way hotter than you thought it was gonna be. That motivation is gone. You’re gonna sit right back down on the couch. But when you’re inspired, you go through whatever the fuck you gotta go through to come out the other side and get the goal you want. That’s why inspiration is way more powerful than motivation.”

It’s a belief that’s central to R.U.D.Y, honed in part by his life experiences and in part by his family and upbringing. The son of a preacher and a deacon (his mom, a preacher and his dad, a deacon), R.U.D.Y was raised in a church. His earliest memory of music is singing in the church choir when he was three. Coincidentally, church would also be R.U.D.Y’s first introduction to writing raps.

“It was a Christian based after school program. They made us write raps, like they forced us. Whether you wanted to or not you gotta write a rap and it’s gotta be based on Christianity. I remember the first bar I wrote. It said ‘Jesus Christ is our Lord and our savior, he can even save a pimp and a player’. I was in third grade. I wrote that,” he tells me laughing.

The bar was memorable for more than just the obvious comical reason. Following that, one of the program leaders called R.U.D.Y into his office. Like most kids, he immediately thought he was in trouble for the lyrics. To his surprise, the leader was impressed. “He was like, there’s no way a kid should be able to write this good. You have a talent man, a REAL talent for writing that isn’t normal for a kid your age.” So, R.U.D.Y kept writing.

His talents paid off again in high school. In 2012, R.U.D.Y became part of a hip-hop theater program. It was his first time on stage since rapping in the after school program in third grade. “We had this little cipher to start the show off. I was next to last, and whenever I would finish my verse, I would get a huge response. Like, when everybody else finished theirs, they would get a little applause but when I finished mine, it would be a very noticeable difference. I remember being like, oh shit. I think I really got something.”

Since then, R.U.D.Y’s been working. To be clear, when I say working I don’t mean just making music here and there. Sure he’s released countless EPs and mixtapes, but more than that, R.U.D.Y has been actively and consistently bettering himself. His day job requires him to be outside in the Memphis heat all day but he doesn’t mind because he spends the time listening to self-improvement podcasts, books on tape or the Bible (oh, and of course his own music). He spends hours in the gym purely to build muscle and stamina for live shows. He’s a lifelong learner and every little bit of new information he absorbs somehow presents itself in his music. It’s a fascinating dedication that is increasingly rare in an industry that often values immediacy over quality.

R.U.D.Y sums this up in one word: perseverance. It’s the theme for his music, but more so his life. “With my music, I wanna teach people to persevere through whatever the fuck you’re going through, to make it through to the other side. I want to teach people how to change their mentality because I realized that with the change of mentality comes a change in everything else,” he explains.

“I remember I told myself this is the last job I’ll ever have. After this, I’m going to be a successful artist. I don’t give a fuck. I don’t care how good the job is, this is the last one. And I might look crazy to people because I got a whole ass degree, but I’m building a business and brand with this. Every single day when I go to work, I don’t wanna be comfortable. I’ve learned to become comfortable inside of discomfort. That’s perseverance.”

You hear this idea in his latest single, “Show Improvement.” In it, R.U.D.Y raps about overcoming all life dealt him in order to succeed. Over masterful production by TP 808s, Leemvrs, and Doc Playboi, he confidently drops lines like “I’ve been down so long all I can see is up” and “Those losses turned to lessons, turned to blessings, don’t believe in luck,” before arriving at the song’s triumphant hook “I’m not just gonna fix it bitch, I’m gonna make improvements.” The song is powerful, inspirational, but also just really fucking good.

When I ask what more musically R.U.D.Y has in store, he smiles really big, almost as if he’s still in disbelief of the names he’s about to drop. (No, I can’t disclose specifics, but I can say big things are happening). He’s excited about the now, but as always, he’s more focused on the future. He might be sitting across from me physically, but mentally he’s recording his next project, filming his next music video, and prepping for his next live show. R.U.D.Y is unstoppable because he’s not afraid of failure and he welcomes challenges. His mindset is just different.

“When young artists ask me what advice I have to give them, I say ‘you gotta be ready to make a hit record every day or make the best song that ever existed, every day…and for no one to give a fuck. And that’s okay,” he tells me laughing as he lights his blunt. “I’m at a point where I wanna do this exactly how I wanna do this unapologetically. And if we fail, who gives a fuck?”

The post Rapper R.U.D.Y Aims to Change Your Mindset with New Single “Show Improvement” appeared first on We Are Memphis.

I was born and raised in Memphis and a graduate of White Station High School. Music has been a big part of my life since I was a kid. One of my formative memories is the day my parents decided I could be left alone with the stereo. They taught me if I wanted to hear my Barnie and Lion King tapes, I’d have to learn to use the cassette player. And they taught me if I wanted to hear Michael Jackson, I’d need to use the turntable. Every so often, even as the years went on and records became uncommon, I’d find myself flipping through their record collection to hear the sound of vinyl, to look at covers, to touch wax. Every Christmas, I was excited to get CDs in my stockings. And you couldn’t keep me out of a music store when I was young, always looking for new releases. I was always walking around with a Walkman and a zip-up case of discs.

By the time I was a pre-teen, I was rapping regularly, recording tracks in my bedroom. I thought I was D. Jay from “Hustle & Flow,” except I was really heavy into artists like Aceyalone, Murs, Mos Def, RJD2, MF Doom, People Under The Stairs, Common, Jean Grae, Nas, and Jay-Z. I also played drums in the school band. The deeper I got into hip-hop, the more obsessed I became with understanding the songs that my favorite rappers sampled. Naturally, it wasn’t long before I realized that Memphis artists like Al Green and Isaac Hayes were prominent inspirations for my favorite joints. But, that realization hit even closer to home, when I realized my elder cousin Andrew Love played saxophone on a lot of that music, as well.

When I went off to college, I studied broadcast journalism, even though I knew I wanted to be a music writer. I just felt I would be an even better asset to a potential employer if I could host, shoot, and edit video content for the web and social. I started a career in news journalism that took me from the University of Mississippi back home to the Commercial Appeal to Mobile, Alabama, and eventually back home to The Daily Memphian. When I moved back home in 2018, I also accepted a role co-hosting and writing Beale St. Caravan, a radio program globally syndicated by NPR. Whenever I could, I would infuse a little Memphis music history into my writing and reporting, which isn’t hard. So many stories in Memphis involve our music scene. I’d also mention pretty rare records in Memphis’ musical past in my articles. That was like a dogwhistle to local DJs and, eventually, one of them approached me to be a part of the staff at Central Station Hotel’s Eight & Sand lounge.

After about a year at The Daily Memphian, I pivoted, with their support, to co-found WYXR 91.7 FM, a nonprofit, non-commercial radio station run largely by volunteers.

2. You are a co-founder, program manager and one of the on-air hosts for WYXR. How important is a local station like WYXR to the Memphis musical ecosystem?

I understand very well the business model that entices listeners of commercial radio to tune in every day. That consistency and polish is impressive and important to those who like to consume music that way. And, with my oddball tastes, I certainly relate to people who don’t even consider listening to radio, because they like to be in control of the music they hear. Whenever they are getting dressed or riding around in their vehicles, they are playing the music they sourced on their own, by word-of-mouth or on the internet.

But WYXR exists somewhere in the middle, where people who really love music and really love Memphis are able to share the things they’ve learned and heard. It’s a conversation that happens every day, allowing real people, across various walks of life to have genuine interaction through independent media. We have everything from students to retirees, representing all styles of music, and numerous backgrounds. Even if they haven’t met, they are working together to make our sound diverse. And that’s a rare experience.

We strive to have something for everyone, which ultimately means we run the risk of turning some people off because we have too much variety. It’s a balance. We’re figuring it all out!

3. You host a ton of different events here in the city but one of your coolest jobs is helping host the WYXR Stereo Sessions. How did that idea come about and how do you go about picking the albums to discuss?

To be honest with you, I don’t quite remember the conversation that led us to conceive WYXR Stereo Sessions. I know there was an expectation internally that we’d inevitably collaborate creatively with our neighbor Memphis Listening Lab, when they officially opened in Crosstown Concourse. It only made sense, as our missions overlapped in very vital ways.

As a music writer and a record collector, I’d already connected with so many local artists to ask questions about their past releases. So, a big factor in the records I chose to highlight and examine for the first season of the series depended on whether I was confident I could convince someone involved with a given record to come share about it. Of course, the purpose of the series is to expose Memphians to albums that come from our city but aren’t well known. The records have to exist outside of people’s typical notions about “The Memphis Sound,” as well. So no rock n’ roll in the vein of Elvis or Johnny Cash. No straight-up vocal soul like Otis Redding or Al Green. Each record we focus on hits the listener slightly outside of those zones. And it has to be something you would feel is worth sitting and listening to in a setting like you might watch a movie, in comfy chairs, with friends and strangers, alike. They also had to be records I have copies of, or else we wouldn’t have any physical media to listen to at the event. All those factors matter.

So, in two seasons, we’ve heard Memphis albums and stories that encompass jazz, funk, folk, blues infused with pop, prog rock, northern-styled sweet soul, garage rock, and more. I think there’s a lot of music left on the table. But I also think it’s time for me to step back a bit, because there are tons of people at WYXR who are equipped to guide the public through these discussions, leveraging their tastes and relationships. Now that we have proof of concept, I am excited to see it grow beyond the rarities in my collection. There’s a lot out there, and Memphians are in the mix of all of it.

4. It feels like Memphis rap is undergoing some sort of resurgence or revitalization with the mainstream success of artists like GloRilla, Moneybagg, Hitkidd etc. As someone who’s been involved in the Memphis music scene for a long time, what do you make of this?

Memphians have been in vital roles in hip-hop for a very long time. Hip Hop is celebrating 50 years. We weren’t present on Day 1. But it didn’t take us as long to get hip as some folks might think. Not only were Memphis artists cooking up at home in the late ‘80s and early ‘90s, but we exported some key players to work behind-the-scenes in other city’s scenes. Their impact is much harder to measure, and a lot of their names are rarely heard. But I count those contributions to the industry.

Only a handful of cities have mattered to hip hop, as a whole. So, I’m willing to puff my chest out about Memphis. We know New York started this. We know the areas in and around Los Angeles shifted the culture drastically in the ‘90s. And we know Atlanta has been the focal point, manufacturing a gravitational pull that has kept The South on top for multiple decades. I’m confident that it’ll stay that way for a long time.

That’s left a bit of a pecking order for the mid-tier cities in hip-hop, for which Memphis has done a hell of a lot of pecking. Complex published recently that we are in the Top 5 cities of influence in hip-hop. Am I proud? Sure.

Am I able to speak eloquently about the future of Memphis rap or even the current state of Memphis rap? Nah. I’m a record guy. Funk, soul, disco, house, etc.

I feel a nagging responsibility to consider, as beautiful as our musical heritage has been, to challenge young people from our community to use hip-hop as a tool to develop theory, language, philosophy, and discuss social issues. But the odds of even making even a modest living behind a microphone or beat machine requires such a spectacular set of circumstances to be in a person’s favor. Streaming payouts are so low, I’m surprised musicians aren’t striking along with the actors and writers. And with the amount of occupational hazards associated with success in the rap game that have fast-tracked a lot of deterioration and loss, I just don’t see too many positive outcomes.

Even in the music industry, there are tons of lucrative careers, with longevity and job security, outside of being a performer, I believe we could be better equipping our young people to pursue.

So, I just want to see our folk win. Memphis is on the map in hip-hop. That’s cool. Now, what can we do to energize our inner-city to strive for careers in tech, in medicine, in real estate, in global commerce? That’s the beat I wanna bounce to right now.

5. You get the chance to interview and speak to a lot of Memphis music royalty (and overall just cool fucking people) in your work. What’s something that someone told you that sticks with you?

My friend Marcella Simien plays in a trio called Gumbo, Grits, & Gravy, alongside Anne Harris and Guy Davis. Guy happens to be the son of Black artistic royalty, our original African-American power couple, Ruby Dee and Ossie Davis. They were actors on stage and in film, poets, playwrights, musicians, screenwriters, and more.

When I interviewed Marcella and the crew for Beale St. Caravan, prior to a gig here in Memphis, Guy shared with me that his parents were very serious with him when he decided to take up music. He mentioned in our interview that his parents would tell him every day that you perform to the best of your ability, whether there’s one person in the crowd, 500 people, or 500,000. Whether you’re ill or well. Whether you’re happy or sad. Whether you’re rich or poor. The point of it is that the people came to see you share your gift and you honor their investment in that with an investment in yourself and commitment to your craft.

I might’ve put a lil’ extra stank on it. But, coming from Ruby and Ossie, through Guy, the message stuck with me. That responsibility sticks with me.

*Bonus* You’re stranded on a desert island and the only way to survive is by creating the most fire 5 song playlist. What songs are on your list?

– “Nobody” by Playa Fly ft. Gangsta Blac
– “Groove Me” by King Floyd
– “Love & Happiness” by Al Green
– “And The Beat Goes On” by The Whispers
– “Automatic” by The Pointer Sisters

The post 5 Questions with Jared “Jay B” Boyd appeared first on We Are Memphis.

You wouldn’t know it at all from looking at her, but Glockianna is nervous. It’s September 2022 and the rapper is backstage at Rolling Loud waiting to perform alongside her new labelmate Duke Deuce during his set. From her viewpoint, she can see the crowd: a pulsating mass of excitement and energy that seems to grow stronger and bigger by the second. It’s an intimidating situation for even the most seasoned performers, but especially for Glockianna, because she’s about to take the stage and perform for hundreds of thousands of fans, and she’s only 15 years old.

So how did a teenager from Memphis end up performing at the world’s largest hip-hop festival? Unlike what most kids her age would say, Glockianna’s reason for rapping isn’t for fame and money. Instead, it’s something much more intimate and personal to her, but something that also makes her art that much more relatable. Glockianna uses music as a coping mechanism, a therapeutic roadmap for how to deal with life. She tackles issues in her lyrics that extend well beyond her age, yet she approaches them with an impressive maturity and honesty. Her delivery is an explosion of confidence and charisma. At such a young age, she is unapologetically herself and if you don’t vibe with that, she truthfully doesn’t give a fuck.

Glockianna was born and raised in Riverside, South Memphis by her grandma and grandpa. It’s here where her journey into music starts. “I was exposed to a lot of violence, fighting, and stuff like that,” Glockianna tells me. “My family tried to protect me, but I was still somehow seeing people fighting or hearing gunshots, so I used to be violent a lot myself. I fought a lot and my grandmomma told me I had to stop and find something else to do instead.” 

At first, Glockianna tried channeling her feelings into playing various sports. She played basketball, volleyball, and ran track, but regardless of what she did, the behavior consisted. Then, she found music. “Once I found music, everything became peaceful. My music is how I cope. I can put all my anger and whatever I’m going through into my music. I ain’t gonna lie.. before the music, I was making some choices and decisions that could’ve taken me from this world. I could’ve lost my life doing what I was doing. Once music happened to me, everything changed. It’s like I just got blessed.” 

Like most contemporary artists, Glockianna first began sharing her music on social media. She posted videos of her songs and freestyles on YouTube, Instagram, and TikTok and they quickly blew up. To date, her Famous Animal TV freestyle has over 75,000 views and 216 comments – all of which are some version of “WOW she bodied that” or “yea she’s next up for sure.” 

It didn’t take long for more and more people to start paying attention to what she was doing. One of these people was fellow Memphis rapper Duke Deuce. “I saw a notification that popped up on my phone that said, ‘Duke Deuce liked your post’ and at first, I thought it was a fake page. Then I realized it was really him and I was so excited. Two days later he inboxed me and was like, ‘You trying to work? I’m trying to get you on this song. I see so much in you. Send me your number and we’ll make something happen.’”

She sent him her number and within two weeks, Glockianna was in a meeting with Deuce and his team. “I was so starstruck when I met him,” she says laughing. “I kept it cool the whole time, even when we signed the paperwork. But when we left? We were cutting up in the car! We were so live in the car!” An extremely appropriate reaction, but one that also reminds us that despite how grown she may present herself, Glockianna is still very much a teenager.

When we talk about what it’s like to be both in high school and a rising star, Glockianna gets vulnerable. “I struggle with anything your average teenager struggles with. I struggle with temptations, I struggle with a lot of hate,” she discloses. “People started saying I was walking around like I thought I was better than other people or I wasn’t humble.” I ask her how she deals with that because honestly, I can’t imagine the weight of it during such an impressionable period of your life. “I used to care about what they were saying. I used to come home and tell my grandmomma how I felt and I used to get into a lot of stuff because I cared about what they said about me,” Glockianna explains. She then pauses, thinks for a second, and continues on. “Then I realized there ain’t no point. I mean, people talked about Jesus, they’re gonna talk about you.” Amen. 

Listening to Glockianna’s music, there are certain influences or comparisons you can pick out. She draws from other powerful female rappers like Gangsta Boo, La Chat, GloRilla, TiaCorine, Rico Nasty, and Cardi B, but if you listen closely to her songs, there’s more. Much like Glockianna as a person, her music is layered and multi-dimensional. She often uses samples from older soul or blues artists she was introduced to by her Grandpa. 

“I love Jay Morris Group. I like J Wonn, Pokey Bear,” Glockianna stops and starts singing some of their songs. “I like blues music. If I was on my deathbed and someone was asking me what my final wish was, no offense grandmomma and grandaddy, but it would be to see a Jay Morris Group concert,” she says laughing. “It’s just something about their spirit I relate to so much! You can feel where they’re coming from.” It’s clear this is an ideology that fuels Glockianna’s own music as well.

Towards the end of our time together, I ask Glockianna where she sees herself in five years expecting a detailed plan of how she’s going to be music’s next superstar. Instead, she shakes her head and says defiantly “I ain’t rapping in 5 years. I’m not trying to be rapping my whole life. Rapping was a gift God gave me. I wanna go to school for social work.” It was a statement that at first caught me off guard, but the more I thought about Glockianna’s music it makes sense. She found an outlet to help her heal or cope and she only wants to be able to give that same gift to others in whatever medium presents itself. 

She’s quick to clarify one thing though. “The reason I wanna make my money is for my grandmomma and my grandad. When I was coming up, they always made a way for me. So, I just wanna pay the way back. My mindset at 16 years old is different from my peers. They’re thinking about what they’re going to do this weekend. I’m thinking about how I can become a millionaire before I’m 18. I’m thinking about how I can get my Grandmomma and my Grandaddy out the hood before I’m 17. That’s how I think. I’m seeing the huge picture and they’re seeing the little picture and that makes me different.”

Different may feel uncomfortable to some, but for Glockianna, it’s what’s natural. She’s a teenager who one second is performing in front of sold out crowds and the next needs to make sure she’s home by curfew (yes, she still has a curfew). She’s releasing music videos but also maintaining an honor roll status at school. She doesn’t adhere to this world or that world, she adheres to Glockianna’s world and Glockianna’s world only. We’re just lucky to get to visit through her songs.

. 

The post Glockianna Is Taking Over – And She’s Doing It Glockianna’s Way appeared first on We Are Memphis.

When you scroll through MadameFraankie’s Instagram, you won’t see those seemingly obligatory food, scenery, or #OOTD posts that so frequently populate other users’ content. Instead, what you will see are hundreds upon hundreds of videos of Fraankie doing one thing and one thing only: playing her electric guitar. 

You see, for her the guitar isn’t just a hobby or something she just happens to be good at (for the record, she is INCREDIBLY good at it, so let’s just establish that from the jump). No, for Fraankie, it’s a true passion; one driven by an insatiable hunger to learn everything the guitar is capable of. As a result, she approaches her craft with an unparalleled amount of discipline, but also excitement. One gets the sense from talking to Fraankie that she believes every second she has with her guitar and her music is a chance to discover something truly magical.

When I ask MadameFraankie if this level of intentionality and dedication is something she grew into or something that she felt was always there, she looks at me almost confused. It’s clear I asked about something so innate and second nature to her, that she can’t even recall a start date. “Do you want the long story or the short story?” She responds, laughing.

“Music has always been a part of my life,” she continues. “I think my aunt bought me my first radio from Radio Shack when I was about 9 and I was obsessed. Once I got the radio, I started to learn about radio stations. We had just moved to Tennessee so I was trying to figure out what stations there were, and that was the first time I remember you could choose your music. That was the first memory I had of actively listening to music.” 

From there, her interest in music as a whole narrowed itself down specifically to the guitar thanks to JCPenny. No really. She was flipping through a JCPenny magazine at her grandma’s house when she was 12, saw an acoustic guitar on one of the pages, and had to have one. “I didn’t know how to play it or nothing, it was just so beautiful,” she says. “It was a must-have.” Once she got her own, it didn’t take long for it to become a permanent extension of herself. “I took that thing everywhere, everywhere, everywhere,” she tells me. “People knew if I was coming, the guitar was coming too.” 

This should come as no surprise, but Fraankie is a self-taught musician in the truest form. She credits a range of artists that helped influence her sound and style: Snoop Dogg, James Blake, Nick Hakim, John Mayer, D’Angelo, Erykah Badu, 2Pac, and funk legends Cameo are just a few she names. “Oh, and Dave Matthews. I used to play so much Dave Matthews band when I was teaching myself the acoustic guitar,” she says laughing.

It’s clear though that while Fraankie’s list of favorite or influential artists is diverse, it’s not anywhere near complete. She has playlists and playlists of artists that she wants to know more about, seemingly understanding that there are musical universes out there she has yet to discover. “I have a playlist of artists that I’ve been trying to tap into and learn more about. I got Incubus, Grizzly Bear, Marilyn Manson, Lit…that ‘Miserable’ track I think is absolutely genius.” 

Fraankie spent years honing her craft before she became what she calls a “public musician” in 2017. “I got a phone call and someone wanted me to play with them in a show. At this point I had been playing for years but anytime someone asked if I wanted to come do a show, I always said no. I was nervous I would mess up. But then I told myself if you’re gonna keep saying no, what are you even playing for? After that I committed to saying yes to projects and putting myself out there. Even if it’s ass, I’m going to still put it out there,” she says assuredly. 

This mentality paid off. The more “out there” Fraankie put herself, the more her phone started ringing. Over the past few years, she’s played and recorded with local artists like Talibah Safiya, Lawrence Matthews (FKA Don Lifted), and Aybil. She’s also involved with Crosstown Sync, which licenses music created by Memphis artists and musicians for use in movies, television shows, commercials, video games, and other on-screen opportunities. “The number of phone calls I’m starting to receive is wild – it’s like ‘okay, we out here!’ I’ve gotten calls like, ‘Hey we’re in the studio working on a track and we think you’d be a really great fit for this’. Jumping into a project and getting a placement from that…wow,” Fraankie reflects.

The momentum MadameFraankie is experiencing now doesn’t look like it’ll slow down anytime soon. She recently started incorporating more instruments into her musical toolbelt, teaching herself keys, drums, bass, and even exploring singing. “I don’t know if it’s a full-fledged singer/songwriter kind of thing, but I would love to do a line or two here in the same style Khruangbin does. I know I want my voice included in some way. I want to be a well-rounded musician. I didn’t intend to play more instruments, but it’s more happenstance. When you learn more, it does nothing but help because you can hear more.” 

I know I referenced Fraankie’s music as a passion for her, but after hearing her speak about her art makes that word feel deeply insufficient. In MadameFraankie’s world, music is a precious treasure, one she feels supremely blessed to be able to not only create, but also share.As talented as she is, she’s humble enough to know there’s always more to learn and determined enough to learn it. It’s a mindset that’s increasingly rare in today’s instant gratification obsessed society.

There’s a quote Prince once said about his creative process that feels especially appropriate when thinking about Fraankie’s music. He said, “To create something from nothing is one of the greatest feelings, and I would—I don’t know, I wish it upon everybody. It’s heaven.” It’s clear MadameFraankie feels the same, and as her audience, we’re lucky to witness that journey.

The post With Her Signature Guitar and an Undeniable Passion, MadameFraankie is One of Memphis’ Most Exciting Musical Talents appeared first on We Are Memphis.

Our city’s blues and rock n’ roll mythology is such that one might be pleasantly surprised by the other genre representatives flourishing in the Memphis musical ecosystem. One fine example of this is Frog Squad, the cosmic jazz assemblage that’s quickly earned a fine reputation for sonic daring and captivating live improvisations. WAMM was lucky to put forth these five burning questions to David Collins, Frog Squad lead guitarist and mastermind.

We’ll start with the heaviest question imaginable: why is jazz still relevant in 2023, and what does jazz still have to say that folks need to be listening for?

I think music that relies heavily on improvisation will always be relevant. There are so many things happening today to react to and communicate through music and sometimes the truest expression of that comes from creating off the cuff. Art helps connect us, excites our imagination, and helps broaden our perspective, and to quote the great Herbie Hancock, “Jazz has always been about expanding boundaries. Inspiring musicians towards the future and its infinite possibilities.”

Tell us a little bit about how Frog Squad came together, and perhaps what everyone individually brings to the table in terms of strengths and different perspectives.

I believe the first show I billed as Frog Squad was in 2018. It was an outlet for some compositions and arrangements I had. The lineup has evolved some over the years but I now prefer to keep it a 7-9 piece with Khari Wynn on bass, Jon Harrison on drums, Cedric Taylor on keys, Paul Mullikin on keys, Hector Diaz on congas and bongos, Hope Clayburn on alto/soprano sax and flute, Franko Coleman on tenor sax, Aaron Phillips on bari sax, and Chad Fowler on saxello and stritch. The talent in the band blows me away.

Khari Wynn also goes by aliases Misterioso Africano, Captain Africa, and James Equinox. He is the guitarist and musical director for Public Enemy. He has original music under the names Equinox Frequency Wavelength Consortium, New Saturn Collective, Misterioso Africano, and Solstice.

Jon Harrison is one of the most sought after drummers in Memphis. He has an Instagram Kickdrumstairs_ with some crazy drum and synth videos.

Cedric Taylor is one of the hardest working sidemen I know. He writes and sings great music though I don’t think hes released any yet.

Paul Mullikin moved here from Denver over the pandemic. He is an exceptional multi-instrumentalist and has original music under his own name on streaming platforms.

Hector Diaz plays with lots of different groups around Memphis and in addition to being a percussionist, is also a great singer.

Hope Clayburn leads her own group Hope Clayburn and Soul Scrimmage and also plays with lots of different groups around town.

Franko Coleman is a senior at UofM and a brilliant composer. He has written music for films and also plays piano.

Aaron Phillips is a scientist at St. Jude and somehow finds time to play with us and other groups. He also plays guitar and sings.

Chad Fowler is a software developer, author, public speaker, and manages the music label Mahakala records. He has lots of collaborations under his name on streaming platforms.

What is your experience of working with jazz, especially experimental jazz, in Memphis like? How does this city inspire and inform what you do in Frog Squad?

Frog Squad has never been open to compromises. There are not too many good paying gigs for something like that here so I have shifted our focus more towards recording and grants.

What’s the Frog Squad-specific accomplishment you’re most proud of having achieved?

In 2019, Khari Wynn and I were commissioned by the UAC to write experimental music in response to Yvonne Bobo’s space themed statues in Peabody Park. We made an album titled Solar System in Peabody and there is a live video of the performance on Youtube.

Lastly, what’s next for Frog Squad, both in 2023 and beyond?

I have 3 sessions of Horace Silver tunes I need to mix and will release later this year. Other than that I am hoping to receive more grants and festival slots.

The post 5 QUESTIONS WITH: FROG SQUAD appeared first on We Are Memphis.

If you listen to just the first thirty seconds of Moneybagg Yo’s smash hit “Time Today” you notice
something. From the booming production and twinkling synths to the smooth delivery of Bagg’s
braggadocious verses, everything – and I mean every little thing – comes together perfectly. It’s
the musical equivalence of a completed 1,000 piece jigsaw puzzle where every piece has a
place and more importantly, a purpose.

This is no happy accident. In the same way the puzzle does not just build itself, songs don’t
magically build themselves either. It takes people who, somehow, simultaneously possess both
a grandiose vision and a meticulous ear for detail to transform the rough cuts of songs into the
version we hear on our Spotify. The words good or great do not exist in their vocabulary – in
fact, saying something is “good enough” would probably get you kicked out of their studio.
These creatives strive for perfection and work relentlessly until they achieve it.
Welcome to the world of mixing and engineering.

“They couldn’t get me to leave the studio. I was the intern that wasn’t going to leave until the
lights were turned off that night. Everyone had to leave before I was ready to leave because I
didn’t want to miss anything,” explains mixer/engineer/producer Ari Morris. “I felt like anytime I
was out of the studio I had FOMO. Like, I wasn’t there and Rick Ross came by? What am I
doing not being here? You couldn’t get rid of me. I was at the studio every single day, all day.”
It’s this mentality that’s earned Morris his 65x gold and multi-platinum status and cemented him
as the go-to mixer for some of the biggest names in hip-hop today. He’s worked with artists like
Young Dolph, Future, Key Glock, Lil Durk, Royce da 5’9”, Moneybagg Yo (yea, that’s his work
on “Time Today”), Migos, and GloRilla among MANY others. His work mixing Moneybagg’s
vocals on Mary J. Blige’s Good Morning Gorgeous earned him a Grammy nomination.

If you ask Morris if there’s a so-called science behind his success, you’ll be met with a pause
and then a smirk. “I don’t think I’m good enough to do the same thing twice. I don’t think I’m
good enough at what I do to execute the same thing over and over again,” he says humbly. It’s
clear there is no formula to his talent. It’s innate to Morris, a feeling he has that’s tangible but
unquantifiable. “Art is going to get its wings and find itself and then once it finds itself, it
becomes its own unique thing. So, when people say, ‘I want something to sound like this,’ I
shrug and say ‘ok’ because nothing is going to ever sound exactly the same. At least not with
me. I don’t know that magic trick yet but if someone out there reading this does, teach me it,“ he
laughs.

This sentiment is only further emphasized when you see him at work. From the outside his
studio looks incredibly nondescript, tucked away on a seemingly hidden street in Memphis. But
when you walk in you’re transported to a place where time and reality feel nonexistent and the
only thing that matters is what goes into that mic and out those speakers. Simply put, you get
the feeling that if you’re not here to do real work, you can get the fuck out…respectfully.

“The only way to get ahead in music is to be around,” Morris explains. “If you’re an engineer, the
more you’re in the studio the more things are going to happen. I was taught very early in my
career that every time you walk into a studio it has the potential to change your life that day.”
This grind is partly who Ari naturally is, and partly where Ari’s been. He went to school for
recording engineering and simultaneously started interning at Young Avenue Sound in
Memphis. During this time, he worked for industry heavyweights like Skip McQuinn and Nil
Jones who took him under their wing and showed him the ropes. He quickly worked his way up
from an intern to being the engineer that everyone was calling to work with.

It was then that Morris realized he wasn’t just following a passion, he was building a career. As
in demand as he was at Young Ave, he was equally as sought after outside the studio. The
transition to branching out on his own happened organically and with the support of his mentors.
“I was lucky enough to apprentice under people who wanted to see me grow and wanted to see
me win,” Morris explains. “As my career took flight, I started getting calls to travel and work on
the road, and the people I learned under encouraged it. Once I started moving I didn't stop.”
It was around this time that he began working with a young, local rapper who was starting to
launch their own career. The rapper was Young Dolph. “He just started booking studio time at
Young Ave and I got put on the sessions,” Morris says. “We ended up catching a vibe and
before I was even out of school I was working on records with him.”

When Morris talks about their time working together, you can see why he and Dolph had such a
strong relationship. They both knew exactly what they wanted to create or achieve, but also
agreed there were no rules in doing so. To illustrate this shared mindset, Morris shares a story
about their time working together on King of Memphis.

“He walks in on Saturday and says he wants us to put his debut album together. I was like ‘Sick!
When is it coming out?’ and he’s like ‘It’s coming out on Friday.’ I was like ‘Ok…what songs are
we working on?” and he says, ‘We’re about to do them now my boy.’” Morris remembers
laughing. “We’d leave the studio at 7 in the morning and I’d get a text from him at like 11 a.m.
that he was ready to go back. So, we went back to the studio and worked until 7 a.m. again.
That really showed me there are no rules to art.”

As pivotal as his mentors and this time with Young Dolph was, Morris also credits two other
artists he’s worked with that helped form how he makes music: Macy Gray and Royce da 5’9”.
“Very early in my career getting to watch Macy Gray cut vocals reshaped my entire theory on
recording in general because she did not think in the studio at all, she just did. She just
performs,” Morris recalls. “Then working with Royce, I was like oh wow he never settles. He will
just beat the idea until it’s exactly what he wants it to be.”

In 2019, Ari flew to Detroit to work on Royce’s eighth studio album, The Allegory. The album
earned Royce a Grammy nomination for Best Rap Album, though Morris doesn’t count this as a
personal Grammy nom despite mixing the album in its entirety. “Semantics,” he explains.
“Engineers are not named in genre specific nominations.”

Even though the result of their time together produced a critically acclaimed album, how Morris
even got involved with the project to begin with was rather unconventional. “What’s crazy is that
it was the first job I got from an artist really hating a mix I did,” he states laughing. “I didn’t know
it was a concept album where one song flowed into the next. I was just given this one song; I
didn’t hear any of the other material. The song kind of had a trap beat and I just assumed they
wanted me to trap it the fuck out. So, I did.”

Morris, along with legendary producer Carlos Broady (who he credits as another “great mentor
of mine”), sent the track back to Royce. Then Broady played him the rest of the album. “I
listened to it and I just put my head in my hands knowing Royce is going to hate the mix we just
did. Sure enough, he calls Broady and says, ‘Man this mix is terrible,’” Morris recollects. “The
one thing he didn’t hate was how I mixed his vocals so that got me the job. He flew me out to
Detroit to help work on the rest of the album. To this day it’s one of the coolest weeks I’ve ever
spent in the studio.”

Ari has a million stories like this from his career, but it’s evident that right now he’s more focused
on what’s yet to come. As someone who was part of Memphis rap when it was more fringe and
independent back in the mid-late 2010s, Morris brings a unique perspective to the renaissance
Memphis rap is currently having. “All these records – like 2 Federal, King of Memphis, Glock
Season – that I was lucky to be part of at the beginning of my career have created this thing and
now everyone’s taking this thing and running with it,” Morris says. “It’s almost like we made a
new genre. So many people from the city are a part of that. It’s an amazing collective effort
where we’re all seeing the fruits of our labors now.”

When I ask Morris what he makes of all the new art coming out of Memphis, he instantly lights
up. He tells me that the energy in Memphis now is like the energy of a busy studio. “Coming up
we never wanted the studio to be empty, it was never a good vibe. Any time there was dead
time, we would schedule things because it was better for our creative energy if people were
doing dope things around us. As long as there are people making things, the studio feels alive
and the city of Memphis feels alive right now,” Morris explains. “I drive down the street, I see
people making music videos or having photoshoots and that makes me smile so big because
nothing makes me happier than seeing kids making art.”

As for the art Morris is working on himself, he’s equally as excited but a touch more guarded. He
grins and says coyly that some projects he can tell me about, while others he cannot discuss
yet. “I’m working with an artist named b3cca who’s got some very cool and different stuff coming
out. I’m also working on a really incredible project with (Memphis rapper) RUDY. That’s going to
be something special,” he tells me. The rest of his projects are secrets or, in his words, “not my
story to tell yet.”

Truthfully though, it wouldn’t matter who he was working with as long as he was working. It’s
clear that although he’s proud of the accolades and perks his success has brought him, he’s still
most at home in his studio behind the mixing board. While others in his position might be more
concerned about making Tik-Toks or Instagram posts to grow their own following, Morris is too
busy making…well…music.

“To be seen now is a thing,” he explains. “But to me, an engineer is not supposed to be seen,
they’re supposed to be heard. For years, and to this day, I try to let my work speak for itself. You
want to learn about me? Go listen to the records I did – I leave a little piece of myself in
everything I do.”

The post Meet Ari Morris: Your Favorite Rapper’s Favorite Mixer appeared first on We Are Memphis.

“I say we’re two sides of the same coin. We’re equally matched. Nobody can stop us, together or separate, and that’s not being cocky, that’s being real,” Big Boi once said when asked who the better rapper is, him or his Outkast partner André 3000.

Music is not unfamiliar with iconic duos, and this is especially true in hip-hop. From Outkast and UGK to 8Ball & MJG and Mobb Deep, some of the genre’s most prolific artists haven’t been solo but paired.

So, what makes a duo, especially these duos, so special? Groups like the above understand something important: that in order to succeed, they must be great by themselves but exceptional together. Where one falters the other leads and vis versa, a seamless Yin and Yang. And it’s this exact idea that sets Memphis hip-hop duo Idi x Teco apart.

The pair have been working together since 10th grade and it shows. “We were both in the poetry club,” Idi tells me one afternoon. He and Teco are seated across from me at an outside table at Crosstown Concourse. “A teacher had us do an assignment, a poetry assignment, and we were the only ones that kind of took it serious. After class I was like ‘man you pretty dope’ and he’s like ‘you pretty dope too’ and we kind of connected over that,” Idi explains.

They quickly discovered they were both fans of the same artists. “I say my biggest influence is Outkast, Lupe Fiasco, Hot Boys,” Idi starts. “Kid Cudi, 2pac, Wu-Tang, it’s a lot of people. Definitely Outkast though,” Teco adds. Before long, making music together became inevitable. 

 This next level chemistry is only more evident when they hit the stage. If you’ve been lucky enough to see them live, you know what I’m talking about. The pair anticipate each other in a twin-like manner, seamlessly moving from one part of the stage to the other before finding each other back at the center. Once reunited, their energy is unreal.

 “Throughout our whole career, I feel like we’ve connected with people the most during shows,” Idi says. “That rush we got after doing that first show…we didn’t know, we were just kids doing what we loved. But the reception that we got and the love we got and how powerful we saw that it could be, it changed us and really made us look at performing very, very seriously.”

 Despite this dedication, forging a path in the Memphis hip-hop scene is possibly more challenging today than in the past. While Memphis rappers have recently dominated the charts, they don’t represent all Memphis rappers. Moreover, to assume all Memphis hip-hop sounds the same would be reductive of the ingenuity present in the city.

“You get this perspective from a typical hip-hop artist that Memphis is like this or Memphis is like that, and then you got guys like us saying, ‘hey we’re from Memphis too’”, Teco says. “We kind of bring another perspective to being from Memphis other than street, gangster, all this. Memphis is more than that and I think that’s what we show.”

Idi agrees, though he’s quick to add another important aspect. “The youth, the kids, they look up to us and we know the feeling of that,” He explains. “I feel like staying true to our sound and what we do, while being in a city that wants you to sound like something else just to blow up, for us to make it that way and stay that way could inspire younger artists that they can do the same. They don’t have to be a certain way.”

“There’s gotta be a us, a ‘that side’ of it,” Teco continues. Just like in their music, the two are always in sync. “I think why it’s so difficult paving that way is because we’re some of the first footsteps on that way. It’s going to take some time and we know that. But we have to be true to ourselves and our music. And shit there might be an artist 20 years from now that thanks us for it.” Teco says.

You see this different take on the genre most notably in their lyrics. Their words are thoughtful and purposeful, with not even a breath or adlib without reason. The stories told in their songs are raw in a way doesn’t feel invasive, but instead therapeutic. They tackle issues like mental health, depression, and loss with a compelling honesty. 

 “I think we do a good job of like being able to determine what can help people. That’s the perspective I try to write from – what am I going through in my life right now, and how can I help someone with what I’m saying.” Teco explains. It’s clear the duo view music as the ultimate source of healing. So, they in turn want to make music that heals, no matter where that takes them. “If I gotta go that deep I’ll go that deep. It might hurt doing it and it might make me feel uncomfortable, but it’s art. It’s not always about being pretty and comfortable.” Teco states.

 Don’t mistake this vulnerability for weakness though. The pair possess a quiet confidence that only grows louder with each new release. Their delivery is impressive and their cadence is impeccable, expertly handling a range of production from local producers like Tay the Pro, IMAKEMADEBEATS, and QEMIST, among others.

Alone, Idi and Teco each have the talent and ability to succeed on their own. But together? They’re unstoppable. Big Boi ends his quote with a smile, as he says, “He will kill you and I will destroy you.” It’s clear Idi x Teco could say the same. Watch out.

Idi x Teco will be part of TONE’s Juneteenth festival this year. Catch them live on June 18th. 

The post Idi x Teco: Making A Way, Their Way appeared first on We Are Memphis.