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.

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.

Blvck Hippie, Little Baby Tendencies, Lofidels, Rundown Kreeps

Saturday, October 15th at 7:30PM at the Lamplighter Lounge

$10

Sad-Boy Indie Rock band Blvck Hippie have been making waves in the Memphis underground with their compelling mix of drowned-out ‘VHS rock’ and lovingly emo-tinged delivery. Their 2021 record If You Feel Alone At Parties is a pleasant display of the band’s strenght, a heartfelt and saccharine take on bedroom-oriented indie rock that can’t help but make your heart yearn back to teenage yesteryears. They are joined by quirky indie punk act Little Baby Tendencies, synthpunk act Lofidels, and pop-punk trio Rundown Kreeps. If you want to check out the hottest in Memphis’ indie scene, make sure to check this show out.

Angel Du$t, One Step Closer, Cherry Smoke

Wednesday, October 5th at 7:00PM at Growlers

$14

This one is for the hardcore kids. If you have been around punk circles in the past few years you would know about east coast acts Angel Du$t and One Step Closer. Angel Du$t have mastered toeing the line between melodic hardcore and powerful indie rock. They have made a name for themselves for their compelling mix of the two genres. One Step Closer is a tried-and-true ode to the iconic straight-edge bands of the nineties, their debut This Place You Know being an excellent example. They are joined with Memphis new emo outfit Cherry Smoke, who’s post-hardcore debut is rife with iconic riffs and belting choruses.

Cha Wa

Friday, October 7th at 8:00PM at Railgarten

$15

Careening on a smooth wave of jazz grooves comes Cha Wa, a Mardi Gras Indian funk outfit out of New Orleans. Mixing the old and the new, Cha Wa is a refreshing take on funk with influences from other genres like disco, afrobeats, and even reggae. Their rootsy, bluesy approach to funk exhales life and warmth that makes you want to get up and dance. You can not listen to the infectious bassline and brass sections of “Wildman” and not want to get up out of your chair. Make sure to take a couple of friends to see this group, it will surely be something special.

Corey Lou & Da Village

Friday, October 14th at 7:00PM at Hernando’s Hideaway

$15

Growing up with the deep gospel sounds of Memphis choirs, Corey Lou & Da Village’s music is full of heart and soul. Their music is reflective, looking over the choices made in our society, lamentations, and looking for love. There is a very authentic saccharine vibe to Corey Lou’s vocals. He presents his vocals in a way that is so pure and vulnerable, heightening the feelings of passion and love in every song. Even renditions of songs like the “Mississippi Cha Cha Slide” it is done with a distinct sense of passion and love for the art. If you’re looking for some peace and good vibes, do not hesitate to check out Corey Lou & Da Village!

Lucy Dacus

Friday, October 14th at 8:00PM at Minglewood Hall

$24

For all the frequent criers out there Lucy Dacus is not a new name. Rather it be for her work in the indie-folk supergroup Boygenius or her new record Home Video, Dacus is one of those artists not to miss. Her songwriting pokes at specific emotions, identity in your adolescence, heartfelt vulnerability, or boldness in the eyes of defeat. She has a way with words that can be particularly eye-opening, traversing these themes of nostalgia and sadness with an incredibly intense appreciation for imagery and style. If you are free this October night, make sure to check her out, my one piece of advice though: prepare for an emotional onslaught.

You might also be interested in: Memphis Activities | Cultured Arts & Events Calendar

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If powerhouse was a person, singer-songwriter J. Howell would definitely be the man. In just a short period, the singer has gone from being just another young talented kid from the Bluff City to having people from all over waiting in extended lines to hear his soulful, sultry voice! His songs “Something About Ya” and “Faithful” are two of his most popular songs, but are only the tip of the iceberg when it comes to his popularity. After the release of his latest album ‘Honest’, J.howell devoted a few moments of his time to tell us a little bit more about him and his craft as a rising star!

It’s still early in your career but you’ve already accomplished a lot. At this point in your career, what are some of your goals? Where do you see yourself in the future and what do you hope to accomplish?

“I’m hoping to just grow more as an artist and, of course, make a lot more music. I hope to go on tours and even get into acting. Acting has always been something I’ve wanted to do and although I haven’t tapped into it completely, my music has already put me in a position where I’m acting on a regular basis. I’m not always feeling sad or feeling like singing ‘Faithful,’ but I have to put on a show. Not every day are you going through something, you know, but I love tapping into that emotion. Acting is something that would challenge me and also enhance my performances and shows. Also, I just would like to make my fans happy and do what I love. “

How did you get your start? What major accomplishment do you feel led to your success?

“Honestly, it’s every day, it’s every small thing. It’s not just one big moment that happened for me, it’s every little thing. It’s from me being in Memphis and starting to sing at open mic nights and even a lot of poetry nights. We had a lot of those kinds of things, and I would go participate and start building my fan base organically. Also by doing covers, being consistent, and taking my time as an artist and with my craft got me here along with mingling with people. It was definitely a slower process with me being an independent artist, but it just took consistency. Every small thing led to these moments. Going forward, I was able to open up for different artists at their shows and get my face out there to different people. Being able to get on the radio also opened up many doors for me and got my voice out to many different people in the industry. There were a lot of different moments and all of it pays off in the end.

What is your writing process like?

“Sometimes my process can be all over the place, but I’m mostly a melody guy. I love to start with just my melodies. If you were ever to sit in a session or hear the rough drafts of my songs, a lot of them sound like I’m saying words. It sounds like I’m saying words, but I’m not. I can literally just freestyle a whole bunch of melodies just saying whatever. If you listen back to it, and I listen to it enough times, it’s telling me what to write. It’s kind of hard to explain but if you could hear it you would be able to say it sounds like you’re saying this or that, although I’m not saying anything. Sometimes, I may even go to sleep and dream of the song. This happened to me while writing my first album, ‘Red Room.’ I was having a hard time coming up with one specific part of the song. When I went to sleep I was dreaming of myself singing it, and when I woke up I was like damn that’s the words! With this new album, I was able to collaborate with a few different writers, and I did that just to grow as a writer, venture off, and just kind of expose myself to other people’s styles and techniques to develop my process.

You have a lot of old-school samples on this new album! What was your inspo behind sampling all of those tracks?

“It wasn’t like I just sat and thought ‘oh this is a song I’m gonna sample’; it was more so of me just playing around with the instrumentals of those songs and singing to them. Because these were all songs I grew up on, I thought it would be dope to pay homage to them.”

What was the motivation behind your most recent album “Honest”? What do you want fans to know about it?

“The motivation behind it was just to grow, just to experiment. I feel like there was a lot of pressure from ‘Red Room.’ People were wanting another ‘Red Room’ and like I’m not trying to top it- I feel like it was in its own lane. I just wanted to have fun and just explore my gifts as an artist. Also, I didn’t want to box my fans in by putting out another version of that then that’s all that’s expected of me. You know I want people to see that I have different sides. I know how to hop on more mid and uptempo beats and you know just show more diversity.”

Check out J. Howell’s latest album ‘Honest’ now on all musical platforms!

You may also be interested in: Music from Memphis: Checkout these 2020 Releases

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From Sun’s J.M. Van Eaton to Stax’s Al Jackson, Jr. and Hi’s Howard Grimes, Memphis has a long history of producing world-class drummers that help to define the beat of their particular era. Enter Alex Pruitt, a 26 year old drummer whose work is being showcased in cities and countries across the world. Pruitt first began playing local gigs around the city as a young boy, graduated to playing gigs for rap sensation Al Kapone, and is now working with singer-songwriter Tai Verdes. Over the years, he has  learned just what it means to provide the perfect rhythms to any song. “Music is so delicate. By me being the drummer, I wanna make everybody dance. If that record makes everybody move, I want to make sure that I am the record at that point,” he says.

Early Career

Although his dream was always to become a drummer, Alex revealed that at one point in his life his dream of someday working in an arena drove him to the world of basketball. Little did he know, his dreams of playing stadiums would eventually come true, just as a benefit of being a musician! Alex’s love for drumming began at the young age of 2. He grew up in church where he began playing many gospel tunes and learned his first style of drumming. By purchasing a song each week through Apple Music’s older features, he was able to constantly learn new songs which played a huge role in his diversity as a drummer. He attended Soulsville Charter School and received many opportunities while enrolled in the Stax Music Academy. At age 18, Alex had already played many gigs around town, and, in 2018, he was called to his first big gig, working with popular rap artist, Al Kapone.

He recalls how much his craft was developed while working with the rapper. Everyone has their own sound, and the jump from gospel to rap really shaped Alex into the drummer he is today. While he was used to playing a more acoustic drum sound, Al Kapone preferred a more electronic sound, enhancing Alex’s musical abilities. “Playing for a rap artist was such a unique experience,” Alex says. It taught him that he needed to be able to adapt to whatever his career brought his way. This was not the only time he had to alter the way he learned. Playing for wedding bands prepared him to stay on his toes and always be ready to take on any song at any time with little direction. “It prepared me for just learning a whole bunch of music at once. I remember a time that I didn’t even get a setlist so I had to go off the hip,” states Alex. Moments like those and having a wide variety of taste in music assisted Alex with making his dreams come true.

Inspirations and Goals

With plans of one day owning his own studio, Alex spoke of how timeless music can be and how certain artists’ music have been a light to others for many years. That is exactly what he plans to do for others. He hopes to someday branch out into a solo artist and have an impact that is forever memorable. Alex believes studying the works of others is necessary for growth as an instrumentalist and will help him achieve his goals. Alex was heavily influenced by his brother, music producer and multi-instrumentalist, DJ Pruitt, instrumentalists Stanley Randolph, Chris Pat, and drummer Stixx Taylor of Justin Bieber’s band. Furthermore, one of the many things he has learned from watching those around him is the importance of energy. As a drummer, it is vital to have massive amounts of energy, and for Alex the crowd is key in providing that spark. “You create your fun!” He believes that the energy of the crowd, finding ways to have fun, and keeping others engaged is the key to his artistry. He strives to display that energy every time he hits the stage!

Accomplishments

Alex has accomplished many great things already at his young age. He has devoted his life to creating a better sound for artists on stage and even instructing young ones. Through one on one time, small classes, and even workshops, he has been able to use his gift to help others. He has performed on grand stages, such as Madison Square Garden, Lollapalooza, and even Jingle Ball, and he is currently a member of Tai Verdes’ band! He says that Jingle Ball was one of the best moments he has experienced in concert. He was excited to see so many stars around him and to experience such a concentration of talent. He also says that being a drummer has allowed him to conquer some challenges and face some fears he never thought he would face. Touring in Belgium, Germany, Paris and more, Alex was able to conquer his fear of heights. His musical journey allowed him to skydive and do many other things Alex says he wishes to try again.

Alex’s story, while still unfurling, is an important reminder that while  being a musician can be adventurous , it also requires hard work and dedication. Given the success he has already found at a young age, we’re confident that Pruitt will soon join the pantheon of Memphis’ greatest drummers.

You may also be interested in: Juneteenth Memphis: Celebrate Juneteenth in the 901 This Year!

The post Meet Alex Pruitt, Memphis’ Hottest Young Drummer appeared first on We Are Memphis.

What do Shannon and The Clams, The Black Keys, Black Cream, Grace Askew, and Qemist all have in common? They are all playing a music festival in Memphis this fall. What better way is there for community bonding than feeling the Memphis love at any of these exciting festivals? So get ready for some amazing tunes in equally awesome weather because festival season has officially arrived. Between more intimate music-centered neighborhood festivals and weekend-long concerts featuring some of the country’s most sought after headliners, there is something for everyone this fall in Memphis.

Gonerfest

September 22nd- 25th

Railgarten

This weekend, Memphis’ Goner Records returns with their annual four day music festival at Railgarten. The indie garage rock label has been throwing this festival for nineteen years, and has attracted garage and punk music fans from all over the world to attend the party. In recent years, Gonerfest has moved from a multi-venue format to hosting the event entirely at Railgarten, Midtown’s indoor-outdoor two stage music venue and bar. Headliners include the retro rock inspired Shannon and the Clams, Gonerfest favorites The King Khan & BBQ Show, and Memphis’ The Compulsive Gamblers. P.S. Don’t miss a rare performance by Memphis’ AWFM on the stage Friday the 23rd.

For a full schedule of bands, festival merch, tickets and more go to the Goner Records website, and get all the details at once. Check out Shannon and the Clams below to get a vibe preview.

Mempho Music Festival

September 30th – October 2nd

Radians Amphitheater at The Botanic Gardens

The Memphis-centric Mempho Music Festival is back! Since its first iteration in 2017, the three day festival has packed some real heavy hitters on their stages, blending some local love with A-list bands like Wu-Tang Clan & Widespread Panic. This year the Black Keys, Grammy-award-winning blues artist Bobby Rush, Celisse, and Portugal, The Man, are my top picks, but go check out the full schedule yourself to plan who you will see and when. Between bands, be sure to check out the art installation and indoor venue Incendia Dome, featuring some of Memphis’ most killer DJ’s like DJ Bizzle Blue Bland, and Qemist.

If you are interested in VIP experiences, i.e. private bars, better bathrooms, parking, wifi, water, and food credits, then check out the festival’s VIP ticket options- they are a serious comfort upgrade!

Mempho Presents: Tambourine Bash Benefiting Music Export Memphis

October 13th

Overton Park Shell

This mini-fest benefiting Music Export Memphis is an annual night of collaboration between Memphis’ favorite touring and recording artists. The Overton Park Shell will host the event for the second year in a row, making this event a fall music tradition. This years’ lineup is ‘giving local’ like no other fest this fall. Do not miss this opportunity to support Music Export Memphis, an organization dedicated to supporting the music creators in the city, all while watching some of the very artists who have recently benefited from the organization’s work. Plus— the collabs really are insane! See below for details. Ticket options range from the $15 general admission ticket to the completely worth it VIP tickets for $100 that come with cocktails, exclusive seating, light bites to eat, and REALLY good Memphis karma. See you there!

Set 1: Grace Askew + Mark Edgar Stuart+ Graham Winchester

Set 2: Black Cream +Tia Henderson + Yella P.

Set 3: Aquarian Blood + Rachel Maxann + Lucky 7 Brass Band

Set 4 : Cyrena Wages + Nick Black + Nico The Goddess

Soulsville USA Fest

October 14th – 16th

Stax Museum of American Soul Music

The neighborhood festival at the iconic corner of College Street and Mclemore Ave, also known as SOUSLSVILLE USA, is back for a full weekend of family fun and live music. The festival is known for its incredible food vendors, crafts, local merchants, and free fun from The Stax Museum of American Soul Music. In the past the live music line-up has featured local neo-soul and R&B artists like Tony Mac, and Courtney Little, Doll McCoy, and more.

Expect a full lineup coming September 16th. See you there!

You also might be interested in: Live Music Memphis Tonight | Memphis Live Music Calendar

The post Fall Music Fest Preview appeared first on We Are Memphis.

To put it mildly, it’s been a tumultuous few months for Lawrence Matthews, the multifaceted artist better known as Don Lifted. Since the release of his critically-acclaimed album 325i in October of last year, Matthews watched much of his planned tour schedule dissolve, amicably split with his record label Fat Possum, resigned from his job as the Gallery Director of TONE, and was then left to deal with the emotional and physical consequences . Even in these highly-volatile times, that’s a lot for one man to deal with. “The ramifications from the pandemic are still being felt in ways that we still haven’t reconciled,” he says. “From touring to vinyl production, we’re all still adjusting.”

The timing of these set-backs was especially harsh given the fact that Matthews seemed to be on the precipice of greater national (and international) exposure and was finally armed with the institutional backing that he had lacked during much of his career. To his credit, though, Matthews has largely taken these multifarious stumbling blocks in stride, using the time as an opportunity to reflect on his past while simultaneously planning his next move.

On Friday, September 16, Matthews will celebrate both his birthday and the next chapter in his creative journey with a free concert at the Overton Park Shell. As anyone who has witnessed his live performances can attest, it promises to be an aural and visual treat, but this particular show is even more noteworthy in that it may be his last as Don Lifted (at least for a while).

“I came up with the idea of Don Lifted at 17 or 18 years old as a way to express myself in a therapeutic fashion,” he explains. “It feels like I have accomplished all of the goals of that kid, from releasing commercial projects to finding success in my hometown. And after this performance at the Overton Park Shell, I will have played at every venue in Memphis that I always dreamed of. So I’m left asking myself ‘What more is there for me to do in terms of this Don Lifted thing?’”

Matthews says that he has toyed with the idea of retiring his Don Lifted personae in order to create music under his own name for years, and that desire has only increased once he began feeling that his well-curated brand and image had become artistically restricting. “”There are certain aesthetics and sonic palettes that exist within a Don Lifted project, and I need to be freed from those and more able to show other aspects of myself through art,” he says. “It started to feel like everything that I’ve built over this past decade has started to evaporate, so maybe now is the perfect time to make that pivot.”

For many of his fans, this news may come as a shock as Don Lifted has reigned as one of Memphis’ most dynamic, unorthodox, and celebrated musicians for years, turning the conventions of what it means to be a Memphis rapper on their head. That said, it also seems inevitable that an artist who has built his reputation on confessional, soul-baring music would want the creative freedom to continue his growth on his own terms. “I know a lot of artists say this, but I really believe the music that I’m working on now is the best of my career,” he says. “It feels liberating to be as maximalist and ambitious as I want to be.”

Although Matthew’s enthusiasm for his forthcoming work is undeniably infectious, there is also a certain unavoidable sadness that accompanies the end to any particular artistic era, especially one as unique as Don Lifted’s. Thankfully for us fans, Matthews also expresses interest in revisiting his music as Don Lifted sometime in the future, especially under the right conditions. “While I probably won’t record any more new Don Lifted material, there are so many things with that project that I didn’t get to try. For example, an acoustic show has always been a goal…I would love to eventually revisit this music someday in an intimate setting, but only when it feels right.”

Whether you choose to view it as an ending or a beginning, Friday night’s performance at the Overton Park Shell will mark an important career milestone for one of the Bluff City’s brightest young stars. “To end this thing– which has largely been about me navigating my youth–on my birthday at the Shell seemed perfect. After that, it’ll be time for Lawrence Matthews to do whatever the hell he wants to do in any capacity,” he says. We have no doubts that his next act will be just as invigorating as the last.

Don Lifted will be performing at the Overton Park Shell on Friday, September 16, between 7:00 PM 9:30 PM. For more information, visit https://overtonparkshell.org/eventpage/donlifted22 

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Attendees will enjoy a mix of performances by national, regional, and local blues and bluegrass artists. Don’t miss these acts:

Greensky Bluegrass is a quintet known for their unique bluegrass sounds. Catch them playing across North America on successful back-to-back tours. In fact, Greensky recently sold out three nights at Colorado’s Red Rocks Amphitheatre – a feat unheard of in their genre.

The Infamous Stringdusters are a Grammy Award-winning group from our Tennessee neighbor, Nashville. Together since 2006, their sounds bring a progressive bluegrass/americana vibe.

If you ask Here Come the Mummies how long they’ve been playing, the group will tell you that they’ve been delivering their brand of terrifying funk from beyond the grave since 2000 AD. The vibes and costumes are *chef’s kiss* unmatched.

He is hard to find, but when you spot him, he is out of this world. Saxsquatch and his Bigfoot suit truly offers something like you have never seen before.

With years of experience under their boots, The Travelin’ McCourys, Kyle Nix & The 38s, and The Wild Feathers all bring their own unique bluegrass sounds and vibes.

Support your hometown girl. Cyrena Wages is no stranger to the Memphis brand and music scene. Her soulful voice and passion for the 901 make her one of our local favorites.

Last, but never least, Dirty Streets offers a clean blend of Motown and Stax-inspired rock that will keep you moving through the heart of Memphis groove.

Grab your tickets here. You certainly don’t want to miss this one!

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In the very heart of Cooper-Young, a battered red wooden door under a blue awning is a Narnia-like portal to an eccentric and enduring fixture of bohemian Memphis. Upon entering, all manner of strange curios and beguiling art greets you; books, a fireplace mantle, and an expectant chess board mingle cozily beneath a dangling disco mirror ball, and consistently-delicious baked goods and beverages are always close at hand. Java Cabana’s been around a long time, and has seen its share of changes, but this tiny marvel of a cafe has blessedly emerged from pandemic limbo energized by renewed purpose, not the least of which manifests in the booking of live music. 

That’s where Cheyenne Marrs comes in. A Memphis music scene familiar (and currently the guitarist for dreamy garage-rock combo S P A C E R), Marrs’ work at Java Cabana extends beyond that of typical barista duties. Enthusiastic and encouraging while brainstorming all sorts of visionary ideas for the cafe’s future, Marrs’ fantasies of board game nights and other potential community engagements all seem possible behind his boundless gumption. As of late, that’s also included booking intimate musical performances at the space, with hopes to fill some of the gap left in the local ‘small show’ scene by the closing of beloved science-fiction bookstore Two Rivers, which had been located next door. Two Rivers had gained a reputation for hosting quality, envelope-pushing events, especially those featuring experimental Memphian musicians; to see the beginnings of the same sort of small-scale hospitality brewing next door makes absolute, and highly-exciting, sense. 

In conversation, Marrs is all too happy to lay out the Cabana’s considerable history, and like so many Memphis stories of its kind, this one starts with Elvis. When Java Cabana opened in 1992, the original King-obsessed owners kept a shrine of the man himself in the back, where customers could be married by an ordained priest dressed in Elvis garb if they so chose. Marrs himself has played shows at Java Cabana “on and off over the last fifteen years”, and had been encouraged to work there several times before finally taking up the offer. Admittedly in search of a “super low stress” job, he seems to have found a compelling canvas upon which to sketch out the grandest possibilities for the cafe’s evolution. 

It almost didn’t happen like this. When previous owner Mary Burns, who had purchased the business in 1998 and was known for holding highly-respected poetry readings there, suddenly passed away from lung cancer in 2019, the future of the cafe seemed jeopardized, something compounded by the beginning of the COVID-19 pandemic soon after. Thankfully, Marrs is now part of a new generation pitching in to expand Java Cabana’s legacy even further, and that includes a renewed focus on music bookings. 

When asked if he has any overriding vision of what he hopes to book at Java Cabana, Marrs simply wishes to book a “wide range of stuff”. This flexibility of genre and scope suits the off-kilter kitsch of this singular cafe quite well, and he should have no problem filling Java Cabana’s few Formica tables and comfy couches for such events and others. And full disclaimer – having performed there recently myself (and also sampling some of Marrs’ tasty prototype connections, to boot), I’m definitely less than an unbiased party when it comes to boosting the visibility of shows at this latest iteration of Java Cabana. It’s the kind of place you long to tell others about and introduce them to, its overall vibe as quirky as it is welcoming, as warm as it is intriguing. Perhaps that’s why the cafe has refused to be stamped out of existence over three decades of operation, merely donning new identities to survive while similar Memphis businesses dwindle and shutter.

This is an important history to consider when talking about Java Cabana. Businesses in Memphis, as in other great cities, tend to ebb and flow. Some acquire considerable standing with time and thus appear to confirm their permanence (though as the recent loss of the widely-adored P&H Cafe proves, nowhere so magical should be taken for granted, not in the face of anyone’s narrow idea of “progress”). Others, like the aforementioned Two Rivers Bookstore, seem to slip into the stream of yesterdays as quickly as they’d arrived, often breaking hearts as they go. But more than anything else that Java Cabana has been in the past thirty years, the cafe is a survivor, made of a considerable quality of stern stuff and as wildly-unorthodox as its decor and spirit. Who knows what forms the cafe might take in future days, in distant future decades? We can only guess at the possibilities. For now, though, the latest guise of this little Cooper-Young miracle holds tremendous promise of even brighter things to come.

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First things first, for those who may be unfamiliar with you and your music, just tell us a bit about who Lukah is as an artist

I’m just an emcee from the depths of South Memphis who has a way with words and has something important to say. I attack generational trauma and the system using piercing wordplay, science and street knowledge. I am the culture.

Judging by the event flier, the upcoming show at Black Lodge seems to be jam packed. Let’s start with the “Why Look Up, God’s in the Mirror”  short film premiere. It’s obviously named after your last album, but what else should we know about it?

It’s about me seeking revenge on a person who was close to me. How I seek revenge is the exciting part. What’s special about this revenge story is it contains everything I like when it comes to films. Action, crime, and horror. And know that Studio Onefourthree and others who are a part of this film worked extremely hard and did a hell of a job!

In addition to the film, you’ll also be hosting a listening party for your new album “Raw Extractions.” Without giving away too much, tell us a bit about what we should expect and how does it differ from your previous work?

This go around is about achieving flight. It’s about having elevated control. And to achieve flight I’ve chosen to extract what hinders and also what  helps us as a people by using the elements of hip hop in its rawest and purest form.

Will you be performing at the event, or will we just have to wait patiently for the next Lukah show?

You all will have to wait!

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A few years ago, I heard someone claim that Memphis is “so far behind, it’s ahead.” While I chuckled at the clever wordplay, there was also an undeniable truth to the sentiment. We Memphians cling tight to our cultural traditions and are often late to the party when it comes to outside musical forces, but isn’t that part of the city’s charm?

I mention all of this to announce once and for all that the “Age of the DJ” has finally arrived in Memphis, and like we always do, we’re leaving our distinct mark on an art form that gained supremacy in other cities decades ago. At the center of Memphis burgeoning DJ scene is bodywerk, a DJ collective that includes Michael “Qemist” Ivy, Ramzi “Rmzi” Abdoch, Jessica “DJ Chandler Blingg” Jackson, Ross Devlin, and Nicolette “NicoTheGoddess” Hatchett. Together, they are the embodiment of Memphis’ current dance scene, bringing an eclectic mix of house, drum ‘n’ bass, electronica, and hip-hop to the masses both through dynamic live performances and through their individual radio shows on community station WYXR.

We reached out to the members of bodywerk to learn more about their individual backgrounds, how they first came together as a group, and what they have planned for the future.

Before we get into bodywerk as a collective, tell me a bit about each individual’s musical background:

Ross:

I taught myself to play bass when I was 10, because I wanted to be in a band with my friends and that was my opening. I composed music on my laptop, played in heavy metal bands, and wrote about music for years. At one point I moved to Scotland and unexpectedly encountered house and disco. My world kept expanding, and over time I found myself focusing more on physical presence, physical sound, and the immediacy of the moment. DJing has become, for me, a medium to explore that immediacy.  

Ramzi:

Ramzi began his relationship with music as a radio DJ on WBAR at Columbia University. There, he managed a band and scoured NYC for shows for over a decade. He began producing mostly in hotel rooms from 2016 – 2020 while traveling each week as a consultant, and finally began mixing properly at 29 years young when he moved back to Memphis during the Pandemic. Since then, he’s taken every opportunity to spin and share his love of music with others.

Jess: 

Born in Memphis Tennessee, Jess Jackson had an early introduction to music. Both of her parents were incredibly musically inclined, not to mention her extended family being music royalty. Jess & her sisters also sing, write & produce together in a band called JCKSN AVE. She grew up in recording studios where her parents’ sessions had a huge impact on her engineering skills. It wasn’t until the age of 16 when Jess began experimenting with remixing songs & mashing up mixes for her dance team. Jess has always had a love for the vast creation of music and how colorful it can be. Since DJing her first live show in 2017, Jess has been on the move DJing shows in Memphis, Los Angeles and New York.

Michael:

Michael Ivy started his musical journey at age 8 with piano classes that would eventually lead him to join his school band. Sometime along the way he formed his moniker/identity Qemist, and has been a staple in the Memphis underground community since 2014. He has multiple releases under Memphis-based multimedia label/lifestyle brand Future-Everything and was a core member in the Memphis-based internet coalition Rare Nnudes. He continues to reshape electronic music in the city and is a pillar in the Memphis dance music scene. With his keen ear to house, techno, footwork, and club music, Qemist has created his own musical atmosphere. He has been able to meld multiple production techniques to create his own signature sound.

Nico:

Nico is a singer/songwriter, classical violist, and DJ from North Little Rock, AR. Training at Viola at the young age of 5, she went on to compete professionally in regional and state conferences. Receiving high honors in both voice and viola led her to Memphis where she learned to create her own sound. Through meeting the members of bodywerk she found her love for mixing. 

Photo by Ben Callicott

How did you all meet, and when did you decide to join together to create bodywerk?

Jess, Michael and Ross have been DJing in Memphis since 2014. In 2017, Jess ran a residency from the Hu Hotel that brought the group (and many other impressive DJs) together under one bill. 2018 – 2020 saw each individual grow as DJs, but during the pandemic, we all met while beginning to spin for WYXR. We all heard and loved each other’s shows and Ross and Ramzi ended up connecting for Ramzi’s weekly “High Five” series on Twitch. After having a few events at Lamplighter to test the waters of throwing shows during that time, Ramzi organized the very first bodywerk show at the Crosstown Green Room. We’ve had our bodies werkin’ hard ever since.

What sub genres of music does bodywerk typically play, and what does each individual member specialize in musically?

Generally speaking, the team does a great job of blending classic soulful house,baile funk, and R&B on the lower tempo side of things, but then we all have our own bag of high-energy drum n’ bass, jersey / Bmore and juke / footwerk jams that we love to play. That isn’t to say we avoid other styles, and you will most definitely hear some Memphis music when you see us play. 

• • Ramzi likes to bring out some Ethiojazz 45s and super rare funk classics, but his heart beats at 160+ BPM as he plays footwork / ghettotech bangers
  • Michael is the expert on up-tempo house and underground club music as well as jungle and techno. His sets are usually big on blends and clean edits that get the club going.
  • Jess likes to play an unpredictable mix between mid-tempo house, throwback underground Memphis hip-hop mixed with garage with a heavy dose of drum n’ bass. 
  • Ross’ selection is an extension of his experience with friends, community, and life in all its complexity…in two years, this simple mode of discovery has yielded an eclectic mix. As far as genre, he keeps it focused on the hips: the instruments should all sing, like birds in a forest or cicadas in the suburbs. As an animal and an endurance athlete, Ross sets a pace for dancers to keep up with. 
  • Nico likes to play a fusion of old school/alternative R&B, hip hop, and electronic, blending into jersey and jungle

In the past, you all have hosted “Teamwerk” events, in which you team up with another local DJ such as Strooly, Mado, and DJ Alpha Whiskey. Tell me a bit about those shows and your overall goal for the series

The TEAMWERK series was our first opportunity to have a consistent, weekly gig that our community could count on to see us play. It was also an opportunity to showcase many of the other relationships we have with other DJs in Memphis. The series was a hit overall! We had so many opportunities to play side by side with legends such as DJ Spanish Fly, DJ Alpha Whiskey, Strooly, MANIIA, and our other WYXR compatriots. In the future, we hope to do similar residencies around the city with the ultimate aim of building the dance culture in Memphis to include the various styles of music we love.

Photo by Nate Packard

As mentioned earlier, each member of bodywerk hosts a show on the local community radio station WYXR. Tell me a bit about your experiences on the radio and how hosting a show differs from live performances.

Ramzi (Host of “HabibiBeats”):

As mentioned earlier, there’s a bit of a dichotomy in terms of the music I love. One side of the coin is the soul, funk and afro-centric music that I usually play on the radio and at home with my family, and on the other side of the coin is the high-energy electronic music that I like to sweat to. Since I spin often in bars/nightclubs in Brooklyn, I often find myself on the higher BPM booty-shakin’ side, but I also like to spin earlier sets where I bring out the wax. Both are different meditations, but they are that – meditations. Spinning live is an opportunity to sink into the music and share pure vibes with and react to the crowd, whereas playing on the radio is an opportunity to vocalize my relationship to the music with facts and stories.

Jess (Host of “Mahogany, Vol. 1”):  

For me, the atmosphere is the only difference between DJing a live show and DJing on WYXR. Yes, the radio has its rules & regulations, but I still get to play songs that make me feel good and have a great time while doing so. Playing music that resonates with people and that lifts the spirit of the listener is really all that matters to me. 

Michael (Host of “Computer Noise Radio”):

I do enjoy having a show every week to select tracks for and being able to showcase my friends’ music and artists that I find through my analog and digital crate dives over the years. It’s a different vibe from the fast paced, high energy atmosphere of DJing.

Ross (Host of “Thrust”):

The radio and the club are transcendental for different reasons. DJing is immediately communal, and a service, whereas hosting a radio show is more like a journal, or a scripted exhibition. WYXR accelerated my growth as a DJ—it gave me a space to focus my energy on crafting a good hour of music, along with a community of similar-minded folks to motivate me. Both live and in the studio, my approach is improvisational. I have the music and I have a sense of the mood, all that’s left is to sync it up. 

I’ve recently seen you all perform at both Tone’s Juneteenth event and at the Silly Goose. Where can readers plan to see you next?

We’re currently in the middle of BODYWERK EAST, our excursion to the East Coast as we focus our efforts outside of Memphis. Jess and Ramzi have been holding it down in Brooklyn, playing every other week at Rise Radio, which is streamed live on their Twitch, and have upcoming sets at The Lot Radio and Jupiter Disco. The crew reunites in Washington, D.C. to spin in collaboration with 44.21co for an all-day festival called FIELD DAY at the Kennedy Center.

In Memphis, we’re hunkering down on a few monthlies that we want to make sure folks know about. First, we’re bringing back our LAVA LAMP series at Lamplighter Lounge. The Lamp is our home, and we love it. Secondly, we have a semi-monthly service night series at PANTA focused on bringing a smooth, sultry vibe.

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Those underground clubs seen in old movies with brick walls, round tables full of friends and couples sipping on something strong while dressed to the nines and watching live music—-they don’t exist much anymore. Has live music become slightly less intent on the music part and a little more focused on the live party vibe? Some may argue so, but Memphis has it’s very own speakeasy, Tailor’s Union and The Pocket, and it checks all the boxes: An entrance that looks like an old fashioned tailor shop concealing two swanky bars, a dress code, a membership program with serious perks, a lively DJ dance party vibe upstairs, killer cocktails, elevated pub fare, and of course a sultry underground live music experience tucked away downstairs.

Jordan Keplinger, General Manager of Tailor’s Union, describes the venue as a boutique lounge for a classy crowd, offering two different experiences. Upstairs, after you pass through the tailor shop “front”, you’ll enter a Miami inspired lounge with a white marble bar that serves colorful cocktails fine tuned to fit the Miami party vibe of the space. Live DJ’s get the crowd up and dancing and interacting with each other on the weekends. 

However, once you get to the end of that party, you’ll come to a check in area that eventually leads you down stairs and into what is The Pocket, and that’s where the speakeasy starts to takehold. The Pocket is a moody live music venue, Kelplinger describes it as “a secret hidden gem, no one really knows about. It was designed for [Tailor’s Union] members to have exclusive experiences without the hustle and bustle of a club scene.”

The phrase Members Only, feels synonymous with going to a speakeasy – and there are three tiers at Tailor’s Union to fit whatever level of exclusivity you would like to be privy to. Level one is $1500 annually, and offers perks like free cigars, a members only night, parking, exclusive invites, free guests and a $100 house account per month. Levels two and three include tiered versions of some of those same perks– but it’s that first level that will really keep you content with a private club feel all year long. 

According to Keplinger, it really is the intimacy that sets The Pocket’s experience apart from other music venues in town, she says, “our guests are right there with the band– the stage is not so high that the guest feels separate from the entertainment– the band can come out into the crowd and that is the most fun experience for everyone.” 

The Pocket hosts live music every Friday and Saturday night, and is debuting new and separate cocktail menus for each experience this weekend. See the lineup for July 2022 below, and be sure to text (901) 233 – 3801 for reservations. Soon reservations will move to their website, where ticket sales for performances at The Pocket will also be available for purchase.

July 15 – Keia Johnson

July 16 – Tonya Dyson

July 22 – Devin Crutcher

July 23 – Doll McCoy

July 29 – Zsa Davis

July 30 – Deonna Pruitt

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Much of our world’s population has at least heard of Elvis Presley and Memphis’ rock n roll legacy that goes along with it. For some, the Elvis story may even be the only thing they know about our city. The Memphis rock n roll story that doesn’t get told as often, though, is the Black rock n roll story. For example, Jackie Brenston and The Delta Cats, starring Ike Turner, recording distorted guitar with a rock n roll swing and drums at Memphis Recording Service back in 1951. Then there’s Blackrock featuring Willie Pettis & Archie Turner, the psycho funk recorded by The Bar-Kays—- I could go on. But before the late ’50’s breakout, Black artists were already creating rock n roll in studios, clubs, and in church for decades. How Black people invented rock n roll is a subject that may be better suited for academia or a docu-series than leisurely reading, but that question is really is how I came to wanting to talk to Josh Shaw of Blvck Hippie about being a Black musician in a predominantly white indie rock space. 

In honor of Black Music Month, Josh Shaw, the mastermind and bandleader of Memphis’ indie rock band Blvck Hippie (a nickname given to him by his mom when he was young), was kind enough to indulge me on that topic and much more. Check out his curated playlist of Black Indie Tunes here, and check out the Blvck Hippie website here for tour dates

The first line of your biography says “Blvck Hippie is an indie rock band from Memphis, TN, tryna show Black kids they can be weird too.” What has your experience being Black in a predominantly white indie rock scene been?

That perspective is actually something I really focus on. Being the only black kid at an indie rock show happens pretty often– and I think it’s kind of funny because we were such massive contributors and inventors of so many genres of music including rock n roll, and it’s the genre we get excluded from the most. I’m kind of over it. I go out of my way to make sure any kind of success or limelight I get, I push to pay it forward and shine the light on other Black fronted bands. 

I want to get to the point where I am not the only Black guy at an indie rock show, and none of the other people who are experiencing that have to experience that again. I have a Spotify playlist called Black Indie Tunes, where I just shout out sick Black punk and indie artists.

We’ve had a lot of Black kids come to our shows that have never been to DIY spaces, or shows and they’ve all enjoyed themselves and felt seen and heard just by us being up there playing. It’s something I focus on really hard.

Tell me about Blvck Hippie’s birth.

I really started writing songs when I was 20— I went through a lot of messed up stuff and sad stuff around that time. It was the summer before my junior year of college. I didn’t really know how to cope or deal with what I was going through and that was around the time I picked up a guitar. I had played classical piano before that, but I’d never written. I would just write five songs a day, until I got semi decent at writing and then I started recording it under the name Blvck Hippie. Then I recorded some stuff with other people under the name St. John here in Memphis after college and we kept getting confused with a heavy metal band with the same name, so we became Blvck Hippie. 

You are on tour right now, on the West Coast– how has that been?

Honestly, it’s been pretty amazing. People have been showing up and showing out. There have been so many cool fan interactions–so many people have told me that this is the first time they’ve seen a show like this with someone who looks like me on the stage– so that has been really cool. It’s been extremely positive and we’ve had many wholesome moments.

Tell me about the band as a whole. Do you have a collective writing process?

Well, the drummer is my friend Casey– he’s been in the band since 2018. I usually write alone and then demo some versions alone and bring it to Casey, and then we will make another version and then give it to the bass player, Tyrell to put some bass on it, and then we just jam it out for a long time and make sense of it, and see if it feels right to play live. 

I pull a lot from the 80’s, and nostalgia from when I was a kid. Every song I write has to make me feel like that, and if it doesn’t I table it and look at it in a couple of years. 

What current Black artists in the rock and sub genres are inspiring you right now?

There is an all black punk band out of New York called Proper and they are always inspiring me. M.A.G.S. out of LA is a Black indie artist I love, and then Bartees Strange came out with a record this month that I really love. Those three keep me really inspired. Oh, and Black Ends! We got to play with them on this tour- I feel like they are going to be the next big band out of Seattle. They are sick!

It’s been a big year for growth for Blvck Hippie, What’s next?

I’m looking forward to touring more– and we are writing our second record, so look out for that. I’m just looking forward to expanding our audience and getting our music out to more people. 

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The Franklin Family

A “triple threat” is typically in reference to someone who is proficient in three skills within their specific field of interest. That said, triple threat has two meanings when it comes to the Franklin Family! The family consists of  triplets who love all things music and continue to contribute to their community whenever they get the chance. Not only are they all singers, but they also produce tracks for artists, play bass, keys, drums, and maybe even a few other instruments we have yet to discover.

Jamaal Franklin is an award-winning guitarist whose credits include Tamala Mann, Lisa Knowles Smith, The Spiritual Soldiers, and more. While fluent in the art of guitar, he is also skilled when it comes to piano and production. He works with another musician in the city by the name of Craylon Davis to assist artists with their creativity and has worked with several upcoming artists in the city.

Furthermore, Sam Franklin is a multi-talented musician as well. His producer credits include artists like LaDorsia Jay, Angela L. Lackey, Terri J. and gospel artist Rachel Moody. His drum credits consist of Hollie Shannon, Debra Williams, The Spiritual Soldiers, and more.

Last, but not least, is Grammy-nominated musician Christopher Franklin. In 2021, he received his first Grammy nomination as a musician when gospel artist Jekalyn Carr was recognized for her hard work on what was to be nominated as Best Gospel Album. Over the years, he has served as an instructor and just recently made his first placement on a song as a producer. Kudos to the Franklin Family!

The Whalum Family 

Reigning from Memphis, the Whalum family has been blessed with remarkable talent for generations. While two of their family members are able to say that they are head pastor of a church and author of many great books, four others can say that they have played behind many big name artists in the industry and dedicated much of their time to building the next generation of music.

Kirk Whalum, the uncle of singer and musicians Kortland Whalum, Kenneth Whalum, and Kameron Whalum, has been in the industry for many years as an elite saxophonist. You may recognize his talent in the instrumental portion of the hit song “I Will Always Love You” by Whitney Houston. Following in his footsteps is his nephew Kenneth Whalum, who has performed for artists such as Erykah Badu and Nas. Back in 2018, he accompanied Badu and her horn section in her NPR Tiny Desk concert and just recently took his talent to the Grammys. He has awards which represent his hard work in the industry alongside artists such as Mac Miller, Jay Z, and even Maxwell.

Likewise, his younger brothers Kameron and Kortland are also gracing big stages. While Kameron has toured the world for over 10 years performing with Bruno Mars and Silk Sonic, Kortland has been spending much of his time traveling to places like Milan to star in musicals. Last year, he even had the pleasure of being featured on shows on BET alongside actress Raven Goodwin. We are so proud of them and all that they have done. 

The Mitchell Family

Over the years, the sibling duo of Oona and Boo Mitchell have made a lot of contributions to our city’s musical scene. They are continually succeeding in keeping the legacy of their father, Willie Mitchell, alive. While the both of them are currently serving as Memphis Grammy Chapter elects, they also have a lot of things going on individually. Oona Mitchell devotes much of her time to serving as the co-owner and manager of Royal Studios and hosting notable large-scale concerts and events . Likewise, Boo Mitchell is still working hard as the great musician and producer he was groomed from a young age to be. He recently worked with a group of talented horn players to develop Silk Sonic’s Billboard charting song, “Smoking Out the Window”. Their efforts to continue to build great music in Memphis and other areas never goes unnoticed, and we can’t wait to see what’s next for these two.

All of these families have exactly what it takes to influence the next generation of good, soulful music in Memphis. We hope they continue to do what they do best ,and we hope you all find joy in supporting them and Memphis music!

You might also be interested in: Live Music Memphis Tonight | Memphis Live Music Calendar

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As a top session and touring saxophonist, Kenneth Whalum rose quickly in the music industry working with artists that are household names— but he has also carved a deep and unique niche as a modern solo artist. Whalum’s genre may be most related to alt-soul, but his secret to songwriting is being honest and real. His most recent single, “Say Sorry”, may induce body melting relaxation, and deeply emotional songs, like his 2021 release, “One More Kiss” tap straight into the heart of the matter. Be prepared to dig deeply into both of his full length album releases to get more. Whalum is currently working on his next EP, Pretty, which he likens to the calm app for heartbreak— sounds like medicine for our hearts.

Tell me about how you came to the saxophone, and at what point in life did you know you wanted to do what you do?

First day of band class in 6th grade they said go stand by whatever instrument you want to play, I stood by the drums– but the band director geared me toward the sax because she recocknized who my uncle [Legendary sax player Kirk Whalum] was. That was the instrument that really led me to–Also, in that class was drummer Stanley Randolph, and artist and musician Brandon Deener. [editor note: Randolph, and Deener i.e. other Memphis music and artist legends].

My parents weren’t too forceful, but they always suggested that I continue with music one more year, or one more semester. They gave me the option. There were times when I found myself more interested in basketball, or something, but I always made my way back to it.

Later, I went to Morehouse College, and the concentration on music wasn’t as serious as it is at some other schools. The overwhelming majority of music students at Morehouse were also there for something else– pre-med majors that also played an instrument, type-thing.

It wasn’t like I wasn’t necessarily unique or anything, but I needed more of a challenge. I had strengths, but I still needed to grow and learn, and appreciate a lot more. So, by the time I left Moorehouse and went to New York City to go to The New School in 2004, I was pretty set on the feeling of this is what I am doing.

Talk to me about Memphis music, our legacy and how it relates to your and today’s Memphis music?

People claim, or default to, Memphis being a blues town, but the majority of what we as a music city are being informed by, based on lifestyle, is Gospel. Gospel really translates itself well to R&B.

When we were coming up, m*****- f***** weren’t playing blues. Not traditional blues, you feel me? Sure, you would hear blues downtown, but it wasn’t in our culture, it wasn’t what we were listening to. I don’t like to make things stick, just because a place is known for something. Sure, we have blues history that the city capitalizes on in a tourism way— but that’s not what my generation or the generation before me or the next generation are listening to or playing. I was informed by playing in church, or out on the street with Rudy [Williams], and his trumpet, you know? It was Gospel and  R&B.

For me Soul music is the question: Is it for real, is it your story? I don’t attach it to a genre. I like to say alternative soul for my music because if you had to place it in a genre it’s closest to that– but it’s still just me being honest.

An artist like Anthony Hamilton, you may call that alternative soul, because that’s the genre– but he’s expressing a true sentiment. Al Green is soul music, because you can feel it. That’s what it is.

What are you most proud of as an artist, in your solo career, or your saxophone career.. How did that transition happen, anyway?

I made a decision and stuck to it. I had a full out career with the saxophone. I’m still at the top level in terms of that–it just wasn’t enough for me. I fully committed to the risk of doing my own music and singing. I know what it feels like to have people look at you and wonder what you’re doing, or expect you to do something else. People really cast their fears on your decisions. That will really affect most people. I am most proud of the fact that I wanted to express myself in a different way that I felt was going to be liberation. I didn’t know at the time if it would work— but I just went with it. I think my music has really touched a lot of people because of that.

It’s never been my goal to work with big artists, my main source of pride is stepping out to be a singer and not necessarily a player.

How do you feel about working with other artists?

I like working with artists that I like and respect,  and feel inspired to work with. I don’t like feeling like I am bound to something by necessity. I just did the Hollywood Bowl show with D’Angelo for Dave Chappelle/Netflix is a Joke. I’ve written recently with Mac Miller, Justine Skye.  I chose to do those things. I’ve been working with some great artists that I respect, and some projects coming that I won’t talk about yet.

Do you like performing live as opposed to writing?

As a writer I feel like one of my gifts is songwriting and accessing emotion, but that doesn’t necessarily mean that it’s a present emotion. I’m ok with going to the what-ifs of many situations. Being able to access is a gift, it can’t be so personal that you’re paralyzed.

I love doing live shows because it gives me the opportunity to be present, and vulnerable. I’m not a singer by training– so being able to be singing on the highest level, with people like Rob [Robert Glasper], and others of his caliber–that means a lot. Performing on that level represents so much to me, only because it costs so much to attain it.

I’m addicted to the vulnerability of going on stage without a saxophone— it gives me so much joy, and peace and freedom. When I’m on the stage, it’s the celebration of the pain that it costs, the work.

Touring is like second nature to me. As a professional touring musician, I’m just committed to excellence in touring. My brain doesn’t compute that it’s different from any other day. It’s not  strenuous or taxing.

You may also be interested in: Dj Mic Tee: 5 Questions With Memphis Local Dj Mic Tee

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It might be a bit circumspect to call the legendary Memphis hip-hop scene an ‘anomaly’, but in the context of a dangerous, complicated city with such a towering musical legacy, the term makes sense. The rap game’s flourished here entirely on its own terms, far from Sun and Stax, far from Graceland and Beale. Surreally-produced and voiced, often eerily-dark and well-detailed, hip-hop here comes from Frayser and South Memphis, from that ‘other’ city that barbecue-hunting tourists and Midtown hipsters rarely explore. An infamous local bumper sticker declares that “Midtown Is Memphis”, but the reality of home and work alike for the overwhelming percentage of our city is a very different one, where struggle and danger meet frustration and poverty, where the powers that be let every streetlight on a block of abandoned houses burn out, enshrouding miles of neighborhoods in a ghostly darkness. These factors haven’t just made for the best Memphis rap albums, but they’ve also made some of the best rap music the world has ever heard.

It’s no wonder that Memphis rappers have so often leaned into horror-film imagery to express the mountain of challenges faced by those struggling to just get by here. In Memphis hip-hop, the best Memphis rap albums paint a brilliantly graphic picture–the trap house is haunted, and demons taunt and tempt you from beneath every graffiti-covered overpass. The night is vast and spreads through open lots and burned-out liquor stores like a plague. The 2021 murder of local hero Young Dolph, and the shockwave it sent through the city he loved and paid back in spite of its flaws, makes the task of evaluating Memphis hip-hop history much thornier. 

So against this backdrop, and with the dream-like landscape of its pioneers kept in mind, let’s take the time to briefly explore five landmark best Memphis rap albums, from the game’s roots to today. 

——

Three 6 Mafia: Mystic Stylez

It’s impossible to begin an examination of Memphis hip-hop without first paying respect to Three 6 Mafia. When the rest of the world considers Memphis in the context of rap, this is likely where their thoughts first land. Three 6 showcased a stubbornly-independent Memphis hip-hop hustle early on, recording their own tapes and selling them via their own label, Prophet. When you consider the influences they’ve listed for their classic debut, you get a glimpse into the game-changing ingredients from which they fashioned their genius, from NWA and Geto Boys to local soul legend Isaac Hayes to UK black metal giants Venom. Mystic Stylez is still chilling in 2022, an iron-dark hellscape of drugs, brutality, cheap sex, worldly pressures, and Satanic/occult references. The beats are menacing, stalking the listener like an unseen predator, and the lyrics seem willfully designed to court controversy in an age where, just across the river in West Memphis, three teenagers were being railroaded into prison for a grisly murder based on no evidence other than a moral panic over their Gothic-aligned tastes. But despite the shadow this masterpiece still casts on the city and the game, there’s moments where pure fun effectively cuts through the murk, no more ecstatically than on “Da Summa”, which will be the Bluff City’s choice summertime cruising anthem until the heat death of the universe. Also notable are early and accomplished verses from eventual hip-hop institution Gangsta Boo,  a rare but much-appreciated female voice in the local rap game. Memphis hip-hop could’ve folded its hand on this legendary high note, but thankfully it didn’t. It was just getting started.

——

Blackout: Dreamworld 

Three 6 weren’t the only Memphians on the scene delving into the dark arts over delightfully-creepy beats. Though Blackout never achieved the wider appeal Three 6 would find beyond Memphis, his work as a visionary producer is still spoken of with hushed reverence here in his hometown, and rightfully so. A mysterious figure then and now, he and two cousins were the driving force behind Snubnoze Muzik, which would issue classics from regional luminaries such as Gangsta Blac, Playa Fly, Terror, and Lil Slim. Blackout’s high watermark as producer and curator is his 1995 cassette release Dreamworld, an enveloping spectral fog of bone-crunching 808s, horror-adjacent samples, and oceans of vintage synths. Subtleties lurk in the margins of the tracks, leading to freshly-heard details on every repeat listen, with Snubnoze family representatives Lil Coop and Lil E relishing in the devilish imagery suggested by the beats, adapting perfectly-chosen flows to match each track’s demands. With such a combination, this might be one of the most dread-soaked, ominous albums you’ll ever hear. If West Coast hip-hop of the era seemed factory-pressed for cruising in lift-kit Impalas down Crenshaw beneath sun-kissed palms, Dreamworld is the soundtrack to a lonely night-drive in the crumbling industrial wastes of the Memphis outskirts, where freeways glide past rows of hollowed window-holes past which anything might be happening. Dreamworld suggests that whatever it might be, it’s probably not family-friendly. This Dreamworld remains a thrilling, harrowing nightmare. 

——

Project Pat: Ghetty Green

By 1999, the word was out and the buzz was overwhelming: Memphis had staked its claim as an important scene in the history and future of American hip-hop, the soaring Southern tower of ingenuity and talent that would soon be met by the mighty ‘Dirty South’ ascents of Atlanta and New Orleans. One benefit of this raised profile was, appropriately enough, the older brother of Three 6 Mafia’s own Juicy J. Project Pat had frequently collaborated with J and DJ Paul in the early 90s, but a stint in prison on a robbery beef delayed his eventual emergence as a singular Memphis rap force until 1999, when his debut Ghetty Green hit the streets. By now Prophet had morphed into Hypnotize Minds, distributed in its early years by the pace-setting Loud label, and the newly-released Pat wisely handed most of Ghetty Green’s production duties over to J and Paul, who helped attract some considerable star power to the project with features by the likes of Krayzie Bone, Noreaga, and the Cash Money Millionaires. This effort to promote geographical alliance with fellow blossoming scenes in New Orleans, Cleveland, and Queens meant that it was inevitable for more choice Memphis rap to reach ears beyond the 240 loop. Pat matches the lush, nimble production with some of his hardest, most aggressive verses, flowing as if to survive on the art alone, finally able to share his truth outside of stifling prison walls. Though his follow-up, Mista Don’t Play: Everythang’s Workin, would reach #4 on the Billboard album charts, leading to a long and respected career in the game, Pat’s never again sounded quite as raw and hungry as he does here, a soaring bird literally freed at last from his cage.

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Yo Gotti: The Art Of Hustle  

The potential for Frayser native Yo Gotti to break through in a big way had been there from the start, but it took some time before the rest of the world really caught on. After a string of solid independent releases, his major label debut Live From The Kitchen was delayed several times before finally dropping in January, 2012, spawning a few chart bangers and selling respectably. After the engaging I Am performed in similar fashion, everything finally blew up for Yo with 2016’s The Art Of Hustle, which debuted at #4 on the Billboard Top 200. Boasting pitch-perfect guest spots from Lil Wayne, E-40, Timbaland, and (especially) Future, The Art Of Hustle saw Gotti bringing an introspective and sometimes wistful flow to soul-drenched samples and heart-wrenching reflections on his city’s indisputable hip-hop legacy. On “My City”, the breakup of Three 6 weighs as heavily on his shoulders as the unending threat of Memphis street violence that even money and fame can’t suppress. He acknowledges that while Memphis is a war zone (certainly not a fresh perspective at the time), he also realizes that “no other place will be home for me…ever.” That line alone gets at the truth that runs like a fault-line beneath much of Memphis rap: this is a tough city to love at times, and learning to love it means respecting its shortcomings in the same breath as paying homage to its pull, its unflagging sense of defiantly-proud community. It’s only appropriate that this track, which starts the album, is introduced with a few flourishes of acoustic guitar; Memphis-born music that was once deemed a menace to respectable society soon grew tame through commodification, but Memphis hip-hop resists the “prettying up” of its past in the manner of a neon-drenched Beale Street. And what would the follow-up to The Art Of Hustle be named? I Still Am, of course. And Yo Gotti still is.

——

Young Dolph: Rich Slave

To talk about Dolph’s musical output so soon after the still-aching wound of his senseless murder feels almost blasphemous, which should say a good deal about what the man and his music left behind for us. But an omission from this list out of respect for the dead seems equally absurd, a group photograph with a massive hole carved out of its center. Already a powerhouse in the genre, Dolph’s 2020 full-length doesn’t just quality as one of the best Memphis rap albums, but Rich Slave was also a mature attempt to reckon with “the reality of being Black in this country,” in the man’s own words. Even using the word “slave” in the album’s title was widely discussed and debated at the time (as a white person, I can’t help but feel a little uncomfortable about writing the word here, even in context). Thankfully, the music on tap is anything but didactic or heavy-handed, the political subtext hinted at rather than soap-box ranted. Over a collection of colorful beats, Dolph warmly graces each with his singular low-register drawl. The same stark contrast of the trappings of wealth with the bleak reality of Memphis hood life that showed up in Gotti’s heyday are expanded upon here with brilliant results: On “Hold Up Hold Up Hold Up”, Dolph underlines the disparity with imagery that juxtaposes the life of a “rich ni**a still in the neighborhood eatin’ cold-cuts” with that of a “street ni**a, bi*ch I’m in a Bentley, doin’ donuts”. The line between these two realms isn’t blurred, it simply doesn’t exist. Dolph shares these revealing glimpses with a weary honesty that never curdles into off-putting bitterness, reaffirming painfully just how singular and generous of an artist (and person) we’ve recently lost. What else is there to say, other than that the Memphis rap game won’t ever really be the same? On one hand, Rich Slave makes clear just how far Memphis hip-hop has come (Juicy J himself dropping by to produce two tracks), while simultaneously finding comfort in a future generation’s shepherding of the genre (Dolph’s younger cousin and protege, Key Glock, guests on “No Sense” with gusto, and has since become one of the scene’s most inventive voices). From Memphis hip-hop’s past to future, Dolph represented the best of what this city can produce, even in the face of overwhelming loss and adversity. The reward makes it all the sweeter.

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Summer is upon us, and we Memphians are ready to rock— outside, with some great tunes, for as many warm months as the weather Gods will allow. Whether you prefer to hear gypsy jazz in a historic cemetery or celebrate Juneteenth at the historic Orange Mound Tower– we have the outdoor concert recommendation for you! Here are 5 unique outdoor concerts not to miss this month in Memphis.

The New Respects

Saturday, June 11th

7:30 p.m.

The Overton Park Shell

The Overton Park Shell is a mini utopia for outdoor music enthusiasts. See our recent venue profile describing the venue’s magic here. Siblings Zandy, Darius, Lexi, and their cousin Jasmine kind of fell into being in a band together— but they will dance and rock your face off  on stage all night. A bonus is Zandy’s searing rock ‘n’ roll guitar solos!  The New Respects will play as part of The Shell’s free outdoor music series on June 11th, so bring a picnic and some cold beverages- or just yourself, and rock out with this high energy family band. 

Blues On Beale: Rodd Bland & The Members Only Band

Wednesday, June 15th

7:00 p.m.

Handy Park

It is embarrassing to admit, but sometimes it’s a challenge to find blues music on Beale Street. So many DJ’s, country bands, cover bands, and soul bands play Beale nightly that it can get a bit saturated— but if you miss that real Memphis blues groove, this is the series for you…AND it’s outside! Handy Park located on Beale Street has an amazing stage and graded lawn for you to grab a beer and some wings and watch your favorite blues band play. Rodd Bland (the son of iconic musician Bobby “Blue” Bland) is blues royalty and he’s just off his recent Blues Music Award win for Best Emerging Artist Album. Come check him out and be put in a whole Memphis mood. 

Tone’s Juneteenth Festival

Sunday, June 19th

Orange Mound Tower

Tone’s Juneteenth Gala and Festival weekend never disappoints. The entire weekend and schedule of events will feature live music performances- but the biggest opportunity for live outdoor music is at the Orange Mound Tower on Sunday, June 19th. Although the music and DJ lineup has yet to be announced— rest assured it will be epic… everything Tone does is! 

Songs In The Cemetery: Amy Lavere

Friday, June 24th

5:30 p.m.

Elmwood Cemetery

Believe it or not, the historic Elmwood Cemetery hosts many activities for the living! This month, their ongoing series Songs In The Cemetery hosts one of Memphis’ favorite singers and bass players— Amy Lavere. The Memphian by way of Louisiana is most likely a fan of celebrating life in the Southern tradition of an old -fashioned, respectful cemetery picnic. Bring a lawn chair and watch the sun set on one of the longest days of year!

Live At The Tracks: Max Kaplan

Thursday, June 30th

6:30 p.m.

The Central Station Memphis

Rufus Thomas said it best when he said,  “Ooooh– wee, that Memphis train!” The Central Station Memphis, A Curio Collection Hotel, is unique in and of itself. Inside, there are many opportunities to revel in the history and traditions of Memphis music, but Thursday, June 30th you can sit track side outside and relax to the acoustic offerings of blues and Americana artist Max Kaplan. Grab a drink at the bar and take in downtown just off of South Main Street. 

You might also be interested in: The 30th annual Blues on the Bluff is here! 

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Local Memphian screamo act Ten Crowns are making a name for themselves nearly a year after forming in early 2021. The group is very prolific in the scene, playing at countless venues all over Memphis alongside other phenomenal local punk acts. The group recounts opening for touring metalcore act SeeYouSpaceCowboy at Growlers last year as one of their favorites. Rhythm guitarist Alex Harris remembers feeling particularly elated after seeing the news on their phone, despite being in the midst of a feverish mosh pit at a 100 Gecs show in Nashville. 10 Crowns does their best to bring the frenetic energy of hardcore punk with the spirit of early 2000s scene bands in Memphis.

The early 2000s comes up in 10 Crowns’ music in subtle ways. Vocalist Morgan Ballard takes inspiration from golden-age scenecore bands like Attack Attack!, and sonically 10 Crowns has been influenced by early aughts post-hardcore, From First to Last being listed as an influence in particular. Their more recent material delves into more ‘emoviolence’ territory (a portmanteau of emo and powerviolence, an extreme metal genre) and lists early 2000s act Orchid in specific.

Love for the decade also comes with the members’ appreciation for video games from the time, listing everything from role playing games to Tony Hawk’s Pro Skater 3. On the topic of favorite Pokemon, Charizard was listed in very high regard.

The band carries this playful attitude within their song titles, which are very reminiscent of the sarcastic titles of screamo’s heyday, like the crowd favorite “dad gave me my khakis but god gave me my dad” or their latest single “sometimes hoverboards are a bad idea” (featuring p.s.you’redead). The newer single is a bit different than their earlier work, but still has an intense punch. It has much of the early aughts metalcore edge, jagged guitar riffs, guttural vocals, and a post-chorus fit for ‘crabcore’ headbanging.

After performing for nearly a year, the group has loved seeing people come out and showing up. The crowds have gotten especially chaotic over the last couple months. Given their relentless schedule of live performances, there are plenty of upcoming opportunities to see them. The group’s next show will be with Guerilla Warfare, Fox Lake, and Promise Breaker at the Hi Tone on June 12th. They are also planning on playing out of Memphis in Nashville and Murfreesboro over the summer. On the topic of new material, the group are planning on putting out singles sometime in the near future. So if you’re looking for something edgy to soundtrack your emo summer, make sure to keep 10 Crowns in mind.

For any last words, Alex insisted that I add the following: “Do not go to the spooky island castle!” I am not sure exactly what it means, but they were adamant that I include it.

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

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To call the history of music in Memphis ‘storied’ would be a parody of an understatement, but there’s still the occasional sound or approach we don’t often hear from a homegrown artist in the Bluff City. Jombi are a newer Memphian outfit making considerable waves for dwelling at the intersection of not one but two sounds that are fairly novel for the region – cosmic guitar-jam explorations and beguiling indie-pop. With nimble instrumentation and a curious spirit, Jombi are rewriting what it means to be a ‘Memphis band’. Earlier this month, they released their debut album “Jombi Presents…,” which seemed like a great reason to sit down with them to ask five of our burning questions.

What are a few your wider goals concerning Jombi in 2022, and in the future?

We plan to release a second album, get some gigs outside of Memphis, and continue growing our fanbase.

When forming Jombi, did you have a specific direction in mind, genre-wise, to pursue? Or was it designed as an open-ended sonic experiment from the beginning?

When we started the band, we knew we wanted to write original music, but we didn’t know what type of music it would be until we started playing together. Our chemistry and ability led us to pursue a more technical and improvised live show, but we still had to develop as songwriters. That’s the thing we knew we had to work on, and currently we’ve been working on songwriting the most.


Does being a Memphis band, with all the complications and weighty history that descriptor implies, directly influence you as musicians and/or songwriters in any real way?

We would say as musicians yes, but as songwriters not really. Our local influence is undeniable but it mostly comes from our mentors who are involved with the Memphis scene, past and present. Seeing what they do motivates us to go out and do it, but our musical influences range far and beyond Memphis. As for the history, we can only hope to live up to it.

With shows starting to come back as the COVID pandemic gradually winds down, how crucial is live performance to your group personally, and also re: their place in our culture?

We started the band as COVID seemed to be dying down and the rise of a new Memphis scene was coming out of it. After seeing it firsthand, we joined it. We would not exist as a band without live performance. It is everything we do. It’s how we make money, it’s how we gain fans. 

Lastly, the term “jam band” is a controversial one, but where do you feel that bands such as yours, who tend to exist in a space where free jazz improvisation meets psychedelic head trips, fits into the wider Memphis music scene?

Our band can be categorized as a jam band in a broad sense, but when it gets boiled down we are a rock band who likes to do live improvisation. Some people enjoy it, some people do not. We try to find a balance with it in our live and studio work but it is never at the forefront. We want to write great songs before we do anything else. If improvisation feels natural inside that song, we’ll go for it.

You may also be interested in: Marcella & Her Lovers: Band Profile

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Do you ever find yourself getting distracted by the game and all that’s surrounding you? or Are you into the good music you are playing?

It is easy to be distracted, but, fortunately, I perform during time outs and half times, which allows me to properly plan out my sets in my head. I often pick a certain amount of songs and the direction I want to go in beforehand. People always say I have the best seat in the house and, although it is easy to get distracted, I get to be a part of the game as well, while also keeping the people hype.”

How do you decide what kind of music you will play?

I have my music planned out in my head. Through a software called Serato, I am able to put in the type of music I want to play. I also just kind of get a feel for the crowd. During halftime, I try to keep in the direction of family fun and versatility. I may do some 80’s pop like Michael Jackson, soul, or even Cameo during the pre-game or countdown before the game. I prefer to keep the set diverse. However, by the third and fourth quarter, late in the game, I like to go straight Memphis energy and turn-up style. Especially if we are winning, and I know “Whoop that Trick” is a possibility. I make sure to keep that ready in my set and plan accordingly.”

Have you learned anything about your taste in music since becoming Memphis’ sports deejay? How do you keep it different and versatile from past events?

It’s definitely different. It’s not the club, but I like to keep the club energy there. It’s not like I’m introducing new artists or breaking new records. Whatever I’m going to play is going to be a guaranteed hit. I play what’s poppin at the moment. I think my love for music is just so widespread, and I have a big range of music. The good thing about the Grizzlies is they give me freedom to just be me. They are always like, “Mic, just do you.”  In the club after a certain time, the energy has to meet a certain expectation, and that’s much different from the game. You have to be mindful about the timing you have. In the club once you play Big Boogie, you gotta stay there and keep the energy up. There’s no going back. In the game, you have a certain amount of time to get across a certain message or vibe.

What is something you’ve learned about DJing while working the games? Can you share any tricks of the trade?

For the games, I definitely changed the way I play it. My buddy, who is also a disc jockey by the name of DJ Joune, gave me advice when I first got the position. He told me that you gotta go straight to the meat of the song. Go straight to the poppin part of the song. Then, get out of it or else everyone will be lookin at you like a flat screen TV. That advice really challenged me to be a little quicker with my mixes, my transitions, and my delivery. Whereas the way I do it now, I’ve gotten so fast with my transitions that I can play 7 to 10 songs, if I do it right, in a minute and 30 seconds and still get across the point of high energy and fun, without it sounding like scribble scratch. It’s given me the flexibility to play anything. I recall when one of our Grizz Girls got proposed to. I had 3 love songs in a set ready to go  f0r for the special moment.”

What has been your favorite moment of the playoffs, and what is your favorite thing about being a Dj?

My favorite moment was when Boosie popped up at the game, because it was so unexpected. I remember asking last season about doing a set for specific celebrities when they showed up at the game…They said we’d cross that bridge when we got to it. So, when they finally gave me the green light to do it, I had my set full of Boosie songs ready to go. When he heard his music he kind of looked up and smiled. That was pretty cool.

What I really love the most about doing it is that I get to be me. It’s an adrenaline rush, not from the spotlight but just people vibing and moving to my creativity. Being a deejay is an art form. It’s more than just pushing buttons and playing music. It’s not what you play, it’s how you play it. I think that’s what makes me so different from anyone in the city. It’s only a few that can do it, and I take pride in that. I call it a work of art. Whether it’s at a watch party or at a club, I just get to watch people move off what I come up with.

You can catch DJ Mic Tee doing what he does best live at the next Memphis Grizzlies playoff game Monday night as our city plans to “Whoop That Trick” in game number 7! (Fingers crossed).

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Memphis’ history of innovative radio is both deep and wide. There aren’t many Memphis music legends that you can’t trace to some kind of historic radio moment. Legendary Rufus Thomas owned the airwaves of WDIA before he went on to be the World’s Oldest Teenager and teach the world to do “The Dog” and “The Funky Chicken.” B.B. King began writing and singing Pepticon jingles on Memphis’ WDIA before becoming the world’s greatest blues singer. There is an entire Broadway musical titled Memphis, loosely based on the life of Memphis disc jockey Dewey Phillips of WHBQ. Sam Phillips, founder of Sun Records, started out as a radio engineer on WREC. Some of those legendary disc jockeys and stations reached hundreds of miles from Bluff City, influencing culture and music across the region and beyond. In 1955, Sam Phillips founded the first all female radio station, which he rightly named WHER. 

WYXR is Memphis’ newest chapter in Memphis radio history. The community-led volunteer radio station launched in 2020 with the tagline, “Raised By Sound”, and has been broadcasting straight to the hearts of Memphians ever since. While WYXR is no reincarnation of WHER, it has no shortage of female programmers who are passionate about radio and music.  We reached out to a handful of these women to connect you with many of the fearless, female voices you hear on the station. 

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DJ Chandler Blingg, AKA Jessica Jackson

Mahogany, Vol. 1, Tuesday 10PM-11PM 

WAMM: What should we expect to hear on Mahogany, Vol. 1?

DJ Chandler Blingg: When I was younger, I used to dig for so much music. I was so curious and loved reading the album covers to see things like who produced what, and which musician played which instrument, etc. I spent hours just listening to music in my room, so my radio show is very much reminiscent of my having the time of my life playing my favorite tunes. It’s so cool that people are able to eavesdrop now.

WAMM: What do you do outside of radio?

DJ Chandler Blingg: I am a DJ! I also spin with an incredible DJ alliance called BODYWERK. Made up of myself, DJ Ramzi (HABIBIBEATS on WYXR Saturdays from 6pm-8pm), Ross Al Ghoul (THRUST on WYXR Sundays 12PM-1PM) & QEMIST (COMPUTER NOISE RADIO on WYXR Thursdays from 9PM-10PM).

WAMM: What do you love most about radio? 

DJ Chandler Blingg: Every time I’m playing songs on the radio, I think to myself quite often ‘wow, people really get to listen to music like this on the radio. I would’ve loved to have a station like this to listen to when I was younger’. I love that we get to share with people.

WAMM: What’s your favorite song to play right now?

DJ Chandler Blingg: “HooHaa” by Christoph El Truento , “Star” by Machinedrum, and “Make it Up” by Tirzah (Hackman remix). 

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DJ Talia, AKA Talia Palacio

La Hora De Sazón con Talia, Saturday 8PM-9PM

WAMM: Describe La Hora Sazon con Talia in one word.

DJ Talia: Saucy

WAMM: What do you do outside of radio?

DJ Talia: I am Manager of Multicultural Admissions & Marketing Communications at Rust College.

WAMM: What do you love most about radio? 

DJ Talia: Radio gives me an opportunity to share my love for music, share my culture, and play music that was a part of my Latin upbringing here in Memphis. WYXR has given me this opportunity every Saturday night. Our station and our city have welcomed my show, which plays a variety of salsa (new and old), reggaeton, and tropical Latin music to keep Memphis dancing!

WAMM: What’s your favorite song to play right now?

DJ Talia: Hawái by Maluma & The Weekend.

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DJ Nya

Freesound.radio, Tuesday 11PM-1AM

WAMM: Describe Freesound.radio in a few words.

DJ Nya: “Copacetic”, “fashionable”.

WAMM: What do you do outside of radio?

DJ Nya: Traveling, digging.

WAMM: What do you love most about radio?

DJ Nya: It’s curated, there’s so much discovery in each person’s show.

WAMM: What’s your favorite song to play right now?

J Nya:  Cece penison, “We Got A Love Thang

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DJ Jazzy Lo, AKA Jasmine McCraven

Pre Game Radio, Friday 8PM-10PM

WAMM: What do you do outside of radio?

DJ JAZZY LO: I’m a full time reporter at The Daily Memphian

WAMM: What do you love most about radio?

DJ JAZZY LO: I love how it exposes the diverse personalities and perspectives of people in the world. It’s also a safe space to be and say whatever you want, because you don’t feel the same pressure from TV, with everyone watching you. Blending this with your favorite tunes just makes the in-studio experience feel like heaven for 2 hours.

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Brandi Rinks

Puttin’ on Airs, Sunday, 9am 

WAMM: Describe your show in one word.

Brandi: Twangy!

WAMM:  What do you do outside of playing music on the radio?

Brandi: I’m the Administrative & Operations Coordinator at a local non-profit and I spend my free time throwing pottery, taking photos, and looking at birds.

WAMM: What do you love most about radio?

Brandi: I love radio because at any point of the day, in any city you’re in, you can turn it on and hear a mix of things you’ve never heard, old familiar songs, and community news! The wealth of genres, personalities, knowledge, and talent that Memphis in particular has to offer is a constant source of pride, and you can see that reflected in our radio stations!

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DJ Amy Dee, AKA Amy Dobbins

Mint Cream Tunes, Sundays 3PM- 4PM 

WAMM: Describe your show in one word.

DJ Amy Dee: Nostalgic

WAMM:  What do you do outside of playing music on the radio?

DJ Amy Dee:  I own Mint Cream Shop, a vintage store. I make jewelry and goods out of polymer clay and paint.

WAMM: What do you love most about radio?

DJ Amy Dee:  I love to play fun tones to fit my listeners life at the moment. I want to help with their mood. Create the vibe. 

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Dee Torrell

We Belong, Sunday 4pm-5pm

WAMM: Describe your show in one word.

Dee Torrell: LGBTQ+

WAMM:  What do you do outside of playing music on the radio?

Dee Torrell: Database developer by day, keyboardist and bassist in bands, classical guitar and piano for decompressing, and record collecting every other moment.

WAMM: What do you love most about radio?

Dee Torrell: The ability to connect with an unlimited audience and discover new music and ideas. Listener-supported stations enhance the sense of community.

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DJ bby lay, AKA Layna Hayes

Dear Diary, Friday 6AM-7AM

WAMM: What is your favorite song to play right now?

DJ bby lay: Anything from Beach House’s most recent album, Once Twice Melody.

WAMM:  What do you do outside of playing music on the radio?

DJ bby lay: Artist and teacher.

WAMM: What do you love most about radio?

DJ bby lay: The great variety of music and perspectives.

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Ena Esco

Musically Effective, Sunday, 5pm-7pm

WAMM: Describe your show in one word.

Ena Esco: VIBES

WAMM:  What do you do outside of playing music on the radio?

Ena Esco: Founder of Ivy Multimedia and Host of Verbally Effective podcast

WAMM: What do you love most about radio?

Ena Esco: I love the sound and energy of the music in the studio. I also love expressing my thoughts and love for music with the masses.

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Natalie Hoffman

Strange Wave, Wednesday, 10pm-11pm

WAMM: What is your favorite song to play right now?

Natalie: Sparks, “When Do I Get to Sing ‘My Way’” 

WAMM:  What do you do outside of playing music on the radio?

Natalie:  Graphic Designer

WAMM: Describe Strange Wave in one word.

Natalie: Synth-y

WAMM: What do you love most about radio?

Natalie:  Discovering new music.

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Tonya Dyson, AKA Radio Raheema 

Welcome to Neosoulville. Friday, 10AM-12PM

WAMM: What is your favorite song to play right now?

Tonya: Emi Secrest’s “Yellow” has ingrained itself on my soul. Lol

WAMM:  What do you do outside of playing music on the radio?

Tonya:  Executive Director of Memphis Slim Collaboratory and professional singer/songwriter

WAMM: Describe Welcome To Neosoulville in one word.

Tonya:  Chill

WAMM: What do you love most about radio?

Tonya:  It’s like performing live.I have one shot to get it right and genuinely be myself while doing it. It’s a great feeling to set a vibe & carry it out through the entire show!

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DJ Alpha Whiskey, AKA Ashley Wimbush

Flight Risk, Thursday 6PM-8PM

WAMM:  What do you do outside of playing music on the radio?

DJ Alpha Whiskey: Air Traffic Controller at KMEM, also DJ around Memphis.

WAMM: Describe Flight Risk in one word.

DJ Alpha Whiskey: Fun

WAMM: What do you love most about radio?

DJ Alpha Whiskey: I love that I can play whatever I want! People get to hear me play music that I love and they start loving it too!!

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DJ Siphne Aaye, AKA Siphne A. Sylve

The NuSoul Mix, Friday 11PM-12AM

WAMM: Describe The NuSoul Mix in one word.

DJ Siphne Aaye: Genuine

WAMM: What do you love most about radio?

DJ Siphne Aaye: I love sharing music I love with people I love. This radio platform gives me a clear chance to do that.

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Kerry Mahoney

Ring The Alarm, Friday 1PM-2PM

WAMM: Describe Ring The Alarm in one word.

Kerry: Globaltropicalia

WAMM: What do you love most about radio?

Kerry: Spontaneity.

WAMM: What do you do besides play music on the radio?

Kerry: I’m a graphic designer for film, and TV.

WAMM: What are you excited to play lately?

Kerry: “A Min We Vo Nou We”, by Les Sympathics de Porto Novo

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Shelby McCall

A Corner Called Jazz, Wednesday 11am-12pm

WAMM: Describe A Corner Called Jazz in one word.

Shelby: Chill

WAMM: What do you love most about radio?

Shelby: Working with others, andthe sense of community with WYXR.

WAMM: What do you do besides play music on the radio?

Shelby: I’m Operations Coordinator of WYXR

WAMM: What are you excited to play lately?

Shelby: Greg Spero’s “July Play” (featuring Mononeon)

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DJ Nancy, AKA Nancy Agee

Memphis Undercover, Monday 2PM-4PM

WAMM: Describe Memphis Undercover in one word.

Nancy: Potpourri

WAMM: What do you love most about radio?

Nancy:  Sharing music & connecting with the audience & other programmers through that. I believe it fosters community.

WAMM: What do you do besides play music on the radio?

Nancy:  I’m a Realtor at InCity Realty.

WAMM: What are you excited to play lately?

Shelby: Today it’s “Aladdin Sane”, David Bowie

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Live Music Memphis Tonight | Memphis Live Music Calendar

The post The Women of WYXR appeared first on We Are Memphis.

Rachel Maxann with Louise Page

Friday, May 6 at 7:30, The Green Room at Crosstown Arts

$15

Singer-songwriter Rachel Maxann has already been making commotion in the Memphis indie scene for a while now. She has lived in a variety of places (Cincinnati, New Orleans, and Los Angeles, to name a few), and has incorporated these diverse experiences into her own sound. Everything from classic indie-rock to ‘post-modern’ folk music, Maxann blends it all together with the heartfelt strum of a nylon guitar string. She is joining with Louise Page, a Memphian who has specialized in indie chamber folk akin to the likes of Fiona Apple or Regina Spektor. The two will be performing in the spacious Green Room at Crosstown Arts, fit for an intimate acoustic experience.

Soul Glo

Wednesday, May 11 at 7PM, Growlers

$12

Modern punk heavy-hitters Soul Glo are shaking up the modern heavy music scene with their creative mix of hardcore, rap rock, and screamo. The group is known for their abrasive concoction of metalcore fury with the manic delivery of hardcore hip-hop. Including themes about race, anarchy, and anger through their hybrid punk-rap delivery. Riding off the high of their 2022 release Diaspora Problems, the group is heading to Growlers May 11 with Memphian punk acts Negro Terror and Anemoia for an incredibly intense performance.

The Who

Friday, May 13 at 7:30, FedEx Forum

$38

Legendary rock band The Who are travelling across the Atlantic to perform in Memphis at the FedEx Forum. Front man Roger Daltrey and guitarist Pete Townshend are performing for the first time in the US in two years, since their Moving On! tour, which had countless sold-out dates. While the status of “legend” may be thrown about a bit too loosely these days, its hard to argue that The Who aren’t one of the world’s greatest and most influential bands. So, if you wish to catch this iconic rock band in the historic venue that also holds the Memphis Grizzlies, make sure to get tickets while they’re still hot!

Bastille

Saturday, May 14 at 7:00, Soundstage at Graceland

$35

Acclaimed pop rock act Bastille are returning to touring after being dormant for a few years. The group is making their first performance back in Memphis as the Soundstage at Graceland. Their latest record, Give Me the Future, is a concept album based around virtual reality rife with synthwave panache and catchy hooks. Whether you know them for their modern synthpop songs or their smash hit “Pompeii”, they will undoubtably be a joy to see live.

Take Me to the River All-Stars

Thursday, May 19 at 7:00, Railgarten

$20

Take Me to the River All-Stars LIVE is a collection of some of the best New Orleans’ musical talents, including Ivan Neville and Ian Neville from Dumpstaphunk, the legendary pianist Jon Cleary, Rob Mercurio from the iconic band Galactic, and drumming extraordinaire Terence Higgins. If there’s one thing New Orleans knows how to do, its having a great time with a killer soundtrack and this super group is guaranteed to get you up and moving.

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Nestled amongst the stately townhomes and leafy walking trails of Harbor Town–a well-loved New Urbanism community just north of downtown Memphis on Mud Island–is one of the most charming secrets of the Bluff City. A short distance from the Maria Montessori School complex is the school’s stone amphitheater, a grassy and intimate outdoor performance space with heart-stopping panoramic views of the Pyramid and downtown. The brainchild of Goner’s Zac Ives and long-time Memphis scene linchpin Robby Grant, this amphitheater has hosted the River Series of concerts since 2014, a biannual (Spring and Fall) run of three Saturday shows each to raise funds for the school. Admission is free, but a donation of just $5 is suggested and much appreciated. The Spring 2022 offerings are as eclectic and intriguing as ever, so let’s take a quick look at what each one has to offer.

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Saturday, April 30th, 4:00 P.M.

Greg Cartwright’s Whelk Stall, Aquarian Blood

Greg Cartwright’s Memphis music resume is a staggering one, having co-founded local legends like The Oblivians and The Compulsive Gamblers. Although he makes his home in Asheville these days, he’s recently reconstituted the ‘Memphis lineup’ of perhaps his most hallowed outfit, Reigning Sound. Cartwright has chosen his appearance at the River Series on April 30th to debut a new project, Greg Cartwright’s Whelk Stall, and it’d be a stunner if this new endeavor didn’t feature the same highly-caffeinated take on 60s garage and pop that has been Cartwright’s expertise for decades. Another long-time Memphis institution, the hallucinatory psych-washed folk-swirlers Aquarian Blood, open.

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Saturday, May 14th, 4:00 P.M.

Jeremy & The Drip Edges, Tm. Prudhomme’s Fake

Speaking of Reigning Sound, lending his bass skills to the aforementioned Memphis garage-rock luminaries is just one highlight of scene lifer and WEVL DJ Jeremy Scott’s resume, including an acclaimed and eminently-catchy solo album, Bear Grease, released late last February. Luckily for all of us, his new collective The Drip Edges will be on hand on May 14th to perform full-band takes on that album’s singular jangle and wail. Opening the evening is another new project debut, this one from Tim Prudhomme, late of ’90s Oakland indie notables F*ck, debuting Tm. Prudhomme’s Fake, which will surely continue his latter-day solo work’s beguiling and addictive throwback indie jams.

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Saturday, June 4th, 4:00 P.M.

Mouserocket, Ibex Clone

Supergroups get a bad rap these days, but one shining Memphis example, Mouserocket, offers just as many melodic thrills and ramshackle spills as its associated members’ other treasured outfits. Mouserocket features the aforementioned Robby Grant (Big Ass Truck, Vending Machine) alongside several other Bluff City musical titans, including Alicja Trout (Lost Sounds, River City Tanlines) and Jonathan Kirkscey (cellist for the Memphis Symphony orchestra, Al Green, Cat Power). With so many heavy-hitters involved, the songs are inevitably chaotically-gleeful and enchantingly-strange. Life-affirming Memphis trio Ibex Clone opens, drawing on psych-folk and chilly Cold War post-punk in service of songs that call 80s Athens to mind while still reading as fully original and highly inventive.

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FURTHER INFORMATION ABOUT THE RIVER SERIES CAN BE FOUND HERE – http://www.mariamontessorischool.org/river-series/

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One thing about Memphis, we will show up for free outdoor live music rain or shine–– but when the weather is right, the Overton Park Shell’s concert series experience becomes almost utopian. Families, couples, joggers, tourists, students, and live music lovers from all over the Midsouth region and beyond flock to the venue with blankets, chairs, and even full picnics to groove to the sounds of  live music of every genre, for everyone. In the old forest that is Overton Park, you get that great outdoors vibe in the middle of the city. The neighborhoods nearby can hear the echoes of voices of backup singers, horn sections, bug spray cans, and laughter. Need I say more? Probably not, but I will anyway. 

Previously known as The Levitt Shell, you may have heard Memphians call the venue simply, The Shell, but no matter the name, the recently rebranded Overton Park Shell holds a deep piece of our community’s cultural identity. Originally built inside of Overton Park by the Works and Progress Administration in 1936 as part of the New Deal, the Overton Park Shell has been host to historic concerts and festivals including Elvis Presley’s first paid concert in July of 1954, as well as the annual Memphis Country Blues Festivals during the Civil Rights era. While other similar bandshell’s like it were built by the World Progress Administration, Memphis’ Overton Park Shell is one of the last existing of its kind. 

Through its 85 years of history, the Shell was almost demolished to make way for a parking lot and a theater, amongst other things. In 2007, the venue underwent renovation and was, in so much, saved by the Levitt Foundation’s investment. The Overton Park Shell’s Executive Director, Natalie Wilson, noted the Levitt Foundation as key to the current success of the organization. “As a result of [Levitt Foundation’s] steadfast support,” Wilson said, “The Shell has flourished to become a city-wide destination for multicultural programming as well as a committed community partner showcasing other non-profits.” 

Most recently, the venue led the community as an example for health conscious, distanced, live  music operating during the pandemic, and has once again announced a full lineup of Orion Free Concert Series for summer and fall 2022. The lineup boasts some of Memphis’ favorite local artists like Don Lifted, Sensational Barnes Brothers, and The Reigning Sound in addition to national touring acts like The New Respects and The Nude Party. In accordance with the venue’s mission to build community through music and education, finding common ground in a diverse audience, the organization recently partnered with the Deaf Connect of the Mid-South to provide Certified Deaf Interpreters to many of its performances during the upcoming series.

The venue’s paid Shell Yeah! Benefit Concert Series directly supports the venue’s free programing, and features nationally recognized headliners, and VIP ticket options. This year’s lineup includes bands like St. Paul And The Broken Bones, and Durand Jones and the Indicators. Whether you are looking to impress, or indulge– this paid series provides the stage to support the organizations’ free concert programming. The dance floor WILL be open!

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Stax Music Academy has done it again! As students of the academy continue to excel in their goal of keeping Stax Records’ legacy alive, they have taken their talents a step further. From earlier opportunities such as playing international performances and working with singer-songwriter Justin Timberlake, the students are back in the limelight as the focus of a documentary that is currently debuting across the country.

Soul Kids is a film that was recently released on November 24,  first viewed by audiences in Paris, France. The film has been shown at approximately 50 theaters, spanning from France to the Oxford Film Festival in Oxford, Mississippi, to the internationally acclaimed Cannes Film Festival. Back in 2017, director Hugo Sobelman began searching for authentic content for what would be his very first film. He worked alongside producers Carine Ruszniewski, Christophe Baral, and Toufik Ayadi to highlight students’ thoughts on injustices and tell the story of what it means to be Black in the city of Memphis. 

Former student, cast member, and singer Catherine Ealy stated, “I am proud that the world is actually going to see this side of Stax. ” Catherine spoke about the students’ fascination with the smooth process of filming, as well as the amount of opportunities they received following its release. “They did a great job at capturing the story, but also not disrupting our rehearsal time.” She recalled the many events they attended after the film’s release, referring to them as “moments full of joy”. Dancing and singing wherever they were called, Catherine expressed that Soul Kids gave them more opportunities to do what they love.

Their very first gig resulting from the movie came at the Paris premiere. Catherine, alumni Johnathon Lee, and a few instructors headed out for the weekend to perform and left the audience thrilled. Catherine expressed that they were all elated to have such a pure experience. The singer stated that the two moments during the trip that stood out as her favorites and most fond memories from the experience in France were when students were accompanied on stage by a French band and when they performed “Memphis Train”. “Everyone was dancing and having a good time. We made a train around the venue and everyone had smiles on their faces,” Catherine stated.

Although that was a truly beautiful moment for the students, that was not the only brilliant part about their trip. Stax Music Academy staff and students were stunned to see a billboard of Soul Kids posted at a Paris mall and, upon their return to Memphis, they were able to share that excitement with their peers.  On March 26, 2022, the crew made their way to Crosstown Concourse to perform and see the movie once more. The audience received a direct Q & A session from the cast, as well as an amazing performance. Alumni and current students of the academy, Christina Childress, Trevor Keys, Dorian Turner, Johnathon Lee, and Rickey Fondren, joined Catherine Ealy to perform a setlist of songs including “Breakdown” by Rufus Thomas, “Soul Man“ by  Sam & Dave, and “Knock on Wood” by Eddie Floyd. They got the crowd moving and grooving showing the audience that not only are they talented on camera, but  live as well!

When asked what questions they received most frequently during the Q & A portion, students stated that many viewers wondered how they were able to openly be themselves and discuss such difficult topics on screen. Even Stax students were able to take away lessons from the answer to such a question. Performing songs from the Stax catalog comes with understanding and the ability to convey emotion through lyrical messages. Memphis history contributes to and is reflected in Memphis music. Congratulations to the students and staff at Stax Music Academy! Continue to spread the importance of Memphis culture, Memphis history, and Memphis music!

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Midtown Memphis’ music scene is prolific, much like one of its primary contributors, the multi-instrumentalist and songwriter Graham Winchester. Winchester can be seen performing as one half of the band Turnstyles, and co-founded Memphis’ Blast Habit Records in 2021. The label’s first release, So Gung Ho, is also one of Winchester’s many music projects, but the label has plans to release as much Memphis music as possible in the coming years. A Blast Habit Records festival is in the works for the fall of 2022, but until then you can catch Winchester on tour around the world playing drums for garage rock legend like The Reigning Sound and Jack Oblivian, or locally in bands like Devil Train, The Sheiks, The Md’s, and more. We sat down with Graham to ask him 5 questions.

What are some of the advantages or disadvantages that you see in the current Memphis music infrastructure?

We have an incredible pool of really cool tape and analog studios– from Sam Phillips recording, Memphis Magnetic, to Southern Grooves, Royal Studios, Sun, and even home studios. There are a ton of those resources. There are so many ways to record here. There are also a lot of really good musicians here. Memphis has always been a breeding ground for raw talent. It’s an amazing place for musicians to live too–– with comparatively lower rent. 

I’d like to see licensing and pay increases for musicians. I really feel like what’s lacking is on the rise. When that rise meets the talent that is here and ready, other scenes will take note that we are a force to be reckoned with. Hopefully when that happens, the rent won’t rise too sharply. 

That said, I really just think we are such a cool community and the reason that I started Blast Habit Records is to start another community based thing where we can have a fest, and put out records, and bring people together, share the same stage. 

What would you say are some of your direct influences?

I do love so many different genres of music. I studied jazz drumming in college, so I loved that genre for many years. I would say Miles Davis was a big influence, my son’s name is Miles—- and all the branches of musicians that played in his quintets, Coltrane and drummers like Max Roach and Tony Williams. So that is the “Jazz Third” of my influence. 

I really think for all of the garage rock that I love, The Sonics best encapsulate that genre of influence for me. They influenced The Oblivians in a big way, they influenced punk directly. 

Charlie Rich has got to be in my top three. He is that dude that played a little bit of jazz, a little bit of rock, a little bit of country at certain points. I really feel him. I wish I could meet him and tell him I really feel him getting pulled into every genre. A lot of times that’s how I feel– and I like that!

Also, you gotta say The Beatles, right? The songwriter’s influence for me is with them. They wrote so many wonderful songs. I’m a big fan of short songs. I like to get in and get out.  Also, Booker T & The MG’s. They are the greatest band ever- for all the tunes they composed and all the bands they backed, it just puts them in the legendary category.

What is an important music memory you have from a young age? 

My friend’s dad took us to the Allman Brothers at Mud Island Amphitheater when I was young and we had front row seats. I just remember Derek Trucks and Warren Haynes firing up a Les Paul and a Gibson SG and it being so loud that it rattled my chest, and it was literally like I was gripped by rock n roll. I felt like somebody was sitting on my chest. Insane sonic energy!

How important is recording your music to you versus performing live and how do you prioritize which is most important in relation to creating for your audience?

I think that once that songwriter spirit is flowing, it’s very important to me to be able to record shortly after that when the idea is very fresh. If you can get that exciting energy and that spark recorded, it’s going to touch the listener way more than something that has been played for years. 

When a song is new, there is a crucial need to get that energy down and that’s why guys like Sam Phillips [Sun Records] and Willie Mitchell [Hi Records, Royal Studio] would record something- and it didn’t have to be flawless to get released. If someone listens to one of my records, I want them to be able to go to a show and hear that song in a way that rings a bell, and not something that’s way more stripped down or way more layered. I think it’s nice to have those things match up. I like to keep the studio and the live experience very similar. I like recordings that sound raw and exciting. I don’t want to make a safe record. 

Sun Studio, which has been a big influence on my philosophies on recording, has so many examples of that. Carl Perkins did a three oclock in the morning session there after drinking, and later didn’t want it to be released. But that is my favorite Carl [Perkins] song, “Her Love Rubbed Off”. It’s important to give a part of yourself to the listener, otherwise we’d all just stay in our bedrooms.

Speaking of your recording philosophy, how has your philosophy as a creator changed over the years?

If one thing has changed with my songwriting, I think that as I get older, I just don’t care what people think as much anymore. I think that’s kind of the human experience for most people… just IDGAF energy. Ha!

Really, I’ve gotten better at thinking of a human condition that I’ve experienced and relating it to a narrative voice to get the song written. I think too many times people are thinking that songwriting is just.. “Dear Diary..” and that’s the album. I love the ability to just put things through a creative filter and not worry what people think about it. I’ve written songs assuming the identities of a shoplifter and a pyromaniac and I am no longer worried about people thinking I am connected to these fictional characters. 

You may also be interested in: How Nick Black Adapted his Music to Life in Quarantine

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