From September 4 through October 11, the Shell hosts six consecutive weekends of sound, color, and community across the Orion Financial Free Concert Series and the Shell Yeah! Benefit Series presented by Mempho Presents.

A Lineup That Sounds Like Memphis

The fall slate runs the full range of the city’s musical DNA. Austin guitar phenom Jackie Venson, a Marvin Gaye tribute featuring Larry Springfield, the Memphis Country Blues Festival, Hattiloo Theatre’s 20th anniversary celebration, Gonerfest 23, a Hispanic Heritage Celebration, Opera Memphis marking 70 years, and Shakespeare at the Shell closing things out with Love’s Labor’s Lost. Nearly all of it is free.

The Birthday Weekend

September 10 through 13 is the main event. Stax legend Booker T opens the 90th-anniversary weekend with a special ticketed performance, followed by three free days: a birthday picnic with the Memphis Youth Symphony; Sounds of the Shell; The Gathering; and the Memphis Studio Superset, a mashup celebrating the studios that built this city’s sound.

The Shell has been the stomping ground for rising artists since before Elvis played it in 1954. Ninety years in, the tradition is not slowing down.

The post The Overton Park Shell Turns 90 With Six Straight Weekends of Free Music appeared first on We Are Memphis.

The first museum exhibition of David Uzochukwu’s career is not opening in Berlin, London, or New York. It is opening in Memphis, and that matters.

David Uzochukwu: Bodies of Water runs June 10 through September 27, 2026, at the Memphis Brooks Museum of Art, marking the debut solo museum show for the Austrian-Nigerian photographer and filmmaker. At just 27, Uzochukwu has already been published in the British Journal of Photography, i-D, and Dazed, exhibited at the Saatchi Gallery in London and Fotografiska in New York and Shanghai, directed episodes of Black Fruit that premiered at Tribeca, and landed on the Forbes 30 Under 30 list. Now the Bluff City gets him first.

Hybrid Beings, Dreamlike Waters

Bodies of Water gathers 22 photographs of figures who are part human, part animal. Adorned with fins, scales, and other features, they move through surreal landscapes built to test them, and they are equipped to survive. The images draw on mythology, fantasy, and histories of migration to evoke the adaptability and resilience of diasporic communities navigating environments often marked by hostility and exclusion. Within these imagined worlds, Blackness resists simple definition. It is fluid, shifting, and vibrantly alive.

A Memphis Connection Behind the Lens

The exhibition is curated by Efe Igor Coleman, an independent curator and Yale-trained historian who previously served as the Blackmon Perry Assistant Curator of African American Art and Art of the African Diaspora at the Brooks. Her return to the museum for this show puts Memphis at the center of a global conversation about identity and belonging.

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“Recognize” is a new citywide marketing campaign designed to shine a spotlight on the creative contributions and collective impact of the Memphis arts sector. The campaign is not just a celebration of individual milestones — it’s a call to the broader community to acknowledge what Memphis artists and cultural institutions have always delivered, and to say it out loud.

The numbers make the case plainly. Memphis’s arts sector delivers more than 2 million arts experiences annually to every zip code and demographic in Shelby County. From music and visual arts to food and fashion, those contributions are not just cultural amenities — they are tourism drivers, economic engines, and the connective tissue of Memphis identity.

“The visionaries behind these institutions have accomplished the unimaginable, creating work that moves and inspires both our community and the world,” said Elizabeth Rouse, President and CEO of ARTSmemphis. “Now is the time to unapologetically recognize that work that is the core of Memphis’ brand, our culture, and our unique position.”

Mayor Paul Young echoed that directly. “Art is part of Memphis’ DNA. It shapes our culture, strengthens our neighborhoods, drives our economy, and helps tell the story of who we are. When we support artists and creative organizations, we are investing in one of our city’s greatest strengths.”

The Recognize campaign is 100% locally produced, featuring collaboration from arts organizations including Playhouse on the Square, Ballet Memphis, Soulsville Foundation, Cazateatro, and others. For a full calendar of upcoming arts events and a list of organizations celebrating milestones this year, visit artsmemphis.org/recognize.

Memphis has always known what it has. This campaign is just making sure everyone else does too.

The post ARTSmemphis Is Asking Memphis to “Recognize” What the Arts Have Always Built Here appeared first on We Are Memphis.

Pablo Ávila just graduated from the University of Memphis as a Student Marshal with two majors, two Outstanding Senior Awards, and a whole lot of Memphis to show for it.

Born and raised in Bogotá, Pablo spent a gap year doing community service work in Mexico. That experience deepened something he had always carried: a drive to serve, understand people, and contribute to the communities around him. Anthropology was the natural fit. The University of Memphis had a practicing anthropology program that stood out, and his brother was already in the city. He made the move with intention.

What happened next is exactly the kind of story Memphis keeps writing for people who bring that energy to it.

Plugged Into the City

From his first semester, Pablo connected his academic work directly to the people around him. He started volunteering at Amigo Community Center, an amazing local nonprofit that connects resources to Memphis’s Latino community, and that work grew into a paid internship through the university. A full semester of real work alongside a community he was proud to be part of.

“My volunteer work opened that door so I could get paid, have an internship experience, and keep supporting that community,” he says.

He also partnered with the Benjamin L. Hooks Public Library on the 901Voices oral history project, pitching and leading interviews with Latino Memphians whose stories hadn’t been formally documented. His academic work didn’t stay in the classroom. It went back to the people.

“My work and research projects in school translated and contributed to the overall image and work being done in Memphis,” he says. “I thought that was super cool.”

Memphis Was Also Where He Found Home

During that same gap year in Mexico, Pablo met Katie, another participant in the same program. Memphis became the place they could both land, and they built a life here together. They enrolled at UofM and got married at Shelby Farms in the summer of 2023.

“We both came into Memphis from different parts of the world and fell in love with it.”

Pablo graduated as a Student Marshal for the College of Arts and Sciences, earning the Outstanding Senior Award for both of his majors and the Dean’s Award for the college. Katie walked across the stage as a Student Marshal too! He is about to transition into a full-time at the Consilience Group, a Memphis consulting firm where he grew from intern to part-time to the real thing, and Katie will being teaching young Memphians at Richland Elementary.

They are not leaving. That is what Memphis does for people who show up for it!

The post This City Did That: Pablo Ávila and the University of Memphis appeared first on We Are Memphis.

And then he built a whole studio.

Last fall, IMAKEMADBEATS partnered with Google and Urban Arts, the national nonprofit that teaches video game design as a pathway to college and career, to design and build a state-of-the-art sound studio at Urban Arts’ Game Academy in New York City. Professional recording equipment. Production tools. Game audio design. All free for NYC public school students.

He showed up with blueprints and a philosophy: “Fostering creativity in youth is one of the most powerful things we can do, especially in a time when most systems teach conformity and call it preparation. Creativity builds problem solvers and visionaries. I see myself in almost every young person I meet, because I know how much it matters to have someone believe in your ability to create something.”

That’s not a New York idea. That’s a Memphis idea.

Access Changes Everything

Urban Arts student Darlyn “Dayl!ght!” Gutierrez is the proof. Three years ago he had no idea he loved making music. Now he’s a rising college junior studying Music Technology, Entrepreneurship, and Production, and he was on stage at the studio launch performing an original release alongside IMAKEMADBEATS himself.

The talent was always there. The access was the variable.

90% of Urban Arts students come from low-income communities, and through the program they’ve achieved 100% college acceptance and earned over $46 million in scholarships. In April 2026, the Urban Arts Color Ball, where the studio took center stage, raised a record-breaking $1.1 million, with partners like Google, Paramount, Take-Two Interactive, Adobe, and NBCUniversal all in the room.

IMAKEMADBEATS didn’t move to New York to do this. He brought Memphis to New York. His values, his vision, his belief that young people deserve real tools and real investment, that’s what built that studio.

There is no shortage of that same vision here at home. If a Memphian can walk into a room with Google and come out with a studio that changes young lives, the ceiling is higher than we’ve been told.

The talent here travels. The vision here scales. And it starts with someone deciding to build something.

The post A Memphis Innovator Just Changed the Game in New York City appeared first on We Are Memphis.

Led by the Memphis Brooks Museum of Art in partnership with the University of Memphis Fashion Program, MAFW brought together designers, artists, students, stylists, photographers, and fashion lovers in a shared space built for visibility, connection, and creative risk. This year, University of Memphis students were not on the sidelines. They were in the room where it happened.

Senior students Beij King, Blaze Pointer, Kelsey Keck, and Kyissa Baccus, alongside current students Eric Venson II, Giovanny Gorosteita, Marco Mata, Nancy Cebria, and TJ Jordan, worked directly with designers, retailers, artists, models, photographers, and industry professionals to bring the week to life. For many of them, it was their first real taste of the industry, and it happened in their own city, on their own terms.

That last part is the point. MAFW creative director Ramona Sonin coordinates both the week and the University of Memphis fashion design program, and the student partnership was a direct extension of her beliefs about Memphis fashion. It deserves visibility. It deserves investment. The next generation of designers should not have to leave to get their start.

Memphis Art and Fashion Week was bigger than a runway. It was a proof-of-concept that when the right institutions, educators, and community members invest in Memphis creative talent, the city builds something that belongs to itself. 

Follow the Memphis Brooks Museum of Art on Instagram to stay connected to what they build with the University of Memphis students next.

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“I think I would consider myself a cultural curator. I do a little bit of everything. DJ, curate events, tell stories through content. Yeah. A practicing filmmaker.”

He returned to Memphis in 2021 and got back to work. DJing took a back seat for a minute, until it didn’t.

“I didn’t probably really start getting back into my DJ bag until ’24. And especially ’25.” Now he’s back in full force running his own event series Yo Breezye and Friends alongside everything else he has in motion.

“Now we’re having spaces like Swamp Bar, Cameo, and these smaller bars that are providing spaces for DJs to be creative and be DJs.”

This past weekend, Breezye took the stage at RiverBeat, his first real festival moment, and it meant something bigger than the set itself.

“It’s a big festival and it’s in Memphis and I feel like me and other DJs are starting now to get recognized by these larger organizations. So for Riverbeat and Mempho to reach out, it’s like okay, people are taking some notice. So it’s pretty dope.”

Photo from Summer Soulstice 2025 | Taken by @jbendr93/Jalen Jones

“You’re gonna see a lot more DJ-hosted events where it’s not a club or the bar putting it on, but it’s gonna be a DJ putting it on or a collective of DJs. It’s giving the power back to the creative side.”

That shift means more people who wouldn’t normally go out are going to start showing up because they rock with a specific DJ or collective, not just a venue. For Breezye, that’s not just a prediction. It’s already the plan, and with Yo Breezye and Friends he’s been building toward exactly that kind of moment.

Memphis gave him the foundation. Now he’s helping shape what comes next.

Follow breeezye on socials to stay up on upcoming sets and events.

• Instagram
• TikTok
• Link

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A classically trained violist, DJ, and curator by title. A cultural connector by nature. Nico plays black nostalgic music woven into dance music, and she’s intentional about why.

“A lot of people, maybe even in Memphis, don’t realize that dance music is black music and that a lot of pioneers lived here and migrated to Chicago and Detroit and helped pioneer the sound.”

She’s not just saying it. She’s proving it every time she steps behind the decks.

What started as Nico wanting to bring Zack Fox to Memphis turned into Summer Soulstice, a 3,000-person moment that nobody saw coming, including her. But the real win wasn’t the crowd size. It was what happened after.

“Zack put Memphis on his map for his tour. That’s what I want. When we invite them and let them see how hungry people are here, they want to be a part of the map.”

That’s curation at its highest level. Not just throwing an event. Building a bridge.

Photo from Summer Soulstice 2025 | Taken by @jbendr93/Jalen Jones

This past weekend she took the stage at RiverBeat, joining a lineup that continues to prove Memphis doesn’t just have history, it has momentum. Festivals like RiverBeat and Mempho have become the platforms where local talent gets a national stage and Nico is exactly the kind of artist those rooms were made for.

She freestyles every set. No plan, no script, just reading the room and building the moment live.

“We create a moment together. And I think that’s why it’s really fun.”

Keep up with what she does next. Memphis is on the map and she’s one of the reasons why.

Follow DJ Nico on socials to stay up on upcoming sets and events.

• Instagram
• TikTok

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According to reporting from The Daily Memphian, artists like De La Soul and Wu-Tang Clan, both known for groundbreaking debut albums, built their music in part on Memphis soul. Through samples from Stax Records legends like Otis Redding, Isaac Hayes, and Carla Thomas, these groups helped carry the city’s influence into a new era of sound.

De La Soul’s playful, genre-blending production and Wu-Tang Clan’s raw, stripped-down style may have emerged from New York, but both drew heavily from Memphis records—transforming classic soul into something entirely new.

That connection continues across the RiverBeat lineup. Artists like Salt-N-Pepa also reworked and reintroduced Memphis classics to new audiences, proving the city’s lasting impact across generations of music.

Now, those sounds come full circle as these artists take the stage in Memphis—bringing global recognition back to the source.

As RiverBeat begins, it’s more than a weekend of performances. It’s a reminder that Memphis music doesn’t just make history, it continues to shape what’s next.

The post RiverBeat Brings Hip-Hop Icons Back to Their Memphis Roots appeared first on We Are Memphis.

The coming year goes beyond a single opening or one headline moment, and is full of momentum. Decades of artists, builders, storytellers, educators, and organizers all reaching a shared crescendo. From stages and studios to gardens and riverfronts, Memphis arts and culture are stepping forward together and inviting everyone to witness it.
This is an arts and culture year that is decades in the making.

Generations of Creativity, Celebrated Together

If you measure heritage in heartbeats and history, Memphis is marking something extraordinary in 2026. Some of our most vital arts and culture institutions are celebrating milestone anniversaries, proof that creativity here isn’t a trend, it’s a legacy.
These organizations didn’t just entertain us. They shaped neighbors, nurtured youth, challenged systems, moved bodies and minds, and told the stories only Memphis could tell. This year, we honor them all. Not by looking back, but by celebrating how alive they continue to be.

Supporting these arts organizations not only sustains their important work but also contributes to the vibrant cultural fabric of Memphis. Whether through attending events, making donations, or spreading the word, your involvement can make a significant impact! For even more inspiration, check out Shelby County Art for All, ARTSmemphis, and DANCE Memphis upcoming arts events, and much more.

What’s Opening Next: New Energy, New Spaces, New Stories

While we honor the institutions that built the foundation, 2026-2027 also opens the door to what’s next. Across the city, brand-new cultural experiences are taking shape. They are bold in scale, ambitious in vision, and unmistakably Memphis in spirit. Learn more about what’s opening next here.

The post 2026-2027: When Memphis Shows the World How Culture Lives appeared first on We Are Memphis.

Friday, February 13 at the Green Room at Crosstown Arts

For the second year in a row, two of Memphis’ most celebrated DJs are kicking the holiday weekend off right with Lovers’ Night, a love-filled dance party featuring an eclectic mix of R&B, soul, house, techno, and more.

VALENTINE’S MIXTAPE

Saturday, February 14 at the Landers Center

Sure, sometimes making the trip across the state line to catch a concert can feel a bit daunting, but how’s this line-up for motivation? Trey Songz, K Michelle, Lloyd, Plies, Ying Yang Twins, Day 26 and Boosie are all scheduled to appear at what is easily this year’s most epic VDay show. If you really want to impress your date this year, then look no further.

CLOWNVIS PRESLEY’S VALENTINE’S SPECIAL

Saturday, February 14 at Hernando’s Hideaway

If you’re looking for a classy, romantic night out with the one you love, then let us be clear: This ain’t it. However, if you’re in search for some goofy and light-hearted fun, you can’t do much better than spending an evening with Clownvis Presley, the clown tribute to Elvis known for wild energy, unpredictable moments, and a show that’s part concert, part comedy, and part beautiful disaster.

VALENTINES DAY WITH KORTLAND WHALUM

Saturday, February 14 at the Scheidt Family Performing Arts Center

Singer-songwriter Kortland Whalum is one of the city’s brightest talents when it comes to the world of soft jazz and R&B/soul music, making him a perfect fit for the most romantic night of the year. For this special Valentine’s Day performance, he’ll be performing alongside the Memphis Symphony Orchestra, adding a bit of sophistication to the mix.

CXFFEEBLACK PRESENTS: FOR THE LOVERS W/ CAMERON BETHANY

(Sunday February 15 at Cxffeeblack)

If you haven’t had a chance to check out Cxffeeblack’s new location at 3386 Bowen Ave, this is a perfect opportunity. R&B Casanova Cameron Bethany will be in the house for a special unplugged Valentine’s Day show that promises to be the perfect romantic ending to your holiday weekend.

The post 5 Live Music Events to Celebrate Valentine’s Day ’26 appeared first on We Are Memphis.

For the past 16 years, Boiler Room has usually focused on the here and now, documenting emerging artists, new scenes, and sounds that feel like they’re still taking shape in real time. That’s what makes this week’s programming feel like a deliberate shift in perspective. Instead of focusing on the future, Boiler Room is turning its cameras toward the past, specifically to the foundational figures of Memphis rap who first began recording in the 1990s.

In October, the London crew descended on Memphis to record a string of Boiler Room concerts that are truly unlike any others in the series. Recorded at the legendary Royal Studios–once the home to Memphis soul icons such as Al Green, Willie Mitchell, and Ann Peebles–the Memphis rap-focused showcase featured crunked-out performances from underground legends Tommy Wright III, DJ Spanish Fly, Shawty Pimp, Al Kapone, La Chat, and DJ Zirk. 

Nearly three months later, these performances will finally be available to the public as they’re set to premiere on Thursday, January 22nd on Boiler Room’s channel. For those of you in Memphis, you can join the official watch party at No Comment Wine Bar at 8PM, which promises to feature appearances by many of the legendary rappers themselves. 

For longtime fans and newcomers alike, this Memphis-focused Boiler Room set is a rare opportunity to witness the roots of a genre that continues to shape hip-hop today, framed through the uniquely intimate lens that only Boiler Room can provide.

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GloRilla & Kehlani – “Xmas Time”

GloRilla and Kehlani make an unexpectedly warm pairing on “Xmas Time.” The song feels like the kind of track you play while you’re getting ready to see people you love, or when you’re driving across town as the city lights flicker across the windshield. Kehlani holds down the melodic center, while GloRilla keeps things grounded with her straight-to-the-point delivery. It’s festive without trying too hard, and it taps into that mix of excitement and reflection that always comes with the holidays.

Yo Gotti – “3 Kings” (feat. DJ Khaled & Fabolous)

“3 Kings” features Yo Gotti stepping into the holiday season with his signature swagger, wrapping his well-known street tales in green and red wrapping paper. From bars about a trap house with mistletoe on it to buying his girl a whole business for Christmas, Gotti sets the tone on this track about counting your blessings (and doing a little flexing) at the end of the year.

Indo G – “Frosty the Blowman”

A standout track from Indo G’s hilarious Christmas N’ Memphis album, “Frosty the Blowman” has been floating around Memphis holiday playlists for years, especially among folks who grew up on that classic underground sound. It’s a funny, clever flip on a Christmas standard, unfiltered and full of drug-dealing innuendo. The track probably isn’t one to play during family dinner, but it deserves a spot on your playlist nonetheless.

DJ Paul – “A Xmas Flock”

DJ Paul’s “A Xmas Flock” is what happens when Memphis crunk collides with the holiday season. The Three 6 Mafia veteran puts a heavy and dark flip on the classic holiday tune “Dance of the Sugar Plum Fairy” this is sure to be ringing in your head until 2026. It’s the kind of song you could easily hear at a Christmas party once the energy picks up and the drinks start flowing. Paul keeps it playful but still true to his sound, giving Christmas a little extra Memphis bite.

NLE Choppa – “What a Christmas”

NLE Choppa takes a lighter approach with “What a Christmas,” treating the holiday like another moment to have fun and talk his talk. The song, which features an equal measure of auto-tuned crooning and rapping, feels like something you’d hear playing in the background while everyone’s running around the house. Choppa keeps it simple and catchy, mixing a little humor with the confidence he’s known for.

The post WAMM in Rotation: 5 Memphis Rap Songs for Your Holiday Playlist appeared first on We Are Memphis.

The Burnettes: Rock n Roll Rebels

Brothers Johnny and Dorsey Burnette stood at the center of the Rock and Roll Trio, one of the first groups to fuse country, blues and emerging rock and roll into something wild and electrifying. Their unpolished and rebellious style became a prototype for rockabilly, inspiring countless musicians across the South. Although their careers fluctuated, the trio’s reputation grew with time as listeners recognized the group’s influence on early rock foundations. Johnny and Dorsey performed with the kind of instinctive unity that only siblings seem to possess, giving their sound an urgency that still feels striking today. The Burnettes helped write an early chapter in the story of family-driven music tied to the Memphis region and to the birth of rock and roll.

The Dickinsons: Southern Roots Innovators

Luther and Cody Dickinson created North Mississippi Allstars as an extension of the musical world they inherited from their father, Jim Dickinson. Jim was a prolific producer and musician whose work throughout Memphis and North Mississippi exposed his sons to a wide spectrum of roots traditions. The brothers combined hill country blues, Southern rock and folk textures in ways that honored their upbringing while still moving boldly forward. Their sound carries the grit of the region, shaped by years of experimentation and deep respect for local musical history. The Dickinsons stand as a family whose creativity and regional pride continue to shape modern Southern music.

The Hodges Brothers: The Heartbeat of Hi Records

Charles, Leroy and Teenie Hodges formed the rhythmic heart of the Hi Rhythm Section, the band that powered many of the most iconic soul recordings of the 1970s. Their playing supported artists such as Al Green, Ann Peebles and Syl Johnson, elevating each song with a warm, steady groove that became synonymous with Hi Records. The brothers shared a musical intuition that gave their arrangements a distinctive subtlety and depth. Although they rarely appeared in the spotlight, their contributions shaped an entire era of Memphis soul. The Hodges family created a rhythmic foundation that continues to influence musicians around the world.

Juicy J and Project Pat: Kings of Memphis Rap

When discussing Memphis rap, the names Juicy J and Project Pat belong at the center of the conversation. The brothers, part of the Houston family, became major architects of the sound that reshaped Southern hip hop in the 1990s. Juicy J brought dark production and hypnotic beats into the mainstream through his work with Three 6 Mafia, while Project Pat developed a gripping storytelling style that resonated deeply across the South. Their careers often unfolded along separate paths, yet their shared roots and creative instincts shaped a movement that continues to influence artists internationally. Together they helped define Memphis hip hop as a cultural force that is both innovative and unapologetically raw.

The Mitchells: Stewards of the Memphis Sound

The Mitchell family stands among the most enduring dynasties in Memphis music. Willie Mitchell, a visionary producer and bandleader, crafted the smooth and refined sound that made Hi Records a global name. His influence stretched far beyond his own era as he passed his knowledge to his children. Boo Mitchell carries the family legacy forward as the owner of Royal Studios and as a producer who works across several contemporary genres. Ana Mitchell has also contributed to maintaining the creative atmosphere of Royal. Through their combined efforts, the Mitchells continue to guide Memphis soul into new territory while honoring its past.

The Newborns: The First Family of Jazz

The Newborn family introduced a sophisticated blend of jazz, blues and early rhythm and blues into the cultural bloodstream of Memphis. Patriarch Phineas Newborn Sr., a drummer and bandleader, provided the earliest stage for his sons by placing them in his ensemble throughout their young lives. Pianist Phineas Newborn Jr. and guitarist Calvin Newborn built their musical identities through these early performances in Memphis and West Memphis, where they often played as the house band at the Plantation Inn. Phineas Jr. became known for extraordinary virtuosity and technical brilliance, while Calvin developed a style that blended jazz finesse with blues feeling. Their individual careers reached far beyond the region, yet both carried with them the musical grounding they received from their father. As a family, the Newborns represent one of the most accomplished and influential lineages in the history of Memphis instrumental music.

The Selvidges: Southern Storytellers

Sid Selvidge earned deep respect within Memphis for his plaintive voice, thoughtful songwriting and dedication to the preservation of roots and folk music. His son, Steve Selvidge, absorbed that world while growing up and later expanded it by moving confidently into rock, alternative and Americana circles. Steve played key roles in bands such as Big Ass Truck and eventually The Hold Steady, broadening the family’s creative footprint far beyond Memphis. Although their musical styles differ, both father and son value the spirit of authenticity that defines much of the city’s music. The Selvidges reflect a multigenerational commitment to artistic honesty and exploration.

The Staple Singers: Voices of Faith and Freedom

Roebuck “Pops” Staples and his children created a sound that wove together gospel, soul and messages of social justice. The Staple Singers carried spiritual traditions into secular spaces in ways that felt fearless and timely during the 1960s and 1970s. Their harmonies, guided by Pops’s expressive guitar, made their music instantly recognizable. After joining Stax, they produced unforgettable anthems such as “Respect Yourself” and “I’ll Take You There,” songs that became rallying cries far beyond Memphis. Their commitment to faith, family and advocacy continues to inspire musicians and activists today.

Jim Stewart and Estelle Axton: Architects of Southern Soul

Jim Stewart and Estelle Axton used their shared vision to build Stax Records into one of the most important recording institutions in American music. Their partnership created a welcoming environment in which emerging artists could experiment, collaborate and define the soul sound of Memphis. Although neither sibling performed as a star, both played essential roles in developing the careers of the singers and musicians who passed through their doors. Their bond brought stability and clear direction to the label during its rise from a small enterprise to a cultural powerhouse. Together, they demonstrate that some of the most influential musical families are those who build the platforms on which others shine.

The Thomases: Funk and Soul Pioneers

Rufus Thomas and each of his children contributed significantly to the development of Memphis soul. Rufus, already known as a radio personality and early talent at Sun Records, recorded the single “’Cause I Love You” with his daughter Carla in 1960. The song helped spark the early success of Stax Records and opened the door to Carla’s national recognition as the “Queen of Memphis Soul.” The family legacy expanded further through siblings Marvell Thomas, a skilled keyboardist and arranger, and Vaneese Thomas, a dynamic singer and producer. Each member pursued a distinct path, yet all contributed to the rich, interconnected world of Memphis music. The Thomases remain one of the city’s most beloved and influential musical families.

As we look toward the present, Memphis’s musical bloodlines continue to grow through younger family groups who are shaping the scene in real time. Southern Avenue, formed around the chemistry between Ori Naftaly and vocalist Tierinii Jackson along with Tierinii’s sister Tikyra, brings a vibrant blend of soul and modern blues to the stage. The group Mak Ro, made up of cousins Eric Makapugay and Kristoffer Ruaro, introduces a fresh mix of pop, R&B and electronic influences that reflects the direction of contemporary Memphis music. Aquarian Blood, powered by the experimental instincts of spouses Laurel and JB Horrell, pushes into punk and psychedelic terrain with fearless energy. Together, these emerging families show that Memphis’s musical heritage is not just a story of the past. It is a living, evolving continuum shaped by new generations who carry the spirit forward every day.

The post 10 Families That Shaped the Sound of Memphis Music appeared first on We Are Memphis.

Cameron Bethany-YOUGETONMYNERVES

Cameron Bethany’s upcoming album YOUGETONMYNERVES isn’t out yet, but the lucky few who heard his recent preview performances at the Green Room and at the MOSH planetarium know it is going to be something special. Bethany has long been celebrated for his blend of soulful vulnerability, experimental R&B, and meticulously crafted soundscapes, and this long wait for a follow-up has only heightened the anticipation. The new material he shared feels both more intimate and more daring, showing an artist who has grown in the years since his 2017 debut YOUMAKEMENERVOUS. If these early glimpses are any indication, YOUGETONMYNERVES promises to be a rich and immersive next chapter from one of Memphis’s most distinctive voices, fully worth the patience it took to get here.

Dead Soldiers-CivilWarLand

Although commercial country radio is still sadly in the grasps of dude bros and even chart-topping AI “artists” gag, there has been a real and welcomed resurgence of the type of country and Americana that speaks truth to power and that isn’t afraid of breaking some rules. Memphis’ own Dead Soldiers is one such group, and they’ve never been better or more insightful than on their urgent new album CivilWarLand. It’s a powerful commentary on how old wounds still shape today’s world and a must-listen for fans of thoughtful, character-driven Americana.

HEELS-We Look Happy Here

HEELS, the local punk band with a blue collar folksy side, is back with both a new album and a new member. For their newest full-length We Look Happy Here, founding members Josh McLane and Brennan Whalen welcomed bassist Buddy Forbess to the party, resulting in a more robust and full sound. The album’s title, which I initially took as a dark joke (the group’s previous album was Pop Songs for a Dying Planet, for some context), seems to be sincere, as the project is filled with moments of sincere warmth. Fans of the group’s previous efforts need not fret, though–there is still plenty of introspective gloom here, if that’s your thing.

Optic Sink-Lucky Number

Lucky Number, the third album by the excellent synth-punk trio Optic Sink, was released on Halloween, an exceptionally fitting drop date for an album that is equal parts gloom and party. You know the video from the original Addams Family series when Wednesday absolutely kills it on the dance floor? Yeah, it kinda sounds like that. In all seriousness though, the group has never sounded better, allowing their minimalistic grooves to build and morph into something cosmic. Pro tip: If you haven’t already, be sure to check out the band’s hypnotic live show as soon as you can.

Joe Restivo-A Beautiful Friendship

Joe Restivo, a Memphis-born guitarist steeped in the city’s rich jazz and soul legacy, pours his deep love of mid-century swing into his stunning new album A Beautiful Friendship. Recorded at the iconic Sam Phillips Recording Studio, Restivo channels a bygone era of great Memphis jazz, reuniting organist Charlie Wood and drummer Renardo Ward to evoke the warm, intimate grooves of ’50s-’60s Beale Street. Across seven beautifully crafted tracks, his lyrical guitar lines and tight ensemble create a vibrant celebration of timeless friendship and sound.

The post 5 Excellent New Memphis Albums Help to End the Year On a High Note appeared first on We Are Memphis.

“Haunted Blues”-Memphis Minnie (1936)

Known as “The Queen of the Country Blues,” Memphis Minnie’s expansive catalogue is saturated with tunes about voodoo, ghosts, murder, and other macabre subjects. Given this wealth of options, it was a bit tough to hone in on just one tune, but her 1936 classic “Haunted Blues” about the struggles of living with the ghost of a departed lover is hard to deny.

“I’m Gonna Murder My Baby”-Pat Hare (1954)

While not a household name, Pat Hare was one of the meanest and raunchiest guitarists of his generation, laying down absolutely nasty proto-metal riffs on several tracks for Sun Records. Although he largely acted as a sideman, his 1954 solo effort “I’m Gonna Murder My Baby” showcases his power as a singer as well, and is haunting in both its subject matter and delivery. To make things even more unsettling, Hare would go on to be arrested for actually murdering his wife a few decades later.

“Tarantula” by the Tarantulas (1961)

Not a ton is known about the band responsible for this creepy little slice of instrumental surf rock other than they were originally called the Spiders, but the band apparently like it enough to name it after themselves! Recorded at Memphis’ Fernwood Records–a tiny home studio once ran by Ronald “Slim” Wallace and Jack Clement. Despite the group’s anonymity, this is a timeless track that will have party goers asking you “whose this?!?”

“Li’l Red Riding Hood”-Sam the Sham & the Pharaohs (1966)

Best known for their smash novelty hit “Wooly Bully” about a monster with “two big horns and a wooly jaw,” Sam the Sham & the Pharaohs has several other silly and spooky tunes that fit the season perfectly. Our personal favorite is “Li’l Red Riding Hood,” a retelling of the classic fairy tale told from the perspective of the Big Bad Wolf. In the years since its release, everyone from Bowling for Soup to The Smashing Pumpkins have covered the holiday favorite.

“Trick or Treat”-Otis Redding (1966)

Although it was recorded by the “King of Soul” in 1966, Otis Redding’s Halloween-themed “Trick or Treat” wasn’t released until 1992, a full 25 years after the legendary singer’s death. The song–which was written by the powerhouse Stax duo of Isaac Hayes and David Porter–finds Otis doing what he did best: pleading to his lover to treat him right. “I can’t wait ’til Halloween to find out if it’s trick or treat,” he sings.

“Insane Asylum”- Koko Taylor & Willie Dixon (1968)

If we wanted to (and believe us, we were tempted), this entire playlist could have been solely dedicated to the women of Memphis blues, who had an uncanny knack for channeling the darker side of life. Memphian Koko Taylor certainly delivers the goods on this track from her solo debut, which features fellow blues great Willie Dixon. The duet speaks about having a loved one institutionalized in an insane asylum, and the pain is visceral.

“Frankenstein’s Walk”-Gene “Bowlegs” Miller (1969)

During his long and illustrious career,Memphis trumpeter Gene “Bowlegs” Miller worked alongside some of the greatest talents this city has ever produced, including Aretha Franklin, B.B. King, Al Green, and Isaac Hayes. Needless to say, his 1969 novelty track “Frankenstein’s Walk” probably doesn’t rank among his finest musical moments, but sometimes you just have to let loose and have some fun. The song features Miller as Frankenstein’s monster, who understandably isn’t the most skilled dancer. Unsurprisingly, the song comes with its own unique dance moves, making it a necessity for any Halloween dance party.

“Haunter of the Darkness”-Zuider Zee (1975)

If I were to ask you which 1970s Memphis power pop band unfairly floundered in obscurity despite coming out with undeniably excellent music, you’d probably respond with “Big Star,” which is certainly true. But Zuider Zee also fits the bill perfectly, as is evident from their darkly infectious track “Haunter of the Darkness.” If you don’t know now you know.

https://www.youtube.com/watch?v=4Zcy4g2e4yc&feature=emb_imp_woyt

“Monster”-The Bar-Kays (1978)

Driven by tight basslines, sharp horns, and eerie synthesizer flourishes, the track blends the band’s classic Memphis funk sound with a spooky, cinematic edge. Without a single lyric, “Monster” conjures its mood entirely through rhythm and atmosphere, making it a standout Halloween anthem for funk lovers. At nearly 7 minutes long, it’s guaranteed to get feet moving and the party started.

“I Was a Teenage Werewolf”-the Cramps (1980)

Although they hailed from California, the seminal psychobilly punks the Cramps recorded their iconic debut album Songs the Lord Taught Us at Memphis’ Phillips Recording with Big Star’s Alex Chilton serving as producer. While you could easily just push play on the album and let it serve as your Halloween soundtrack, if you could only choose one track, we’d go with “I Was a Teenage Werewolf,” one of the group’s best-known and most-loved tracks.

“Warlords”-Medieval Steel (1984)

Memphis metal heroes Medieval Steel unleashed pure epic energy with their 1984 track “Warlords,” one of the many stand-out singles from their cult classic debut. With galloping riffs, soaring vocals, and battle-ready lyrics, the song channels fantasy warfare and dark power—perfectly suited for a Halloween soundtrack.

“She’s My Witch”-Tav Falco & Panther Burns (1987)

Much like their contemporaries The Cramps, Tav Falco & Panther Burns excelled in creating a creepy throwback sound that hearkened back to 1950s rockabilly with a dash or two of punk and goth thrown in for good measure. The group’s 1987 track “She’s My Witch” is an excellent example of their signature sound and a perfect tune to play for the special witch in your life.

“Potato Heads from Hell”- Wally Ford (1994)

Like a classic B movie rendered in song form, Wally Ford’s “Potato Heads from Hell” tells the story of an unfortunate man who is attacked by an army of blood-thirsty spuds from the underworld. Believe me, it only gets weirder (and more delightful) from there. I discovered the song several years ago from Mr. Ford himself, who played it to me while we sat next to each other at a bar. Needless to say, I haven’t been able to shake it ever since.

“Experiment in Terror/Stalkin’”-Impala (1994)

Yet another instrumental banger? You’re damn right! Memphis surf-rockers Impala put their own spin on “Experiment in Terror/Stalkin’,” blending Henry Mancini’s 1962 film theme with Duane Eddy’s 1958 twangy instrumental. The result is a shadowy, reverb-soaked medley that fuses noir suspense with rock ’n’ roll swagger.

Graveyard Productions – “Horror Stang” (1995)

Memphis underground outfit Graveyard Productions conjure pure terror with their 1994 track “Horror Stang.” A brief but unforgettable sound collage, it mixes eerie synths, distorted bass, and snippets of horror-movie dialogue into a chilling, lo-fi atmosphere. Emerging from the city’s early horrorcore rap scene, the track feels like a nightmare transmitted straight from a haunted cassette deck.

“Covered with Flies”-The Grifters (1996)

The title of this one alone would probably make it Halloween soundtrack worthy, but its the jagged guitars, chaotic arrangement, and restless mood that really sells it. Throughout the song, Memphis indie rockers the Grifters channel unease and exhaustion into something hypnotic and raw. It’s not a horror song in theme, but its atmosphere feels haunted all the same.

“Anyone Out There?”-Three 6 Mafia (1997)

No Halloween mixtape is complete without a track or two from the kings of horrorcore and this 1997 track finds the group at their bone-chilling best. Featuring a sample from the horror film “Man’s Best Friend,” the song serves as a solo track for Three 6 member Lord Infamous who weaves a horrifying narrative worthy of Edgar Allan Poe. “A family slaughtered by a loved one, forgive scarecrow/I turned against God and everything that I cared for most/Police arrived, candle light, butcher knives, bloody bedposts…” he raps, and that’s just the opening bars.

“Breathing Machine”-Lost Sound (2002)

Lost Sounds–the influential  dark wave group featuring Jay Reatard and Alicja Trout–were experts at fusing punk aggression with eerie electronic textures, which were oftentimes complimented with apocalyptic lyricism. “Breathing Machine,” a menacing yet groovy track about the Book of Revelation, is a fan favorite and a great introduction to those first arriving at the group.

“Disco Werewolf”-Clay Otis & the Dream Sheiks (2013)

Prior to his untimely passing, Clay Otis (nee Clay Hardee) released some of the most adventurous and captivating music to come out of Memphis in years. Amongst his best tracks is 2013’s “Disco Werewolf,” an absolute banger that sounds like the sequel to “Thriller” we never got. The song, released on Halloween night of 2013, features some of Memphis’ finest current musicians and promises to be a local Halloween favorite for years to come.

“Mala Luna”-Los Psychosis (2021)

Very much in the tradition of the aforementioned band the Cramps, Los Psychosis is a psychobilly band steeped in primordial rock ‘n’ roll. However, the group’s Latinx heritage gives their sound a unique flavor that sets them apart from the pack. Their excellent debut album Rock and Roll Dreams is filled with worthy candidates for this list, but we’re rolling with “Mama Luna,” a Spanish-language banger whose menace is easy to pick up on no matter what language you speak.

The post The Ultimate Memphis Halloween Mixtape: 20 Spooky Songs Straight from the M-Town appeared first on We Are Memphis.

As one fan at the Paris show later wrote “It was a legendary moment. I came back home covered in sweat and with a crazy smile on my face.”

The trio had touched down in each city not just as touring acts, but as cultural ambassadors who helped transform crunk and horrorcore from a regional sound into a global phenomenon.

The tour first came about as a way to help promote the La Chat-focused documentary The Other Queen of Memphis, a short film directed by Belgian artist Luna Mahoux. “Once the documentary was done, Luna helped me put together a tour so that we could so some shows along with the screenings,” explains La Chat. “We decided to make it a whole Memphis-based showcase, which is where Tommy and Spanish Fly came in.”

The tour kicked off at the historical Bourse de Commerce in Paris, a gorgeous exhibition space built in 1763. “It was high, high energy, man” recalls Spanish Fly. “It was off the chain. Performing in this historical museum in Paris is something that nobody there will ever forget.” Chat shared these sentiments, saying “Paris was great and a perfect way to boost everything off. It gave me that motivation. These folks were really live!”

The fact that a group of self-taught rap artists from the streets of Memphis found themselves being celebrated in front of haute Parisian society may seem a bit crazy (including to the artists themselves), but it was yet another example of the Bluff City’s global impact. Although Tommy Wright III and Spanish Fly had previously toured in Europe, this was La Chat’s first time on the other side of the pond. “It was crazy, because outside of the London show, I of course couldn’t understand the different languages, but they would be singing all of my lyrics during the shows,” she says. “I have to shout out the Barcelona show especially…that crowd was amazing.”

Now, the trio–along with the notable addition of Crunchy Black, Gangsta Pat, and DJ Zirk–will be bringing their globe-spanning show back for a homecoming show on Halloween night. On Friday, October 31st, Shangri-La Records is bringing the Memphis Rap Ogz showcase to Minglewood Hall for an epic hip-hop family reunion.

“As far as what I’m expecting for Halloween night? I’m expecting Memphis, mane. I know my people are gonna show out and show love. It’ll be a night to remember,” says Chat. As for DJ Spanish Fly, he promises “a legendary night…Forreal, we’re planning to show up and to show out.”

The post Memphis Rap Royalty Took Europe by Storm — Now They’re Coming Home for Halloween appeared first on We Are Memphis.

Qemist – “Make U Please U”

Michael Ivy, aka Qemist, has long stood as one of Memphis’s premier voices in EDM and house music, consistently delivering flawless vibes to the city’s clubs. His latest project, THE NEW JUKE TAPE, drops October 10th, led by the first single “Make U Please U.” Clocking in at a rapid 160 BPM, it’s the perfect high-energy track to carry you through the early weeks of fall.

Kennedy Ray – “One Night in Paradise”

Stax Music Academy alumna Kennedy Ray, one of the latest breakout talents from the legendary school, returns with her new single “One Night in Paradise.” Recently featured in FEMI Magazine, Ray now calls Los Angeles home, but her soulful sound remains deeply rooted in Memphis. She’s an artist whose rise is impossible to ignore.

R.U.D.Y. – “Hold On”

Local rapper R.U.D.Y. dropped one of the city’s most exciting hip-hop projects this year with his album Proof of Life. While the entire project deserves attention, the hard-hitting track “Hold On” has been on repeat, showcasing the chest-thumping energy and lyricism that have made R.U.D.Y. a longtime favorite in Memphis hip-hop circles.

Talibah Safiya – “The Message”

When we saw that Talibah Safiya had teamed up with South Memphis Jeff and Ari Morris, a standout track was inevitable. “The Message” delivers sensual, exotic, and liberating vibes that quickly make it a contender for one of the year’s best local singles. It’s a perfect showcase of Mrs. Safiya’s artistry and creative vision.

Cameron Bethany – “TBU”

Just ahead of his performance at MOSH’s Laser Live Concert Series on October 11th, R&B talent Cameron Bethany drops his new single “TBU” (Thinking Bout U) from his upcoming album YOUGETONMYNERVES. Featuring his signature smooth vocals over an airy, emotive production co-created with CmaJor, the track leaves us eagerly anticipating the full album.

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

Memphis Music Hall of Fame Induction Ceremony

Dates & Venue: Thursday, September 25th at the Cannon Center

Hailed as “Memphis Music’s Biggest Night of the Year,” the Memphis Music Hall of Fame is inducting its newest class (Art Gilliam, Cordell Jackson, Robert Johnson, Denise LaSalle, Wendy Moten, and Johnnie Taylor) with the help of some famous friends. John Mellencamp, Martina McBride, and Eric Gales are among the evening’s special guest, but expect many more surprises as well.

Gonerfest 22

Dates & Venue: September 25-28 at Wiseacre Brewing (Broad Avenue), with Sunday’s free grand finale at Overton Park Shell. 

Once a series of unhinged live shows held at several Midtown watering holes, Gonerfest has since matured into a true Memphis institution, gaining a dedicated global following along the way. For their 22nd iteration, Goner has relocated to Wiseacre Brewing and the Overton Park Shell, providing plenty of room for the throngs of people who will surely descend on our fair city to catch an excellent and musically-diverse line-up include Lightning Bolt, Radioactivity, W.I.T.C.H., Tommy Wright III, Snooper, and more. If you’re into gritty, loud, off-beat, and experimental sounds, this is your weekend.

Mempho Music Festival

Dates & Venue: October 3-5, 2025 at Radians Amphitheater at Memphis Botanic Garden

Without disclosing my age, let’s just say that I’m no longer drawn to the discomfort and chaos of large outdoor festivals such as Bonnaroo and Coachella, which is one reason why Mempho Music Fest has become a perennial favorite. Stacked line-ups in a shaded and lush location with plenty of room to lay out and chill? Sign me up. Headliners for this year’s fest include Mempho favorites Widespread Panic, Tyler Childers, Father John Misty, The Flaming Lips, Sierra Ferrell, Lucero, Mavis Staples, and more. You looking for some laid-back outdoor autumn vibes? Well look no further…

Memphist Fest

Date & Venue: October 3-4 at the Hi Tone

Although it shares a similar name to our previous entry, the 2-day Memphist Fest is in many ways the spiritual opposite of Mempho’s feet-in-the-grass vibes. Featuring a heavy-hitting collection of hardcore, punk, metal, and hip-hop, including local favorites such as Lukah and Little Baby Tendencies, this is the weekend choice for those who prefer PBR over patchouli.

Memphis Country Blues Festival Presents Christone “Kingfish” Ingram

Date & Venue: Friday, October 10th at the Overton Park Shell

As part of the ongoing Shell Yeah! Benefit Series–which hosted a great performance from Big K.R.I.T. earlier this month–the good folks at the Shell are bringing Clarksdale, Mississippi native Kingfish Ingram back to the Delta for what promises to be one of this season’s best shows. The modern torchbearer of Delta blues, Kingfish brings jaw-dropping guitar fireworks and a voice steeped in the tradition of the Mississippi Hill Country. An open-air Shell show in early fall is about as perfect as it gets for pure blues magic.

Tambourine Bash (Music Export Memphis)

Date & Venue: Thursday, October 16, 2025 at Overton Park Shell

Now in its fifth year, Tambourine Bash doubles as a community celebration and a fundraiser for Music Export Memphis, a true gem within the local music landscape. As those who have attended the event before can tell you, this night is all about surprise collaborations and all-star jams featuring some of the city’s best and brightest. Highlights of this year’s collaborations include Unapologetic + Future-Everything and Black Cream + Marcella Simien + The Lucky 7 Brass Band.

Chris Brown, Jhene Aiko & Bryson Tiller

Date & Venue: Saturday, October 18th at Simmons Bank Liberty Stadium

I will choose to keep my personal feelings about Chris Brown quiet for now (shout out to Jhene Aiko & Bryson Tiller tho!) and instead celebrate the fact that live music is once again returning to the Liberty Bowl after a 28 year hiatus. We’re genuinely hoping that this star-studded event is the beginning of a new era for the venue and many similar acts continue to stream through in the years to come.

Joe Restivo’s A Beautiful Friendship Record Release Show

Date & Venue: Thursday, October 23rd at The Green Room at Crosstown Arts

Local jazz guitar great Joe Restivo will be celebrating the release of his latest album A Beautiful Friendship with a night of soulful, swinging originals and classics. The Green Room’s intimate acoustics will showcase every warm note of Restivo’s band, which is to include a murderers row of top-notch talent.

The Boy Is Mine Tour Ft. Brandy, Monica, Kelly Rowland & Muni Long 

Date & Venue: Thursday, October 30, 2025 at FedExForum

‘90s R&B fans are eating good as some of the biggest stars of the decade hit the FedEx Forum for a night of nostalgic fun. Brandy and Monica share the stage for the first time in years, where they will hopefully finally decide on who the boy belongs to. They’ll be  joined by powerhouse vocalists Kelly Rowland of Destiny’s Child fame and newer star Muni Long. Expect throw back jams, duets, and plenty of vocal fireworks.

Shangri-La Records Presents Memphis Rap OGz

Date & Venue: Friday, October 31, 2025 at Minglewood Hall

Peanut butter and chocolate. Wine and cheese. Memphis horrorcore and Halloween night. Some things just pair perfectly, which is certainly how we’re feeling about the upcoming Memphis Rap OGz showcase. Featuring some of the most influential artists in Memphis rap history–La Chat, Tommy Wright III, Crunchy Black, DJ Spanish Fly, Gangsta Pat, and DJ Zirk–this is shaping up to be the event for the spookiest night of the year.

The post Your Guide to Live Music in Memphis This Fall appeared first on We Are Memphis.

With such a rich history of work and involvement in numerous bands, I’d imagine many of our readers are familiar with your music even if they don’t know your name. Can you give us a brief overview of your musical journey so far?

Well, I started playing in “bands” in high school, mainly at houses in East Memphis, the occasional clubs that let kids drink. The summer before my senior year, my friends and I were playing in juke joints in North Mississippi backing up the Kimbroughs and Burnsides. That was wild. I played in college party bands while doing weird stuff on the side. The Sheiks formed out of that. We played a ton around Memphis and toured a bit, and recorded an album and some 7”s. I started backing Jack Oblivian, and that took us around the world a few times. I joined Ex-Cult around 2014. That band became an almost full-time job with tons of touring, recording, all that stuff. That went on until 2019, when we formed Model Zero and released an album and toured. When the pandemic happened , it burned me out in several ways. I laid low and tried to get my life back together. During that time, I played around Memphis in the Tennessee Screamers and here I am now putting out an album with my own name on it.

Clearly, you’ve collaborated with countless musicians across a wide range of styles over the years. How did creating a solo album compare to your usual collaborative process?

When you are in a band, there is a feeling of all for one and one for all. I would write or contribute to songs, but there was always someone else to bounce ideas off of or even have to get approval that it was a good idea. There was always a safety net. I feel like once I declared this was a solo project, I was suddenly this trapeze artist that had the nets cut below. I had to have the final say.

Let’s dive into the album itself. From the singles, it feels like a very personal project with an airy, psych-pop vibe. How would you describe the album in terms of both its sound and its themes?

The sound is more laid back than previous projects, I’d say. Less aggressive. These songs were written at home during a period of regrowth after being shattered from years of playing in bands and living the “rock and roll lifestyle”. My dad passed away during this time, I cut off the abuse of substances that were really bringing me down, and learned to love myself and others again. Playing and writing on my acoustic guitar became therapy and these songs just spilled out. I didn’t write any of them with a style or genre in mind. The themes and vibe stem from that period.

It’s clear that you have a voracious musical appetite that encompasses a ton of musical styles. What were some of your inspirations when making Extra Eyes?

I wanted to make a folk record at first, just a take on roots music, but then when I started getting into the studio I wanted to play with all of the colors. “Taking it Back to the Morning” was influenced by Brazilian Topicalia, like Os Mutantes. I was getting super deep into another round of listening to anything Brian Wilson. I really wanted to layer vocals and harmony. He passed away when the album was finished being mixed. New Wave textures have always influenced me–synths, electric organs and such. There wasn’t much of a harder rock or punk influence that had been on previous projects. I also was feeling a mellow home recording vibe of Ted Lucas, White Fence, JJ Cale, R Stevie Moore, etc.

Did you collaborate with other musicians or producers for this album? How did those collaborations shape the record?

The name and concept for the record is Extra Eyes, and those are the people that have been watching over me, or had my back over the years. My extra set of eyes, guardian angels, if you will. I started recording songs at Graham Winchester’s house in late 2023 and those became the initial seeds of this record. In 2024, I started recording some songs at The Bunker studio with Andrew McCalla. A good chunk of tracking was done over there. Lots of freedom. I finished off the project at Memphis Magnetic, tracking, mixing and mastering with Scott McEwen of Red Curtain Records, who is putting out this album. Lots of friends, or extra eyes, appear on Extra Eyes: Daniel Brown, Keith Cooper, Sara Moseley, Jonathan Ciaramataro, and Jon Harrison, to name a few.

You’ll be celebrating the album’s release with a live show at Bar DKDC on September 6th. Give us a little preview of what fans can expect at that show and what it feels like to be able to perform these new songs live for the first time.

This will be the first time playing these songs with a full band. We’ve been rehearsing over the summer for this and I couldn’t be more stoked! We’ll have the record for sale, with some other goodies. Runi Salem, a project of Kacee Russell, will be opening up the show. I’m a big fan of her songwriting, voice, and what she’s got going on creatively. My band will play and then closing out the night will be Recent Future, a great new electronic duo who also happen to be labelmates with me on Red Curtain. They are going to be bringing the late night dance vibes. Hope to see some friendly faces!

Extra Eyes is available for order now at Red Curtain Records or at local record stores.

The post Frank McLallen Steps Into the Spotlight with “Extra Eyes” appeared first on We Are Memphis.

24 Carat Black – Dark Soul Visionaries

A relatively unknown group of high school-aged musicians signed to Stax Records, 24 Carat Black’s 1973 album Ghetto: Misfortune’s Wealth is a haunting, cinematic, and socially conscious masterpiece that tackles the subjects of poverty and inner-city struggles through sweeping soul arrangements. Though the record flopped commercially, it became a goldmine for hip-hop producers, with samples appearing on albums by Dr. Dre, Jay-Z, and Kendrick Lamar.

Suggested Song: “Mother’s Day”

Alex Chilton – The Power-Pop Madman

One of Memphis’ greatest cult figures, Alex Chilton blended heartbreak with pristine pop, crafting songs that sounded both fragile and explosive. After finding teen stardom with The Box Tops, he helped invent power pop in Memphis with the deeply influential (yet commercially unsuccessful) band Big Star, influencing alternative and indie rock icons like R.E.M., The Replacements, and Wilco.

Suggested Song: “The Ballad of El Goodo”

Jim Dickinson – Memphis’ Mad Scientist

A lifelong experimenter who blurred the lines between blues, rock, and Americana, Jim Dickinson and his wild, genre-bending spirit helped to shape the sound of Memphis music throughout the ’70s and ’80s. As both a producer and a session musician, he worked with giants such as The Rolling Stones, Toots and the Maytals, and Aretha Franklin, as well as homegrown talent like Tav Falco and Big Star.

Suggested Song: “Casey Jones (On the Road Again)”

DJ Spanish Fly – The Architect of Memphis Rap

Spanish Fly’s 808-heavy club mixes and chopped-and-screwed techniques shaped the Memphis underground rap and club scene. Beginning in the late 1980s, his mixtapes spread through the city like wildfire, serving as a direct influence on the sound that became crunk, trap, and modern Southern hip-hop.

Suggested Song: “Cement Shoes”

Pat Hare – The Distortion Pioneer

Pat Hare’s fuzzed-out power chords on early James Cotton and Little Junior Parker recordings prefigured punk and heavy metal by decades. His 1954 guitar tone on “Cotton Crop Blues” is often cited as one of the first recorded uses of distortion, putting Memphis at ground zero for the sound of rock rebellion.

Suggested Song: “Cotton Crop Blues” (James Cotton)

Jessie Mae Hemphill – The Queen of the Hill Country Blues

Carrying on the fife-and-drum and hypnotic hill country blues traditions of her family, Jessie Mae Hemphill was both a fierce guitarist and a spellbinding singer. During the 1980s, she moved to Memphis and kept the North Mississippi style alive with raw, trance-like grooves that cut straight to the bone. Her music directly influenced contemporary blues artists like R.L. Burnside and Junior Kimbrough, and later rippled into rock bands such as the Black Keys.

Suggested Song: “She Wolf”

Cordell Jackson – The DIY Rockabilly Queen

Cordell Jackson wasn’t just a musician — she was a pioneering entrepreneur who ran her own label, recorded her own songs, and produced albums long before women were encouraged to do so. Operating out of her living room in the 1950s and ’60s, she founded Moon Records, making her one of the very first female rock ’n’ roll label owners. Her fearless energy and scrappy production style opened doors for women in punk, garage rock, and indie DIY scenes.

Suggested Song: “The Split”

Arthur Lee – The Psychedelic Visionary

Before most people knew what psychedelic rock even was, Arthur Lee was fusing Memphis soul with L.A. garage rock to create something completely new. As the leader of Love, he released the seminal album Forever Changes in 1967 — now considered one of the greatest of all time, full of swirling arrangements and haunting lyrics. Though celebrated later, Lee’s daring, soulful approach influenced The Doors, Jimi Hendrix, and generations of indie and psych-rock artists.

Suggested Song: “Alone Again Or”

The Memphis Boys – The Unsung Hit Machine

The Memphis Boys weren’t a household name, but as the house band at Chips Moman’s American Sound Studio, they cranked out hit after hit with a laid-back precision that defined late-’60s soul and pop. From Dusty Springfield’s “Son of a Preacher Man” to Neil Diamond’s “Sweet Caroline” to Elvis Presley’s comeback sessions (“Suspicious Minds”, “In the Ghetto”), their fingerprints are everywhere. The group’s versatility — sliding seamlessly between country, soul, R&B, and rock — made them one of the most in-demand studio groups of their era.

Suggested Song: “Son of a Preacher Man” (Dusty Springfield)

The Oblivians – The Garage Rock Outlaws

The Oblivians, a raw and ferocious garage punk trio formed in the early 1990s, are widely regarded as one of the most influential bands of the garage rock revival. Known for their stripped-down sound—often eschewing bass in favor of two guitars and drums—they delivered blistering, lo-fi records that captured the energy of punk while channeling the grit of Memphis blues and soul. Their uncompromising style inspired countless bands across the globe, including The White Stripes, The Black Keys, and The Hives.

Suggested Song: “Bad Man”

The post 10 Underground Musical Innovators from Memphis Who Quietly Changed Popular Music appeared first on We Are Memphis.

Juicy J – “The Sri Lanka Jungle”

Juicy J proves he’s still willing to take chances with his moody, introspective new jazz album Caught Up in This Illusion. There’s a psychedelic stoner haze here that slightly nods to his Three 6 Mafia roots, but it’s a fundamentally different sonic venture than from his elbow-throwing heyday. While it’s hard to choose a favorite from the project, “The Sri Lanka Jungle” is a great laid-back instrumental that we keep coming back to. Even decades into the game, Juicy continues to surprise, reminding us why he’s one of the city’s most enduring voices.

Kirby ft. Big K.R.I.T. – “Miss Black America”

On “Miss Black America,” Memphis-born soul singer KIRBY delivers a stirring anthem that radiates pride, resilience, and elegance. Her velvety vocals float over a lush, retro-soul backdrop, while an excellent Big K.R.I.T.’s feature adds some poetic weight to the affair. Kirby’s songwriting shines with purpose here—this is protest music wrapped in beauty, and hopefully a sign of more music to come.

Lawrence Matthews – “Saint Sebastian (Death Comes a-Creepin’)”

Lawrence Matthews (formerly known as Don Lifted) offers a haunting, genre-blurring meditation on mortality and legacy with “Saint Sebastian (Death Comes a-Creepin’).” The track is steeped in gospel, blues, and experimental soul—evoking the Southern Gothic imagery that has marked much of his more recent work, with a lyrical nod to Goodie Mob that this writer certainly appreciates.. Matthews remains one of Memphis’s most compelling multidisciplinary artists, and this song is another step in his fearless creative evolution.

Slimeroni & Dubba-AA – “Super Trick”

“Super Trick” is the pool side banger we’ve been waiting for all summer and further affirmation of Slimeroni’s place at the forefront of Memphis rap’s next generation. Teaming up with veteran producer Dubba-AA, Slime rides the beat with her signature gruff yet playful style, putting every man who may cross her path on notice. You’ve been warned…

Spek Was Here – “Makumbi”

Spek Was Here delivers something cinematic and spiritually charged on his new single “Makumbi,” blending soulful vocal chops, hard Afrobeat-esque drums, and ambient textures into a track that feels both grounded and otherworldly. The local producer and artist has been quietly carving out his own lane in experimental hip-hop and beat-making, and this track is proof of his growing mastery. There’s a meditative quality to it, but it still knocks—a tough balance to strike.

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

The “Stuntarious” Series

If there were a cheat code to understand what Unapologetic stands for as succinctly as possible, it would be the Stuntarious series, five mixtapes released at various points throughout the years. Launched in the early days of the label, these collaborative mixtapes became semi-annual checkpoints of the collective’s evolution — chaotic, confident, and creatively unhinged. Blending trap, punk, R&B, spoken word, and experimental electronics, each Stuntarious release acts as both a time capsule and a manifesto. 

Unexpected Collaborations

In 2018, Ballet Memphis invited Unapologetic to participate in their fall program with an inspired blending of ballet and hip-hop, marking the beginning of a remarkable series of unconventional collaborations. Since then, the collective has partnered with a wide range of organizations beyond the music scene, including the PGA Tour, Memphis International Airport, and local cultural institutions like the Metal Museum and the Memphis Zoo. Whether or not it seemed to make sense on paper, each collab has proven to be a resounding success.

Indie Memphis Block Party

Speaking of partnerships, in 2019 Unapologetic curated a raucous Indie Memphis Film Festival block party that transformed the family-friendly Overton Square area into a high-brow, politically-tinged showcase that would make Kendrick Lamar proud. For those who were lucky enough to be there, the performance cemented the label’s reputation for high-concept DIY events in the starkest terms possible. One could argue that the group has outdone themselves since, but there’s nothing quite like your first time.

The Unapologetic World App

Launched in 2017, the Unapologetic World App was an early sign that the label simply wasn’t interested in playing by industry rules. Designed as a digital home for everything Unapologetic (music, visuals, films, interviews, live streams, and exclusive content), the app has remained a reliable one-stop-shop for dedicated fans. 

Unapologetic Garments

After making waves in music, art, and digital media, it was only natural that Unapologetic would dive into fashion with Unapologetic Garments. Since its launch, the label has emphasized original design, quality craftsmanship, and community storytelling, offering everything from graphic tees and hoodies to limited-edition merch that blends art and fashion. Their 2024 collaboration with the Memphis Grizzlies marked a milestone—bringing their signature aesthetic to a wider audience through the “Gold Collection,” a line that captured the city’s grit and pride while celebrating Memphis’ sports culture.

The Opening of Outerspace

In November 2022, Unapologetic celebrated the grand opening of Outerspace, their new studio nestled in the heart of Midtown. The studio acted as a physical manifestation of both the label’s meteoric growth and the bright future that they envisioned. Visually stunning and meticulously planned, Outerspace isn’t just a studio—it’s a sonic launchpad, designed to foster collaboration, vulnerability, and the boundary-pushing ethos that defines Unapologetic. 

A Weirdo from Memphis’ Gonerfest Performance

Photo by Laura Jean Hocking

Over its two-decade run, Gonerfest has seen its share of unforgettable sets from punk and garage heavyweights like Jay Reatard, Ty Segall, and King Khan. But even the most seasoned festivalgoers were caught off guard by A Weirdo From Memphis’ wildly unhinged—and undeniably electric—performance in 2022. By the time he scaled the stage at Railgarten, any lingering hip-hop skeptics in the crowd had been thoroughly won over by the beautiful chaos. 

Midnight Marauder Series

Last year, Unapologetic introduced a new series at MOSH called Midnight Marauder (shouts to ATCQ!). Designed as a public celebration of beat culture, the series highlights producers, beatmakers, and electronic artists as performers in their own right. Unlike traditional beat battles, Midnight Marauder centers on musical expression and live performance. As IMAKEMADBEATS put it, “This is not a beat battle, it’s a beat performance.” 

IMAKEMADBEATS Releases WANDS

Strictly as a piece of music, IMAKEMADBEATS’ 2024 release WANDS is a landmark release for the label–abrooding, richly textured instrumental project that showcases his signature ability to evoke emotion without a single lyric. Beyond the music itself, though, WANDS marked a significant moment in the artist’s journey: a deliberate and personal return to the forefront of music-making after years focused on building his Unapologetic label and nurturing other artists.

A Glimpse into the Future

While many of the artists who first defined Unapologetic’s first era remain central to its identity, the rise of Kid Maestro as the label’s leader, the emergence of bold new voices like EILLO and Nubia Yasin, and the company’s expansion into bold new fields make it clear the collective is constantly evolving. If the past decade was about breaking molds, the next era promises to redefine them entirely.

The post A Decade of Disruption: 10 Iconic Moments From Unapologetic appeared first on We Are Memphis.

Memphis is still buzzing in the afterglo (see what we did there?) of GloRilla’s sold‑out Glo Bash at the FedExForum, and it’s only fitting that the city’s own queen of trap takes center stage throughout the remainder of the weekend. With that in mind, we here at We Are Memphis voted on her top five tracks, which includes a mix of big hits, guest features, and lesser-known deep cuts…

“F.N.F. (Let’s Go)”

It’s been three years since this breakout anthem rattled car speakers throughout the city all summer long and officially placed GloRilla on the national map. With Hitkidd’s menacing yet catchy production and Glo’s instantly-iconic declaration of freedom—“I’m F‑R‑E‑E, fuck‑n**ga‑free”—it’s become a cultural moment and a true summer anthem. Few songs in recent memory have announced the arrival of a new star quite like this one.

“TGIF”

A hard‑hitting, confidence‑fueled track that solidified her as one of 2024’s boldest voices, “TGIF” was a massive follow-up hit that was named TIME Magazine best song of 2024. With a scorching beat and another unforgettable opening line (“It’s 7 p.m. Friday / It’s 95 degrees…”), TGIF was proof GloRilla’s verse‑crafting and stage presence was the real deal.

“On Wat U On” Moneybagg Yo feat. GloRilla

Trading barbs over a tense, piano-laced beat, the two Memphis stars go head-to-head in a fiery exchange that sounds like a couple mid-argument with the record button accidentally left on. GloRilla’s aggressive delivery is perfectly matched with Moneybagg’s laid-back tone, creating a spiritual successor to Project Pat’s “Chicken Head”, another iconic Memphis “battle of the sexes” anthem.

“Rain Down on Me” feat. Kirk Franklin & Maverick City Music

This gospel‑inflected track reveals GloRilla’s roots as a former choir singer and her ability to inject a bit of spirituality into her music when the spirit hits. Featuring gospel icons Kirk Franklin, Kierra Sheard, and Chandler Moore, it’s a deeply reflective piece that balances confession and uplift. Like several tracks on her debut album Gloria, it showcases her emotional range and versatility.

“No More Love”

Though it never got the push of a single, “No More Love” quickly became a deep-cut favorite among fans for its raw vulnerability and emotional weight. On the track, GloRilla opens up about fake friends, heartbreak, family betrayal, and the loneliness that can come with success. Over a moody, minimalist beat, she delivers some of her most introspective bars—stripped of bravado and full of real-life pain.

The post From F.N.F. to FedExForum: The 5 Most Essential GloRilla Tracks (So Far) appeared first on We Are Memphis.

Yes, Memphis faces challenges. Yet the city’s story is much bigger, more nuanced, and inspiring. Beneath sensational headlines lies a community in motion, improving, revitalizing, and blazing a path toward progress.  

This post is not about denial; it’s about facing facts and celebrating the forward momentum of Memphis. By the end of this piece, you’ll understand how both the numbers and this city’s soul show Memphis isn’t just surviving; it’s thriving. 

Is Memphis Safe?

First, let’s address the elephant in the room. Memphis is often cited in conversations about crime, poverty, and blight. And those discussions aren’t entirely unwarranted. In 2023, Memphis faced a historic high in crime. But in 2024 and 2025, the numbers are going down dramatically, with the citywide crime rate decreasing 15% year-over-year

That didn’t happen by accident. We doubled down on enforcement and invested in prevention—supporting community groups, youth outreach, and real alternatives. Translation: We’re fighting crime on both ends—addressing root causes and responding to immediate threats. 

Memphis is taking actionable steps to curb crime and invest in its underserved communities.  

Memphis Crime Stats: A Look at the Numbers 

Recent crime statistics reflect this positive shift: 

• Downtown Memphis has seen a nearly 30% year-over-year reduction in crime.  
• Citywide crime is down 15% year-over-year.  
• Aggravated Assault is down 15% 
• Robbery is down 18% 
• Sexual Assault is down 18% 
• Non-Fatal Shooting incidents are down 30% 
• Homicides are down 32% 
• Motor Vehicle Theft is down 37% 

These improvements aren’t coincidental. They’re the result of holistic efforts centered around law enforcement alongside community intervention, youth engagement programs, and significant investments in mental health and neighborhood revitalization. Memphis understands that long-term change stems from building trust, expanding opportunities, and addressing the root causes of crime. 

Memphis Momentum: Progress By The Numbers 

When it comes to how Memphis is perceived, there’s good news. Inside and outside city limits, opinions about Memphis are on the rise, proving that the city’s forward march isn’t going unnoticed: 

Within Memphis (2017–2024): 

• A majority of residents believe Memphis is becoming a great place to live and work (up 11 percentage points).  
• Fewer people describe the tone of information they hear about Memphis as negative (down 13 percentage points).  

Key Markets (NYC, CHI, ATL, SFO, DAL) (2019–2024): 

• Over 65% of residents in these key cities are familiar with Memphis is up 16 percentage points.  
• Favorability of Memphis is up 22 points among these residents, with nearly 70% having a positive opinion of Memphis.  
• A majority of these residents are hearing positive information about Memphis, up 13 percentage points.  

Nationwide (2019–2024): 

• Familiarity with Memphis is up 16 percentage points.  
• 60% of the national audience has favorability toward Memphis is up 14 percentage points in the last five years. Importantly, only 7% have negative feelings about Memphis.  
• Positive information heard about Memphis is up 13 points.  
• 70% of millennials find Memphis “extremely” or “very appealing” for the creatives.  

These numbers tell a critical story. Memphis isn’t just building a better city for its own people; it’s also garnering respect and admiration from others. 

What Gives Memphis Its Edge? Soul. 

If there’s one word that unites Memphians, it’s “soul.” And this isn’t just a catchy tagline; it represents good, heart, people, and character that people deeply believe in. 97% of people have a positive connection with the concept of “soul.”  

• Over 80% of Memphians agree Memphis is a city with “soul” (up 19 percentage points). 
• 77% of people nationwide agree Memphis is a city that has soul, up 12 points in five years.  
• Over 80% of residents of cities including New York City, Chicago, Atlanta, Dallas and the Bay Area agree that Memphis is a city with “soul.” — up 21 percentage points.  

Creativity, authenticity, and resilience define Memphis. You feel it with every local artist, community leader, and entrepreneur who reinforces the city’s culture of grit and transformation. 

From legendary music icons to flourishing Black-owned businesses, Memphis thrives at the intersection of history and innovation. It’s a city that continuously reinvents itself while staying true to its roots. 

Actions Speak Louder than Words 

It’s easy for any city to claim they’re making progress, but Memphis is walking the talk.  

Memphis’ strategy is rooted in accountability, transparency, and action. Here’s how the city is driving lasting change: 

1. Investing in Communities  

Neighborhoods affected most by crime are receiving targeted investment. Projects include blight removal, affordable housing initiatives, and economic development programs. 

2. Engaging with Youth  

Through mentorship programs and access to resources, Memphis is giving young people options to thrive outside of crime. Organizations guiding this work understand that listening to youth and providing opportunities decreases the chances of them being drawn into harmful activity. 

3. Fostering Real Conversations  

Leaders in Memphis, from grassroots activists to local government, are choosing honesty over defensiveness. Mayor Paul Young encapsulated this attitude perfectly when he said, “You can’t fix what you won’t face.”  

This fearless candor has created space for open dialogue within the community and with key stakeholders nationwide. 

A City in Its Era of Yes 

Memphis is leaning into opportunity, taking a proactive “Era of Yes” approach: 

• Yes to Accountability: Owning our weaknesses so we can fix them. 
• Yes to Honest Conversations: Facing hard truths with the courage to pivot. 
• Yes to Doing Better Together: Strengthening communities one collaborative effort at a time. 

Take a walk-through Memphis today, and you’ll see new businesses emerging, colorful murals adorning old brick walls, and neighbors who are building something greater than themselves. Memphis isn’t just changing for the better; it’s a city worth believing in. 

Moving Forward Together 

Memphis has its challenges, but the numbers, the progress, and the people tell a more complete story. We’re not turning a blind eye to the obstacles. We’re determined to elevate this city one honest conversation and collaborative action at a time. 

You can help! Get informed and be a champion for our city with our Why Memphis Guide.

You have a chance to be part of this era of progress and pride. Share stories of Memphis’ soul, highlight its successes, and invest in its forward momentum. Whether you’re a Memphian or just a supporter from afar, know this: 

This isn’t a city in denial. Memphis is a city in motion.
Join us.

The post A City in Motion, Not Denial: The Truth on Memphis Crime. appeared first on We Are Memphis.

Lukah ft. Killer Mike- “South Still Speaking”

Lukah has yet to drop an album that doesn’t leave a lasting impression, but with Statik Selektah behind the boards, he may have found his ideal collaborator. It’s a pairing that recalls the magic of Clipse with Pharrell or Freddie Gibbs with Alchemist—an unmistakable chemistry that sharpens both sides. That dynamic is on full display in “South Still Speaking,” a standout track from Lukah’s excellent new album A Lost Language Found, featuring a blistering guest verse from Killer Mike and both Lukah and Statik operating at peak form.

Diplo Ft. Project Pat & Juicy J- “Flashlight”

Diplo might not be riding the wave of chart-topping hits like he was ten years ago, but when the moment calls for it, he still knows how to captivate. His longtime love for Memphis hip-hop shines through in this collab with local legends Project Pat and Juicy J, sparking one of his most impressive tracks in recent memory. Expertly pairing two horrorcore icons over a sample of a beloved Radiohead song? That’s classic Diplo.

Porcelan- “Winner”

R&B fans know a thing or two about waiting—whether it’s for Frank Ocean, D’Angelo, or Rihanna, patience comes with the territory. Fortunately for fans of Memphis’ own Porcelan, that wait has finally paid off. Her new single, “Winner,” is a slow-burning, soulful anthem that blends sensuality, lyrical wit, and a confident sense of self. It’s a striking return that reminds listeners exactly why she’s one to keep watching.

Virghost- “NBFAM Pts. 1 & 2”

When Virghost opened “NBFAM Pt. 1” with the line “Heath Ledger to you every day clowns,” it was clear we were in for another sharp, standout moment from the underrated Memphis MC. Backed by KingPin Da’ Composer’s soulful production reminiscent of the “old Kanye,” these twin singles showcase the kind of chemistry and craftsmanship that put Virghost and his team firmly among the best of Memphis’ current wave of homegrown talent.

Lawrence Matthews- “Breonna’s Curse”

Since stepping away from the Don Lifted moniker, Lawrence Matthews has reemerged with a bolder, more rap-forward sound that highlights both his versatility and evolution as an artist. But with his latest single, “Breonna’s Curse,” he circles back to the lush, emotive textures that first drew listeners in. The track confronts the tragedy of Breonna Taylor with unflinching honesty and urgency—qualities that have long defined Matthews’ most powerful work.

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

Beale Street: The Beating Heart of Blues and Soul

Beale Street is often called the birthplace of the blues, and for good reason. In the early 20th century, this historically Black entertainment district became a rare space in the segregated South where Black artists could perform, connect, and hone their craft. Legendary figures like W.C. Handy, B.B. King, and Alberta Hunter made their mark here.

Beale wasn’t just a center for music. It was a place where Black voices could rise above the noise of discrimination and oppression. Blues music, born from hardship, expressed both the pain of the past and the perseverance needed to face the future. It served as a powerful form of identity and resistance.

Soul and STAX: The Sound of Empowerment

In the 1960s, soul music became the soundtrack of the Civil Rights Movement, and STAX Records stood at the center of that sound. Located in South Memphis, STAX provided a space where Black and white musicians could collaborate during one of the most divided eras in American history.

Artists like Otis Redding, Isaac Hayes, and Booker T. & the M.G.’s recorded music that reflected real experiences: songs about love, injustice, hope, and power. Their voices reached beyond the studio walls, echoing through protests and rallies. Today, the STAX Museum of American Soul Music honors that legacy and shows how music can drive social change.

The Civil Rights Museum: Where Music Meets Movement

Just a few miles away, the National Civil Rights Museum at the former Lorraine Motel stands as a solemn and powerful tribute to the fight for justice. Here, visitors can trace the long journey of civil rights activism, accompanied by the sounds that moved a movement.

Spirituals, blues, soul, and freedom songs helped unify people, fuel courage, and communicate the emotional truth of the times. Songs like Billie Holiday’s “Strange Fruit” and Sam Cooke’s “A Change Is Gonna Come” were anthems of defiance and hope.

Sun Studio: Crossing Boundaries Through Sound

No conversation about Memphis music is complete without mentioning Sun Studio. Known as the “Birthplace of Rock ‘n’ Roll,” Sun played a crucial role in the crossover between Black music and mainstream American culture. Founded by Sam Phillips, the studio recorded groundbreaking tracks by Black artists like Howlin’ Wolf, the Dixie Cups, and Ike Turner before launching the careers of Elvis Presley, Jerry Lee Lewis, and Johnny Cash.

Phillips believed in the raw power of Black music and its ability to resonate with wider audiences. By giving Black artists a platform and blending rhythm and blues with country influences, Sun Studio helped break down cultural and racial barriers in popular music. It became a place where musical innovation echoed the desire for social change, reflecting the early integration of sounds before broader integration reached the streets.

Visitors to Sun Studio today can see where history was made and learn how Memphis helped shape a sound that transformed American music forever.

The post How Memphis’ Music History Connects to Civil Rights and Black Identity appeared first on We Are Memphis.

Valerie June- “Joy Joy”

Memphis singer Valerie June’s new single “Joy, Joy!”—a vibrant, soul-infused burst of fun—opens her sixth studio album Owls, Omens and Oracles on a much-needed optimistic note. Rooted in her signature blend of folk, blues, gospel, and soul, the track is built on the metaphor of a seed pushing through darkness. Altogether, “Joy, Joy!” offers a joyful manifesto, with Valerie’s singular voice guiding listeners through resilience into radiance.

Lukah- “Mirror Discussions“

Memphis rapper Lukah once again delivers a raw and reflective punch with his new single “Mirror Discussions,” the lead cut from his new collaborative album A Lost Language Found with legendary producer Statik Selektah. Self-described as “a conversation with my past, my people, and the mirror that never lies,” Lukah has given us another strong argument that he’s Memphis’ best underground rapper.

Isabella&Sebastian- “Oxygen“

Isabella&Sebastian–the local duo composed of 19 year-old Isabella DeFir and 13 year-old Sebastian Stephens- continue to amaze with their latest synth‑driven single “Oxygen,” a sparkling addition to their growing catalog of retro‑tinged, hook‑laden indie pop. Perfectly crafted for your poolside playlist, “”Oxygen” is yet another exciting addition to the group’s quickly-expanding setlist.

Kenny Muney-“Nevaaa“

A protege of the late great Young Dolph, Kenny Muney has emerged as one of the brightest stars within Memphis’ insanely deep crop of trap music talent. “Nevaaa,” the lead single from his bold new album Kenjamin Franklin, has quickly flown up the streaming charts and is a great introduction to his locked-in flow for anyone late to the game.

Recent Future- “Bite My Tongue

Recent Future, the newish duo of multi-instrumentalists Charlie Davis (Trash Goblin) and David Johnson (James & the Ultrasounds), is carving out a distinctive niche in the city’s growing alt‑pop/electronic scene. Fresh off of their previous two releases “Top of the Moon” and “Crosstalk,” the group’s newest single “Bite My Tongue” is further proof that Recent Future is a must-listen for anyone tracking the city’s next wave of musical innovators.

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

Julien Baker

Arguably the most prominent queer musician to ever hail from Memphis, Julien Baker has carved out a powerful space in the indie rock world with her raw, confessional songwriting and haunting melodies. Her music often explores themes of faith, identity, addiction, and emotional survival, all delivered with an intensity that’s both intimate and explosive. Whether performing solo or as part of the supergroup boygenius, Baker is a one-of-a-kind talent who continues to improve with each new project. If you haven’t already cried to her celebrated debut Sprained Ankle or checked out her excellent new album with TORRES Send a Prayer My Way , now’s the time to add her to your playlist.

Mama Honey

If you’re craving queer-leaning, soul-tinged punk blues with a Memphis twist, Mama Honey is where vintage grit meets fresh energy. This dynamic power trio is fronted by vocalist–guitarist Tamar Love, whose bold, expressive singing and songwriting bring both fire and vulnerability. Both proudly and unmistakably Memphis-rooted and queer, Mama Honey’s live performances feel more like a communal uprising—wild, heartfelt, and impossible to ignore.

Anna Rose Baker

Anna Rose Baker is a rising star in Memphis’s indie folk scene, weaving tender storytelling with a voice that’s equal parts earthy and ethereal. A proud queer artist, Baker brings an intimate perspective to her songwriting, exploring love, loss, and self-discovery with quiet intensity and poetic grace. Her music often pairs stripped-down acoustic arrangements with haunting melodies that linger long after the last note. Whether playing solo sets at cozy local venues or collaborating with fellow Memphis musicians, Baker’s authenticity shines through every lyric.

Wilson Good

Wilson Good is a genre-defying force, blending dreamy synth-pop with moody, cinematic flair. As a queer artist and skilled producer, Good crafts soundscapes that feel both nostalgic and futuristic—think ‘80s heartbreak ballads with a modern, electronic pulse. Their lyrics often explore themes of gender, longing, and emotional dissonance, delivered with a vocal style that’s soft, aching, and deeply human. It’s music to get lost in—preferably with headphones on and the volume way up.

Mak Ro

Mak Ro, the electrifying Memphis-based duo made up of cousins Kristoffer Ruaro and Eric Makapugay, have earned a dedicated following for their blend of infectious synth-pop and slick R&B. Together, they craft high-energy tracks that are equal parts danceable and emotionally rich, drawing inspiration from early 2000s pop, house, and modern electro. Kristoffer, who is queer, often writes about his own romantic experiences in his lyrics.

Alex da Ponte

Alex da Ponte is a Memphis-based trans man whose punchy pop-rock songs blend sharp lyricism, emotional nuance, and a healthy dose of wit. A longtime fixture in the local scene, Alex writes with disarming honesty about relationships, identity, and the messy beauty of growing into yourself. His sound—a mix of crunchy guitars, catchy hooks, and heartfelt storytelling—draws from alt-rock and indie pop influences, but always feels uniquely his own.

Jordan Occasionally

Jordan Occasionally’s music radiates queer Black joy, resistance, and groove. Their eclectic style fuses R&B, neo-soul, disco, and funk into a silky, socially conscious soundscape. As a nonbinary artist, Jordan Occasionally uses their music to celebrate identity, explore love, and challenge norms—all with a voice that’s as smooth as velvet. As anyone who has attended a JO concert knows, their live shows double as dance parties and affirmations. Whether you’re swaying in your room or sweating it out on the floor, Jordan Occasionally brings the kind of sonic freedom that feels both personal and revolutionary.

Lawrence Matthews

Lawrence Matthews–formerly known by his musical moniker Don Lifted– is a multidisciplinary artist whose work transcends easy categorization—blending music, visual art, and activism into a deeply personal and culturally resonant practice. As a queer Black man from Memphis, Matthews explores themes of identity, mental health, and the Black Southern experience with poetic vulnerability and precision. Capable of creating both lush atmospherics and down-in-the-mud rap, Matthews remains one of the city’s most exciting musical talents.

Fosterfalls

Fosterfalls (they/them) brings a spellbinding touch of dreamfolk to Memphis’s queer music tapestry. Rooted in atmospheric guitar loops, meditative vocals, and lyrical nods to nature and introspection, Fosterfalls creates sonic spaces that feel both intimate and expansive . Their debut EP, “Somniscience” (a melding of “dream” and “knowing”), offers a conceptual journey through the subconscious that is perfect for listeners seeking music that both soothes and challenges.

DJ AD

If you’ve been out in Memphis past 10PM over the past several years, the odds are good that you’ve danced to the music of DJ AD (whether you knew it or not). A fearless force behind the decks, AD is known for electrifying parties with mixes that fuse hip-hop, house, bounce, and ballroom into a seamless, body-moving experience. In addition to rocking the party, AD is a vocal advocate for safer, more affirming nightlife spaces for queer and trans people of color.

The post Loud & Proud: 10 LGBQIA+ Memphis Musicians to Add to Your Playlist appeared first on We Are Memphis.

What started as a local scene rooted in homemade tapes and underground shows evolved into a massive cultural movement, one that laid the blueprint for the modern sound of hip-hop—from Atlanta’s trap to the brooding aesthetic of SoundCloud rap. Unsurprisingly, the city’s once-underground rappers slowly but surely entered the public consciousness and began to appear in songs by artists that would have once been unimaginable. Here are 5 of our favorite unanticipated Memphis rap collaborations throughout the years.

 “Cowboy”-Selena Gomez and Benny Blanco ft. Glorilla

When GloRilla showed up on the outro of Selena Gomez and Benny Blanco’s “Cowboy,” it was one of the more unexpected genre crossovers in recent memory. Known for her gritty voice,rowdy energy, and commanding presence, GloRilla typically thrives in hard-hitting Southern beats with minimal polish. “Cowboy,” by contrast, is a dreamy, country-pop slow-burn soaked in acoustic textures and soft emotion—a sound world far removed from the visceral energy of “F.N.F.” or “Tomorrow 2.”

The result was a moment that felt more like a novelty than a natural fit. While GloRilla’s charisma is undeniable, her short verse felt shoehorned into a song that wasn’t built to support her distinctive cadence or energy. It wasn’t a total mismatch, but the tonal gap between Selena’s delicate vulnerability and GloRilla’s tough-talking swagger left a slight dissonance. For a better (if a little  less surprising) example of Big Glo flourishing as a guest, (re)listen to Tyler, the Creator’s “Sticky.”

“Candy and Her Friends”-The Black Keys ft. Lil Noid

Underground legend Lil Noid’s appearance on the Black Keys’ track “Candy and Her Friends” was a surprising–and slightly awkward– fit, blending the raw energy of Memphis rap with the band’s blues-rock sensibilities. The collaboration was born out of The Black Keys’ deep appreciation for Lil Noid’s 1995 album Paranoid Funk, which Dan Auerbach described as a constant source of inspiration during the making of their album Ohio Players.

Although one can certainly quibble about whether the collaboration was ultimately successful, it makes for a fun and light-hearted moment between two artists that we would have never imagined working together.

“Gold Teeth”-Blood Orange ft. Project Pat & Gangsta Boo

I can still remember the first time I saw Project Pat and Gangsta Boo’s names on the track list for Blood Orange’s Angel Pulse. “Please let this be as good as I know it can be,” I told myself with a mixture of excitement and slight dread. Of course my worry was in vain, as “Gold Teeth” remains one of my favorite Memphis rap crossovers in recent memory.

As we’ve come to expect, both Pat and Boo (RIP) bring the heat in their verses,  contrasting yet complementing Blood Orange’s smooth, soulful melodies and introspective themes. In short, “Gold Teeth” is a compelling example of how artists from different genres can come together to create something fresh, emotionally resonant, and genre-defying.

“Dark Horse”-Katy Perry ft. Juicy J

Poor Katy Perry…It’s been a tough year so far for the fallen pop princess and part-time “astronaut,” so much so in fact that it can be hard to remember just how massive she once. In case you need a reminder, her inescapable 2013 hit “Dark Horse” went 15x platinum and it’s only her third biggest hit! But I regress. The point is, despite the fact that Juicy J was already a well-known figure among rap fans, he was still a surprising choice to accompany the world’s biggest pop star.

The song, which puts a pop sheen on the type of brooding production that Juicy J helped to make famous, was an important bridge into the mainstream for the rapper and produced the immortal and controversial bars “She’s a beat, I call her karma/ She eat your heart out like Jeffrey Dahmer.”

“I’m That Girl”-Beyonce ft. Princess Loko

The first voice we hear on Beyonce’s blockbuster album  Renaissance isn’t that of Queen Bey herself, but of a little known rapper named Princess Loko. Drawing from the late rapper’s fierce verse on Tommy Wright III’s “Still Pimpin,” the sample is more than a sonic nod — it’s a reclamation and celebration of underground Southern hip-hop, particularly the raw, aggressive energy of women like Loko who helped shape the genre’s legacy. By layering and repeating Loko’s chant of “you motherfuckers ain’t stopping me,”, Beyoncé gives a largely unrecognized pioneer her flowers while grounding her album in the unapologetic confidence of the women who came before. The sample sets the tone for Renaissance’s theme of empowerment, defiance, and homage to Black musical innovation. Long Live Loko.

The post Feature Shock: The 5 Most Unexpected Memphis Rap Features In History appeared first on We Are Memphis.