The Experimental Edge of the “New Weird South” 

Source: Bandcamp Daily.

Traxler put out an open call for artists, secured a date at Crosstown Arts—a disused Sears-catalog warehouse-turned-art gallery—and dubbed the ensuing event “Memphis Concrète.” The inaugural edition of the festival “felt like a reunion of people who had never met,” remembers Kim Rueger, whose Belly Full of Stars project made its live debut that weekend. Beginning with that first installment in 2017, every edition of Memphis Concrète has championed progressive sound and progressive thought in an area of the country not always recognized for either. And while the headliners have included everyone from relative newcomers like Moor Mother to seasoned genre-defiers like Matmos and Wolf Eyes, the undercard has consisted mostly of acts from Memphis, North Mississippi, and elsewhere in Tennessee. For Memphis musician Natalie Hoffmann, whose band Optic Sink has played each of the festival’s last two years, “the openness drew me in. In rock and punk, you really don’t see that as much. It’s refreshing.”