Events

The Molasses Man & Other Delta Tales serves as an anthology of stories based off of Ahmad George’s life and experiences with people they’ve encountered here and not. These works feature scenes with existing and non-existing figures from folklore and mythology sourced from the American South, elsewhere, and created.

“Days” follows the everyday observations of the structures we interact with. The houses become more than just a residence, but become individuals themselves. The shadows start to blur the line of where the walls stop and where a presence might begin.

“But Then, Suddenly, I Was Looking From the Inside Out” is about “no compartments.” Everything is mashing together in life all the time — and while Lapossy longs for stability and order — it's all happening at once and they love how that feels — what that allows for. Not to be confused with multitasking, this is a kind of nurtured chaos.

Indie Memphis and Crosstown Arts are excited to present When The Apocalypse is Over, a block of aspect ratio-, post-production-, or VFX-heavy shorts from the latest generations of filmmakers in the Philippines.

Memphis-based, Arkansas-born singer-songwriter Mark Edgar Stuart performs a very special concert with Blueshift Ensemble, a Memphis-based contemporary chamber music ensemble dedicated to bringing artists and audiences together through artistic collaboration.

As part of the final night of Season of Delight, Crosstown Arts and Crosstown Concourse will collaborate to screen a holiday feature in Crosstown Theater. The feature-length Die Hard will be screened for free. Theater doors open at 6 pm, and the films begin at 6:30 pm.

Ho, ho, ho here they come, come, come! The Sissy Dicks are home for the holigays, playing their first Memphis show in over a year at The Green Room at Crosstown Arts! Four-time Grammy ineligible, nationally tolerated, and locally endured, they're the queer country that no one asked for, but that your single uncle Richard definitely listens to alone in his truck after choir practice. Come on out and get your stocking absolutely stuffed at the xxxmessiest spectacle of the season and find out why The Sissy Dicks are on everyone's prayer list!

Soul/jazz/funk sax player and vocalist Hope Clayburn is on a mission to move the people. Her unique style has allowed her to perform with an eclectic mix of artists around the world, including The Temptations, The Allman Brothers Band, and Valerie June.

Hope can be found in Memphis, Tennessee, recording and performing with a variety of bands like Lucky 7 Brass Band, Frog Squad, Marcella Simien, and Obruni Dance Band. She has her own funk soul ensemble, Hope Clayburn’s Soul Scrimmage, performing her original music. Their new single and music video “Nobody” is out now on YouTube, and their new album and vinyl record Y’all So Loud is coming this December.

In January, encounter MLK Freedom Celebration, which aims to pay homage to capturing the beauty, struggle, and resilience of the Memphis community through music. 

Performing original compositions inspired by the distinct imagery and characters of one of the most famous auteurs in film, Wes Anderson. 

Jazz alto and sopranino saxophonist Wessell “Warmdaddy” Anderson played jazz early on at the urging of his father, who was a drummer. He played in local clubs from his early teenage years, and studied at the Jazzmobile workshops with Frank Wess, Charles Davis, and Frank Foster. He also met Branford Marsalis, who convinced him to study with Alvin Batiste at Southern University in Louisiana.

On Friday, January 26, at 7:30 pm, the multi-hyphenated artist Lawrence Matthews will perform for the first time since retiring his former stage name Don Lifted at the Overton Park Shell in 2022. Independent and sitting on an album and a half of new material, this performance features all new compositions only heard by a select few at private listening events over the last year.

Known for his performances’ visual spectacle, Matthews dials it back offering a undistracted and direct connection between himself and the audience while presenting a full-bodied reflection of the south and its unrelenting hold both spiritually and physically. The new material exists as a musical portal and a radical contemporary extension of the sampled blues, soul, and jazz artists for which Matthews finds himself kin.