COVID 19 - See our latest guidelines

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Upcoming Events

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Dark Star Orchestra

Sunday May 22
Doors 7:00 pm
Starts 8:00 pm
Ages All

Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.

Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.

Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.

In addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.

Fans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.

"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Outback Presents

Seether

Tuesday May 24
Doors 7:00 pm
Starts 8:00 pm
Ages ALL

Since forming in Pretoria, South Africa in 1999, SEETHER has amassed a global fan base that has grown organically with the quartet’s sense of purpose and commitment spreading outwards, offering their fans around the world camaraderie, comfort and a sense of personal power. While others of their ilk faded away, SEETHER maintains a strong sense of self, ignoring trends and critics in favor of a consummate devotion to their craft. Their impressive sales and chart history includes three platinum and two gold albums, 15 #1 singles; 19 Top 5 multi-format hits, with US singles sales topping 17 million and over 1.5 billion streams world-wide across all platforms.

Three years after releasing their critically acclaimed record Poison The Parish, multi-platinum selling rock band SEETHER announced their highly anticipated return with the new album, Si Vis Pacem, Para Bellum on August 28th, 2020 via Fantasy Records. Translating to “If You Want Peace, Prepare For War,” the album features 13 new tracks, a primal mix of euphoria and misery, undoubtedly some of the strongest material of SEETHER’s illustrious career, including the beautifully tormented first single “Dangerous”. The band is joined on the album by newest member, Corey Lowery (ex-guitarist/vocalist for Saint Ansonia and Stuck Mojo) Morgan’s friend of 16 years, who also assistant-engineered the album. SEETHER’s rock-solid rhythm section is bassist and founding member Dale Stewart, and drummer John Humphrey (who joined in 2003.)

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

1884 at Minglewood

Daniel Nunnelee

Friday May 27
Doors 7:00 pm
Starts 8:00 pm
Ages ALL

Daniel Nunnelee is an alternative folk artist based out of Nashville, TN. Born in Memphis and raised in small towns around Mississippi and Tennessee, Daniel spent time in many different churches. It was a talented music minister in Senatobia, Mississippi that inspired Daniel to start playing and writing his own music. His songs are reflections of loud thoughts in quiet moments, a style mirrored in his performance.

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Trouble No More

Thursday June 02
Doors 7:00 pm
Starts 8:00 pm
Ages ALL

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Big K.R.I.T. Digital Roses Tour

Friday June 03
Doors 6:00 pm
Starts 7:00 pm
Ages ALL

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Shakey Graves

Friday June 10
Doors 7:00 pm
Starts 8:00 pm
Ages ALL

The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 - the three years before Roll The Bones came out and changed his life.

There are stencils, lyrics, drawings, prototypes for concert posters, and even a zine. The latter, which Graves - aka Alejandro Rose-Garcia - wrote and illustrated, tells the tale of a once-courageous, now retired mouse who must journey to the moon to save his sweetheart. At the time, he envisioned the photocopied storybook as a potential vessel for releasing his music.

“There was a lot of conceptualizing going on - trying to figure out what I wanted stuff to look like, sound like, and be like,” Rose-Garcia recalls, shuffling through the physical files on his second-story deck in South Austin. “And, honestly, a lot of trying to keep myself from going crazy.”

In this lode of unreleased ephemera, CD-Rs are the most bountiful element. There are dozens of burned discs with widely varying track lists, loosely resembling what would become the Austin native’s 2011 breakout debut Roll the Bones. For Rose-Garcia, who’s long loved the incongruous art form of sequencing strange mixtapes for friends, his own record was subject to change every time he burned a disc for somebody. Consistency didn’t matter, he asserts, because there was no demand or expectations.

Thus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist's enduring logo: a skull struck by an arrow.

“I liked that if they were opened, you couldn’t close them again,” he smiles. “Sometimes I’d spray paint the CD so they looked good and people would stick them in their car stereo and it would fuse in and never come out. They’d tell me, ‘You’re lucky I like this record because it’s the last one I’ll ever be able to listen to in my car.’”

In the shadows self-doubt that surrounds any artists first record, Rose-Garcia had a fantasy: he releases Roll the Bones, only ten people hear it, it’s rediscovered a decade later by Numero Group, hailed as before-its-time, and finds an audience as a lost treasure. He still plays that scenario through his mind like an alternative reality.

Of course, that’s far from what actually materialized. Roll the Bones was released on the first day of 2011 without a lick of promotion advancing it. It was simply thrust into the world as a decapod of perplexingly memorable, narrative-wrapped songs with a mysterious cover and no information about the artist… only available on the relatively new platform of Bandcamp.

That year, an editor at Bandcamp made it a featured album for a month and from there it stayed in the website’s top selling folk albums evermore. The record has since seen well over 100,000 units sold - even while being available for free download. In the “Supported By” section of the Roll the Bones Bandcamp page, you can endlessly click “more” and squares of avatars will keep showing up until you grow tired and stop.

“If you discover something for yourself, it will always hold more water because it’s tied to memory and coincidence,” Rose-Garcia reasons as to why he never pushed Roll the Bones onto a wider marketplace. “It gives you a sense of ownership as a listener.”

Now fans can obtain Roll the Bones as their own physical artifact. Through Dualtone Records, Shakey Graves will release a Ten Year Special Edition double LP with a black and gold foil re-arting of the taxidermied cow head cover. Separate iterations, hitting record collections on April 2, offer the 180g vinyl in a black and gold combination or two marbled “galaxy gold” discs. The lovingly assembled packaging includes handwritten deep explanations of every song, offset with original photography.

Along with its deluxe vinyl emergence, Roll the Bones today becomes available through all digital service providers

- Spotify, Apple Music, YouTube, et all. For the last decade, the songs have lived exclusively on Bandcamp. This

full-spectrum digital release arrives concurrent with Shakey Graves Day, which was minted on February 9, 2012 by Austin Mayor Steve Adler. Year one, Rose-Garcia spent what he calls his “alter ego’s birthday,” as an excuse to go play laser tag. Ever since, he’s used it as an occasion to stage intimate pop-up shows and open up the attics of his discography - making all of his albums, plus hundreds of unheard songs temporarily available for free.

“I’ve used Shakey Graves Day as a challenge to myself,” he assesses. “I make so many random songs throughout the year that I either forget about or I’m too nervous to put on an album and it becomes a clearinghouse for that. It surprises me when people tell me that something released that day is their favorite of my stuff. In a larger sense, it builds off what I initially did with Roll the Bones - which is give it away for free.”

Accompanying Roll the Bones anniversary pressing are 15 additional tracks comprising an Odds + Ends LP, which stands as an essential document of Grave’s early era. Highlights include the mandolin imbued “Chinatown,” which sounds like it could be dubbed off a 1930’s silver screen soundtrack, and “Saving Face” - a seminal version of what would become Roll the Bones title cut. The crown jewel, however, may be a the first ever proper recording of the trifling love song “Late July,” a version that’s drastically different than the live rendition that’s racked 14 million views on YouTube.

Prepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person.

“I hear someone who felt really trapped,” he reveals. “In a lot of ways it was a breakup record. My first serious relationship had fallen apart and I was wanting to break up with my life - run away, be transient, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself, like maybe it’s okay to be dirty and crazy and have blinders on. Then, at the end, everything’s zooming back in and I’m saying ‘I guess I just got hurt and I’m in a bit of pain and, you know, it’s going to be okay.’”

Claiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up. To him, it’s a scrappy effort, but the most intentional work he’s ever produced - and, a decade later, he wouldn’t change a thing.

“It’s a record that sounds like my years of exploration and influence, funneled through my abilities at the time - and it all became something bigger,” he muses. “If you would’ve offered to me: ‘Let's do exactly what you want, right now” Roll the Bones wouldn’t have come out like this… and I’m happy that’s the case. Total control is an unhealthy myth, it leaves out the emotional side of how all the accidents come together. This record’s a period of time smashed into a single product and, in my own heart, it’s a moral compass: to always get back to feeling like this about the songs I make.”

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Everclear 30th Anniversary Tour

Sunday June 19
Doors 6:00 pm
Starts 7:00 pm
Ages ALL

Considering Everclear has written and recorded some truly iconic ’90s alt-rock hits, it would be all too easy these days for the band to be a victim of its past successes, relegated to performing as a glorified jukebox, existing to satisfy the nostalgic cravings of Gen Xers everywhere. But singer-guitarist Art Alexakis isn’t about to start phoning it in now.

Although the band hasn’t released a new studio album since 2015’s triumphant Black Is The New Black, Everclear continues to tour actively. And while it’s a virtual surety that no Everclear gig is complete without a rendition of “Santa Monica” and “Father of Mine,” lately the band has found that exploring the full range of past material—especially the “deep cuts”—not only gives fans a rare treat, it also injects new life into the band’s live dynamic.

“By mixing it up and digging into the catalogue, it still makes it fun and relevant for us, and I think for the fans as well,” says Alexakis. “It’s still important to play the hits, but by playing those other songs as well, it makes it all seem more vibrant and real. Even though I recorded some of those songs 20 years ago, I haven’t played them in a long time, so it’s like reinventing the wheel. I’m having more fun now than I have in years. I think all of us are.”

Formed by Alexakis in 1991 in Portland, Oregon, Everclear has enjoyed a lengthy career spanning 11 studio releases, numerous videos, thousands of shows and accolades that include a 1998 Grammy nomination. Like a true survivor, Alexakis has soldiered on through multiple lineup changes over the years: During the “classic” era, the band also included Craig Montoya on Bass and Greg Eklund on drums; the current touring lineup features longtime members Dave French (guitar) and Freddy Herrera (bass), as well as drummer Brian Nolan (also with American Hi-Fi), who has performed with Everclear on multiple past tours.

Everclear spent May and June of 2017 touring in honor of the 20th anniversary of So Much For The Afterglow, the band’s massively successful sophomore major-label release. The 40-date run was an incredibly emotional and personally satisfying experience for Alexakis, who was able to perform obscure cuts from that time period for the first time in many years. Connecting with fans in that setting also reinforced the lasting impression the album has made.

“The tour was phenomenal. It left me and the band stunned at how important that record was to so many people, and to be a part of that, both then and now,” says Alexakis. “The legacy of it is still vibrant for so many people. It was great just watching people react when we were playing not just the hits, but deeper songs on that record. I always liked the deeper songs—they were usually my favorite songs—and when the band would play those, it would be really exciting and important for me. That was fun, seeing that reaction, and just talking to people after the show.”

Prior to that, Everclear experienced a career resurgence thanks to 2015’s Black Is The New Black, which not only proved the band could still rock, but also that Everclear remains creatively relevant, decades after their platinum years. As is common for many artists these days, Black didn’t set records for traditional album sales, but the release did see significant streaming activity and sparked a heightened social media presence, putting the group firmly back in the listening public’s mind. The band continues to ride this latest wave of interest.

“I personally think [Black] is one of the best records Everclear has ever made,” Alexakis says. “It sounds like both old Everclear and new Everclear: It has a contemporary production sound, but it’s just old-school, angry rock songs. It’s kind of dark, very reminiscent of the early stuff. The sales weren’t great on it, but a lot of people streamed it. It got millions and millions of streams, so people were listening to it, and it resonated.” “We might make another record in a couple years,” he says. “Maybe later on this year I’ll feel like it. I don’t know yet.”

That said, the band’s live itinerary certainly makes up for its recent studio absence. Alexakis is excited to revisit songs from fan favorite records like Afterglow, Sparkle and Fade and the double album Songs From The American Movie, but also compositions from more underrated collections, like 2012’s Invisible Stars.

“There are people asking for songs, so we’ll just try and learn songs as we go,” Alexakis says. “If we get a lot of response from people to play a certain song, we’re going to learn it and go on the road and play it. You don’t think, ‘Wow, I can’t sing that high anymore.’ We’re not going to worry about it. We’re going to play some rock n’ roll, and just do it.”

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

Outback Presents

Chelcie Lynn The Tammy Tour

Friday June 24
Doors 7:00 pm
Starts 8:00 pm
Ages 18+

Chelcie Lynn is a comedian, actress, and internet personality who was recently named one of Variety’s 2021 Top 10 Comics To Watch. She started building a fan base in 2014 when her sketches featuring her alter ego, Trailer Trash Tammy went viral. Her videos have since gained hundreds of millions of views across the internet, and have launched her career on screen and in comedy touring. Chelcie will be shooting a prank television series this fall for a major streaming platform, which will air in 2022. She can be seen in the Duplass Brothers feature film Tangerine as ‘Madame Jillian’, and recently starred in the digital series Coach Von Pidgeon for Funny or Die & Facebook Watch. Catch her on tour in a city near you!

VIP - SOLD OUT!

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

The Mountain Goats Duo

Thursday July 14
Doors 7:00 pm
Starts 8:00 pm
Ages ALL

At last it can be told: the story of how, when the Mountain Goats got together in early March, 2020, it was to make not one album, but two. That’s how many keepers our superhumanly prolific frontman, John Darnielle, had come up with since we’d recorded In League With Dragons in Nashville back in 2018.

The idea this time around was to work with Matt Ross-Spang, the dashing Memphis wunderkind who’d engineered that album and charmed us all with his gentle wit and old-school savoir-faire. (It’s hard not to be won over when you go to record a part and the voice coming through the headphones drawls, “You ready, Bubba?“) Matt’s pitch was for us to spend a week at Sam Phillips Recording, his home base in Memphis, followed by another at the equally storied FAME Recording Studios down in Muscle Shoals, Alabama, a plan that dovetailed nicely with John’s notion of corralling these songs into two complementary batches, a sort of yin and yang, one light, one dark. The Memphis album—Getting Into Knives, which came out last October—would be brighter, bolder, marked by rich and vibrant hues; the Muscle Shoals one—Dark in Here, set for release on June 25, 2021—quieter, smokier, but more deeply textured and intense. Something like that, anyway.

By the time we got to Alabama, it was clear that the ground around us was quickly shifting, and that the world to which we’d be returning afterwards would be an unrecognizable one. But the studio, even during completely ordinary times, is a singularly immersive thing. You’re basically in a bubble with a handful of your closest friends, working 12 hours a day, so focused on the task at hand that most of the time you forget that the outside world even exists. So it wasn’t a huge leap to go from being—to borrow the Hold Steady’s phrase—sequestered in Memphis to finding ourselves effectively, in the moment’s suddenly ubiquitous parlance, quarantined in Muscle Shoals.

Half a million dead Americans later, I’m not sure what people will make of this album, to be honest. If it has an antecedent in the Mountain Goats catalog, I’d say it’s Get Lonely, the similarly restrained 2006 album that it took people a while to find their way into; producer Scott Solter memorably called it at the time “a root fire of a record.” One of the words that John used when we were talking about the direction for Dark in Here was “wild,” which I liked a lot. Not wild in the sense of abandon—these aren’t those kind of songs. But wild in the sense of something undomesticated, untamable. Wild like the immutability of nature, the way it will take back any piece of untended space as its own, whether amidst the AutoZones and Chick-fil-A’s of Muscle Shoals or among the ruins of a scientific outpost on the Kola Peninsula. Wild like the whale; like a powerful animal. Or a virus—the beast that awakes, emerges from a forest, and stops the world. You can fight the calamity all you want, but either way, it’s going to demand your surrender.

Support by Abby Hamilton

If you’ve spent any time exploring Kentucky’s booming music scene, chances are you’ve heard somebody say, “You’ve really got to hear Abby Hamilton.” The Kentucky singer-songwriter has garnered a reputation as a can’t-miss live performer, opening for acts like Wynonna Judd, Shakey Graves, Kelsey Waldon, Valley Queen, Arlo McKinley, and Justin Wells, as well as singing at festivals including Railbird and Masters Musicians. With influences ranging from the classic country divas to Bruce Springsteen, she wins over audiences with her clever lyrics and entrancing vocals.

Her long-anticipated second EP, “Afraid of the Dark,” is bound to appease Hamilton’s avid fan base, perfectly encapsulating her unique sound that feels just as comfortable in the Appalachian mountains as it does in a whiskey-soaked bar room in the city. She spent months in a hollow in Prestonsburg, Ky., crafting songs that tell stories inspired by true events about hope, home, and young love. It’s a genre-bending folk-rock experience that cements her place as one of the region’s most interesting young and up-and-coming songwriters.

HEALTH & SAFETY GUIDELINES FOR COVID-19

Minglewood Hall no longer requires proof of Covid-19 vaccinations or negative Covid-19 tests, unless otherwise required by an artist for their upcoming show.

If you are planning to attend or purchase a ticket to an upcoming show, we ask that you visit that show’s event page on MinglewoodHallMemphis.com to see what Covid-19 policies might be in place, as each show may have different restrictions.

Stay tuned to Minglewood's social media accounts and website for the most up-to-date information.

plus Aaron Moses and Aodhan King

Worship Nights with Dante Bowe

Saturday August 20
Doors 6:00 pm
Starts 7:00 pm
Ages ALL AGES

Premier Productions, Dante Bowe and Food for the Hungry announce the Worship Nights Tour. The tour will span eight cities and will see Bowe fresh off the What Are We Waiting For? Tour with For King & Country.

“I think this tour is going to be a special one because we’re going back to simple worship,” said Bowe. “We’re stripping away the smoke, lights and all the extra things we tend to use. Not that those things are bad, but these are going to be nights of remembrance. Remembrance of what Jesus has done and what He has yet to do.”

For his first solo headlining tour, Bowe is bringing along fellow Maverick City artist Aaron Moses and Hillsong’s Aodhan King.

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But that’s not all. Catch us in the heart of midtown Memphis for boxing matches, comedy shows, markets, and live music, all in an intimate, vibrant setting. Sing at the top of your lungs. Laugh. Dance. Feel the buzz all the way home.

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