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

See all shows

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 LOUNGE AT MINGLEWOOD

John Moreland

Thursday September 29
Doors 7:00 pm
Starts 8:00 pm
Ages All Ages

Plus Special Guest Rob Aldridge

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.”

Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5.

The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person– –or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.”

That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.”

On Birds in the Ceiling, Moreland’s singing contributes to the feelings of hushed intimacy. Wielding a warm, sandpaper soul voice, Moreland got used to singing loudly as he began playing in bars, fighting to be heard over chattering crowds. “When I first started singing, I was very self- conscious about it,” he says. “I think I tried to affect my voice more. Singing loud could be a security blanket sometimes. On the new album, on a lot of the songs I was definitely making a conscious effort to sing quieter––almost whisper.”

Produced by Matt Pence and Moreland, Birds in the Ceiling is dynamic: a folk record that refuses to stay in its lane. It’s the second album for Pence with Moreland, who sees the former––a Denton, Texas-based engineer, producer, and drummer––as an ideal musical partner. “We have a lot of the same influences, and I have been really influenced by his bands,” Moreland says. “It feels really effortless.”

Album opener “Ugly Faces” establishes the new instrumental ground Moreland is covering: piano and acoustic guitar are joined by drum break and percussive electronic chirps then swells as Moreland’s familiar voice delivers questions, observations, and apologies. “I got used to shutting off parts of myself and feeling like, ‘Well, I’m this kind of artist, so this part of me and that part of me don’t fit––I’m going to leave them out,” Moreland says of the record’s arrangements. “On this album, I really just wanted to throw that rule out completely. Anything I’m into or that has moved me is fair game.” Cue 90s roots pop: Moreland mentions Sarah McLachlan and Sheryl Crow as influences, then points to the pioneering sampling from the 80s and 90s, as well as the hooks of Janet Jackson. “I feel like I’m old enough now to say, ‘I love pop,’” he says––then laughs a little.

“Lion’s Den” underscores the pop point: A mathy electronic beat kicks off the song before Moreland’s gorgeous acoustic guitar playing, nimble but lush, sweeps listeners away. The lyrics explore feelings of displacement and connection––then disconnection. “I think most of the album lyrically is about alienation and isolation––really about what my wife and I were going through during the pandemic,” Moreland says. “Not really relating to the pandemic itself so much, but just the circumstances we were both going through with family and friends, which was all colored through this terrifying, dystopian lens.”

Crunchy drum machine claps give way to menacing acoustic guitar on “Cheap Idols Dressed in Expensive Garbage." Moreland wrote the song after a friend introduced him to a social media account that highlights pastors wearing designer clothes. “It feels like things just continue to get harder for working people," he says. “It’s hard to afford life these days.”

Moreland points to “Generational Dust”––a moving portrait of the complicated relationship with roots and place––as an album favorite. A gentle showcase of Moreland’s accomplished acoustic guitar playing, “Dim Little Light” taps into the bigness of universal connection and the smallness of individual perspective. While Moreland no longer considers himself religious, the concepts and language picked up during his Bible Belt upbringing emerge in his songs, recast in new, independent musings about self-acceptance, honest questions, and hope––but never as answers. ““At this point in my life, I'm quite comfortable with the mystery of it all,” Moreland says.

“Claim Your Prize” packs a heartbreaking punch, tucked into upbeat guitar strums and a mournful chorus. Moreland’s guitar playing stands out throughout the record. “I wanted to expand my guitar playing on this album,” he says. “I played all the guitars, and I just wanted to approach it with more compositional intent.” The beautiful “Neon Middle June” explores the connection that deepened between Moreland and his wife during the pandemic, when they were “holed up together, home all the time, and it was just weird and lovely.” Pianist John Calvin Abney’s jaw-dropping arrangement and playing happened by chance: He sat down to warm up for the song in the studio, not realizing tape was rolling. The freewheeling, abstract keys perfect the song’s lovely weirdness.

The album’s title track is the graceful closer, pensive, breathtaking, and brimming with hope and gratitude. “The last verse is really about learning not to impose your own essences and projections onto things, and to just let things be what they are,” Moreland says.

Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could 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.

Muscadine Bloodline

Thursday September 29
Doors 8:00 pm
Starts 9:00 pm
Ages All

plus special guest James Tucker

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.

Ani DiFranco

Saturday October 01
Doors 7:00 pm
Starts 8:00 pm
Ages All

Ani DiFranco plus special guest Diane Patterson

Ani DiFranco and Minglewood Hall are offering a limited amount of non-transferable tickets priced at $25.00 in an effort to make the show more accessible for our community.

These are offered on a first come, first serve basis and must be picked up at Will Call. 

We welcome everyone, thanks for joining us!

• • • • •

ANI DIFRANCO
Widely considered a feminist icon, Grammy winner Ani DiFranco is the mother of the DIY movement, being one of the first artists to create her own record label in 1990. While she has been known as the “Little Folksinger,” her music has embraced punk, funk, hip hop, jazz, soul, electronica and even more distant sounds. Her collaborators have included everyone from Utah Phillips to legendary R&B saxophonist Maceo Parker to Prince. She has shared stages with Bob Dylan, Bruce Springsteen, Pete Seeger, Kris Kristofferson, Bon Iver, Brand Carlile, Billy Bragg, Michael Franti, Chuck D., and many more. Her most recent albums include 2021’s Revolutionary Love and the July 2022 25th Anniversary Edition reissue of her iconic live album Living In Clip, both on her own label Righteous Babe Records. Her memoir No Walls and the Recurring Dream was released in May 2019 by Viking Books, and was a New York Times Top 10 best seller.

Rejecting the major label system has given her significant creative freedom. She has referenced her staunchly-held independence in song more than once, including in "The Million You Never Made" (Not a Pretty Girl), which discusses the act of turning down a lucrative contract, "The Next Big Thing" (Not So Soft), which describes an imagined meeting with a label head-hunter who evaluates the singer based on her looks, and "Napoleon" (Dilate), which sympathizes sarcastically with an unnamed friend who did sign with a label. After recording with Ani in 1999, Prince described the effects of her independence. "We jammed for four hours and she danced the whole time. We had to quit because she wore us out. After being with her, it dawned on me why she's like that – she's never had a ceiling over her."

Her lyrics are rhythmic and poetic, often autobiographical, and strongly political. “Trickle Down” discusses racism and gentrification, while “To The Teeth” speaks about the need for gun control, and “In or Out” questions society’s traditional sexuality labels. "Play God" has become a battle cry for reproductive rights while “Revolutionary Love” calls for compassion to be the center of social movements. Rolling Stone said of her in 2012, "The world needs more radicals like Ani DiFranco: wry, sexy, as committed to beauty and joy as revolution." 

Over the years she's performed at countless benefit concerts, donated songs to many charity albums, and given time and energy to many progressive causes. She has learned from and demonstrated beside Gloria Steinem, Jesse Jackson and Dennis Kucinich. In 2004, she marched in the front row of the March for Women's Lives along with Margaret Cho, Janeane Garofalo, Whoopi Goldberg, and many others, later performing on the main stage. She has beaten the drum for voter registration and turnout with "Vote Dammit" tours in multiple presidential election years, including most recently in 2016. She's currently on the board of Roots of Music, an organization that provides at-risk youth with support and musical education in New Orleans, and the creative council of EMILY’s List, which helps elect pro-choice Democratic women to office.

As an iconic songwriter and social activist, she has been the inspiration for woman artists and entrepreneurs for over two decades. She has been featured on the covers of SPIN, Ms., Relix, High Times, and many others for her music and activism. She is the idol of empowered women who came of age in the 90s and continues to bring younger fans into her fold. From Alice Walker to Amy Schumer, Ani is respected by wordsmiths across milieux and generations. She blazed the trail for self-directed artist careers and has been cited by musicians from Prince to Bon Iver as an inspiration to release their own art outside of the major label system. 

Ani has been the recipient of many honors and awards, including a Grammy for best album package (Evolve), the Woman of Courage Award from the National Organization for Women, the Gay/Lesbian American Music Award for Female Artist of the Year, and the Woody Guthrie Award. At the 2013 Winnipeg Folk Festival she received their prestigious Artistic Achievement Award, and an honorary doctorate from the University of Winnipeg. In 2017, she received a Lifetime Achievement Award from A2IM (a nonprofit trade organization that represents independent record labels) and the Outstanding Achievement for Global Activism Award from A Global Friendship. In 2021 she was named a Champion for Justice by the National Center for Lesbian Rights.

• • •

DIANE PATTERSON
Award-winning songwriter, Folkgoddess Diane Patterson subverts the dominant paradigm with rocking acoustic guitar and ukulele, a mighty pen, and a woman's voice. Since 1989, Patterson weaves her original Mystic Acoustic Americana and unifying stories, planting seeds of love and revolution. Diane’s new album, Satchel of Songs, was recorded last year in New Orleans with platinum record-producer Mike Napolitano and features amazing supporting musicians such as Terence Higgins, Todd Sickafoose, Barbara Higbie, Alice DiMicele, Janelle Burdell, Joe Craven and Ani DiFranco.

Diane tours winters in Hawaii and summers in Scandinavia. She played folk guitar in church as a kid, and now her songs come from visions of equality and passion for wild forests. This season Diane also debuts a music video for her 20-year-old song Ballad of Big Mountain, all filmed around the stunning Diné/Navajo lands. In April 2022 she returned to Sweden, Denmark, Germany and Poland for a 2-month musical tour of small venues and living rooms.

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.

TEDDY SWIMS

Saturday October 08
Doors 7:00 pm
Starts 8:00 pm
Ages All

Teddy Swims is a lover. The 29-year-old artist, who merges honeyed soul with raucous rock energy and pleasing pop hooks, writes nearly all his songs about falling in or out of romantic entanglements. He zeroes in his focus on his latest EP, Tough Love—a six-song collection of heartbreak horror stories and earnest declarations of devotion. “To me, that’s just all there is,” he says. “You’re either making love or crying about it.” The Atlanta native, born Jaten Dimsdale, has been tugging at heartstrings since posting a series of covers from his bedroom studio, which generated hundreds of millions of views and scored him a deal with Warner Records. Teddy changed his focus to introspective originals on 2020’s Unlearning EP and garnered praise from American Songwriter, Billboard, Rolling Stone, among others. Soon, performances on The Kelly Clarkson Show, Today, and The Late Show With Stephen Colbert cemented his status as a rising star. With more than 500 million global streams to his credit, as well as a social following that exceeds 8 million, Teddy’s songs of devotion have clearly connected. And part of reaching that audience, for him, is getting to show his love in person.

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.

DEORRO

Thursday October 13
Doors 7:00 pm
Starts 8:00 pm
Ages All

PLUS SPECIAL GUESTS OOKAY & CHUWE

For over a decade, Los Angeles-born and bred producer Deorro, or Erick Orrosquieta by name, has transcended musical styles, international borders, and broken cultural barriers with his genre-defying expertise. Armed with the same songwriting mastery and musical fluidity of his formative years as a bedroom producer and local hero, Deorro is now a globally-certified, chart-topping, platinum-selling artist. 

The world was introduced to Deorro’s signature style in 2013 via “Yee” – his first major label release signed to Hardwell’s Revealed Recordings. A foreshadowing of greatness, “Yee” charted worldwide across Austria, Belgium, France, Germany, The Netherlands, and Switzerland. Deorro crossed over into the mainstream landscape in April 2014 with his groundbreaking single “Five Hours.” A quantum leap in his career, the track was a testament to his formidable sound design and dedication to sonic excellence. Equipped with warping crescendos, futuristic beats, and cerebral soundscapes, “Five Hours” went on to become a worldwide success charting in multiple countries including a #8 spot on SNEP official French Singles Chart and peaked at #1 on Billboard’s Dance Airplay chart. Like a detonated grenade, “Five Hours” initiated a seismic wave of non-stop momentum leading to a series of accolades including a guest cameo on MTV’s Teen Wolf and a commendable ranking in DJ Mag's Celebrated Top 100 DJs annual poll at #19 – the highest new entry of 2014. That same year, Deorro released his spanish hit “Perdoname” featuring DyCy and Adrian Delgado which garnered over 53 million plays across streaming platforms, won Best Latin American DJ at the EMPO Awards and now stands as a 2x Platinum record.

Breaking into spaces outside of dance music, In 2015, Deorro teamed up with Grammy Award-winning R&B icon Chris Brown for their critically acclaimed track “Five More Hours.” The collaborative hit accelerated Deorro’s career to an unprecedented upward trajectory with the chart-topping track receiving more than 19 global certifications, 330 million Spotify streams, and over 200 million YouTube views and counting. A proud Mexican-American and voice for the Latine music community, his Latin/EDM hybrid single “Bailar” is now an 8x Platinum-certified hit that went on to win Latin Billboard’s Tropical Song of The Year along with a subsequent recording with esteemed musical legend and performer Pitbull. 

An amalgamation of years of success and collaborative excellence, Deorro’s 2017 debut album Good Evening brought together the sounds, styles, and influences that levitated him to fame. Signed to Ultra Music, Good Evening is a versatile venture into sound-design. A conceptual LP with a staggering 24 tracks, the project is equipped with intros, outros, interludes, and story-telling. A narrative outline of the many subgenres that make-up the spectrum of dance music, Good Evening captures the wonders of future bass, dubstep, jazz-swing, and more. To no one’s surprise, the album stacked a laundry list of accolades ranking high in the Apple Music Dance Album charts around the world, including #1 in two countries, #4 in France, #19 in Australia, and reached the Top 50 in Apple Music’s overall chart across six countries.

With releases spanning major labels like Interscope, Spinnin’ Records, Mad Decent, and more, sync deals with 22 Jump Street, Zac Efron’s We Are Your Friends, and MTV’s Teen Wolf, additional collaborations with Steve Aoki and Diplo, and appearances at globally-esteemed festivals like Tomorrowland, Coachella, Lollapalooza, Parrokavile and World Club Dome in Germany and performances at venues like Shrine Auditorium, an ongoing residency at Marquee Nightclub Las Vegas, an official Super Bowl afterparty for The Los Angeles Rams, a partnership with the Men’s Mexican National Soccer Team, and appearances across Ibiza, Deorro is a certified asset to the greater dance music community and beyond. After a nomination for Premio Lo Nuestro’s 2021 DJ of the Year, Deorro’s commitment to challenging the status quo in modern electronic music is unrelenting, while taking a step toward his roots in Latin music. With a fearless dedication to crafting intercultural hits and dissolving the boundaries of geography with music, 2022 is expected to unveil Deorro’s sophomore studio album and debut Latin album, ORRO along with performances at the Hollywood Palladium, Story Nightclub Miami, EDC Mexico and Las Vegas, Lollapalooza Argentina, Chile, and Brazil, Escapade, and so much more.

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.

Lucy Dacus

Friday October 14
Doors 7:00 pm
Starts 8:00 pm
Ages All

Lucy Dacus plus special guest Crooks & Nannies

LUCY DACUS
Lucy Dacus is a musician, performer, storyteller, and widely regarded as “one of the best songwriters of her generation” (Rolling Stone). She has released three full-length albums under her name: 2016’s No Burden, 2018’s Historian, and 2021’s Home Video, as well as the boygenius album in 2018 with her bandmates Phoebe Bridgers and Julien Baker. Home Video was named a top 10 album of 2021 by NPR MusicSPIN, USA Today, Rolling Stone, The New York Times, and many more, leading to performances on The Tonight Show Starring Jimmy Fallon, The Late Show with Stephen Colbert, Jimmy Kimmel Live!, CBS This Morning, and Late Night with Seth Meyers. Additionally, Dacus made her Austin City Limits TV debut in 2020.

CROOKS & NANNIES
A collaboration between multi-instrumentalists Sam Huntington and Madel Rafter, Philadelphia duo Crooks & Nannies’ signature blend of brash, confessional indie rock functions on extremes. Alternating between painfully tender and jarringly obtuse, the childhood friends fashion themes of growth, loss and transformation into off-kilter pop songs that whirr with the unpredictability of a failing engine. Synthetic, hook laden choruses fizzle into sparse folk arrangements — Huntington mutters drop-pitched affirmations as Rafter’s playful yet serrated vocal delivery pours through the arrangements like rubbing alcohol. It might heal you, but it’s going to sting.

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.

Premiere Productions Presents

Glory Nights Tour feat. KB

Sunday October 16
Doors 6:30 pm
Starts 7:00 pm
Ages All

Glory Nights Tour will feature KB's unique “cinematic trap" and powerful spiritual movement. You will experience his top hits from albums that went top five in both Christian and Rap Billboard charts. KB is being joined by Trip Lee, Passion, Flame, Evan Craft, Nobigdyl, and Sam Rivera.

 

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.

TRAP KARAOKE

Friday October 21
Doors 8:00 pm
Starts 9:00 pm
Ages All

TERMS AND CONDITIONS

As a condition of your attendance at “TRAP Karaoke,” you hereby grant TRAP Karaoke, LLC, it's licensees, successors, and assigns the right, but not the obligation, to photograph and film you and use your likeness, voice and other sound effects in the production, exhibition, distribution, promotion, publicity and advertising of this event in any and all media throughout the world in perpetuity. With ticket purchase you agree to receive communications from TRAP Karaoke, LLC.


ASSUMPTION OF RISK AND WAIVER OF LIABILITY

Attendee assumes all risks and accepts sole responsibility for any injury (including, but not limited to, personal injury, disability, and death), illness, damage, loss, claim, liability or expense, of any kind, that attendee may experience or incur in connection with attending Trap Karaoke (the "Event"). Attendee hereby releases, covenants not to sue, discharges and holds harmless Trap Karaoke LLC, its employees, agents, and representatives, of and from any such claims, including all liabilities, claims, actions, damages, costs or expenses of any kind arising out of or relating thereto. By purchasing a ticket you, regardless of actual attendance, assume the risk and holds harmless Trap Karaoke LLC, its employees, agents, and representatives, of and from any such claims, including all liabilities, claims, actions, damages, costs or expenses of any kind arising out of or relating to the cancellation or rescheduling of the Event due to the global COVID-19 pandemic or any venue, state, local, or federal regulation preventing the performance of the Event.

Specifically relating to the global COVID-19 pandemic, attendee acknowledges the contagious nature of COVID-19 and voluntarily assumes the risk of exposure or infection by attending the Event, and that such exposure or infection may result in personal injury, illness, permanent disability and death. Attendee understands that the risk of becoming exposed to or infected by COVID-19 at the Event may result from the actions, omissions or negligence of others who may attend the Event or their families, colleagues, or others with whom they may have contact. Accordingly, attendee understands and agrees that this release includes any claims based on the actions, omissions, or negligence of Trap Karaoke LLC, its employees, agents and representatives, whether a COVID-19 infection occurs before, during or after participation in the event.

In addition to all other rules and regulations relating to the attendee's attendance at the event, the attendee agrees to comply with all COVID-related procedures that may be implemented by Trap Karaoke, its vendors, venues, or contractors in order to protect as much as possible the health and safety of all attendees including but not limited to any requirements to display or provide proof of vaccination and compliance with mask regulations.


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.

CLUB LA 90s PRESENTS

MIDNIGHTS: TAYLOR SWIFT NIGHT

Saturday October 22
Doors 8:00 pm
Starts 9:00 pm
Ages 18+

ADVANCE: $20 | DAY OF SHOW: $25

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.

LINDSAY LOU & JOHN MAILANDER'S FORECAST

Wednesday October 26
Doors 7:00 pm
Starts 8:00 pm
Ages All

TICKETS
ADVANCE: $20 / Day Of Show: $25

Lindsay Lou has been making soulful, poignant music for the last decade. An undeniable powerhouse, Lou’s remarkable gifts as a singer, songwriter, musician and performer demand the listener’s attention. Her singing floats over the masterful playing and deep groove of her band with both a fierce intensity and a tender intimacy.

Born the daughter of a coal miner and the granddaughter of a Rainbow Gathering healer, Lindsay Lou grew up with room in her heart for both blue collar grit and mystical mind expansion. She describes her family as a group of close knit creatives, their lives influenced heavily by her maternal grandmother’s radical ideals and zest for life. Surrounded by the Great Lakes and her musical family, she naturally rooted herself in the Michigan music community.

Raised with this sense of community, Lou recalls always being surrounded by music. So when the time came for her to join a band, for Lou, it felt like finding a home away from home. Her career, like her life, has been full of great moments of kismet. Growing up, Lou built her repertoire by practicing her vocals, and she picked up the guitar so she could play with her Uncle Stuckey. The skills she honed during the days of learning to sing and play with her family led to a wide variety of musical opportunities, singing in choir in high school, attending an elite summer program at Interlochen on scholarship, and winning awards for her talents. It wasn't before long that Lou began to tour the world with a band of her own, The Flatbellys, and later The Sweet Water Warblers. The siren songbird and her band flew down South to take their place among friends in Nashville, TN.

The move prompted Lindsay Lou’s fourth album, Southland (released April 2018), which is a transformative and heart-wrenching ten-song stunner. Lou’s voice—and its unique ability to create an expansive, almost physically tangible soundscape—carries each song on Southland forward. Produced by Sam Kassirer (Josh Ritter, Lake Street Dive, Elephant Revival), Southland expanded on her 2015 crossover album, Ionia, which had staked her unique sound apart from the more bluegrass stylings of her earlier releases.

Today, touring nationally and internationally year round, Lindsay Lou and her band continue to collect a mass of friends and fans along the way. Notable U.S. festival plays include Telluride Bluegrass festival, Merlefest, Stagecoach, Redwing, ROMP, GreyFox, and a slew of others. Abroad, they have appeared at Scotland’s Shetland Island Folk Fest and the Celtic Connections tour, Australia’s National Folk Festival, and others. Of the live show, fRoots Magazine reviewed "...(Lindsay Lou is) the most affectingly expressive singer since Amy Winehouse, backed by the new Punch Brothers.” The Boot, who featured Lindsay Lou Band as a “Can’t Miss Act" at AmericanaFest 2018, says “...Lou brings introspection and masterful vocal work to her live show.”

A trailblazer in the music community, Lou's recent set of singles, The Suite Sweets, make it clear that she can’t be pigeon-holed into any prefabricated formula. Lindsay Lou continues to push boundaries with a sincerity and grace that will disarm even your republican grandma.

• • • • •

John Mailander is an acclaimed multi-instrumentalist who moves listeners in concert halls, festivals, and music camps at home and abroad. A sought-after performer, producer, educator, and recording artist, John is known for his deeply rooted voice on the fiddle, mandolin, and other stringed instruments.

John is a member of Bruce Hornsby & the Noisemakers. He has toured, performed, and recorded with some of the greatest names in the acoustic music world and beyond, including Billy Strings, Darol Anger, Molly Tuttle, Joy Williams, Sierra Hull, Jacob Jolliff, Keller Williams, Tony Trischka, Ruth Moody, Col. Bruce Hampton, Joe K. Walsh, Lee Ann Womack, Missy Raines, Laurie Lewis, and John Reischman, to name a few. He was the featured fiddler for Steve Martin & Edie Brickell's musical, Bright Star, for its debut run in Poughkeepsie, New York.

A San Diego native, now based in Nashville, TN, John is an in-demand session musician. His debut solo album, Walking Distance, featuring an all-star cast of musicians from the New England acoustic music scene, was released in 2014 to critical acclaim. The process of recording his following album, 2019's Forecast, led John to found a group of his own under the same name. John Mailander's Forecast is now a continually evolving collective of improvisational musicians from the Nashville music community. Their newest album, Look Closer, was released in May 2021.

As an educator, John has been on staff at some of the most prestigious music camps in the Americas, including the Augusta Heritage Center Bluegrass Week, Swannannoa Gathering, Puget Sound Guitar Workshop, California Bluegrass Association Music Camp, and Nimblefingers Old Time & Bluegrass Music Workshop. He also keeps a busy private instruction schedule, teaching students all over the country in person and online. His first instructional book, A Fiddler's Guide to Moveable Shapes, was published in Fall 2017. He is a graduate of the Berklee College of Music in Boston, MA.

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 Wood Brothers

Tuesday November 01
Doors 7:00 pm
Starts 8:00 pm
Ages All

THE WOOD BROTHERS

 

The Wood Brothers didn’t know they were making a record. Looking back, they’re grateful for that. 

“If we had known, we probably would have been too self-conscious to play what we played,” reflects bassist/vocalist Chris Wood. “At the time, we just thought we were jamming to break in our new studio, so we felt free to explore all these different ways of performing together without worrying about form or structure. It was liberating.”

Recorded live to tape, those freewheeling, improvised sessions became a vast pool of source material from which The Wood Brothers would go on to draw ‘Kingdom In My Mind,’ their seventh studio release and most spontaneous and experimental collection yet. While on past records, the band—Chris, guitarist/vocalist Oliver Wood, and drummer/keyboardist Jano Rix—would write a large batch of songs and then record them all at once, ‘Kingdom’ found them retroactively carving tunes out of sprawling instrumental jam sessions like sculptors chipping away at blocks of marble. A testament to the limitless creativity of the unharnessed mind, the record explores the power of our external surroundings to shape our internal worlds (and vice versa), reckoning with time, mortality, and human nature. The songs here find strength in accepting what lies beyond our control, thoughtfully honing in on the bittersweet beauty that underlies doubt and pain and sadness with vivid character studies and unflinching self-examination. Deep as the lyrics dig, the arrangements always manage to remain buoyant and light, though, drawing from across a broad sonic spectrum to create a transportive, effervescent blend that reflects the trio’s unique place in the modern musical landscape.

“My brother came to this band from the blues and gospel world, and my history was all over the map with jazz and R&B,” says Chris, who first rose to fame with the pioneering trio Medeski Martin & Wood. “The idea for this group has always been to marry our backgrounds, to imagine what might happen if Robert Johnson and Charles Mingus had started a band together.”

‘Kingdom In My Mind’ follows The Wood Brothers’ most recent studio release, 2018’s ‘One Drop Of Truth,’ which hit #1 on the Billboard Heatseekers Chart and garnered the band their first GRAMMY nomination for Best Americana Album. NPR praised the record’s “unexpected changes and kaleidoscopic array of influences,” while Uncut hailed its “virtuosic performances and subtly evocative lyrics,” and Blurt proclaimed it “a career-defining album.” Tracks from the record racked up roughly 8 million streams on Spotify alone, and the band took the album on the road for extensive tour dates in the US and Europe, including their first-ever headline performance at Red Rocks, two nights at San Francisco’s legendary Fillmore (captured on their 2019 release, ‘Live At The Fillmore’), and festival appearances everywhere from Bonnaroo to XPoNential.

 

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 DUDE BIRTHDAY BASH

Friday November 04
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.

PULSE TRIBUTE TO PINK FLOYD

Saturday November 05
Doors 7:00 pm
Starts 8:00 pm
Ages All

IN THE 1884 LOUNGE

TICKETS
ADVANCE: $15
DAY OF SHOW: $20

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.

Drayton Farley

Thursday November 10
Doors 6:00 pm
Starts 6:30 pm
Ages All

Alabama native Drayton Farley has as honest a voice as you're likely to hear in this burgeoning scene of country, folk, roots, and Americana music we're all wrapped up in. With songs and lyrics pulled from real life experience, there's a grounded feeling to his stories, a confessional quality that rings true to those who know. His voice fills the room like cigarette smoke, curling into every corner of you, with a fine grit rasp that smooths out every rough edge. It lingers hours, days, after you've left the bar - turns of phrase that tumble around your mind, bittersweet and familiar. He sings as deeply about the love he holds as the love he's lost and there's something so broken-in and comfortable about that Southern inflection that every song feels like coming home. Sharing stages with musicians on the rise such as Zach Bryan, Arlo McKinley and Mike and the Moonpies, Drayton has quickly gained a loyal fan base.

You can listen to Drayton’s latest album, A Hard up Life, wherever you get your music.

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.

Duane Betts

Thursday November 10
Doors 8:00 pm
Starts 9:00 pm
Ages All

SPECIAL GUEST NICKI BLUHM

TICKETS:
ADVANCE: $25
DAY OF SHOW: $30


Duane Betts is an American guitarist and singer-songwriter.  The Sarasota, Florida native cut his teeth as a teen sitting-in regularly with Rock and Roll Hall of Fame inductees, The Allman Brothers Band, before relocating to Southern California and leading rock outfits Backbone69 and Whitestarr.  Betts next spent nearly a decade playing guitar alongside his father, Dickey Betts, in his group, Great Southern.  As well, he was a touring guitarist for folk-rockers Dawes, and a member of the brief supergroup, Jamtown, featuring G. Love, Donovan Frankenreiter, and Cisco Adler. 

In 2018, Betts released his debut, Sketches of American Music, and toured as a guest of the Devon Allman Project.  At year’s end Betts announced the formation of The Allman Betts Band, officially uniting with Allman, and with Berry D. Oakley, son of the late Allman Brothers Band founding bassist Berry Oakley.  The group issued two albums- 2019’s Down to the River and 2020’s Bless Your Heart- before announcing its hiatus in 2022.  Currently Betts is prepping a second solo album, furthering his impassioned six-string stories reflecting a life and a history steeped in blues, rock, and country music tradition.

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.

STEVE HOFSTETTER

Friday November 11
Doors 7:00 pm
Starts 8:00 pm
Ages All

Author, columnist, and comedian Steve Hofstetter is often called the hardest working man in show-business. With all due respect to the late James Brown.

 

Hofstetter's national TV debut came on ESPN's Quite Frankly, where Stephen A. Smith yelled at him for three minutes. Hofstetter has also appeared on CBS' "Late Late Show With Craig Ferguson", Showtime's "White Boyz in the Hood", VH1's "Countdown", Sundance's "On the Road in America", and ABC's "Barbara Walter's Special", where he thankfully did not cry. He is the host and executive producer of "Laughs" on Fox networks, where he only cries occasionally.

 

One of the top booked acts on the college circuit, the original writer for collegehumor.com has also released six albums. Hofstetter has written humor columns for the New York Times, SportsIllustrated.com, and NHL.com, where he publicly admitted to being a Ranger fan.

 

After hosting Four Quotas on Sirius Satellite Radio for two seasons, Hofstetter moved to broadcast radio, and his Sports Minute (Or So) was syndicated on over 170 stations and in over 30 newspapers. Hofstetter's second live comedy album ("Cure For the Cable Guy") reached #20 on Billboard's comedy charts. His third album ("Dark Side of the Room") was the first ever pay-what-you-want" comedy album, since people were going to steal it anyway. His fourth album consisted of an hour of 100% ad-libbed material, which is, frankly, nuts. And his fifth album hit #1 on iTunes' comedy charts, which is also a bit nuts.

 

Hofstetter's brutal tour schedule consists of over 100 colleges and dozens of clubs every year, and is fueled by an immense online popularity, tons of press, and a Prius with great gas mileage. He reached 200,000 friends on Facebook (still the world record), 400,000 more on MySpace, and high shelves in grocery stores.

 

While Hofstetter's live shows are routinely sold out, he is best known for his writing, first published at age 15, mainly to impress girls. At 18, he co-founded "Sports Jerk of the Week", an irreverent website featured by press like USA Today's Baseball Weekly, Sports Illustrated and CNN. And at 20, Hofstetter took a year off of school to head up web content for the New York Yankees. The Yankees won the World Series that year, which would have been wonderful if they hadn't beaten Hofstetter's Mets. Yes, he's also a Mets fan. Poor kid.

 

While an undergraduate at Columbia University, Hofstetter was a well-read columnist for the Columbia Daily Spectator and a voice of the Lions. After a summer writing for Maxim, ESPN, and Sports Illustrated for Kids, Hofstetter syndicated his column in several newspapers.

 

Without his glasses, Hofstetter also looks a great deal like Michael Rappaport.

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.

BENDIGO FLETCHER

Wednesday December 07
Doors 6:00 pm
Starts 6:30 pm
Ages All

ADVANCE: $15 | DAY OF SHOW: $18

The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.

 

True to its spirit of purposeful wandering, Fits of Laughter unfolds in a wayward yet lushly detailed sound, embroidered with everything from crystalline harmonies to blistering guitar riffs to heady drum-machine beats. For help in forging the album’s ragged elegance, Bendigo Fletcher worked with producer Ken Coomer (the original drummer for Wilco and Uncle Tupelo), whom Anderson met in a flash of strange serendipity. Soon after he’d connected with Coomer via phone and bonded over a shared affection for Pink Floyd’s Obscured by Clouds, the band headed to Nashville to record in Coomer’s Cartoon Moon Studio, laying down the album’s eight songs in nine frenetic days.

 

In keeping with the regional perspective that defines much of folk and country music, Fits of Laughter ponders certain paradoxes inherent in the band’s homeland. “In Kentucky there’s a long-running frustration of tradition and stubbornness versus progress,” says Anderson. “On one side you’re looking at things like the coal industry or Mitch McConnell, but then there’s also a feeling of togetherness and a fuck-the-man attitude and a loving desire for everyone to be left alone.” Referring to Fits of Laughter as a coming-of-age album, Anderson also examines a more internal conflict throughout the songs, including his choice to abandon his medical-school aspirations in favor of pursuing a career in music. “The title’s really about the spectrum of emotions I’ve felt on the way to finding what makes me feel like I’m living truthfully, rather than holding onto what I think other people’s expectations are of me,” he says. “It’s a phrase that bridges all of those emotions—everything from joy to hysteria.”

 

On “Sugar in the Creek”—the groove-heavy opening track to Fits of Laughter—Bendigo Fletcher simultaneously explore those inner and outward tensions, presenting a sweetly rambling dream of escape from the chaos of the modern world. “That song partly has to do with my fantasy of living off the land and how magical that would be,” says Anderson. “I’m from the suburbs, and over the years I’ve made friends who have family farms and I’m really drawn to that way of life, even though I know it’s not all flowers.” One of the album’s most fantastically unhinged moments, “Evergreen” cycles through a series of spellbinding tonal schisms, cresting at a chorus lyric that speaks to the urgency of self-preservation (“I do believe I’m coming around again/When I don't think of anybody other than myself”). “I wrote ‘Evergreen’ in the early stages of admitting to myself that medical school was a path that looked way more obscured than working to make records,” says Anderson. “I was also getting into self-care methods for the first time in my life, and realizing that you have to take time for yourself in order to be the best and truest version of yourself for everyone else—so in a way, that’s a form of service.” And on “Astro Pup,” Bendigo Fletcher deliver an epic heartbreak anthem spiked with heavenly harmonies and radiant banjo melodies, its lyrics illuminating the ingenuity of Anderson’s self-effacing wit (“I am dog hair all over your bed/I live in the house of the misbehaved”).

 

As Bendigo Fletcher’s first time working with an outside producer, Fits of Laughter draws much of its freewheeling energy from the deliberately unfussy nature of their recording sessions. “Going into working with Ken, we felt confident that we wanted to retain the jangly sweetness of the music we’ve made in the past,” says Anderson, who created Bendigo Fletcher’s 2015 debut EP Consensual Wisdom on his own and later filled out the band’s lineup in a process he describes as “a gradual adding of members who are all natural friends.” “There’s loose ends and missed beats that we didn’t intend to make happen, but those moments always feel really special when they’re resolved—it sounds like a band actually playing together,” he adds. At the same time, Fits of Laughter bears an undeniable immediacy, thanks in part to the band’s decision to limit the tracklist to eight essential songs (a move largely inspired by extraordinarily lean and iconic albums like Television’s Marquee Moon).

 

In expounding on the observational quality of his songwriting, Anderson points to some invaluable insight gleaned from Dr. Tim Lake, a renowned musician and composer with whom he studied banjo back in college. “Tim’s a great symbol of Kentucky to me—someone who tells it like is, but is also a very true-hearted and generous person,” says Anderson. “He really drove home the idea that in order to be a thoughtful musician and songwriter, especially if you want to play folk music, you have to be a student of history and the world around you.” Naming John Prine among his formative influences, Anderson has since fully devoted himself to that approach. “Songs seem to spark from those moments of responding to the mundane and sometimes bewildering aspect of the human experience,” he says. “In the past few years I’ve taken to manual-labor jobs so that I can do that while I’m stacking apples or whatever else. If a lyric ever comes into my head and makes me laugh or makes me tear up, I know I need to build it into something that’s going to be fun to sing over and over again.”

 

Through the lifespan of Bendigo Fletcher, Anderson has found that those spontaneously composed lyrics tend to resonate most powerfully with the audience. And in sharing Fits of Laughter with the world, the band hopes to guide listeners toward a deeper trust in their own intuition and instinct. “There’s always going to be other people’s opinions and judgments and ideas on how to live, and more often than not, those ideas come from a place of love” says Anderson. “But ultimately every person knows what truth feels like, as opposed to artifice or putting up walls to get through something you feel you’re expected to do. I suppose these songs are sort of my offering to others, to encourage them to look for that feeling in their own lives, and then follow through on 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

MIRANDA SINGS LIVE

Saturday April 01
Doors 6:00 pm
Starts 7:00 pm
Ages All

Miranda Sings Live
with special guest Colleen Ballinger

Colleen Ballinger is a multi hyphenate; actor, comedian, trained vocalist, writer and executive producer. She is best known for portraying her character, ‘Miranda Sings,’ a personality that is the polar opposite of Ms. Ballinger. Colleen has amassed over 65 Million followers across her social media and passed 5 billion views on YouTube. She can currently be seen as ‘Miranda’ on the Netflix Original series, HATERS BACK OFF, which she created and executive-produced. Her one hour special, “Miranda Sings Live...Your Welcome” is also available on Netflix.

Colleen has appeared in Jerry Seinfeld’s COMEDIANS IN CARS GETTING COFFEE, RALPH BREAKS THE INTERNET, THE TONIGHT SHOW WITH JIMMY FALLON, ANGRY BIRDS 2, and ESCAPE THE NIGHT. Ballinger is also a New York Times #1 Bestselling Author with two books, SELF-HELP and MY DIARRHE.

Colleen’s dream of starring on Broadway came true with her 2019 debut as ‘Dawn’ in the hit musical WAITRESS, and she is currently on tour with her new show, “Who Wants My Kid?” More information on that can be found at MirandaSings.com.

About Us

Voted the #1 place to see live music in Memphis!

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.

Then come back for more. 


Sign Up

SIGN UP FOR MINGLEWOOD HALL SHOWS & UPDATES:

By signing up via text, you agree to receive recurring automated promotional and personalized marketing text messages from Minglewood Hall at the cell phone number used when signing up. Consent is not a condition of any purchase. Reply HELP for help and STOP to cancel. Msg frequency varies and data rates may apply.

There was an error submitting the form, please check all fields are correctly filled in