Memphis PowerPop Festival
Part of the Orion Free Concert Series
SAVE THE DATE
Lineup to be announced soon!
Saturday
September 6, 2025
The Overton Park Shell
What’s the big deal?
Growing up in Memphis, you were constantly reminded of the musical heritage of our city. Rhythm and blues, soul, gospel, funk, rockabilly, rap, and of course that guy with the swivel hips and sneer.
Incredibly, there was more. Go back in time and get your hands on your college cassette collection and you’ll probably find a healthy dose of R.E.M., The Replacements, and Let’s Active. Fast forward another decade or two, and thumb through those scratched up Wilco, Posies, Teenage Fanclub and Lemonheads compact discs. What do these bands have to do with Memphis? They all cite Memphis’ own Big Star, as a defining influence in their development.
‘Power Pop’ music is rooted in the harmonic structure of the Beatles and Beach Boys with the harder edge of The Who at its core. Big Star soaked it in and added their own spin, drawing upon the melting pot that is the Memphis music scene. The result was a three album catalog from the 1970’s that to this day is in Rolling Stones 500 Greatest Albums of All Time.
It’s that legacy, and really Memphis’ musical legacy, we are celebrating through the festival.
Artists
MATTHEW SWEET
Before the gold and platinum albums, before the MTV hits and critical renown, power-pop and alternative-rock pioneer Matthew Sweet was just a 13-year-old bass player sitting alone in his Nebraska bedroom, daydreaming of a life spent making music. “I was just starting to write songs and play a little guitar and I had this thought: I wonder if when I’m old and I’ve been around music a really long time, I might suddenly just be able to play lead guitar without ever properly learning how. Maybe if you just play a really long time, it just kind of comes together? And the funny thing is, it did. I’m able to.”
On Catspaw, his 15th studio album, due out January 15, 2021 on Omnivore Recordings, Matthew Sweet cranks his vintage amplifiers and steps into a role previously played by some of his generation’s most unique and incendiary lead guitarists from Richard Lloyd (Television) to Robert Quine (Lou Reed) and Ivan Julian (Richard Hell & the Voidoids). Though Catspaw is absent of his famous collaborators, their presence is felt in the mark they left on Sweet’s guitar work. His solos are audacious, confrontational, and inspired.
“I play free form,” he says. “Nothing is too labored over and that was important. It’s spontaneous. The more you can do that, the more organic it is.” He refined his style over decades of collaborating with great guitarists. “Richard’s [Lloyd] playing influenced me a lot — the ambition he has, that feeling when he just lets loose. I not only related to the approach, I related to it musically. I was also developing my ear over time. Now I can hear where I want a lead line to go.”
Catspaw is guitar-driven: 12 songs, lean and consistent, direct, and notably darker than Sweet’s recent song-cycles. Apparent in tracks like “Best of Me” and album-opener “Blown Away,” the inner-turmoil harkens back to the angst of 1993’s Altered Beast. But where Beast was the self-interrogation of an artist in his mid-20s, Catspaw is the confessions of a career artist, mature and assured in his craft and achingly transparent in his confrontations of aging and the search for meaning. “I’m trying to get my head around getting older, I want to let go, I want to tell the ugly truth … I want to do all kinds of different things in my head and they really popped out in these songs.”
In true Sweet fashion, Catspaw’s mischievous title was born from equal parts grappling with his own mortality and some television obscura from his childhood. “I learned the term from a 1967 Star Trek episode I adored as a kid. (The storyline features a gigantic feline villain). “Recently I heard “catspaw” again and started looking up definitions. I really connected to the idea of the certain and deadly inevitable — the pounce. Don’t ever forget life is totally cruel and the catspaw is already coming down on you.”
But despair is not the conclusion of Catspaw; one song, “Challenge the Gods” urges quite the opposite. “That song is about defiance. I’m saying, ‘to hell with fate and gods and things like that.’ Like Dylan Thomas said, ‘Rage against the dying of the light.’” Bolstered by a layer of chugging rhythm guitars, this pick-me-up anthem is his “I Won’t Back Down” — “Rise above, take your place / Punch the world in the face,” he sings.
Catspaw was finished just before COVID-19 struck, but tonally it feels right on time. “It really feels like the fruit of the pandemic,” says the artist. This is at least partially due to how it was written and recorded: aside from excellent drumming by longtime collaborator Ric Menck (Velvet Crush), this is Matthew Sweet’s first entirely solo effort. Sweet handles all of it: recording, mixing, Höfner bass, electric guitars, and Pet Sounds-like background vocals. Catspaw was recorded in his beloved home studio, Black Squirrel Submarine (named in part for the dark wooden interior). Prefiguring the quarantine and social distancing era, Sweet has created something whole and beautiful within the confines of isolation. It’s a testament to the potency of art-making in solitude.
“For me, being an artist is ultimately a solitary thing,” he allows. “I’ve taken comfort in that as I’ve grown older. Success and people come and go in life, but I know I will always be making music and that it continues to be fun and intriguing — that mystery of discovering what a song is going to become.” Catspaw is the latest product of a remarkably fertile period that began when Matthew and his wife returned to his native Nebraska in 2013 after two decades of living and working in the Hollywood Hills.
While recent efforts Tomorrow Forever (2017) and Tomorrow’s Daughter (2018) derive their strength from a diversity of textures and moods, Catspaw strikes with a uniformity of intent and focus. The soft, natural psychedelia of “Drifting” and “Hold on Tight” provide subtle shifts in landscape, while the longing of “Come Home” once again reiterates Sweet’s uncanny ability to capture the wavelike motion of heartache. Overall, these songs create a pleasing sensation of a prolonged, happy blur. The effect is reminiscent of Cheap Trick’s debut LP or Big Star’s Radio City, products of a bygone era of record-making when long-form flow and coherence — the exact amount of time it took to share a joint with a friend or build up the courage for that first kiss — were essential to a successful album.
It was this quality that found Catspaw a home on Omnivore Recordings. “They loved the wholeness of it,” says Matthew. “They understood it and for that reason I was really excited to give it to them.” Catspaw was mastered by industry legend Bob Ludwig.
Matthew Sweet’s journey began with a move to Athens, Ga. in the early 1980s at the urging of his pen pal, R.E.M.’s Michael Stipe. As a student at University of Georgia, he was immersed in the college town’s burgeoning alternative rock scene, playing in pioneering acts like Oh-OK and the Buzz of Delight. At 20, he left Georgia for New York City and a major deal with Columbia, where he released his debut solo album, Inside, in 1986. Earth, his 1989 follow-up on A&M, showcased a songwriter with extraordinary pop sensibility on the cusp of something greater. A year later, amid the smoldering ashes of heartbreak and divorce and an escape from New York to the outskirts of Princeton, New Jersey, Sweet composed the songs that became 1991’s Girlfriend, lighting the fuse for the creative triumph and commercial breakthrough that his longtime supporters in the industry knew to be inevitable. “When you’re young, you feel it differently. It’s life or death. I remember it so clearly.” Singles “Girlfriend” and “I’ve Been Waiting,” paired with their Japanese anime-laced music videos (a novelty to the American market at the time), won Sweet a lifelong international following. Altered Beast (1993) continued the hot streak with singles “Ugly Truth” and “Time Capsule,” while 1995’s 100% Fun single “Sick of Myself” reached #2 on rock radio, breaking him even wider.
Sweet continued to evolve over a string of well-received albums in the early 2000s. In 2006, he joined forces with Bangles frontwoman Susanna Hoffs to record a series of covers from the ’60s, ’70s, and ’80s, Under the Covers, Vol. 1–3. Sweet’s music has appeared in numerous films, television shows, and games, including Austin Powers, Guitar Hero II, Buffy the Vampire Slayer, The Simpsons, and Scooby-Doo, among many others. Sweet was a lead consultant on Tim Burton’s Margaret Keane biopic Big Eyes in 2014.
And he’s still checking accomplishments off the list — Catspawis the latest. “I realized after I’d finished the record that I had made it just after turning 55 and that was coincidentally the exact age I fantasized I would be all those years ago when I was hoping someday I’d be able to play lead guitar on my own album.”
Photo Credit: Evan Carter
The Sonny Wilsons
The Sonny Wilsons is the power pop project of Adam Yancey (Solo artist, Afterglow, The Chain Hopsons, The Becky’s) and Allen Couch (East Link).
Adam Yancey, who gigged his way through flight school is, and this is a direct quote, “The only idiot in the world that got into the music business for the money. And the only idiot, in the history of idiots, which is a long list, who had to fall back on a music career to become an airline pilot!”
Multi-instrumentalist Allen Couch's love of music began when he stumbled upon, and subsequently appropriated, his parent's 8-track copy of Abbey Road. Yep, he's that old…. Thus began a lifelong appreciation for a well structured pop harmony.
They are joined by singer-songwriter-guitarist Danny McGreger (Lately David), singer-guitarist Chris Swenson (Megawhat, Black Oak Arkansas) and bassist Johnny Norris (Crash Into June, Your Academy). The Sonny Wilsons’ first album, recorded at Ardent and High/Low studios with Jon Auer (Posies, Big Star) producing, will be released summer of 2024.
Abe Partridge
Abe Partridge is a heralded musician, singer/songwriter, visual artist, and podcaster based in Mobile, Alabama. His 2018 debut, Cotton Fields and Blood For Days earned him rave reviews, with Tony Paris saying in The Bitter Southerner: "He plays guitar the same way he writes lyrics, bashing the strings with abandon until they are just about to come loose, then beautifully picking the notes until every last word falls into place. More to the point, Partridge writes to make you sit up and think. He wants to jar your reality. Sometimes, his lyrics are sly and subtle. Sometimes they come at you with a roar and thunder, as if the Four Horsemen of the Apocalypse were approaching, and the heavens were opening up to herald a warning."
Since the release of his debut, Partridge has toured relentlessly, including several tours of the Netherlands and the U.K. developing a reputation for moving, passionate, and sometimes comedic, performances at prestigious songwriter festivals such as 30A Songwriters Festival, Frank Brown Songwriters Festival, and Americanafest. He is a regular at the Bluebird Café in Nashville and Eddie’s Attic in Decatur. He has performed on the syndicated radio programs, Mountain Stage and Woodsongs Old Time Radio Hour. He has shared the stage with Morgan Wade, Paul Thorn, Steve Poltz, Dan Bern, Jerry Joseph, Glen Phillips (Toad The Wet Sprocket), Tommy Stinson, Shawn Mullins, John Fullbright, and more.
Most recently, Partridge and co-producer Ferrill Gibbs released the Alabama Astronaut podcast, where they explore songs previously undocumented at churches in Appalachia. The podcast finds Partridge chatting with Holiness preachers and looking into the practice of snake handling. It was in the Top Ten documentary podcasts on Apple Podcasts within days of its release and now has over 40k downloads and a 4.9-star rating.
When Partridge is not writing or touring, he is also a highly acclaimed visual artist. His paintings, primarily acrylic on tarred board and watercolors, now hang in art galleries around the southeast and in the private collections of Tyler Childers, Mike Wolfe (American Pickers), Rick Hirsch (Wet Willie), and Tommy Prine. His artwork was featured in Stephen King’s 2019 sequel to The Shining - Dr. Sleep. He painted the cover art for Charlie Parr’s, Last Of The Better Days Ahead (Smithsonian Folkways). He also created art for Tyler Childers’ 2022 release, Can I Take My Hounds To Heaven?
American Songwriter Magazine said, “Abe Partridge has established himself as one of the most respected songwriters and visual folk artists in the southeast.”
In November of 2022, Partridge released the EP Alabama Skies on Baldwin Co. Public Records label which includes "Abe Partridge’s 403d Freakout". Partridge told Songfacts the story behind the song: " 'Abe Partridge's 403d Freakout' was a song I wrote in about 20 minutes. It took me two weeks to make it rhyme, and then it took me about six months to learn it. I just sat and wrote a couple of pages of thoughts as they came to me. It was my attempt at describing my thoughts chronologically as they sometimes occur in my head before I filter them. It is those thoughts that I often have if I allow myself to mentally wander."
Partridge's exhibit With Signs Following was on exhibition at the Alabama Contemporary Art Center in Mobile, AL from January 13 - May 20 of 2023 and is expected to travel to other city contemporary art centers in the next few years. His full-length studio album, Love In The Dark, on BCPR label, was released on May 12, 2023.
Coming events
August 31, 2024. The Memphis PowerPop Festival and The Overton Park Shell Present 'Matthew Sweet' with The Sonny Wilsons and Abe Partridge.
Venue Information
Venue Information
Please visit https://overtonparkshell.org/visitor-experience for information relating to parking, seating, food and beverage options as well as venue rules.