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hen the days of lockdown struck in 2020, the Memphis Concrète Experimental Electronic Music Festival had to scrap plans for their fourth annual event. From 2017 to 2019, the gathering devoted to the unconventional sounds, rhythms, and textures of synthesizers, audio loops, and heavy processing had steadily gathered steam and a wider audience, culminating in the appearance of 2019’s headliners, Matmos. at momentum came to a screeching halt in the pandemic. And while a virtual version of the festival was held in 2021, the uncertainties of Covid’s Omicron variant prevented anything from happening last year.

at makes this week’s return to live Memphis Concrète performances at Crosstown Concourse very welcome, as the Green Room brightens up with the oscillating lights of synths once more, 3 to 10 p.m. on Saturday, June 17th, and 3 to 9 p.m. on Sunday, June 18th. Yet it’s more of a continuation of the Memphis Concrète brand than its rebirth: Even as the annual live festival has been on hold, the organization has promoted smaller shows throughout the year, such that Memphis Concrète has become a trusted name in electronic-leaning shows.

It’s no surprise, then, that the festival proper is more of a culminating endpoint to events that started last week and continue through the days leading to the weekend. Last Wednesday at the HiTone saw a four-band mix of “ambient/ noise/techno/hyperpop.” is Tuesday, the Memphis Listening Lab showcased the recordings of acts booked in the Green Room. And this ursday, June 15th, will see Memphis Concrète take to the spacious Crosstown eater, as festival founder Robert Traxler is joined by two collaborators — Revenge Body and Optic Sink’s Natalie Ho man — in a live score to 1982’s Halloween III: Season of the Witch

“I’ve made a version of the movie with as much of the original sound taken out as possible — when there’s not dialogue — to give more room for what we’re doing,” says Traxler. “It’s a slightly modi ed version of the movie sound; I took out the sound, edited it, and put it back together.”

In the same gonzo spirit, the next night’s event will be a “Harsh Noise Karaoke” at the Lamplighter Lounge.

“It’s not karaoke in the traditional sense,” explains Traxler, “but we’ll have a table with stu that makes sound on it and some microphones, and you come and you play around with it, making some noise. It will be a user-activated thing. You know, turn some knobs and have some fun.” en comes the main attraction, a smorgasbord of 15 acts over two days, with four more “electroacoustic performances” tagged on at the end. While the festival has booked national touring acts more in the past, this year is somewhat more Memphis-centric, albeit with plenty of out-of-towners as well. Saturday’s headliner will be local synth heroes General Labor, who wowed audiences last summer with a live score to e Adventures of Prince Achmed. e group’s also known for their ’80s synth pop, and Traxler’s not sure which direction the band will go for the festival. “ ey’ve been really into pushing their sound in more experimental directions,” says Traxler. “I’m excited that they’re playing Memphis Concrète to showcase some of the new things they’re working on.”

One local act making their debut will be Stupid Lepton, whose music Traxler describes as “ambient and abstract and modular stu . He does a lot with biometrics and he’ll have a plant with him on stage, hooked up with some wires and controlling the music.” Another Memphis group, W1ND0W, will bring some Sophocles to Sunday’s proceedings. “Because it’s Father’s Day, they’ll have a bunch of actors perform parts of Oedipus Rex, with microphones running through a vocoder.” e grand nale will be a pet project of Traxler’s, though he’s not playing in it. Rather, the hour of “electroacoustic performance” will pair guest solo performers on acoustic instruments with electronic backing tracks, in a throwback to electronic music’s earliest days. “ ese are pieces that mix written scores with electronics. Two of them are classics from the ’60s and ’70s, with two newer composers for the other two,” says Traxler. e composer Milton Babbitt is familiar to many synthesizer fans, though his piece Philomel, which will showcase soprano Rebekah Alexander, is more obscure. e other compositions showcase clarinet, alto saxophone, and ute. Staging this segment of Memphis Concrète will be a dream come true for Traxler: “I’m super excited about this one.”

Visit memphisconcretemusic.com for details.

Caleb Orr

Saturday, June 17, 3:15 p.m.

TIN ROOF

Gia Welch Trio ursday, June 15, 6:30-9:30 p.m.

CENTRAL STATION HOTEL

Jarred Kingrey

Friday, June 16, 6:30 p.m.

TIN ROOF

Memphis Quartet Show e 10th annual Memphis Quartet Show will bring music lovers from around the country to a musical marathon of over 20 acts in four days. If you love quartet-style singing or gospel music, this is the show for you. Wednesday, June 21, 6-10 p.m.

CANNON CENTER FOR THE PERFORMING ARTS

Miz Stefani and The Variants

Tuesday, June 20, 6-9 p.m.

CENTRAL STATION HOTEL

Peabody Rooftop Party:

Seeing Red Kick o the weekend with a hot band, cool drinks, and sky-high views of the sun setting over the Mississippi River. $15. ursday, June 15, 6 p.m.

THE PEABODY HOTEL

Rodell McCord ursday, June 15, 8 p.m.;

Sunday, June 18, 7 p.m.;

Wednesday, June 21, 8 p.m.

TIN ROOF

Rowdy Franks

Saturday, June 17, 9-11 a.m.

MEMPHIS FARMERS MARKET

Rustenhaven

Friday, June 16, 6:30 p.m.

TIN ROOF

South Main Songwriter

Night

With Rachel Ross and Alexis Jade. Friday, June 16, 7-9 p.m.

SOUTH MAIN SOUNDS

Ted Horrell and Monday Night Card

Saturday, June 17, 6-9 p.m.

CENTRAL STATION HOTEL

The Dylan Morgan Band

Friday, June 16, 10 p.m.; Saturday, June 17, 10 p.m.

TIN ROOF

The Stax Music Academy Alumni Band, 926

Free. Tuesday, June 20, 2-4 p.m.

STAX MUSEUM OF AMERICAN SOUL MUSIC

Trevor Berryhill

Saturday, June 17, noon-3 p.m.

TIN ROOF