Concert Reviews by Debbie Gilbert U2 Rings Out in the Memphis Sky The good news: On May 14th, U2 finally played a concert in Memphis, and the weather for the outdoor show at the Liberty Bowl Stadium was perfect. The bad news: Since this was only the eighth stop on U2's colossal 62-city PopMart tour, the band's playing was still occasionally tentative and uncoordinated. The good news: Thanks to the technologically dazzling stage design and lead singer Bono's irrepressible theatrics, the show was highly entertaining even when the musical quality was less than sterling. The elaborate stage worked to U2's advantage, keeping the audience amused while deflecting attention from any flaws that crept into the band's performance. On the 150-foot-wide video screen, live footage alternated with eye-catching graphics and cartoons. During "Bullet the Blue Sky," laser-like spotlights shot up to a single point above the stadium, an indisputably cool effect. Less impressive was the much-hyped mirrorball lemon, which the band was concealed inside as it rolled to the end of the stage's runway. With a blast of dry-ice fog, the lemon split open and the musicians emerged, with Adam Clayton and Larry Mullen wearing decidedly sheepish looks on their faces at this silliness. Bono, however, was in his element. He clearly loves to perform and is a consummate showman, connecting directly with the crowd even in stadium-size venues. To the chagrin of security guards, he elected once or twice to immerse himself in the audience, welcoming their outstretched hands while he continued singing. On "Miami," Bono repeated his old trick of choosing a female audience member and hauling her up onto the stage, dancing with her seductively. He also had fun with costumes and props, changing clothes no less than three times, and jabbing at people with an American-flag umbrella. It's hard for any performer to be fresh and spontaneous, though, in such a rigidly orchestrated show. Due to the logistics of synchronizing the technology with the music, the Memphis set list was virtually identical to that of PopMart's debut show in Las Vegas. Understandably, songs from the new CD Pop dominated; nine of that album's 12 tracks were included, along with five songs from Achtung Baby and four from The Joshua Tree. Conspicuously absent was material from either War or Zooropa, and this was a shame. Granted, U2 didn't intend to make this a greatest-hits tour, but it wouldn't have hurt to drop one of the weaker Pop tracks in favor of, say, "New Year's Day." U2 did make one nod to their beginnings with "I Will Follow," one of their earliest songs. And perhaps the most moving moment of the evening came during "Pride," when the entire audience sang the words "Shot rings out in the Memphis sky," and Bono noted that this was the one city where he didn't have to explain about Martin Luther King. The band also threw in a couple of covers -- "Stand By Me" and a ridiculous karaoke version of "Daydream Believer," led by the Edge while Bono was busy offstage with yet another costume change. In crowd-pleasing encores, U2 performed "Hold Me, Kiss Me, Thrill Me," from Batman Forever, and a rendition of "With Or Without You" in which Bono let the audience hit the high notes for him. Was it the best show U2 has ever done? Absolutely not. Was it the best show to come to Memphis this year? Almost certainly.

Gibson's Gamble The famous guitar manufacturer branches out in Memphis with a new land development and a new record label. by Mark Jordan hen Henry Jusz-kiewicz strolled across the Orpheum stage a few weeks ago to award the best-reissue-album prize at this year's Handy Awards, the chairman and CEO of Gibson Guitars had another, unexpected presentation to make to the city of Memphis and blues lovers everywhere. Almost offhandedly, Juszkiewicz announced that Tunica native James Cotton -- a recent Grammy winner who would also take home two Handys that night for his Deep in the Blues album -- would be the first artist to sign with Gibson Entertainment's new eponymous record label. It didn't surprise anyone that Cotton, a onetime bandmate of Muddy Waters and one of the great Chicago blues harmonica players, would be the flagship signing for the new label. No, what caught most of those in attendance off-guard was that Gibson, a company that until recently was known almost exclusively for its musical instruments, was even forming a record label in the first place. "We have been working kind of behind the scenes on this for a bit of time at this point," says Juszkiewicz about the surprise announcement, adding that plans for the label began last year and started to come together when Gibson Entertainment opened its Memphis headquarters in January. Headed by former Blues Foundation director David Less, Gibson Entertainment is an offshoot of Gibson Guitars, Inc., which will take the legendary guitar company into an almost new line of business. "Through our artist relations, we've been involved in the entertainment field, in a way, for years," says Juszkiewicz. "So, it was an obvious extension to utilize our people resources and talent and apply them directly to the entertainment business." For now, the hub of Gibson Entertainment's activities is clearly Memphis. Plans call for the record label, which is presently negotiating a major distribution deal, to have 10 acts signed to contracts by year's end, with the first release coming in 1998. And reflective of Gibson's stature in the music world, the artists appearing on the Gibson Entertainment label will come not just from the blues but from the bluegrass and jazz fields as well. "We're initially targeting what might be referred to as roots music," Juszkiewicz says. "We're not only looking for prominent artists who have legendary status but also for new artists. "Really, with the label, we're looking at being much more creative. Whereas the big labels are pursuing the big hits and tend to be trend followers, we hope to be digging down into music's fundamentals and be much more creative in the genres we address and possibly creating new genres." Another local Gibson project -- one which directly ties the instrument-manufacturing side of the business to the entertainment side -- is the soon-to-be-built Gibson guitar plant just off Beale Street. Right now the lots just south of Beale are vacant except for a few abandoned buildings, but in a few weeks Gibson officials expect construction to begin on an $11 million facility that will essentially double the size of the entertainment district. The first phase of the project, expected to be finished by mid-to-late 1998, includes its best-known component: a guitar factory devoted to constructing Gibson's ES series semi-hollow-body electric guitars. The factory -- which will initially have 100 workers and ultimately may employ as many as 500 and make other models of guitars -- will be open to tours and will in 2000 become the home for the Smithsonian's Rock 'N Soul music exhibit, making the facility not just a commercial center but a tourist destination as well. Not as well known, however, are Gibson's other plans for the land south of Beale. The city gave Gibson the land for the factory -- a lot bounded by Second, Lt. George W. Lee, Third, and Linden -- but Gibson also bought, for a little over $500,000, the huge lot just east of it. This land will hold the Gibson project's second phase, planning for which is expected to begin once construction on the first phase has begun. According to plans submitted to the city council, development on this land could include two parking garages, commercial and retail space, and a proposed hotel. "That's all subject to change, but naturally we want to enhance the property as a whole and have it be a great neighbor to Beale Street," says Juszkiewicz. "One of the things that many people said -- and I agree with it -- is that what is needed to bring in increased tourism to Memphis is more hotel space and in fact, we barely started to talk about that before we had three or four parties interested [in building a hotel there]." But, Juszkiewicz emphasizes, he is "looking for someone to do more than just a regular hotel, and it has to kind of be consistent with the appearance of the area." All together, Juszkiewicz says, Gibson's Memphis projects represent a considerable investment in his company's future. "As a company, we've dedicated a tremendous amount of our resources to doing Memphis right. We have a very serious commitment to making Memphis a success and are really sparing no expense to ensure that it is." Music Notes by Mark Jordan AM Radio Remembered If you have any memorabilia from the early days of rock-and-roll radio, the Bravo cable channel is looking for you. The Canadian-based Dramarama Productions, in conjunction with the Bravo channel, is producing a two-hour documentary about the AM radio deejays who helped break rock-and-roll into the mainstream. They need artifacts pertaining to Memphis to help tell their story. Producers of the film, titled Rock n' Roll Invaders and tentatively scheduled to show in early 1998, are particularly interested in the story of WDIA, where Rufus Thomas and Martha Jean "the Queen" Steinberg reigned. Producers especially want film footage, photographs, press clippings, and publicity materials relevant to AM radio in Memphis between 1948 and 1957. Collectors and interested parties should contact Rosemary Heather at 416-359-2918. Stage Notes There are a couple of noteworthy shows this week: This Thursday, Keith Sykes Songwriters Night makes its monthly appearance at the Black Diamond on Beale. This month Sykes will be joined by Bob Cheevers, Wayne Carson ("The Letter"), and Marshall Chapman ("Betty's Being Bad"). The music starts at 8 p.m., and admission has gone up: $10 for regular admission, $8 for members of the National Academy of Recording Arts and Sciences and the Memphis Songwriters Association . Saturday, Big Ass Truck returns home for a show at Barristers. The show will mark the beginning of a home stand for the group as they take a break from the road and head into the studio to begin work on their next CD for Upstart records.