Reflections on APME 2025 in Memphis: Stepping In The Right Direction

I am writing this at 4 am before heading into school; this is a mixture of jet lag and excitement to share the wonderful things that are happening within Popular Music Education. A topic I am hugely passionate about and that needs further resurgence (in my opinion) within secondary school UK education.

I’ve just returned from the musical city of Memphis, Tennessee, where I had the privilege of attending the APME (Association for Popular Music Education) conference. Memphis provided the perfect backdrop for exploring the current state and future of popular music education (PME) in the United States, as well as within my practice as a teacher and researcher. This is due to it being a true epicentre for social and musical change with a considerable history.

Why Memphis?

Tom Link shared, Memphis represents a resurgence and a rebirth of musical culture. From the founding of STAX music studios to the continued live music scene on Beale Street, this city has always championed innovation and musical expression. Paul McKinney echoed this, emphasising how church music, community connections, and the city’s rich musical history shape its approach to music education. It was also an absolute privilege to meet and talk with Martin Shore following a private screening of (a shortened) 'Take Me To The River'. An incredible documentary that educated the conference attendees on the importance of Memphis as a city for music and social change.

I look forward to watching it in its entirety over the coming days.

Key Takeaways

from the Conference

1. Popular Music Education is in its Infancy in the USA.

Despite Memphis’s proud musical heritage, popular music education in schools is still a new field. Many educators at the conference acknowledged that traditional structures, such as marching bands and orchestra-led programs, still dominate, leaving popular music education marginalised and often treated as a novelty. Dr. Shane Colquhoun described this as the “schoolification trap,” where pop music is forced to fit outdated models, stripping it of its authenticity. Formalising the 'modern band' movement has its threats within a formal school system.

2. Different Structures, Same Challenges.

The structures and systems supporting music education in the United States are vastly different from those in the United Kingdom. David Williams’s reflections on teacher-centred band models highlighted how these setups often fail to produce true musical artistry. He argued for a learner-centred approach that values messiness, creativity, and student agency, something we’ve been championing at Bohunt Education Trust for years and something that is central to my EdD thesis currently. This was reassuring to hear and made me feel less alone on my journey towards finding the correct balance between student-led and teacher-facilitated models.

3. Lessons for UK Practice.

While the US may be in the early stages of PME, the conference confirmed that we’re doing great things within our trust. Our work around popular music education and whole-class ensemble, alongside student-centred learning, is again reassuring. The concepts of informal learning, as explored by Lucy Green, alongside self-determination theories, are key elements in this popular music movement. The idea of “trust and listen to students” echoed throughout the sessions, reinforcing that the best learning opportunities often occur on stage and in authentic performance contexts, exactly what we strive for in our classrooms and within our contexts.

4. The Emergence of Student Voice and Choice.

One of the most striking realisations was just how new the concept of “student voice” and student-led ensembles still feels within the US context. Across the sessions, there was a palpable sense of educators grappling with how to shift power dynamics in the classroom and truly centre students in their own learning. This echoes the work we’ve been doing at Bohunt for years: amplifying student voice not just as a tool for engagement, but as a catalyst for authentic and transformative music education.

Skillsets for Popular Music

Each speaker offered invaluable insights on the essential skills for fostering popular music:

• Tom Link: Guide students in mapping songs and engaging deeply with music. "Lead them to the water, then let them drink".

  
  

• Paul McKinney: Emphasise listening and improvisation, using the language of jazz and R&B. Paul encourages students to perform in front of audiences, helping them find the balance between risk-taking and musicality.

  
  

• Michael Parsons: Recognise that pop programs can offer more inclusive, creative opportunities than traditional ensembles. Pop music helped his program thrive in Memphis, demonstrating its ability to engage students meaningfully.

  
  

• Steve Holley: Balance stepping back with giving students the vocabulary and tools to communicate musically. This is something I want to explore further and develop an idea around 'musical metacognition', the concept that students need specific skills to be fully democratic in their musical learning.

Noteworthy Sessions and Reflections

• Dr. Shane Colquhoun urged us to avoid treating popular music as an add-on or “pop ensemble” and instead see it as a vibrant, authentic part of students’ musical lives.

  
  

• David Williams: Reminded us that "whoever does the work does the learning", students must be at the centre, making creative decisions.

  
  

• Storm Gloor’s “Teach Like a Rock Star”: A highlight, connecting the energy of live performance with classroom practice. Teachers should build their brand, be fan-focused, and make every class a “show.” This was focused on teacher presence and “being in the room”, which is essential and valuable for new teachers.

  
  

• Kat Reinhardt on Songwriting: Showed us how analysing song forms can unlock creativity, using listening maps and scavenger hunts to engage students in songwriting.

  
  

• Patrick Olsen: Discussed co-creating codes of conduct, where students develop accountability and self-management.

• Stephen Cox: We had many discussions around the value of self-determination theory within music and found that our values aligned significantly. We both look forward to talking and exploring this more.

The Power of Student Performances:

Perhaps the biggest highlight of the conference was the incredible student performances. These moments were a powerful reminder of why we all do what we do: to foster inclusivity, build skills, and create spaces where young musicians can thrive and learn. From soulful vocal runs to tight rhythm sections, these performances showcased not only technical skill but also the authenticity that defines popular music education. Witnessing students on stage, finding their voice and connecting with audiences alongside each other, was an inspiring reminder of the work ahead of us, the work that we do, and the powerful community builder that music can provide.

Memphis: A City of Love

Michael Parsons captured it beautifully: Memphis is a “broken town,” but the best art comes from such places. This could be seen and heard in the cities surroundings and was in the conversations with taxi drivers and the local people.

This idea of music as a community is something we see daily with our students. Pop music education is about more than notes, chords and rhythms; it’s about identity, expression, and belonging.

Looking Ahead

As we continue to shape our popular music curriculum at Bohunt, this trip reinforced that we’re on the right track. PME is gaining momentum in the US and the UK, but there’s still a long way to go. However, if we continue to champion student voice, trust, and real-world opportunities, then who knows what this may look like in the future? I am excited to see what happens in the coming months and years.

I’d love to hear from others who were there. What did you take away from the conference? And how can we, as educators, keep moving the conversation forward in our schools?

See you in Liverpool for the next edition of APME conferences in June! I will be presenting on student and teacher perceptions of the music curriculum, alongside additional conversations and workshops on student voice.