Music at the Intersection’s 6th annual festival brought four days of performances, conversations and community to the Grand Center Arts District. More than 100 artists across jazz, hip hop, funk, soul and spoken word filled venues throughout the neighborhood. Through MATI, audiences were offered a comprehensive look at the region’s cultural legacy and the national talent drawn to St. Louis each year. From Jon Batiste’s opening night at The Fabulous Fox to Wyclef Jean’s closing set on Sunday, MATI 2026 demonstrated why the festival has become a signature event for the city.
Batiste opens the weekend with a musical journey
Grammy winner Jon Batiste launched the festival Thursday night with Jon Batiste Live: A Fantastical Musical Journey. His catalog spans nearly two decades, but he relied heavily on the compositions of others to set the tone for the weekend. The audience welcomed every moment.
“He brought the juke joint from Sinners to the Fox,” St. Louis American columnist Mike Jones said after Batiste made his exit. “If that wasn’t the best show I’ve ever seen, I don’t know what is.”
Batiste moved through the orchestra seats with his melodica, leading a second line to “When the Saints Go Marching In” and “You Are My Sunshine.” He encouraged sing-alongs during William DeVaughn’s “Be Thankful for What You’ve Got,” smiled as the crowd harmonized without prompting, and shifted into Curtis Mayfield’s “It’s Alright.” He took a brief detour into Prince’s “How Come U Don’t Call Me Anymore” before returning to his own catalog with “I NEED YOU.”
He gave background vocalist DeSz the spotlight through Ray Charles’ “The Night Time Is the Right Time,” then guided the audience through choreography during “Big Money” with the help of a woman who introduced herself as “Grandma Janice.” He slowed the tempo with Tom Petty’s “I Won’t Back Down,” transitioned into “Für Elise Batiste,” and demonstrated his ability to merge classical, gospel and blues piano in a single sequence.
Batiste paid tribute to Chuck Berry with “No Particular Place to Go,” nodding to Berry’s longtime pianist Johnnie Johnson. He honored fellow New Orleanian Fats Domino with “Ain’t That a Shame,” then closed with “Butterfly” as the audience raised their cell phone lights in the air. The show reflected his consistent goal: leaving audiences feeling better than when they arrived.
Zapp brings the funk to Friday night
Friday night at The Big Top belonged to Zapp. The funk legends delivered a high-impact show that reminded audiences why bands of their era remain festival staples. Dressed in bedazzled black tuxedos, they worked the stage with choreography that matched the magnetism of their catalog.
The show opened with a video tribute to Roger Troutman and a reminder that Zapp is one of the most sampled acts in music history. The crowd erupted at the first notes of “More Bounce to the Ounce” and stayed on their feet through a set that included “Be Alright,” connected to 2Pac’s “Keep Ya Head Up,” and a featured performance by funk/disco duo Tuxedo. Their reimagination of Snoop Dogg’s “Ain’t No Fun” kept the groove going.
Earlier performances included Illphonics, Nubya Garcia and Moonchild. After The Big Top concluded, the party continued with MATI Artist-in-Residence Keyon Harrold and hip hop artists Tef Poe, AJ McQueen and Rapsody at Sovereign.
Hip hop at the Intersection
Hip hop was present throughout the weekend. Illphonics opened The Big Top on Friday, and DJ Spinderella kept the energy high on the Theresa stage. Trackstar The DJ curated a lineup at Sophie’s, while St. Louis favorites anchored the skate party.
Friday night, Harrold organized a conscious hip hop showcase at Sovereign featuring Tef Poe, A.J. McQueen and Grammy winner Rapsody. Poe shouted out Pine Lawn, McQueen led a call-and-response moment, and Rapsody honored Lauryn Hill with a “Ready or Not”/“Doo Wop (That Thing)” mashup — all backed by Harrold and his band.
Saturday’s conference programming featured Kyjuan and Murphy Lee of the St. Lunatics among the presenters. The day culminated with a live taping of the Still 400 podcast featuring Juvenile and Mannie Fresh at .Zack. The duo reflected on their careers, parenting, and the creation of “Back That [expletive] Up.” Juvenile later performed the song during Wyclef’s Sunday night set.
Saturday night at The Big Top also included New Orleans hip hop by way of featured bounce ambassador Big Freedia. Her unmatched energy elevated the already sweltering temperatures. “I’m that queen that will make you bounce,” she said — and she proved it.
Saturday night at The Big Top closed with Killer Mike. Trackstar The DJ’s Run The Jewels partner in rhyme demonstrated why he has been a fixture in hip hop for more than two decades. Backed by a quartet of background singers and Trackstar on the turntables, Mike’s set landed at the intersection of OutKast and Public Enemy. Club anthem features like Bone Crusher’s “Never Scared” and “Kryptonite” by the Purple Ribbon All Stars were mixed with politically charged selections such as “Reagan” and “Something for Junkies,” which outline the social commentary he has become known for alongside his Grammy-winning artistry.
His performance of selections from Michael, including the album’s title track, made clear why the record nearly swept the 2024 Grammy Awards.
“I took y’all to church and didn’t even pass around a collection plate,” Mike joked after his background singers stirred the crowd.
“Yes!” served as the perfect benediction.
Harrold’s jazz moments anchor the festival
Keyon Harrold’s presence was felt throughout MATI 2026. He opened the festival finale on Sunday and closed out Saturday night with the Miles Jam at Jazz St. Louis’ Ferring Jazz Bistro — a tribute to Miles Davis during the centennial year of his birth.
The set featured fellow Ferguson native Shedrick Mitchell and drummer Chris Dave. With only two measures of sheet music on the piano, they played for nearly two hours. Harrold’s improvisation demonstrated his signature precision — building lines that connected seamlessly and adding new chapters to the story unfolding in real time.
By the time they reached “So What,” it was clear why Harrold is often considered the heir apparent to Davis. His playing demonstrated intentional and instinctive clarity. He kept the warmth of traditional jazz close, but leaned into whatever style the moment called for — a trait that has made him a go-to collaborator in hip hop, R&B and neo-soul.
Earlier Saturday, an emerging collective of jazz artists — trumpeter Josiah Burton, trombonist Lamar Harris, Poet Laureate Pacia Elaine Anderson and vocalist Dee Jazz — showed that the next generation has something to add to the genre. Their mashup of “Misty” and “Hot in Herre” was just one of the moments that reflected the hip hop influences shaping their sound.
A finale rooted in St. Louis
MATI 2026 closed the same way it began — with a celebration at The Fabulous Fox. Harrold welcomed Aida Ade and Sir Eddie C to the stage, creating an improvised moment that aligned with MATI’s mission of highlighting the region’s contribution to the American Songbook. PJ Morton followed with a set that blended new music with familiar favorites and included a gospel-infused mashup of “Mercy” and “Your Grace and Mercy.”
Harrold’s portion of the show culminated with a performance by Grammy winner Andra Day. The pair brought the crowd to its feet with “Strange Fruit” and “Rise Up.”
Wyclef Jean closed the festival with a set that honored The Score while showcasing his versatility. He played multiple instruments, rapped in three languages, and led the crowd through party staples including “September,” “Boots on the Ground,” “This Is How We Do It” and “Teach Me How to Dougie.” Women in carnival attire danced on stage as he performed “Maria Maria” and “Hips Don’t Lie.” The night ended with Maze featuring Frankie Beverly’s “Before I Let Go.”
Music at the Intersection once again demonstrated why St. Louis remains a globally relevant cultural anchor — and a place where legacy, innovation and community meet on stage.