MATI 2026’s mainstage ended the way it began — with a massive party at The Fabulous Fox. Jon Batiste and his Fantastical Musical Journey opened the festival Thursday evening. And Wyclef Jean created a party atmosphere that had the audience dancing their way out the door Sunday night. Music at the Intersection’s Artist in Residence Keyon Harrold opened the final concert experience for the 6th Annual Music Festival.
Before he took the stage, Kranzberg Arts Foundation Executive Director Chris Hansen took a moment to acknowledge Harrold for using his global platform to support the annual festival from its inception. “Keyon leans into this thing,” Hansen said on behalf of MATI’s presenting sponsor. “He takes our brand and our mission out to the world. He helps us book this thing. He brings friends like PJ Morton and Andra Day. They wouldn’t be here if Keyon hadn’t brought them. I wanted to give Keyon his shout out. It is a very special thing to have him so close to it.”
Just as he had done each of the three nights he performed at Sovereign and Jazz St. Louis, the Ferguson native allowed St. Louis artists to stand in his light for MATI 2026. On Sunday he made room for Aida Ade and Sir Eddie C. After both were given space to offer their gifts on one of the city’s most revered stages, Harrold offered a lesson on improvisation. “Can you come and help me out,” Harrold said to Ade after he resumed his set. He sang a line and asked her to repeat it. “That feeling… that feeling,” Harrold sang. “That feeling… that feeling,” Ade belted, initiating a call and response before Harrold returned to his horn. They created something on the spot that felt rehearsed and fully formed — especially after Sir Eddie C reemerged unprompted and delivered a freestyle verse halfway through the song.
The moment fulfilled the mission of Music at the Intersection — highlighting the St. Louis region’s contribution to the American Songbook. And Harrold’s additional guest features were on brand for MATI’s reputation of bringing some of the biggest names in music to the Grand Center Arts District. Longtime friend and collaborator PJ Morton joined him to perform “Beautiful Day” from Harrold’s Grammy-nominated album Foreverland. It was a preview of Morton’s impeccable set later in the evening.
Harrold’s portion of the show culminated with a performance by Grammy-winner Andra Day. The pair brought the crowd to its feet with a haunting delivery of Billie Holiday’s “Strange Fruit” and a reimagination of the song with Day and Harrold offering a new twist on the standard. The segment closed with a powerful performance of her inspirational anthem “Rise Up.”
Morton followed and told the crowd that his MATI appearance was the “unofficial opening show” of his Saturday Night/Sunday Morning tour. His flawlessly curated set personified the title of the new album, which dropped last month. New hits like “Mutual” fit seamlessly with familiar favorites such as “Who You Are,” “When We First Began” and “Say So.”
But it was the “Sunday Morning” portion of his set that struck a nerve and shifted the energy in the room. He performed a mashup of his new song “Mercy” and the Mississippi Mass Choir gospel standard “Your Grace and Mercy,” a song his father — mega pastor and national recording artist Bishop Paul Morton — often sings. He could have taken up an offering during his performance of “Alright,” which felt more like a praise break than a musical selection.
A surprising cover with crowd participation elevated the energy during one of his “Saturday Night” moments. Morton stepped from behind the piano for a rendition of The Gap Band’s “Yearning for Your Love,” enlisting the audience to sing the chorus. He did it again when he closed the show with his Grammy Award-winning cover of The Bee Gees’ “How Deep Is Your Love.”
Wyclef emerged to close out MATI 2026. He began with a nod to the 30th anniversary of The Fugees’ genre-defining album The Score. “Ready or Not” kicked things off, followed by “Killing Me Softly,” “Fug-ee-la” and “No Woman, No Cry.” But he was more interested in showing the crowd his versatility — and making sure they had a night to remember — than leaning deeply into the album.
He played three instruments — four if one includes his singing voice. He played the guitar with his teeth. He rapped in three languages. Wyclef also included songs guaranteed to start a party — even if they weren’t his — including Earth, Wind & Fire’s “September” and 803 Fresh’s “Boots on the Ground.” He participated in a dance-off with the crowd to songs like Montell Jordan’s “This Is How We Do It” and Cali Swag District’s “Teach Me How to Dougie.”
He brought MATI guest Juvenile to perform his hits “Huh” and “Back That [expletive] Up,” which sent the crowd into a frenzy. He offered hits such as “Gone Til November,” “911” and “Two Wrongs.” His intention was clear from the start — Wyclef wanted the crowd to have a night to remember.
Women dressed in carnival attire danced on stage as Wyclef performed his featured verses on Santana’s “Maria Maria” and Shakira’s “Hips Don’t Lie.” And when his set was done, his DJ sent the MATI crowd dancing home to Maze featuring Frankie Beverly’s cookout classic “Before I Let Go.”