Experiencing Riverbeat Music Festival in Memphis, TN

Jun 13

I began my four hour drive like any time behind the wheel before it, with a playlist. However this time, it was consistently populated with artists I either had not heard of or had only listened to but a few times. The Riverbeat Music Festival in Memphis, TN lay at the end of my GPS, and served as a launchpad to introduce my ears not only to the local sounds of the city but also the southern rock, blues, and R&B music of the south. Truthfully, it was a weekend filled with performers of all varieties, and provided something for everyone to enjoy. Tucked in the city on just under a mile of Mississippi River shoreline I found Tom Lee Park. Platformed to host over 40 artists, the park was transformed for the inaugural 5-stage festival on May 3-5. Security detail greeted you outside the main entrance at the bottom of Beale Street, ensuring only ticketed people could access the area to claim their wristbands. Once entered, winding sidewalks, lounge seating, and picture-perfect sunset views led you around the riverfront venue, with bars and food stands flanking you on both sides and more security at all entrances and exits to the stage viewing areas.

With a myriad of genres to choose from I started with Jai Wolf, someone I listened to often from 2015 when I began my masters degree. The electronic and dance DJ stood behind his table for the set playing crowd favorites and ended with “Indian Summer”, the track released through ODESZA’s label, Foreign Family Collective. As I popped off some photos during the set and the final song, one particular attendee caught my eye with his outfit. With head down, eyes closed, and hands up, Corey Stuart was moving in step with the final song. One glance in my direction saw him catch me capturing his photo, but it didn’t matter. After the show, I caught up with him. “I’ve been listening to Jai Wolf for ten years…” he said, “the setup was wonderful, and I hope to come back year after year.” With that testimony, the Stringbend Stage was officially opened, and Yung Gravy would be the next artist to step on later that evening at 7:00pm.

Fast forward to the evening hours of day one, and we were all gathered back around the Stringbend Stage to welcome ODESZA. Marching out with fire and lasers surrounding them, a rhythmic drum line of people took to the stage and opened the set with choreographed beating. They would disappear and return off and on for the duration of the show, and the crowd quickly grew to love them. ODESZA’s biggest hits accompanied the percussionists, as well as brass horns on either side of the main duo Harrison Mills and Clayton Knight, who hammered out on their DJ tables the beats everyone wanted to hear. Around twenty minutes in, they surprised the crowd with none other than Izzy Bizu who jogged onto the set and stood dancing and singing to “Forgive Me”. Flames and fireballs lit up the whole stage, silhouetting the artists before our eyes. I was probably 50’ from the stage, and the heat radiated across the crowd and hit me. It was a show that interacted with nearly all the senses. In a grand finale, the drum line returned and ended with everyone bowing on stage together. It was a playlist that showcased and embodied everything that made ODESZA famous, a nod to their recent “Finale” album, and announced tour to conclude their music career. Day one was done, but no one wanted to leave.

For day two, I sought a different type of experience. Jimbo Mathus was starting things out on the Zev Pavilion stage. I had enjoyed his music on the drive down, and wanted to see how he sounded live. I was not disappointed! He produced a funky, southern rock sound with folk and Americana lyrics. Everyone in attendance was clapping along. Hailing from Mississippi, Mathus can jump easily between heavy blues/country to rock and roll given his background of family musicians. As his set neared the end, he ran into kick drum problems. Initially things weren’t looking good, but an artist so well versed in stage time as Mathus didn’t let something like that get in the way. After peering back at his drummer and looking towards the crowd, he stepped up to the mic and proclaimed he wanted to use every minute of his time and didn’t abandon the set.

Moving just a few minutes away, I walked up to the Bud Light stage as Lawrence Matthews was just coming out to rap. Previously performing under the name Don Lifted, Matthews recently began releasing songs under his given name. A local Memphian, Matthews blends tragedy and beauty together in his tracks. Images of the south and folk are painted all throughout his lyrics. It’s this type of southern gothic not often found in his genre, so he fills a wide niche in that way. For his set, he brought out a few special guests, and later called on everyone in attendance, security included, to sing along with portions of his music.

Over halfway through now, he took the time to discuss with listeners his background and current projects surrounding Memphis, the wider south, and how those areas have influenced him and his music career - both past and present. He ended by taking time to thank production managers, his guests, and encouraged people to continue buying concert tickets and vinyl records alongside streaming music. Afterwards, he came down among the crowd and spoke to festival-goers. I caught him later in the evening standing among attendees listening to Killer Mike and Toby Nwigwe.

You didn’t have to go far to remain entertained. Right after Lawrence Matthews stepped off stage, Southern Avenue stepped on with a heavy clap. Lead singer Tierinii Naftaly carried an energy unlike most. She jumped and bounced all over the stage for the entire set without pause - small venues would not contain her. Not only her, but the band at large is known for high energy and power vocals. In fact, one of the Memphis-based photographers I befriended listed the band in his top three favorites for local acts. Their hit album, “Keep On” proved it’s worth by getting them to the top 5 of Billboard’s “Top Blues Albums”. It was too easy to lose myself in the rhythm listening to them play. A dynamic and contemporary blues sound dominates their discography that will lead you all the way from danceable, sunny beats to the heart-warming slow vocals of inspirational R&B soul. As far as artist highlights here, they would make a great case for topping the list from the weekend as a whole. Make no mistake, this blues and roots band from southwest Tennessee gained a lifelong fan that day! I hurriedly glanced at my watch before Southern Avenue finished, and saw I could make it to the start of Killer Mike’s set a few minutes away.

I walked up to festival organizers handing out bottles of water to those up at the front of the crowd ensuring everyone was staying hydrated (the day was three-fourths done). Killer Mike then made his entrance to a chorus of cheers. He began by dedicating his performance to the blue collar men in attendance and called on fathers to raise families and “stick it out” through the tough times in marriage. He said of those he loved, “Laws were passed 30-40 years ago to treat drug addicts like felons…If you or someone you know struggles with any kind of drug addiction, forgive them and forgive yourselves.” He immediately tore into the song, “Something For Junkies” which serves to showcase his experiences witnessing drug addiction.

As his set went on, it was easy to see this was becoming an intimate and personal performance for the rapper and activist. A portrait was brought out onto the stage - it was of his mother, Denise. He then led in to a song about her (“Motherless”). Before beginning however, he encouraged everyone in attendance to call their fathers and mothers and tell them, “I just called because I wanted to hear your voice.” He desired for everyone to put behind them any kind of small arguments they had with one another and continued, “If you’ve got someone you love, don’t let the Devil tempt you saying, ‘If they really love me they’ll call me.’ Don’t let the Devil take them from you like that!” After performing, he became increasingly emotional, removing his sunglasses and wiping tears from his eyes. It was a memorable performance for everyone, including myself.

For day three, the rain chances finally caught up with us and delayed everything for about an hour. Gates were finally opened to the public, and after a small number of artists were peeled from the festival, S.G. Goodman opened at about 4:30pm on her stage. As the rain hung on for the remainder of the day I took time to reflect on the experience as a whole. Memphis was a new city to me, but one where I felt welcomed and grew quickly accustomed to. Both mornings I had breakfast at Sunrise Memphis, an eclectic, local eatery serving brunch and comfort foods. From the tall, muscular man singing behind the full bar (Steve?), to the patrons own hype-man keeping formed line straight at the front door, this is a restaurant moved by music. No, this is a city moved by music. From the Uber drivers to festival security, everyone had a tune on their tongue. Even Mayor Paul Young was seen among the crowd enjoying the music that day. The inaugural festival wound up being a well-oiled machine, and went off without hardly a hitch. It was a time not only to enjoy the sights around the downtown area, but also served as a space to showcase the influence Memphis has had on the music industry and the artists born from the scene there.