St. Louis has always carried a rhythm of its own. From the blues legends who shaped America’s soundtrack to the modern creatives transforming its neighborhoods, the city’s impact is impossible to ignore. During the 2025 edition of Music at the Intersection, an annual festival that gathers artists, thinkers, and music lovers in the Grand Center Arts District, I was able to experience its energy firsthand. Alongside the series of concerts, I was taken on a journey through STL’s food and art scene, with each moment revealing a new side of the city, leaving me with memories that stretched far beyond the music.
Friday set the tone for the weekend, balancing music with art and conversation. Chuck D of Public Enemy unveiled his striking exhibition, Roll Call: Most of My Heroes Don’t Appear on No Stamps, featuring portraits of Harry Belafonte, Nina Simone, Bill Withers, and other visionaries throughout this country’s history. That afternoon, panels across the city explored music’s civic role, while performances from trumpeter Keyon Harold, DJ duo Coco & Breezy, and reggae icon Barrington Levy showed why MATI became one of the most anticipated events around.
The festival’s second day was just as exciting. Conversations such as Fight the Power and The Recording Academy Presents: The Break reminded audiences of the ripple effect that creatives have on their respective communities. Later, Leela James’ powerful voice filled the streets, followed by Lucky Daye’s soulful set that had the crowd swaying in unison to “Roll Some Mo.” The night culminated with Common and Pete Rock at the Field Stage, while, the S.O.S. Band transported festivalgoers to an era of funk and nostalgia at the Big Top Stage, a playful nod to circus tents of the past.
“It means a lot to come here,” Pete Rock said. “I’m a digger, so I find records and I see certain places where producers and artists are from. St. Louis and Alabama. Georgia–and we sample them now. They were doing Hip-hop before we even knew it, then with our mindset and the creativity that we have, we just kind of put it all together.”
On Sunday, rising star Leon Thomas showed why he’s standing as one of today’s most recognizable acts in R&B, De La Soul celebrated their enduring legacy in the wake of losing member Dave Jolicoeur, and Patti LaBelle closed the festival with a career-spanning performance that was truly unforgettable. Hearing her sing records such as “If Only You Knew” and “Somebody Loves You Baby” live in St. Louis is a moment that I will carry with me for years to come.
After long days of MATI’s concert series, the Angad Arts Hotel became my retreat. Each room is designed in one of four colors—red, blue, green, or yellow—allowing guests to choose their mood. I stayed in the blue room, a space symbolizing freedom, with a breathtaking view of downtown St. Louis. Art wasn’t just confined to the walls of my room; installations filled the hallways, staircases, and gathering spaces, from sculptures to photography to mixed media works. Dining on property was equally impressive. Commonwealth, the hotel’s restaurant, featured a delicious menu, and seafood ravioli dish that stood out as one of my best meals of the trip. In the evening, the rooftop Art Bar came alive with DJs, creative cocktails, and a lively social atmosphere that catered to generations both young and old.
Outside of the hotel, spots like Platypus and Duckbill in The Grove exuded the neighborhood’s charms (and served some really tasty cocktails), and Esca in the Delmar Maker District really impressed me with their Mediterranean-inspired dishes. For me, the standout was Little Lucy, where I ordered a Nashville Hot Catfish Po’Boy that was seasoned to perfection. Just steps away, its sister restaurant Lucy Quinn carried forward chef Ben Welch’s tribute to his grandmother, blending elevated Southern dinners with the warmth of family legacy. From the paintings to the menu, her influence was everywhere. Other highlights included Urban Chestnut Grove Bierhall, an expansive beer hall serving both craft brews and hard cider in an industrial-chic setting, and Telva at the Ridge, a community spot that included Bosnian coffee, Turkish eggs, and more.
Between performances, I immersed myself in the city’s art and cultural landmarks. At the Gateway Arch, a tram ride to the top offered sweeping views of the Mississippi River and downtown, while the museum below traced the city’s role in westward expansion. The City Museum provided an entirely different thrill. It was a playground, art installation, and architectural experiment that transformed repurposed materials into a really unique gallery for adults and children alike.
Later in the day, we traveled to the Missouri Botanical Garden, a location with 80 acres of horticultural displays, Japanese strolling gardens, glasshouses brimming with rare plants, and the futuristic Climatron dome. I capped my trip with brunch at Panorama, the St. Louis Art Museum’s restaurant. Inside the museum itself, I stood before the largest Monet I’ve ever seen, admired one of Nick Cave’s dazzling soundsuit, and lingered at John McCrady’s Swing Low, Sweet Chariot.
St. Louis just has a feeling that stays with you long after you’ve left. Music at the Intersection showed how deeply a city affects you, through the city’s food, art, and people just as much as its music. This weekend, the city truly came alive. Rock, who feels that his practice is a conduit for change, really spoke to the far-reaching power that creativity has.
“Real Hip-hop is still alive, and real music is still alive,” Rock said. “And it’s important at this day and time now that we’re in, that we make great music and not anything that’s going to cause negativity—that’s not what we need right now.”