51ºÚÁÏ

Overall, MATI 2025 was a magical experience rooted in music, art and cultural empowerment. The three-day festival showcased the power of music and how it unifies people through lyrics, melodies and thumping basslines. Here are three sets from Sunday’s lineup that brought top tier entertainment on the festival’s final day. Also, check out my favorite acts from the first two days of the fest.

The Baylor Project bounces between genres at the Big Top

Earlier this year, jazz duo the Baylor Project scored its eighth Grammy Award nomination. Jean and Marcus Baylor showed why when they hit the stage under the Big Top Sunday evening.

The 75-minute set included seasoned vocals from Jean and a resounding percussion performance from Marcus, as the married couple made their way through songs that included gospel and blues tracks, as well as jazzy ballads.

Jean’s voice was soft and lightweight, a stark difference from the vocals she produced back in the day as a member of the R&B girl group Zhane. Accented by fluttery soprano sounds, the songstress’ range roared as she bounced through elaborate vocal runs and multiple call-and-response chants with the audience.

Marcus looked happy to be home. The 51ºÚÁÏ native played with intense precision, enhancing songs with his high-energy play. He said he saw influential faces from his music journey scattered throughout the audience — including his 91-year-old mother — as he, Jean and the band ran through songs like “Tell Me a Storyâ€� and “Only Believe.â€�

A highlight came when the Baylor Project performed “Praise Song.� The performance showcased Jean’s talent as a genre-defying vocalist with an award-winning range. It was goosebump-inducing with strong accompaniment from pianist Terry Brewer. A standout solo from upright bassist Brandon Rose followed the song.

Patti LaBelle takes MATI to the church house

Lightning lit up the sky as Patti LaBelle brought spiritual healing and decades of hit records to her MATI headlining performance. A photo montage of the decorated singer flashed on the screens before LaBelle hit the stage with her 10-piece band and four incredible background vocalists.

The Godmother of Soul made sure to mention the unexpected heatwave plaguing her performance — the high was 97 degrees. But she said she would be pushing through the heat, which she did to deliver songs like “Lady Marmalade� and “If Only You Knew,� kicking off her heels to get more comfortable on stage.

The set included a wardrobe and hair change for Auntie Patti, with the 81-year-old star having her band and vocalist step in to perform while she took a few breaks. Throughout her performance, LaBelle was sure to remind the crowd that she did it first as she sang “Love, Need and Want You� and “If You Ask Me To.� She displayed her vocal prowess, eloquently hitting runs and high notes throughout the set with a smile.

A highlight came during LaBelle’s performance when she took the audience from the Field Stage to the throne of grace, diving into a few gospel tracks as she talked about her love for Jesus and audience members raised their hands to the sky.

Towards the end of the show, she even brought a few audience members on stage to sing and dance, including 51ºÚÁÏ entertainer Eldraco Price, who’d performed on MATI’s Field Stage earlier that day.

Keyon Harrold shines in festival’s final set

Kranzberg Arts Foundation artist-in-residence Keyon Harrold was a shinning star during MATI 2025. He made multiple appearances during the three-day festival. He graced the stage Friday night with Weedie Braimah, popped up again during Common and Pete Rock’s set on Saturday and led the Miles Trumpet Summit Sunday afternoon at the Big Top.

To conclude MATI 2025, Harrold played an extended set at Sovereign — a new venue in the Grand Center Arts District — full of special guests and jazz swag.

The Grammy Award–winning trumpeter took to the stage a little after the posted start time. Everyone seemed to think it was worth the wait, with the venue’s floor and balcony area overflowing with festivalgoers by the time he hit the stage. He began his set with a song dedicated to 51ºÚÁÏ bassist Darrell Mixon, who died a few days before the festival.

Harrold, who started playing trumpet at 6 years old, has mastered his instrument. It’s a triumphant sound that echoed through the venue and vibrated with life. He held notes for a long time as he swayed side to side in black shades, easily bouncing between low and high-pitched sounds. It was a musically dramatic set, full of the emotion and signature sound that are becoming hallmarks of Harrold’s style.

There were some sound issues during Harrold’s set, a problem that had persisted at Sovereign’s shows throughout the festival. However, the musician and ensemble recovered gracefully each time, even shouting out the soundman and congratulating the venue on its opening.

Latin singer and percussionist Pedrito Martinez and multidisciplinary instrumentalist Brenda Navarrete joined Harrold on stage to perform a jazzy rendition of D’Angelo’s “Spanish Joint,â€� wrapping up a memorable festival that celebrates music and 51ºÚÁÏ.