Now in its second year, RiverBeat Music Festival returned to Memphis with more than 50 performances that spanned hip-hop, rock, soul, and protest. From Missy Elliott’s futuristic headlining set to Steve Aoki’s cake-throwing madness and a surprise appearance by Tyler Hubbard, the festival delivered nonstop moments—including Benson Boone debuting “Momma Song” ahead of Mother’s Day. With sun, mud, and memories that stretched across generations, RiverBeat proved it’s not just a music festival—it’s a reflection of the South’s evolving soul.
Now in its second year, RiverBeat Music Festival has quickly become a spring staple in Memphis. Presented by the team behind Mempho Fest, the three-day event returned to Tom Lee Park May 2–4 with more than 50 artists performing across five stages. But it wasn’t just about the music. Festival-goers explored rows of local food trucks, artisan vendors, and VIP lounges overlooking the river. A glowing ferris wheel lit up the skyline each night, while pockets of lawn chairs and picnic blankets gave the entire weekend a backyard feel—if your backyard also happened to host Missy Elliott and Anderson .Paak.
RiverBeat is the kind of festival that reminds you Memphis isn’t just rich in musical history—it’s still making it.
Day One: Rain, Red Suits, and a Sci-Fi Queen
Friday at RiverBeat 2025 opened under gray skies and soggy fields. The rain was steady, the mud was unforgiving, and by the time you reached the main stage, your shoes were either done for—or gone. But here’s the thing: not a single drop could dull the energy that pulsed through Tom Lee Park. This wasn’t just a show. It was a homecoming. A history lesson. A block party.
The night kicked off with pure chaos—and cake—courtesy of Steve Aoki. Known for turning festival grounds into electrified madhouses, Aoki did exactly that, launching frosted missiles into the crowd and hyping fans into a sugar-fueled frenzy. Midway through, he brought out Tyler Hubbard to debut a new track they’ve been working on. The crowd went wild, and there’s already talk that the footage from this moment—caked faces and all—might show up in the official video.
Later in the night came Busta Rhymes, alongside his longtime partner-in-rhyme Spliff Star. Dressed in red and white, they commanded the stage with legendary chemistry, trading bars and banter like seasoned storytellers of the culture. Busta’s 40-minute set was a reminder of his unmatched presence—from “Just Make It Clap” to “Do It To Me,” every line landed with precision.
A moment for Ludacris. In a vintage Vince Carter Grizzlies jersey, he stepped onto the Bud Light stage not just to perform—but to reflect. Song by song, he moved through the soundtrack of a generation, each hit landing like a time stamp. Behind him, the screen told the rest of the story: scenes from his film career, flashes of milestones, moments that reminded the crowd just how far he’s come. It wasn’t just a performance—it was a celebration of legacy. Over the course of 20 songs, he carved out a set that felt like a victory lap. Hit after hit—“Stand Up,” “Southern Hospitality,” “My Chick Bad”—Luda’s performance was incredible.
But the night belonged to Missy Elliott.
When she emerged on the Orion Financial stage, cloaked in futuristic armor and lit like a galactic queen, the mood shifted. This wasn’t just a performance—it was an experience. She transformed the riverfront into a sci-fi dreamscape, blending Cirque du Soleil energy with hip-hop innovation. “Work It,” “The Rain,” and “Cool Off” played out like a galactic movie—choreographed to the second, bursting with visuals, fire, and power.
What hit hardest, though, was how she closed. Missy brought each of her dancers to the forefront, introducing them by name, giving thanks without rushing the moment. It wasn’t just a show—it was legacy in motion.
Day one was muddy. It was loud. And it was absolutely unforgettable.
Day Two: Action, Vibes, and the Power of the South
Saturday brought sunshine—and heat. The fields dried out just enough to keep your footing, and the lineup delivered one of the most dynamic days of the festival.
Flo Milli brought pure charisma to the RiverBeat stage, blending bad b*tch energy with charismatic flows. Her set was everything—bold, confident, and fun. With hits like “Conceited” and “Bed Time,” she reminded the crowd that empowerment can sound like joy, and joy can sound like freedom. Festival goers were hype to every song, fans screamed every lyric, and for a moment, Tom Lee Park felt like Flo’s world—we were just living in it.
Public Enemy’s set followed later in the night with weight and intention. In true Chuck D fashion, the group used their platform to do what they’ve always done: speak truth, amplify the unheard, and challenge the comfortable. During their searing performance of “State of the Union,” they proclaimed support for Palestine in front of thousands. It was a moment that landed with both gravity and grace, rooted in a legacy of standing up and speaking out.
Their set wasn’t just a throwback. It was urgent, raw, and relevant. Even as other artists face backlash for speaking out, Public Enemy reminded us that hip-hop was born from resistance. Memphis—where the blues and civil rights movements have long intersected—was the perfect backdrop.
The Killers brought a high-energy performance that honored Memphis’ own musical roots. At one point, they nodded to legends like Jerry Lee Lewis and Elvis, weaving reverence into their rock-heavy set. Cage the Elephant brought the chaos, and by sundown, the crowd felt like it had seen a full arc—from rage to release to rhythm.
Day two reminded us that music isn’t always about escape. Sometimes it’s about being present. Sometimes it’s a mirror. And at RiverBeat, it was both.
Day Three: Soul, Acrobatics, and a Masterclass in Presence
By Sunday, the lawn had become a patchwork of picnic blankets, folding chairs, and fans who had been here since Friday and still had more love to give. You could feel the fatigue—but also the fullness. The kind of exhaustion that comes from dancing too much, crying a little, and making memories that stick.
Benson Boone’s performance was a highlight not just of the day—but of the whole weekend. Fresh off his Saturday Night Live appearance, Boone touched down in Memphis with all the momentum of a star on the rise. Dressed in a simple black jacket and jeans, he left the theatrics to his movement: flipping off pianos, sprinting through the pit, and leading crowd-wide singalongs.
A particularly tender highlight came when Benson Boone took the stage and performed “Momma Song,” an unreleased track set to drop just ahead of Mother’s Day. Stripped down and emotional, the ballad served as a quiet counterbalance to the day’s energy. Fans swayed. Some cried. It was one of those rare festival moments that felt deeply personal.
When he performed “In the Stars,” a song written in memory of his grandmother, he asked the crowd to put away their phones. And they did. For those three minutes, the entire park stood still—no screens, no noise—just voices and feeling. It was a moment of quiet awe that cut through the chaos of the weekend.
Anderson .Paak & The Free Nationals closed the festival with a 90-minute of soulful hits. With the Hernando de Soto Bridge glowing behind them, the set melted jazz, funk, blues, gospel, and hip-hop into one long, luxurious vibe. Paak was funny, sharp, and magnetic. He played drums. He danced. He cracked jokes. He slid between songs with the ease of someone who knows exactly who he is and how to hold a room.
Backed by The Free Nationals and a surprise appearance from R&B duo GAWD (including Memphis’ own Alayna Rodgers), the set felt personal and celebratory. When Paak joked about Memphis having “a whole lot of Black people, three Asian people, and a lot of Black people,” the crowd howled. He made us feel seen—and he made it all feel like a house party with friends you didn’t know you had.
Final Notes: RiverBeat Isn’t Just a Festival. It’s a Feeling.
Over three days, more than 50 performances filled Tom Lee Park with sound, soul, and story. There were moments that made us dance and ones that made us pause. And that’s what makes RiverBeat special.
It’s not about perfect weather or pristine setups. It’s about community. It’s about presence. It’s about the South showing up, showing out, and proving that creativity here is deep-rooted and divine.
Three days. Fifty-plus sets. Countless moments we won’t forget. RiverBeat reminded us: the South has something to say. And we’ll be talking about it until next May.
Until then—stay moody, stay inspired.
