Last Saturday, May 21, Stanford’s 2016 Blackfest took place. A music festival organized by the Black Family Gathering Committee, Blackfest feels like a spring quarter sequel to Black Love, both of which celebrate local black art, talent and community while bringing outside artists to campus. Blackfest, however, is more festival than talent show, as evidenced by its outdoor venue, casual vibe and long lines for food of questionable prices.
Blackfest boasted a high-quality line-up, showcasing the diversity of artists and arts that populate Stanford’s black community as few other venues can. In short succession, an eager audience screamed for dance groups like Jam Pac’d and Dv8, as well as local highlights Justice Njoku (‘18) and the Outsiders (a campus hip-hop collective). Stanford’s “Escape Hatch,” whose Black Love performance I wrote about in February, received well-deserved love on stage, especially with the refreshing addition of Maya Delaney (‘17), who matched frontman Conrad Kinsuzu’s (‘16) charismatic performance.
The self-selective nature of Blackfest’s audience provides a strong connection between performers and attendees. According to Kinsuzu, “[t]he Blackfest crowd is different, I think, just because they know how to be a great audience.” The group also debuted a well-received original track, an experienced Kisunzu describes as “really rewarding.”
Outside acts Anti Hero and Mullage followed, but failed to make much of an impact, paling against the hype built Blackfest’s headliners, Metro Boomin and Jeremih. If Metro Boomin felt underwhelming, it’s because the producer played it safe, superimposing air horns and his famous tag – “if Metro don’t trust Imma shoot you” – over what felt like a Spotify playlist of his own hits (an impressive discography, to be fair, featuring songs with Drake, Future and other big names). Jeremih, in contrast, stole the show, bringing all the confidence, stage presence and mystique of a self-assured star and worthy headliner. He performed an impeccable, well-rehearsed set of both his older and his newer material.
Much like Jeremih’s routine, Blackfest’s success rested in its execution, rather than any surprises or knockout moments. The day, whether the time between acts, or the technical side of the acts themselves, flowed more or less seamlessly, even as various bands demanded different sound and space resources on stage. Between its organizers, its performers, and its audience, Blackfest honored the richness and the fun of this unique community.
Contact Joshua Seawell at [email protected].