Brownsville drummer Kesha Burton had asked me if I would take her to the annual Blues on the Bluff fundraiser for Memphis community radio station WEVL, so although I hadn’t originally planned on going, I agreed. Although the weather had been horribly hot all day, showers had popped up in Fayette County, and things began to cool off as we headed into Memphis.
The Blues on the Bluff event is always held at the National Ornamental Metal Museum, which occupies a portion of the former Naval Hospital on the bluff south of the old Memphis-Arkansas and Harahan Bridges. There are few better views of the river than that location, and with its lovely tree-shaded courtyard, it makes a great venue for live music.
This year’s line-up included a Booker T. & The MG’s tribute band called the MD’s, who were on stage when we arrived, and after their performance, then the Ghost Town Blues Band marched into the courtyard in a Dixieland jazz band fashion before playing their set, which included a lot of new music from their forthcoming album “Shine.” A noteworthy feature of GTBB is their large brass section, which includes my homeboy Suavo J on trombone.
The headliner for the night was Lightnin Malcolm , the Hill Country bluesman from Byhalia, and Kesha got a chance to perform with him on percussion. His music consists of Hill Country standards, and originals in the Hill Country style, as well as some that are more alternative and even reggae-influenced, and the crowd of about 200 thoroughly enjoyed themselves.
In addition to music, there was a food truck from Fuel, the former restaurant on Madison Avenue, the folks from MemPops selling homemade ice cream pops, plenty of beer from Memphis Made Brewing, and a silent auction.
But the overwhelming highlight of the evening was the absolutely amazing sunset over the river, which started out a dazzling yellow, changing to a golden orange and then a deep red before it disappeared behind the treeline to the west in Arkansas. It was the perfect end to the day.
At the end of the evening, Kesha decided to stay with friends in Memphis, and I was starving, as the Fuel food truck had offered only tacos, so I headed to the Slider Inn in Midtown for a late-night dinner on the outdoor deck.
Signs had been posted in the Mason area regarding a large blues show at Zodiac Park for at least a month, and I had viewed the event with some interest, as I had often thought of Zodiac Park as a potential spot for a blues festival. The place is a historic Black baseball and softball field north of Mason, which has hosted car shows, but so far as I know never a blues event before. I would have conceived my event more as a roots event, with traditional blues artists and gospel groups, but this was more of a southern soul event being billed as a “Mason family reunion.” Terry Wright, himself a native of the area, was billed as the headliner, and rumor had it that he was the driving force behind the event, so I pre-purchased a ticket and made plans to go.
Despite the extreme heat, and the newness of the event, there was already a fairly large crowd at Zodiac Park when I arrived, and quite a few vendors, including a full bar. People were continuing to arrive throughout the afternoon, and several bike and car clubs had come as a group. A band was warming up on the outdoor stage as I arrived.
Unfortunately, the event was plagued by a number of issues, many of them beyond the organizers’ control. The extreme heat eventually gave way to heavy downpours of rain, which forced everyone under tents temporarily, but thankfully, the rains passed, and the sun came back out. Of greater concern were electrical problems on the stage, which occurred intermittantly all day.
Having been to only a couple of southern soul shows in the past, I had imagined that each of the acts would have their own band, but to my disappointment, the opening acts all performed to tracks instead. They included a local artist from Tipton County known as Big Poppa, someone called Big Sam, well-known female blues artist Karen Wolfe, and Mississippi artist Vick Allen. Even as these artists performed to tracks, electrical problems kept causing the microphones and tracks to cut out. Even so, a large crowd gathered in front of the stage, particularly when Karen Wolfe was on stage.
When it was time for Terry Wright to come to the stage, his band warmed up first, but the keyboard player took his instrument down and put it away, apparently because of the ongoing power concerns. Even without the keyboard, the band proved to be too much for the power available to the stage, and the microphones cut out, so a decision was made to have Terry perform with tracks instead of his band, and at that point, I made the decision to leave and go home.
Although some of the problems disappointed me, I have to say that I still had fun, many other people had fun, and there were no bad feelings or attitudes the entire day. I managed to see a number of people I knew, including Myles Wilson, one of the former owners of Club Tay-May in Mason and the former superintendent of Fayette County Schools.
Hopefully the event will continue in future years, and the only improvements I could recommend is making sure that there is enough power on stage, and having a house band to back all of the day’s singers.
When I had heard that West Memphis was going to sponsor a month-long series of blues concerts on Thursday nights, I was determined to check them out. So, when the first one was announced for May 7, I made sure to go out there. The city had blocked off a small street near the Civic Auditorium, but unfortunately, the weather was not co-operating, and despite a couple of food trucks outside, the city had decided to move the concert indoors.
I was not familiar with either of the two acts scheduled to perform. Dan Charette is apparently originally from Maine, but currently lives in Millington, Tennessee, where he fronts a band called Absolutely Blue. He is a decent blues musician, whose repertoire consists primarily of cover tunes.
The headliner for the night was a blues performer who calls herself B. B. Queen, a playful response to B. B. King. She is based in Las Vegas, and fronts a band consisting entirely of women musicians. Most of her material on this particular night consisted of cover tunes as well, but she is talented and quite attractive, and her band was first-rate.
Unfortunately, the change of location and the weather made for a paltry crowd indeed. Only about forty or fifty people were seated in the seats of the auditorium, and the formal theater setting was rather incongruous for blues. Although I enjoyed the music, I wanted to make it to Tacker’s Shake Shack in Marion for dinner, and when I learned that they would close at 8 PM, I left the auditorium to head there.
If Memphis rap were a nation, Al Kapone would be the unanimous choice for an ambassador’s position. One of the earliest Memphis rappers, he has in more recent years become a Memphis icon, popular with constituencies that don’t necessarily get enthused by rap music on a daily basis.
For the same reason, Kapone fits neatly onto the kind of Midtown shows where other rap artists might be awkward. For example, this pre-holiday lineup at the amazing Railgarten venue was kicked off by the nostalgic Memphis soul band The City Champs featuring Joe Restivo, whose fan base probably doesn’t listen to a lot of rap. But everyone knows Al Kapone. Anyone who has ever been to a Grizzlies game or watched the movie Hustle and Flow knows him.
By the time the band launched into their third song, there were at least a hundred people in the club, with more arriving all the time. After they finished their nearly hour-long set, they were followed by up-and-coming Memphis rapper Tune C. performing his song “Naturally” and R & B singer Kameron Whalum performing his new single. After Uriah Mitchell performed a couple of songs, Al Kapone came on stage, performing a number of his more recent hits with a live band. On occasions, he introduced local rappers onto the stage to perform specific songs, including Muck Sticky and Lil Wyte, who also recently released a new album.
Despite the dismal weather outside, the standing room only crowd was full of holiday cheer, and a good time was had by all.
Clayborn Temple is one of Memphis’ most historic locations. Built in the late 19th century as Second Presbyterian Church, it became known as Clayborn Temple African Methodist Episcopal Church after the Presbyterian ccongregation moved far to the east of Midtown. The building became an important focal point of the Civil Rights Movement in Memphis, particularly the Sanitation Workers Strike of 1968 which resulted in the death of Dr. Martin Luther King Jr. Unfortunately, at some point, the Clayborn Temple congregation died, and the building fell into disrepair. At one point, the City of Memphis put fencing around it to protect against falling bricks, and it seemed likely that the building would have to be demolished. Fortunately, against all odds, Clayborn Temple was resurrected in 2017 as a performing arts venue, and on November 3, 2018, Blue Tom Records, the student-run record label of the University of Memphis, sponsored its annual This Is Memphis concert in the historic structure.
Unfortunately, I learned upon entering Clayborn Temple, that the building’s success story may be somewhat premature. There is still significant roof damage and a considerable amount of work remains to be done. However, it is good to see that a plan for renovation is in place, and funding is being raised. Because This Is Memphis is a celebration of the young musical talent of one of America’s most musical cities, the building was an inspired choice of location for the concert, and indeed, a very impressive soul-jazz band called Back Pockets was soundchecking on stage when I entered.
The Back Pockets proved to be the first band on stage of the evening, and is a large collective with a sizable brass section and a female vocalist. They filled the large room with sound, and were fairly impressive, alternating between neo-soul vocal tunes, and jazz instrumentals. Unfortunately, the videos I took of them proved to be out-of-focus and unusable. Hopefully I will catch them performing elsewhere.
After a performance from a local singer/songwriter named Sienna, a new band called Estes came on stage. Estes is the latest project of Andrew Isbell, formerly of The Band CAMINO, and it proved to be a melodic, tuneful band reminiscent of The Southern Sea or The Autumn Defense. The songs were well-written and immediately attractive, at once sunny but with a hint of nostalgia.
Estes was followed by a very soulful singer-songwriter named Phillip Bond who is a senior at the University of Memphis. Unlike a lot of neo-soul artists today, Bond’s original compositions are lyrically daring and more poetic than pop. On this particular night, he performed the first song he ever wrote, “Fool For You” and became somewhat emotional about it, as the song undoubtedly has significant meaning for him. He was also backed by a first-rate band of young musicians.
Memphis has produced a number of great singer-songwriters in recent years including Amy Lavere and Valerie June, and Bailey Bigger can hold her own with the best of them. A talented singer with a beautiful voice, Bigger is also a consummate songwriter, as evidenced by her original compositions, including “Green Eyes” with which she launched her This Is Memphis performance. With only her guitar, and occasionally one other musician, she managed to captivate the audience in the large venue. Bailey’s album Closer to Home is currently out on iTunes, and she is now signed to Blue Tom Records, working on an upcoming release.
Another singer/songwriter/activist Jordan Dodson, known as JD, seeks to use her music to promote empowerment for women and African-Americans. Her performance at This Is Memphis included her brief put powerful song “Don’t Shoot,” a reference to the numerous police shootings of young Black men in America.
This year’s concert was closed out by Dylan Amore, the only rapper currently signed to Blue Tom Records, and one with a growing following in Memphis, Tennessee. He is hard at work on his EP for the label, and also has several previous releases and mixtapes.
Altogether, it was a fitting tribute to young and upcoming Memphis artists in a beautiful setting, as well as an opportunity for University of Memphis students to learn the business of concert promotion and operation….in short, a win-win for performers, attendees and students alike.
“Can’t One Make One” read the shirts with the iconic image of the Como water tower on the front, and the legend “Together We Stand” on the back. The shirts are popular in this town, another way of saying “It takes a village. We can’t build this up as individuals.” The message of struggle is an odd twist in the 150-year history of this North Mississippi town, once home to the largest concentration of millionaires in the state.
Glimpses of that past are still visible in the stately homes that face the railroad track on the east side, whose porches look across to Main Street. One of them belonged to relatives of Tallulah Bankhead, and the future actress spent summers in Como in her youth. The house later belonged to a local artist, and was briefly lived in by Jimbo Mathus of Squirrel Nut Zippers fame. His Delta Recording Service was briefly located on Main Street across the tracks.
But cotton, cattle and agriculture are no longer king, and Como today is a predominantly-Black town, and a singificantly poorer one than the Como of the last century. What it lacks in financial riches it more than makes up for in cultural riches, however. Como was home to legendary blues musician Mississippi Fred McDowell, and fife-and-drum musicians like Napolian Strickland. Gospel musicians like the Rev. John Wilkins (son of blues great Robert Wilkins) and the Como Mamas live here, as does the living Hill Country bluesman R. L. Boyce. Downtown Como too has seen something of a renaissance in recent years, with great restaurants like the Windy City Grill and Como Steakhouse opening on Main Street, even a Thai restaurant. A new catfish place opened just a few weeks ago.
Like many predominantly-Black towns, Como has a special day to celebrate its legacy, Como Day, which is held every year in October. The phenomenon is not unique to Como, but is found throughout the Delta in towns like Crenshaw and Tutwiler. A few of the events are called something else, like I’m So Greenwood in Greenwood, or Founder’s Day in Mound Bayou, but the vast majority are simply named for the town, as in Crenshaw Day or Como Day. The latter celebration is truly huge, with a day full of live music, Corvette cars and local vendors selling clothes, food and snacks. Music had started at noon, but when I arrived a band called the Southern Soul Band was on stage. They were quite good, but there was not a particularly large crowd in the park yet, as the weather was far colder than usual this year. At 5 PM, hometown favorite R. L. Boyce appeared on stage with Steve Toney on drums and Lightnin Malcolm backing him up. Boyce, who began as a drummer in fife and drum bands, is also an accomplished drummer in his own right, having played behind Jessie Mae Hemphill on a couple of her albums, and is also a self-taught guitarist, with some influence from Fred McDowell and R. L. Burnside. Compared to other Hill Country players, Boyce is largely unique, setting up a pattern of recurring, trance-like riffs over which he often improvises lyrics, based on people he sees in the crowd, or recent events. Hermetic and idiosyncratic, Boyce’s music is largely unaffected by music outside his own special system.
Fife and drum music has a large history in Como. In fact, the first well-known fife and drum band in the modern era was dubbed the Como Fife and Drum Band when it played at the inaugural New Orleans Jazz and Heritage Festival in Congo Square in 1970. Napolian Strickland was the driving force behind this band, with the drummers often being John Tytus and Otha Turner. Otha’s granddaughter, Sharde Thomas, has continued the tradition with her grandfather’s Rising Star Fife and Drum Band, whose appearance hyped the crowd considerably Saturday evening. Despite the ancient nature of this music, which pre-dates blues, there were plenty of people in the crowd ready to dance to it, even some young people. Fife and drum music on a moonlit night in North Mississippi seems like a right thing, something that is supposed to happen. It feels like a connection to a sacred past, a summoning of the ancestors.
Behind the fife and drum band came Duwayne Burnside, joined by his nephew Kent Burnside who had come down from the Midwest for a Burnside reunion which was being held in Byhalia. Duwayne, son of the late R. L. “Rural” Burnside is continuing the legacy of his father. He is an amazing electric guitarist, who has managed to combine the Hill Country tradition with other influences, such as the electric guitar styles of Albert King, B. B. King and Stevie Ray Vaughan. Duwayne typically fronts a fairly large band, and is as comfortable singing Tyrone Davis or Bobby Womack tunes as he is Hill Country classics. He had likely been singing all day at the family reunion, and when he moved aside to take a break, Kent came up to perform a couple of tunes, including the iconic “Going Away Baby” AKA “Four Women” which was so beloved by his grandfather.
Como Day is always anchored by a headliner, and this year it was Omar Cunningham, a southern soul star from Alabama. Unfortunately, the weather, which had been warmer during the late afternoon, turned bitterly cold in the space of about an hour, and also, Windy City Grill has curtailed their kitchen hours, ending food service at 10 PM. So, although I would have liked to have caught Omar’s set, I walked back over to Main Street instead to order a deep dish pizza at Windy City Grill, which was jampacked with football fans and others who had come over from Como Day. It was a satisfying ending to a great day celebrating a great town.
Mason, Tennessee, located in Tipton County by geography, but more socially and culturally linked to adjacent Fayette County, is the dead center of what might be considered West Tennessee’s Delta region. As a market town for both whites and Blacks in the surrounding cotton country, Mason became a place of recreation for Blacks on weekends, as most of the other towns were far more restrictive with regards to nightlife. In Mason, town officials turned a blind eye to the numerous juke joints that were euphemistically called “cafes.” With no closing ordinances, Mason cafes could literally run all night long, and attracted Blacks from a hundred-mile radius. People came from as far away as Cairo, Illinois and Blytheville, Arkansas, because in Mason, usually nobody cared what you did as long as you didn’t kill anybody. In the mid-sixties, things became even more energized, because a man named William Taylor shuttered his Chicago nightclub called Club Tay-May and then opened two Club Tay-Mays in West Tennessee, one south of the railroad tracks on Main Street in Mason, and the other one on Keeling Road near the antebellum Oak Hill mansion. These clubs attracted legendary performers like Little Milton, Little Johnnie Taylor and Rufus Thomas.
Unfortunately, as agriculture declined, and as people (particularly Blacks) moved to the cities, Mason fell on hard times. The cafes, largely adapting to a rap music and a younger clientele, became a focal point for violence. Club Tay-May burned and was never rebuilt, and the city passed closing ordinances to require clubs to shut down at 2 AM. Since this made Mason no different than Covington, Dyersburg or any other town in West Tennessee, those who had formerly come to Mason to party stayed at home instead. The downtown buildings where the cafes had been began to collapse and were condemned by the city.
Although Mason has fallen on hard times, there is still something of a unique culture in the community. Two of America’s best restaurants, Bozo’s Bar-B-Que and Gus’s World-Famous Fried Chicken are located in this little town of only about 500 people, and a few juke joints still remain on Front Street near the railroad track. Each fall, the town sponsors a Mason Unity Fall Festival, which sponsors activities for the young people, an opportunity for vendors and food trucks, and live music performances. At the initial festival in 2011, there had been no stage, only a DJ, and a few gospel choirs performed out in the street a cappella. This year, the city had brought out a full stage, and a good blues/soul band was on it when I arrived. The vocalist performing was named Charles King, but the band proved to be from West Memphis, Arkansas and was known as the Infinity Band. Unfortunately, compared to previous years, the crowd was fairly small due to the extremely cold, grey weather we were having. Even so, Saul Whitley was firing up the barbecue grill in front of his cafe The Blue Room, and the young men from the Whip Game Car Club were setting up a tent and cooking food as well. Several people knew me from social media, and thanked me for the historic photos of Mason I had put up online that I had taken back in 1991.
One of the sadder things was that so many of the cafes are gone, most recently The Black Hut having been torn down. A pile of cinderblocks remains where it was. Behind The Green Apple, which seems to be out of business, is an old abandoned hotel. Even the former Mason City Hall and Police Department have been abandoned and condemned. But I got an opportunity to talk to a woman who said that Ocie Broadnax of the Broadnax Brothers Fife and Drum Band was her great grandfather, and that he used to play for horse races at a place called Booster Peete’s on the Tabernacle Road north of Mason. Another older man told me that the Broadnax Brothers would beat the drums on the back of a wagon, and ride all around Fayette County to advertise that they would be having a picnic on the Saturday. He said the picnics used to be held at a place called Buford Evans’. So despite the chilly weather, I enjoyed myself immensely.
I came away from the event with the belief that Mason has an important legacy, and possibly a future. Clarksdale, Mississippi is living proof that blues tourism is a real phenomenon and very lucrative. It simply took leadership there with a vision to make it a reality. Mason has historic landmarks like Old-Trinity-In-The-Fields, historic houses like Point-No-Point and Oak Hill, and world-famous restaurants like Bozo’s and Gus’s. What if the old hotel behind The Green Apple was remodeled, modernized and reopened for business? What if a blues and heritage museum were opened on Front Street? What if the Lower End was declared an entertainment district and allowed to stay open later as Beale Street is in Memphis? What if the historic houses were occasionally open for tours? All it will really take is for someone with the vision to make Mason a destination for tourists looking for authentic culture in an authentic setting. It really doesn’t get any more authentic than Mason.
On a Friday evening, after meeting a friend for dinner in Memphis, with nothing in particular to do, I headed out Poplar Avenue through Collierville and into Fayette County, which is the Tennessee county that most resembles the Mississippi Hill Country. Mississippi Fred McDowell was from Fayette County (Rossville to be exact), and if there is any fife and drum activity left in Tennessee (and there does not seem to be), it would likely be in that county. So I often venture out there to ride the backroads, take photographs, and see if I come upon any events, or flyers announcing events on the various stores along the roads. People in Fayette tend to be old-school and don’t use social media much to promote blues or gospel events.
One of the reasons that this has taken on such urgency with me is that the western portion of Fayette County is undergoing a process of suburbanization, as people move away from Memphis into the country. The resulting growth and subdividing has the net effect of destroying historic locations and buildings, so I want to photograph what is still around while I can.
Posters on the outside of stores in Rossville and Moscow announced a barbecue festival in Rossville and a car show in Somerville, as well as a Jubilee Hummingbirds concert at a church south of Moscow in Slayden, Mississippi. There was a also a poster announcing some kind of rap show at Saine’s, which is ordinarily a blues club. Signs along Highway 57 also announced that Terry Saine, the club’s owner, was running for the state legislature.
Out on the Cowan Loop between Moscow and LaGrange, I came to an old and somewhat historic-looking church called Anderson Grove. The place, set far back off the road in a grove, looked almost abandoned, but the area was fairly peaceful. Further west along the same road was another church, obviously abandoned, with no sign to indicate what its name might have been. Not far away, back on Highway 57 was an abandoned grocery store that must have at one time been a bustling place indeed. But I found no evidence of juke joints, ball fields or picnic spots.
North of Moscow, along Highway 76, I came to Saine’s Blues Club, and stopped there, in the hopes of perhaps catching up with Terry Saine. Saine was a civil rights activist in the 1960’s, and in my belief likely old enough to have been aware of Black fife and drum bands in Fayette County during his youth, and perhaps also able to fill in some gaps about the Fayette County blues musician Lattie Murrell. But Saine was not there, perhaps out campaigning for office, so I headed on into Somerville.
There, around the square, young people were setting up stages, booths and barricades, getting ready for the Cotton Festival, which was to be held the next day. Nothing was going on at the moment however, so I headed over to Betty’s After Dark blues club, but found it fairly quiet, although open. They were having a large T. K. Soul show the next night, after the Southern Heritage Classic game in Memphis. Nearby, however, was a restaurant with outdoor tables and colorful lights, that seemed to be packed with people. It looked like something transported from Destin or Orange Beach to Somerville, and proved to be a new seafood restaurant called Big Fish that I realized will deserve a future visit.
On out Highway 59, Fayette-Ware High School was clearly playing a football game at their stadium, but I wasn’t particularly interested in that, and I headed on to Brewer Road where I knew there was a club. But all I found was a group of young people at the end of the road on four-wheelers just hanging out, and if there was anything going on at the club, it was obviously a hip-hop event geared to youth.
Likewise at Mason, the Log Cabin and Blue Room had large crowds, but just DJ’s as best I could tell, and by now I was thoroughly tired. So I gave up looking for anything to get into and began driving back toward Bartlett on Highway 70, as lightning and rain began to develop.
Although Saturday, August 25, 2018 was even hotter than the day before, the crowd that gathered in the late afternoon in Coldwater for the second day of the 68th Annual GOAT Picnic was even larger than the one from the day before. The surprise of the early evening was an R & B singer from Coldwater named Felita Jacole, who had a band of talented musicians backing her up, and who, to my surprise, did some original material, including a song called “Weekend.”
She was followed by the legendary R. L. Boyce, the last of the original Hill Country bluesmen, who performed with Kesha Burton from Brownsville, Tennessee on drums, and his daughter Sherena Boyce on tambourine and dancing.
Later in the evening came exciting sets by Nashville-based Blue Mother Tupelo, and Mississippi bluesman Mark “Muleman” Massey, but as it was the previous night, the most excitement in my opinion was the raw and exuberant processions of Sharde Thomas and her Rising Stars Fife and Drum Band between the performances on stage. After dark, the interplay between djembe, bass drum and dancers became truly uninhibited, and the crowd gathered around to watch.
Confronted with the challenges caused by moving to a new town and venue, the 68th Annual GOAT Picnic managed to rise to the occasion. The weather was perfect both days, with the grounds after dark illuminated by a beautiful full moon overhead, and a crowd of several hundred people in front of the stage.
Back in 1950, Othar Turner, of Gravel Springs, a few miles east of Senatobia in Mississippi’s Hill Country region, decided to hold a picnic for his friends and neighbors in the community. He killed and barbecued goats, and he and his friends ate, drank and danced to fife and drum music, a rural pre-blues form of Black music that had once been found across the South. By the time musicologists like David Evans visited Tate County in 1970, the event had been going on for 20 years, and eight years later, the famed musicologist and documentarian Alan Lomax visited the Turner Family Picnic as well. Othar, whose friends called him “Otha”, went on to make two full-length record albums, and contribute a song to the soundtrack for Martin Scorsese’s The Gangs of New York , and by the time of his death on February 27, 2003, he had passed the tradition of his Rising Star Fife and Drum Band on to his granddaughter Sharde Thomas.
Unfortunately, last year, a family dispute within the larger Turner family led to the eviction of the annual picnic from Otha’s old homestead, as well as the demolition of most of the structures that had been used for the event. While there was something different about this year’s picnic due to the necessity of relocating it from Gravel Springs, it is also true that Sharde Thomas chose a location in Coldwater that greatly resembled the old location, with a number of old wooden structures. Attendance was somewhat light at the beginning, as the weather had been quite hot on the Friday of the first night, but the crowds soon grew larger, as bands like blues-rockers 78 (named for a major highway in the Hill Country) and artists like Joyce “She-Wolf” Jones and Robert Kimbrough Sr performed on the stage under a tent. The Thomas family’s stand was selling catfish and goat sandwiches, and RC’s Soul Food Restaurant from Como had a stand as well. A large, full moon (some said a “blue moon”) shown overhead. But the high point of the evening, at least for me, were the interludes between stage acts when Sharde Thomas, alternately playing djembe or fife, performed with her Rising Star Fife and Drum Band, marching across the picnic grounds. Occasionally, these processions developed into djembe vs. bass drum battles between Sharde and Chris Mallory, one of her drummers, and on other occasions, dancers came and got down low to the ground to the rhythms of the bass drum. Despite the new location, the 68th Annual GOAT Picnic was a success.