On a recent Friday evening at the Metropolitan Museum of Art in Manhattan, the normally quiet surroundings of the Grace Rainey Rogers Auditorium transformed into a vibrant venue as Mississippi blues musician Christone Ingram, known as Kingfish, took the stage. The event, held amid iconic Egyptian artifacts like the 2,000-year-old Temple of Dendur and statues of the goddess Sekhmet, was part of the museum’s new “Met Live Arts” season—a program designed to merge contemporary live performances with historic spaces.
By 7:10 p.m., the auditorium’s 708 seats were largely occupied by a diverse audience, including longtime museum patrons, local residents, and families eager to experience live music in an unconventional setting. Lillie Howard, a museum member in attendance with her husband, described the event as a way to engage more deeply with the museum and broader cultural offerings. Others, like Shannon Nordeman and her two sons, appreciated the opportunity to enjoy live music together within their neighborhood.
Launched under the guidance of Sarah Jones, who joined the Met as head of live arts in August 2025, the Met Live Arts initiative aims to generate excitement through notable performers appearing in unexpected museum locations. Jones characterized the program as ushering in a "new chapter" by attracting well-known artists and tying performances to exhibitions. Ingram’s concert preceded upcoming shows featuring artists such as Jason Isbell and St. Vincent, reflecting a lineup intended to draw a broad audience.
Tickets, priced between $35 and $155, were released on July 30, with Ingram’s performance selling out within weeks and some events selling out in mere hours. During his set, Ingram played his own black Gibson guitar before being joined by a 1959 Gibson Les Paul Standard once owned by Jethro Tull’s Martin Barre. The vintage guitar, part of a permanent exhibit opening in March titled “The American Guitar: A Twentieth-Century Icon,” will be carefully preserved between appearances.
Jones emphasized that a core aim of Met Live Arts is to integrate live music with the museum’s collection, offering immersive experiences that connect visitors with both past and present art forms. The program’s ambitions extend beyond music, with plans to collaborate with the New York City Ballet’s Choreographic Institute for future performances inside the Temple of Dendur. This interdisciplinary approach seeks to foster a dynamic cultural exchange, blending classical art with contemporary voices.
Audience reactions were overwhelmingly positive. Adrienne Plotch, a longtime Met member, noted that the event offered a stimulating alternative to conventional nightlife. Although she speculated that more traditional museumgoers might view such programming as overly commercial, she and her friends appreciated the fresh energy. Similar shifts have been noted by artists and critics who observe museums adapting to engage wider, more diverse audiences.
Jason Isbell, who is scheduled to perform in February, highlighted the importance of allowing historic instruments to be heard and played rather than kept behind glass. He remarked that guitars are tools for creating art and that experiencing their sound in a live setting is essential.
For Ingram, performing amid priceless artifacts provided creative inspiration. Having tested several guitars at the museum before selecting the 1959 Gibson, he described the night as “special,” remarking that music and visual art together create a unique source of artistic motivation.
As the concert concluded, the crowd—the Nordeman brothers among them—rose to their feet, showing enthusiasm through applause and cheers. Attendees streamed out into the galleries and onto Fifth Avenue, many energized by the unexpected fusion of history and contemporary culture. The event illustrated the Met’s growing commitment to experimenting with live arts as a way to invigorate its offerings and reach new audiences.