Boston’s creative scene owes much to Catherine T. Morris, the visionary behind Boston Arts & Music Soul (BAMS) Fest. Recently, she sat down with The Bad For The Community podcast to discuss her journey—from overcoming racial challenges in the METCO program to launching one of the city’s most vital cultural festivals. As the Director of Arts & Creativity at The Boston Foundation, Morris is not only amplifying Black creatives but also working to redefine the arts as a cornerstone of Boston’s economy.
From METCO to Music: The Path to BAMS Fest
Morris’ passion for the arts and community began early. As a participant in the METCO program, which bused Black students from Boston to predominantly white suburban schools, she faced racism from a young age. Instead of retreating, she leaned into the arts, creating Universal Rhythm, a student-led organization that showcased METCO students’ talents and experiences. By high school, she was already reshaping narratives—transitioning her school’s radio station from a rock format to an urban one while securing music directly from record labels.
Her journey continued at Temple University, where she studied Tourism and Hospitality Management, interned at seven organizations, and immersed herself in Philadelphia’s rich cultural ecosystem. The experience reinforced her belief that Boston needed a stronger infrastructure for Black creatives—a realization that would later inspire BAMS Fest.
The Birth & Growth of BAMS Fest
In 2014, Morris launched BAMS Fest with $22,000 of her own money to address the lack of creative opportunities in Boston. Held in Franklin Park, the festival pays homage to cultural icon Elma Lewis, who pioneered outdoor performances there in the 1960s. But for Morris, it wasn’t just about music; it was about spiritual and ancestral grounding, which is why the festival remains rooted in Boston’s historic Black communities.
When selecting artists, she prioritizes:
✔ Character & integrity
✔ Creative versatility beyond one skill
✔ Community engagement
✔ A strong representation of Boston’s creative scene
Navigating Boston’s Creative Economy
Despite Massachusetts’ $28 billion arts economy, funding remains a challenge—especially for Black artists. Morris pointed out that state funding for the arts is only $28 million across 351 towns, with rural areas often investing more than Boston itself. Many artists leave for cities with better infrastructure, as Boston lacks major entertainment hubs compared to New York or Philadelphia.
Her advocacy extends beyond BAMS Fest—she’s working to shift how philanthropy supports artists, pushing for policies that address cost of living, healthcare, and financial stability for creatives. “The arts are not just about performance,” she emphasizes, “it’s an economic driver that needs to be recognized as such.”
The Future of BAMS Fest & Morris’ Next Chapter
As BAMS Fest enters its seventh year, Morris is preparing for a leadership transition. While she will remain the festival’s founder, she plans to step back as executive director, forming a new team to take over. She envisions a 10-year sustainability plan to ensure that BAMS Fest continues to serve as a creative hub for Boston’s Black artists.
The upcoming Momentum Initiative (June 26-30) will expand BAMS Fest beyond Franklin Park into a four-day citywide activation, integrating music, fashion, tech, and film. The goal? To create a lasting creative economy where Black artists don’t just perform—but thrive financially.
As the conversation wrapped, Morris issued a call for donations and skilled volunteers, emphasizing that community-driven support is key to sustaining the movement.
“Artists need to mobilize, organize, and advocate for themselves,” she urged. “We have the power to make change—we just have to claim it.”
