An ensemble performance is like a tapestry woven from diverse threads. Each strand tells a unique story that embodies greater meaning to the overall piece, creating a stunning narrative of unity and creativity. This same concept was performed at Kings Theatre in Brooklyn where Cory Wong put on an unparalleled display of musical collaboration featuring multiple artists from diverse disciplines, creating a showcase of jazz-funk fusion and comedic relief. Born in Poughkeepsie, New York, Cory was raised in Minneapolis, Minnesota where he got his start in jazz clubs and eventually toured with different artists like Ben Rector, Vulfpeck, and the Fearless Flyers. Now touring on his own with support from Mark Lettieri (originally from Snarky Puppy) and special guests Couch, there was no shortage of talent in the building as the Minneapolis Master wove melodies, harmonies, and rhythms to create a rich sonic fabric.

To kick things off, Boston based band Couch brought a refreshing twist of pop, soul, and theatrical tunes with a full band, horn section, and singer (Tema Siegel). With band members having backgrounds in jazz and musical theater, the performers were not only musically expressive, but had an electrifyingly charismatic stage presence that captivated the audience. Their bubbly showmanship had us grooving to upbeat songs like "Still Feeling You" and "Saturday," almost making us feel like we were watching scenes of a live theater show. During their song “Poems,” Couch turned the entire crowd into a Broadway musical, allowing us to harmonize with the music by breaking the crowd into 3 sections of a choir. The septet kept us on our toes with covers like “Sorry” by Justin Beiber and even a funky version “Conjunction Junction” by Schoolhouse Rock which brought us right back to middle school English class. By the end of the set, the entire crowd was on their feet and ready for Cory to bring the funk.

The curtains rose as an all out funk assault commenced with Cory Wong (guitar), Mark Lettieri (guitar), and the full band including keys, bass, drums, percussion, and 5 person horn section bringing the absolute heat to start the show. The set was a culmination of different tracks from multiple bands that Cory is a member of, as well as originals and covers which all created his own incredible tapestry of music. The band started off with a Fearless Flyers classic, “Flyers Direct” – a perfect opener. The set continued with an original track from Cory, “Flamingo,” and Mark, “Tidal Tail,” respectively, both evoking emotions of uplifting story line jazz funk that made us feel like we were a part of a great American epic. Tema Siegel from Couch joined for the next few tracks, “Look at Me” and “Ain't It Fun” by Paramore.

The funk never stopped as Cory brought out singer Jacob Jefferies to join on “How Much Do You Love Me?” by Vulfmon, a more contemplative track that brought a soulful break to the set. Cory ended the set with his original “The Generation Grid,” an absolute groove rendezvous that had the entire crowd clapping along and included a raging boom bap drum solo. In most instances, you might imagine an artist would come back on stage for an encore after they end their set, however, Cory had other plans. The entire ensemble came back onstage for what was claimed to be a Q&A press conference for the audience to ask questions to the band. Questions like “I know that your guitar patterns feel sexually charged at times and I want to know if you’re aware of that or if there’s something you’re doing to make that noise?” had us cackling as Cory responded, “When I play my guitar I think of it as an auditory Rorschach test and I think whatever you are interpreting is maybe something you could release into your own life,” and Mark chimed in saying “Look man, were both married men and we’ve been on a bus away from our wives for a long time… next question.”

The Q&A continued as one fan asked: “Cory, is there any particular song from your previous bands or subsequent acts that you would want to arrange for this ensemble?” This parlayed perfectly into Cory asking the crowd if they would be ok with the band playing “Dean Town” and bringing out Vulfpeck member Joe Dart. The crowd went absolutely nuts as the band ended the show with yet another monster composition that had us grooving along to the beat. Check out Cory Wong as he continues his North American Tour this year and then heads out for his Euro tour in 2025!

Connect with Cory Wong on Instagram, Spotify, TikTok and his website.

Love and music go hand in hand in New York City. It sparked in the air when Micha proposed to his wife in the city that never sleeps, and it certainly settled into the nooks, crannies, and balconies of Terminal 5—a venue that forms an open square, with the stage completing the quadrilateral. This three-story space boasts a packed dance floor—a shifting sea of bodies, all caught in the same streaming line of anticipation.

Tinlicker, the moniker of Dutch electronic music duo Micha Heyboer and Jordi van Achthoven, has drawn a devoted fan base through deep house and progressive sounds. Just over a decade ago, the pair were introduced through a mutual connection—a promoter who believed their parallel sounds were destined to intersect. This shared passion led them to create five tracks in just six days, solidifying their decision to join forces and shape the unique sound that Tinlicker’s fans know and love today.

At Terminal 5, Tinlicker attracted a crowd ready to lose themselves in the beat. With the disco ball shimmering overhead and glow-in-the-dark fans waving across the floor, the good vibes were easy to spot. In the front row, a platinum-highlighted blonde shook her head, waving her hands, arms swinging from side to side. She was not alone—her companion swaying next to her, shoulders bouncing up and down to the bombo beat pulsing beneath the Dutch duo’s drum and bass set. At a Tinlicker concert, the movement may be isolated, but the vibe is shared by all. And while the audience came from different walks of life, Tinlicker’s own music influences are just as varied.

The DJ duo’s eclectic music tastes were on full display. Ranging from Radiohead to Bruce Springsteen, Heyboer and van Achthoven’s diverse influences naturally feed into their creative process and self-described spontaneous moments. The night included tracks like “I Am Free (feat. Jamie Irrepressible),” which resonated deeply with the crowd. One NYC-based concertgoer, descending the stairs with a midnight-black reptilian bolsa, described the experience as “captivating.”

Guest artist Felix Raphael joined the show, bringing soft, fluid vocal vibrations—whispers building into bass drum thumps you could feel in your chest. The music breathed deeply with you as the lights pulsed in time. It was late evening in Hell’s Kitchen, and everyone’s swaying in Terminal 5. Hands from the crowd reached out to the stage, feeling the music as “Blowfish” drifted through the venue, enveloping everyone in its deep and steady rhythm.

Mimi, a three-time Tinlicker concert viewer, shared, “They know how to take you on a journey.” Fans were especially moved by perfectly timed moments of pause, where the duo gave space for everyone to breathe before diving back into the pulsing beats. According to Mimi, “Everyone felt very in the moment,” noting how people rarely spoke or glanced at their phones, choosing instead to be fully present in the music and visuals. Mimi’s reflection captures the essence of their music, which is rooted in exploration and connection like the track “Slipstream (feat. Julia Church),” which, when played, wrapped the audience in its smooth and hypnotic flow.

Tinlicker’s name is inspired by circuit bending, a practice that involves reconfiguring the circuits within electronic devices to unlock hidden capabilities and produce unexpected sounds. Circuit bending thrives on unpredictability, resulting in unique soundscapes that are impossible to replicate. It’s an art form that welcomes improvisation and experimentation—much like Tinlicker’s music, which captured the audience through its unexpected depth and iconic quality. This philosophy of creativity and unpredictability translated to their live performance, where each moment was as transformative as the last.

One of the most memorable moments came near the end of the show, when the lights synced flawlessly with the last song, reflecting off the glimmering disco ball and casting a mesmerizing glow across the venue. For us, the lights felt alive, syncing perfectly with the music. Reminiscent images flickered on the screens, with colors ranging from molten silver to pixelated African savanna reds at dusk. Moons crossed in counter-motion, bright and full, all set against the pulsing beats. This philosophy of unpredictability where every light, sound, and beat is carefully curated to create a unique experience was evident in the intense emotion felt as the song “Nowhere to Go (feat. Brian Molko)” captivated the crowd.

So, what is a Tinlicker concert at its core?

A big black table filled with keyboards and switchboards, illuminated by a light show behind our artists—two bald dudes from Utrecht on stage, both with drumsticks in hand and some pretty cool kicks on their feet.

When asked to sum up the night in three words, Mimi didn’t hesitate: “Exhilarating, energizing, and rejuvenating.” It was a Tinlicker concert that felt less like a performance and more like a shared journey, where each beat and visual left an imprint on everyone in Terminal 5.

As always… wear earplugs and stay groovy.

Connect with Tinlicker on Instagram and Spotify.

Guest Artist Felix Raphael can be found on Instagram and Spotify.

On a Saturday night in October, Brooklyn Bowl felt less like a music venue and more like a portal to the cosmos. Primed by the opener, Shadow Show, the packed crowd was about to embark on a journey through space and sound, led by a band whose music seems to defy gravity and time itself. Mildlife, the Australian band known for their seamless fusion of jazz, funk, psychedelia, and electronic music, took the stage and instantly transported the packed house to a universe of their own making.

Opening with the title track from their new album, “Chorus,” Mildlife pulled the audience into orbit. The song’s lush arrangement slowly built into an expansive groove, exploratory flute and guitar synth spurred on by a hypnotic bassline. Followed by the bouncing rhythm and warm vocals of “Yourself,” the band artfully set the stage for an immersive experience.

What makes Mildlife so captivating is the intricate layering of sound, seamlessly weaving together a wide range of influences. At Brooklyn Bowl, this alchemy was on full display. The synth-heavy atmospherics, courtesy of Kevin McDowell, floated effortlessly above the driving bass of Tom Shanahan. Jim Rindfleish’s intricate drumming kept everything anchored, holding the band together as they pushed through galaxies of sound.

With each song, the band’s influences shone through, from the improvisational jazz of Sun Ra to the spacey synth explorations of Kraftwerk, all filtered through a prism of modern electronic production. The shimmering notes of “The Magnificent Moon” and psychedelic jazzscape of “Return to Centaurus” led the audience deeper into Mildlife’s surreal musical constellation. McDowell’s synthesizers, reminiscent of vintage 70s sci-fi soundtracks, sent ripples of sound out into the crowd, oscillating between cosmic exploration and danceable precision. From slow, spacey builds to full-throttle, dance-inducing grooves, Mildlife guided the crowd through spaced-out contemplation to head-nodding rhythm without missing a beat.

It wasn’t all interstellar floatiness. “Automatic,” one of the night’s standouts, brought a more driving, danceable energy to the set. The track’s motorik beat had the crowd fully engaged, bodies moving in sync with the rhythm as flashing lights washed over the scene. The balance between their experimental jams and the more structured grooves kept the energy fresh and unpredictable.

Mildlife closed the night with “Vapour,” sealing the cosmic set with funky basslines and vocoder-drenched vocals. As the final notes lingered in the air, the crowd stood, momentarily suspended in time, reluctant to come back down to Earth. But as the lights came up and reality slowly reasserted itself, the collective glow from the crowd was unmistakable.

With their otherworldly grooves and infectious energy, Mildlife gave Brooklyn a night to remember. Their sound wrapped itself around us and didn’t let go. For those few hours, we weren’t just in a music venue; we were somewhere between the stars, floating in the vast expanse of sound they so masterfully created.

Connect with Mildlife on Instagram, Spotify, and their website.

Like a crispy head of romaine, Lettuce came to Brooklyn last month and brought a refreshing dose of sonic nutrients to nourish the soul. The six funkateers, who hail from Boston, MA, brought a signature blend of funk, soul, and R&B combined with hints of hip hop, rock, psychedelia, jam, and jazz, creating a high octane performance guaranteed to put anyone in a good mood. Celebrating the 15th year anniversary of Brooklyn Bowl, a sold out crowd of funk fanatics gathered to worship at the altar of breakbeat rhythms and infectious grooves. Nigel Hall started off the night spinning old school hip hop classics, and the anticipation grew like a sprouting seed.

If there’s one phrase we would use to describe a Lettuce show it would be “full funk immersion in the company of exceptional talent.” Lettuce’s ingredients are superior yet simple – Adam Deitch (drums, percussion, arrangement), Adam “Shmeeans” Smirnoff (guitar), Erick “Jesus” Coomes (bass), Ryan Zoidis (alto, baritone, tenor sax, Korg X-911), Eric “Benny” Bloom (trumpet, horns), and Nigel Hall (vocals, Hammond B-3, Rhodes, clavinet, keyboards). The first set started with an homage to the hip-hop classic, Deep Cover by Dr. Dre and Snoop Dog, as Jesus laid down the bassline to this track before grooving into their own vintage classic, “Bowler,” a perfectly named starter for their two night run at BK Bowl.

Their next track, The Lock, was a funky soiree from their latest album Unify. The solo riffs from this tune as well as from “Insta-Classic” seemed to have a mind of their own as the music weaved into what sounded like conversation between the different instrumentalists. Up next, we got a taste of the band's dynamic versatility as they covered “Let’s Straighten it Out” by Lattimore, which was accompanied by passionate and pleasurable vocals from Nigel and smooth licks from Shmeeand and Jesus. Set one ended with a New Orleans rocking go-go jazz type number, “The Flu” – a reminder that Halloween is just around the corner – that featured spooky jazz melodies and broken rock you might find at a haunted house.

As set two began, we were eager to hear something more familiar and it was almost as if Lettuce could read our minds. The sextet began with a strong melody build into a funk explosion. Cue Benny and Ryan on the horns, and we were in an all out “Force” jam. The beats kept rolling as another cover sparked the crowd into dance lift off with “Whos Gonna Take the Weight” by Kool and the Gang. At this point, we couldn’t tell where our feet began and hands ended as the crowd morphed into one big funky dinosaur just boogieing down before getting hit by a meteor. Their set ended with the most energetic song of the night, “Squadlive,” which included clap along beats, harmonic horns, and absolutely no control from the crowd. The funk was clearly harvested.

Their encore was a final fiesta as they played an original by Nigel Hall, “Sounds Like a Party,” which featured hilarious lyrics and a massive trumpet solo from Benny that kept us all on our toes. Unfortunately, that was the end of the party for us, but check out Lettuce on their 2024 tour before it ends!

Connect with Lettuce on Instagram, Spotify, and their website.