full dinner menu available, seating is first-come first-served
performing live in the back room
VINES
…is the solo project of composer, producer, and multi-instrumentalist Cassie Wieland. Praised by The New York Times as “sweetly shimmering,” Vines masterfully experiments with intimate ambient and experimental pop sound worlds to achieve the massive and hand-made vibe she is often searching for. Across her practice, Vines’s music shines a light on knotty feelings that are hidden just under the surface
KAMRA
…is a singer-songwriter raised in the dry desert of Arizona now living between their farm in the Western Catskill Mountains and Toronto. Their music fuses string instruments, experimental sensibilities, field recordings, and band jams. Kamra’s practice centers collaboration, painterly storytelling, and transfigurations that emerge after a spiritual experience. Their popular single “Hear My No” is a socio-cultural cry for more honest communication in relationships. They are also the author of Care Manual, a practical workbook which challenges fixed notions of care, consent, pleasure, and harm. Kamra’s songwriting derives wisdom from lived experience and surfs the waves of traditional African-American music with ethereal charm. Channeling the legacy of Black femme folk singers, Kamra puts their twist on the genre by blending the sentimental deep rich tones with soaring falsettos floating listeners off their feet.
YAZ LANCASTER
…is a transdisciplinary artist residing in Lenapehoking (NYC). Their work as a performer, composer, poet/writer, and collaborator is grounded in queer, DIY, and liberatory frameworks. Their debut record AmethYst, comprising music for violin, voice, and electronics was released in April 2023 (ppr). Recent and upcoming collaborators include Black Mountain College/Hub New Music, Brooklyn Youth Chorus, Dorothy Carlos, Eliza Bagg, Massa Nera, Mingjia, Minnesota Philharmonic, Miss Grit, and Sean Pecknold. Yaz additionally works as the co-manager of people places records, a co-organizer of abolitionist music collective Sound Off, and a freelance (music) writer. They love powerlifting, horror manga, and summers down South.
Percussionist, drummer and composer Carlo Costa was born and grew up in Rome, Italy. Since 2005 he has been based in New York City. In the past several years he has been making music which is largely improvised and experimental in nature. Through the use of a variety of unusual techniques and added objects Carlo has meticulously developed a distinctive and wide-ranging sonic palette.
Zosha Warpeha is a composer-performer working in a meditative space at the intersection of contemporary improvisation and folk traditions. She performs primarily on Hardanger d’amore, a sympathetic-stringed instrument closely related to the Norwegian Hardanger fiddle, as well as five-string violin. Zosha’s long-form compositions explore transformations of time and tonality.
TILGHMAN GOLDSBOROUGH
Tilghman Alexander Goldsboroughl (b. Richmond, VA, USA, 1991). Poet. His work has appeared in The Mall, the Leveler, and Nomaterialism (vol II). Forthcoming work includes The Western with 1080 press and object 7 ( ,a subject loosely, ,bunded in a frame, ) with Futurepoem. He lives in Brooklyn, NY.
MORE EAZE
more eaze is the project of composer/multi-instrumentalist mari maurice. her work touches upon myriad genres and often explores themes of gender, intimacy, identity, perception, and the mundane. resident advisor categorizes maurice’s work as “accomplished ambient pop” and the quietus has said that her work “unearths a raw poignancy in what can often be a coldly academic field.”
Full dinner menu available, seating is first-come first-served
performing live in the back room
GEORGE CROTTY TRIO
George Crotty has forged his own unique vocabulary on the cello. Expanding outward from the cello’s intrinsic lyricism, his sound introduces plaintive Irish ornamentation, melismatic gestures of Indian classical music, adapted electric guitar manoeuvres, and the bold articulation of jazz bass. He writes and performs for solo cello and small ensembles, and collaborates on film scores, original recordings, and theatrical productions. A member of the Brooklyn Raga Massive, and Detroit-based National Arab Orchestra, he has also worked with Bob Ezrin, Simon Shaheen, Paquito D’Rivera, Anat Cohen, and Darol Anger.
COMPASS TRIO
Compass is a trio that brings an original compositional voice to the three musicians’ collective experience and expertise – Indian raga and tala, the art of flamenco, jazz harmony, and deep groove. The rhythmic form of North Indian music known as theka is a uniquely sophisticated container for exploring time and polyrhythm. Separated by hundreds of years and countless migrations of the Gitano diaspora throughout present day Middle East and Europe we find the same concepts in new forms through the Spanish compas. This musical connection through history and culture is referenced in the name Compass; both a tool to find one’s way home as well as that which structures time in music, another form of finding “home”. Compass Trio is comprised of guitar and effects (James Labrosse), tabla (Tripp Dudley), and sitar (Galen Passen)
Brooklyn Raga Massive is an adventurous nonprofit musicians’ collective that creates cross-cultural understanding through the lens of South Asian classical music by providing direct support to artists, fostering collaboration through our iconic concerts and jam sessions, facilitating cultural exchange through educational initiatives, and producing transcendent, and often massive, performances, festivals, and one-of-a-kind albums. BRM’s original ensembles have performed across the country at venues such as Lincoln Center, Fotografiska NY, Yerba Buena Gardens Festival, Pioneer Works, The Rubin Museum of Art, The Museum of Modern Art, The Metropolitan Museum of Art, The Kennedy Center, and more. Through the curation of our signature series, festivals, and educational programs, we have brought raga into conversation with musical traditions coming from Iraq, Cuba, Morocco, Japan and more.This practice of cross-cultural collaboration both reflects the current global landscape and enables BRM to serve as an incubator of expansive, innovative, new genres of music indigenous to Brooklyn.
