The recording sessions for “Somni” the new album from Snarky Puppy with the Metropole Orkest was the time of a lifetime. I was fortunate to be able to attend all 6 recording sessions, 2 per night for 3 nights, and it was an experience beyond my wildest dreams. And yes, ‘Somni’ from Catalan translates to ‘Dream’ in English so totally appropriate.
First, some background before jumping into the actual recording session experience. So Snarky Puppy is 20 years old in 2025 (first album recorded in 2005 and published in 2006). Starting with their fourth album, “Tell Your Friends” in 2010, they recorded audio and video with a live studio audience for each album and posted the songs on YouTube. I first got hip to them in 2013 right as Family Dinner Vol. 1 was released and prior to the release of “We Like It Here” which was recorded in Utrecht, Netherlands. In fact, The Netherlands is now a strong part of the fabric of Snarky Puppy, as is the fabulous Metropole Orkest with whom the Pups won their third Grammy for the sensational “Sylva” album which was recorded in Dordrecht in 2015!
Shortly after We Like it Here was released, I got the chance to attend the Family Dinner, Vol. 2 recording sesh in New Orleans (2015) and then the Empire Central shindig in Dallas in 2022. Both were standout events of my life so when the then unnamed recording sessions for the next huge Snarky Puppy + Metropole Orkest was announced back in Utrecht, I was gonna do what I could to be there.
This article is about the experience of attending the recording sessions — it is not an album review or coverage which will come at the time of the album release which is planned for September 2025. If you’re only interested in the description of the recording sessions, you can scroll down to The Music – Session 1, Night 1.
Arrival Day - Wednesday January 15
My itinerary was set for Tuesday evening takeoff in Atlanta and landing Wednesday morning in Amsterdam followed by the train ride from Schiphol Airport to Utrecht Central Station. In Atlanta, I met up with fellow Snarky Puppy Forum member, Larry Harris and we planned to ride to Utrecht together. Once we got to Utrecht, we went to our hotels to check in. It’s neat in Utrecht with the Central Station adjoining a shopping mall with many shops and restaurants but also nearby hotels. I chose the Crowne Plaza because it was conveniently located right in the mall, which turned out to be a fortuitous location.
Larry and I were to meet up at the hotel entrance that lets out to the mall. On the train ride in, we were chatting about the excitement to come, and he had mentioned perhaps wanting to meet some of the Pups. Well, as luck would have it, as he walked into the lobby, Bill Laurance was wrapping up a phone call, Justin Stanton walked in and Bobby Sparks came down in the elevators wearing all white including a white cowboy hat that you see in all of the recording session pictures. It turns out that the entire Snarky Puppy band and crew were staying at that hotel. Once they went off, Mark Lettieri and Bob Reynolds swung by as well so Larry got to meet 5 Pups within 5 minutes of meeting up. After that, we ventured to lunch at one of the mall restaurants. Larry was ambitious to walk the city, and I was interested in resting so we parted ways until Day 1 of the sessions. We were off to a great start.
Somni Recording Day 1 - Thursday January 16
All right, it was gameday #1 so a little prepartying was in order. I met up with my new friend, John Slick from Atlanta, who like me has some mobility issues and we planned to get lunch and get some “supplies” prior to the recording session. We made our way to Pampalini, a restaurant I’d highly recommend. I had an omelette (which I rarely eat) and some ginger mint tea made with real ingredients, and no tea bag. We took a post-brunch short walk to the Culture Boat, one of several ‘coffeeshops’ in Utrecht offering THC based products which are decriminalized. My best recommendation in this particular case was the brownies, 3 for 18 Euro which were the right dessert for 3 nights of recordings.
After a short rest back at the hotel, John and I made it over to Kabul a GoGo targeting 1-hour before doors which was around 1.5 hours before showtime. Our plan was to be as close to the front of the line as possible and when we arrived we were actually around 10th in line – not too bad. We had a chat with several audience members who had come from around the world to see the fabulous event that was about to take place and everyone was friendly and extremely excited about this adventure. Despite the very cold weather everyone was extremely warm and ready to go!
The Venue Layout
Allright — time to get into the recording sessions. In order to do that, I have to describe the logistics. Seating was to be first-come, first-serve so based on my attendance at prior recordings, I wanted to be as close to the front as possible, especially because I was not familiar with the layout of the room (shown in picture on left below). At both the FD1 and EC sessions, the seating was a little more familiar with an inner circle among the band and an outer perimeter that could view the whole room. At both of these recordings, I always sat on the perimeter to view the entirety of the action.
After entering Kabul a GoGo, we were in a reception area that would also serve as the afterparty room. I located the entry point to the recording studio where there were about 260 wireless headphones. Remember each audience member wears headphones since there is no amplification, contrary to what you’d experience at a regular Snarky Puppy concert. Larry, John and I were close to the front of the line and decided to be on the inner circle at position 1 in the second picture, which had a short 15-foot line of site to Michael League and Jules Buckley on the ‘Maestros’ platform which would serve as the focal point of all the sessions. We were also directly in front of the percussion section of Nate Werth, Marcelo Woloski and Keita Ogawa and had the keys in front of us. I would be basically facing Bobby Sparks when he bangs out the clavinet parts. We were partially blocked from the two left-most drum sets.
Before the music started, I got a chance to have a warm reunion with one of the camera operators, David, who I sat next for most of the Empire Central sessions that I attended in Dallas – such a great coincidence!
The Music - Night 1, Session 1
SPOILER ALERTS – I WILL DIVULGE SOME OF THE SONG HIGHLIGHTS AND SOLOS AS WELL AS SOME OF THE BACKSTORIES. I WILL NOT DESCRIBE THE ACTUAL MUSIC UNTIL THE ALBUM RELEASE. ALL DESCRIPTIONS ARE FROM MEMORY AND INCOMPLETE – I WILL EDIT AND ADD IF MORE IDEAS RESURFACE.
1 – When the music started with the Metropole Orkest string section, it felt like we literally took flight and emotions were overwhelming. There’s some great percussion work. I heard some synchronized clapping, like what is typically done during a Xavi performance, but I could not distinguish where it was coming from. During the second session of the day, I sat in the balcony (position 2) and I realized that the entire string section was turned into a percussive clapping group. I believe one of the key solos was from Bob Reynolds on tenor in this one.
2 – Again, the music is very powerful and driving forward. I seem to recall an early Zach Brock violin solo, but it may have been in Dream 1. Another dramatic moment for me was the percussion team moving from what I describe as their traditional kits, sort of two rows behind me, and dropping down to directly behind me where they played all kinds of handheld percussion. At this point, Mason Davis, was there as the fourth percussionist as well. It kind of crept up on me because I could hear the percussion direct acoustically, and in the microphones and turning around to see them interact with smiles, facial expressions and nods was totally worth the price.
3 (The Nightmare) – For anyone that attended any of the sessions, Dream 3 is likely the most memorable. It is the darkest and most metalesque one featuring a heavy horn and brass intro. Michael introduces it as the bad dream or nightmare that occurs when someone or something is doing something that they’re not expected to do. He had various explanations for it, but it definitely is differentiated by its darker tone. I believe here, Bobby also has some major clavinet solo time and I was looking directly at him in the first session.
4 -At the onset of Dream 4, Michael explains that on one of the videos for Empire Central, a “YouTube guy” commented that there was no need for three drummers on that song because he personally could play all the parts on one kit. Michael noted that JT Thomas is the Snarky YT comment police because he’s always on there checking things out. I can vouch for this because I’ve had some convos with JT on YT personally! Anyway, this tune is a drummer’s fantasy because it features the drum section. There are actually four drum kits decreasing in size from left to right – the drummers gave them names. I remember “Bertha” for one of the two big ones on the left, “Omar”, and “Steve” for the small jazz kit on the right. For each song, the drummers rotate from one kit to another bringing distinctive sounds for each. Of particular note for me during the first session is that when Larnell moved over to “Steve,” the smallest kit, it looked like a kids’ toy set. As he was banging out the tune, we locked glances and Larnell gave me a smile and a quick head nod. I really was diggin’ being amidst the musicians.
5 – I believe this one also was a follow up to YouTube guy which one attendee described as “the sometimes bombastic feel of those songs. It made me definitely want to jump up and exclaim “take that YouTube guy!”
6 – This one had some excellent guitar riffs and solos as I recall. Bob, Mark and Chris McQueen from left to right traded licks. Another standout soloist during the entire session, and I believe on this song, was Bob Reynolds on soprano sax. As one attendee mentioned, “Bob’s soprano sax solo was a standout highlight for me. He captured a soaring and ethereal sound and left space in the music which made it feel like the orchestra was breathing around his melody.”
7 – I dubbed the seventh tune, the Mancini song. It struck me in the beginning that Bob Reynolds intro sounds a bit like the Pink Panther theme. Of course, the Pups are nominated for a Grammy for best arrangement on last year’s Mancini tribute album. I think I also heard some tinges of Miles Davis here as well. In one of the later recording sessions, I think number 5, Michael instructed Bob R to take it from greasy to cool (a more bluesy) feel and then they’ll decide which take to use. One audience member also said, “the 3rd tune from the end, in which Bobby Sparks has that gorgeous B3 solo, is my favorite. It was so beautiful on Friday night that it made me cry. It made me think of Shaun.”
8 – This is a tough one because I don’t have specific mental notes, but I will do two call outs that I think belong here. It took me until the second session when I was in the balcony to realize how integral and outstanding the the harp player was. Second, there was a huge impact of the two vibe players, I think on this tune, and a couple of others. The lead in and fade out on the vibes was a beautiful touch and one I’ll look forward to hearing very much.
9 – This anthemic penultimate tune was a very suitable closer. Here, I recall a passage that teases a bit of the Sylva album, perhaps from The Clearing. There were great solos from Bob Reynolds and Mark Lettieri as well. Unbelievable!
Night 1, Session 2
In between sessions there was time for a bio break and some socialization in the reception area. I got to meet a FunkCity fan from Italy (I would love to connect) and my GUMF friend Julius from Germany. Based on a couple of recommendations, I decided to move up to the balcony for the 2nd session.
It was interesting because it’s a much different perspective than being on the floor. It was up there that I realized that the harp had a much bigger role than I thought. Some parts that I thought were guitars were actually the harp. The harp also blends in with other instruments at different times. Also, the vibes in the upper right corner were outstanding and I definitely wanted to be in better position to see them in the next sessions.
After the sessions waiting for a ride back to the hotel, I caught up with Bob R and Mark and summed it up by saying “Sitting on the floor is like going to a buffet and eating all of one dish, very exciting and immersive and you get filled up. Sitting in the balcony is like sampling every dish in the buffet in smaller doses. You get to take it all in, more fulfilling, but not as intensive – both have pros and cons.”
Somni Recording Day 2 - Friday January 17
Night 2, Session 1
Day 2 we were up late and grabbed a bite to eat before heading for the sessions. Johan and I ran into Nic Hard, Keita Ogawa, Zach Brock and Annemone (the session photographer extraordinaire that took many of the pro shots in this article). Zach said he was making “googly” eyes over the top of the keys at me during the first session. We also joked about Michael forgetting to announce his during the first session and that he was so insulted he was gonna go directly home. Fortunately for all, he recovered (joking) and fully participated.
For the first session of the night, I decided to sit behind the drums and directly in front of the Metropole Orkest woodwinds. This created a very dramatic effect, getting to watch the drummers in action while having the tailwind of wind instruments. I got a little demo from the guys on the bass clarinet and contrabass (one octave lower), and they were amazing.
I was wearing my “I’ll Take More Volume Please” t-shirt from Larnell and sure enough, after the second song when the drummers were changing positions, he glanced over and nodded “Yea, man” seeing it. It’s a real kick. From back there, I was able to visually connect with Maz and Justin for short moments and that always makes it all the more special.
By far the highlight of this session was connecting with the incredible newest Pup, Nikki Glaspie. There are sections of each song where all four drummers play, two drummers play or even one solos. When Nikki is not playing, she’s conducting, heavily vibing to the music. At one point when she was on the second kit, we locked eyes and our smiles just kept growing until I started tearing up. After the sesh, she came over and I told her she made me cry and she responded, “I know, baby.” Possibly my favorite moment of the whole trip!
Night 2, Session 2
For the second session, I decided to be closer to the Snarky horns and guitars and managed to sit directly in front of Michael, but sort of sideways with my left side towards him and more facing the horns with the guitars to my right.It was an excellent spot to focus on the horn solos and leaning forward I had a direct line of sight to the guitars on my right. During this session that I really had the highest appreciation for Michael’s overall achievement. In each session, he had told the story of the arrangement process and how it differed from the Sylva sessions which were really put together by him and Jules Buckley.
This time they had decided to bring in two additional arrangers. I apologize for not remembering their names but I’m certain they’ll get their due when the album comes out. They worked together, trusting each other to put together sections and hash things out as a team over a three-day period?!. The cohesiveness of the songs is the beneficiary of this.
Michael also mentioned the overall timeline for the project which went something like this. It was written in December by Michael who went to Japan to set aside the time. It was sent to Jules and the arrangers sometime in late December I think. Then after they put it together, it was distributed to the band to learn the parts by song number. It was incredibly tight and yet somehow came together. I also realized that we all purchased the session tickets prior to any music being written – we just had faith that Michael, the band and the Metropole Orkest would be able to pull it off, and they did!
This seat was excellent to get the view of the horn section for each of their solos, which include highlights from each of them as well as great angles for the guitars. But, by far the highlight of this session for me was watching Michael conduct and emote so beautifully, especially during the climactic endings of Dreams 8 and 9. The music is so dramatic and powerful but watching Michael tell a story with his facial expressions was amazing. I was also thinking how satisfying it must be for him to hear his music come to life in such a gorgeous setting with such a great band and orchestra. It was a monumental achievement, and I was so happy to be there at that moment.
After the set I got to say hello to my friends Bene from Austria, Adrien from Reunion Island and Tina (JT’s wife). It was also great to go to a local bar after and catch up with my friends Ananth, Juliette and Larry and recap the day’s activities. Remarkably (for me) I walked about 3/4 mile back to my hotel at 3 am in 30-degree-F weather!
Somni Recording Day 3 - Saturday January 18
Night 3, Session 1
When I was seated for the prior sessions, especially the 4th one, I was continuously scouting out the ‘ideal’ seat and I think I found it. The seat that I had for the third night was ‘on the 50-yard line’ directly in front of Michael, over the left shoulder of the Snarky Puppy horns and over the right shoulder of the guitars. It was outside the perimeter, behind the bar (which I used to fill my water bottle!) but slightly elevated. From here, I could be on the floor among the musicians but also see over the top directly to the harp, the vibes, the strings, the brass and the woodwinds. I could even catch eyes with the percussion section across the way.
Snarky Superfan Katherine came over and sat with me and another friendly fan joined for this excellent position. It was the best of both worlds, exciting and intense with an unobstructed view of the whole arena!
In this, the 5th session, I was able to really focus on all the Dreams which were now becoming more familiar to me. I could see all four drummers when they were hammering out YouTube critic Dream 4 revenge and still see across to the vibes and percussion. I was in heaven, literally the music made it feel like a dream, like we were floating a few feet off the ground. At one point, when Jay or Bob R were soloing and Maz was laying out, he looked over and we just were head bobbing together — it was splendid. At last, I found the perfect vantage point and it was heaven.
Night 3, Session 2
Somehow, I managed to get back to my perfect seat for the sixth and final session with the advantage of having scoped out the venue for the past three days. It was a hidden gem and not one that single session attendees were likely to see out. My two buddies, John B and John S took my advice and joined me there.
The final session, as expected was the ‘best’ for one simple reason — the fans knew this was the finale and were more into it than any other session. As I mentioned earlier, there was no fan reactions during the songs so as not to spoil the recording, except on part, I believe in the 4th (or possibly 5th song) after a major solo (perhaps the drums) where the fans spontaneously applauded. That happened in every set including the last. However, I believe it was in the Nightmare of the 6th session that another round of spontaneous applause broke out, and it was totally appropriate.
For this session, I knew where to look and when to follow the music, focus on the solos and catch the interactions between all the musicians, Michael and Jules. It was in a word mind-blowing. Once again, I found myself watching Michael as the sessions were nearing the end and marveling at how magnificent the whole event was.
Overall Impressions and Recap
Somni will win at least one Grammy, likely for Best Contemporary Instrumental Album, full stop. I made that prediction to Michael at the end of my Empire Central sessions and put it in print here. It was believable but not widely stated (from what I heard). This time around, almost everyone I spoke with said the same thing about the Grammy and also that it was the best musical experience ever. I can’t imagine a singular event surpassing this in my lifetime (unless they make Somni II or similar).
I think multiple Grammys are in order for composing, arranging, mixing and anything else that can be imagined. The sessions were truly dreamlike in so many ways. Jules Buckley and Michael, back-to-back on the podium, was like watching a kind of dance with the musicians responding perfectly to every cue. On Michael’s Instagram, he posted the stats to the right really indicating how complex an operation it was and yet he commented on how smoothly everything went. I wholeheartedly agree – the venue staff were absolutely delightful, the Metropole Orkest staff and musicians were so friendly and of course the Pups were all the consummate professionals and beautiful people they always are. I’m so grateful to have been able to attend and I know that if you’re reading this, you’re gonna love this album and video once it’s released.
From Michael League's Instagram
- Channels recorded – 256
- Headphones – 410
- Cameras/operators – 12
- Light bulbs – too many
- Tickets sold – 1,680
- Musicians in total – 74
- Snarky Puppy members – 20
- Metropole Orkest members – 54
- Arrangers – 4
- Rehearsal days – 5
- Tracking days – 3
- Live Sessions – 7
- Crew members – 100