On Tour With Bassist Kinga Głyk

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Kinga Głyk, the fabulous Polish bassist, is about to embark on her first U.S. tour with seven dates in nine days! She’s been touring the world for nearly ten years and wowing crowds with her electrifying performances.

I reviewed her fifth album, Real Life (click for link), when it came out and it was one of my top albums of 2024! I was lucky enough to catch her live set at GroundUP Music Festival Alberobello and it was an overall highlight. Kinga first set foot in the U.S. in January 2026 as part of Michael League’s residency at The Blue Note NYC for his “Band of Bassists” set. Naturally I had to make the trip to see her there after the mind-blowing Italy set.

This week, I had the chance to correspond with Kinga about the upcoming tour and what she and the fans can expect:

First impressions: You've toured Europe and built a global fanbase and also experienced a bit of U.S. crowds from the Michael League residency in January. But this is your first time headlining your own U.S. tour. How do you think playing for American audiences will differ from your experiences in Europe, especially considering how much you've been inspired by U.S.-based jazz and funk artists?

I am very excited that this is finally happening. My team and I have been trying to make it happen for quite a long time, so it really feels like a gift to be able to go there now. The U.S. has a completely different atmosphere than Europe, and I am so happy to discover it more and be around the music that, as you mentioned, inspires me the most. Performing at Blue Note in New York with Michael League was a beautiful start for me. I could fully enjoy the music and not have to worry about anything. This time, much more responsibility is on me, so I am excited about this challenge and I am grateful to have such a great band with me: BIGYUKI, Kalif Brown, Emilio Modeste, and Hailey Niswanger, who will join for the last three shows in place of Emilio. Because I have never performed in U.S with my project I really wonder how the audience reaction will be. 

American influences: You recently posted about being inspired by Verdine White and Earth, Wind & Fire. How are those classic American funk and soul grooves influencing your setlists on this current run?

I would say funk is the closest to my heart. I grew up more around mainstream jazz, but later on I realized that the direction I wanted to go in was more toward funk, fusion but I also let myself be open about it because I have different phases in my life. Hearing Earth, Wind & Fire, Stevie Wonder, or even Michael Jackson’s Off the Wall always makes me so happy my soul is enriched. For these shows, we will mostly play my own music, along with two classics: Jaco Pastorius’ “Teen Town” and “Lennie’s Pennies” by Lennie Tristano, which is more rooted in a jazz style. The whole set is pretty energetic, so I hope we can bring that energy to people in its full potential.

Working with Michael League: Your album Real Life was co-produced by Michael League of Snarky Puppy. How did his approach to composition and groove alter the way you approach your solo work and your live band arrangements today?

A huge influence. Every time I have the opportunity to discuss life and music with Michael, it inspires me. I am very grateful to have moments where I can learn from him. Discovering how well he produces music, how wide his imagination is, and the level of creativity he brings is very motivating. It encourages me to never stop growing. I have a huge respect for the work he has done, for the way he works, and for how naturally he connects people and generations through music.

The Live Band: You’re touring with an incredibly tight lineup. How much room do you leave for improvisation versus sticking to the established arrangements from Real Life and your European dates?

Every musician brings something fresh to the music, and this is what I really love to observe and hear. We all interpret the themes differently and improvise while telling different stories. There are parts where I hope the musicians feel completely free to do whatever they want, and I really love those moments when we can fully express ourselves. At the same time, there are parts of the songs that I like to keep tight and recognizable.

I believe that, as human beings, we are capable of bringing music to another level one that can touch something deeper. This is something I care about very much: playing notes in a way that makes them more than just sound.  Whenever there is a moment on stage where I feel the audience and the musicians are strongly connected, and we all experience something, sometimes even spiritual, it is quite addictive to look for those moments later on and wait for them to happen again.

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