ERNIE JOHNSON FROM DETROIT (EJFD) has just put out “Vigilante,” one of my favorite funk records of 2026 thus far—a mix of deep, dark funk plus Afrobeat with an edgy metallic side. EJFD falls right into FunkCity.net’s sweet spot with a strong horn-driven sound and high-octane rhythm section.
Ironically the band is from Cincinnati, not Detroit, and there’s no one named Ernie Johnson (or even Ernie) in the band. They do, however, often perform all wearing gas station attendant uniforms with “Ernie” name patches. Don’t let the name and and appearance fool you because this band is as seriously talented as they come. The one and only time I saw (and recorded) them was at the Suwannee Resonate Festival in 2022. At that time, they only had one self-titled LP in 2018 and since then they released Swamp Nymph (2023) and Stump Grinder (2024).
“Vigilante” is their first album with the Color Red label, and I can feel Eddie Roberts’ imprint throughout the album (we’ll touch on that later). Each of the seven tracks is a scorcher, and my particular favorites are “Rat King” and “Snake Oil” for different reasons. Listen and read about each track and let me know in the comments what your favorite is!
Track-By-Track
One Hundred Dollars a Minute kicks off with an elephantine trumpet from Jon Wiseman dropping into a classic Afrobeat rhythm started by Eric Osmanoglu on bass and Nathan Lewis on guitar. The full horn section establishes the lead line after a few bars, and then it’s off to the races. Jackson Steiger rolls with a keys solo that segues into the full band driving the melody. Collin Thompson takes the next solo on the trombone with the rhythm section pulsing along in the background. I really dig the trumpet/baritone sax support on the solo. This explosive opening track sets the tone with a relentless rhythm section and laser-sharp brass stabs. The instrumentation mimics the frantic energy of its title, balancing tight, sophisticated jazz compositions with free-flowing improvisation.
Bagworm begins with a memorable horn clarion call that sets the baseline for the bass line and rhythm section with some particularly spicy synth from Jackson Steiger. Bagworm builds a dense, textured layer of sound from the ground up. This one is gritty, crawling deep funk, true to its name. Collin Thompson has another turn with some greasy trombone, immediately followed by Wayne Kilgard on alto sax, who hands it back to Steiger for another round. Brendan Blumer and Rob Stamler are locked in on drums and percussion. Bagworm builds on the looping, hypnotic bassline and cyclical guitar scratching before letting the horn section completely take over the track’s climax.
Rat King sounds like a cinematic caper chase scene replete with danger at every turn. The guitar bridge would fit in a Quentin Tarantino movie perfectly. The trumpet solo is stratospheric and maniacal. This is straight-up violently heavy retro psychedelic funk, and I’m totally down with it.
Riptide moves like waves, shifting seamlessly from ambient, floating organ keys into an unstoppable, driving percussion jam that perfectly mimics a powerful ocean current. The horns come in strong in waves that are offset by the responsive organ licks. In the first section, Jon Wiseman leads the horn wave, and then the horns trade with Brendan Blumer on percussion. I always love a big baritone solo, and Wayne Kilgard delivers fully with one here. The relentless percussion on Riptide carries throughout, and Wiseman gets a second turn for soloing. The final section has a ramping up of horn waves until the full band delivers a full-throttle breaker wave.
Snake Oil is probably my favorite on the album because it crosses into the funk metal arena, complete with screams and shouts. The guitar opening immediately sounds like it could be coming from a haunted house. The horn line sounds like it could fit well in a caper movie, where the bad guys are in a chase scene. Kilgard gets and Wiseman trade riffs on bari and trumpet and join forces. The guitar accompaniment is epic, and then of course, the screams come into play (on the album version, but not in this video). It’s a short, super fun dark funk tune.
The Drink, the longest track on the album, offers a dizzying, cerebral experience. It’s more downtempo than some of the others and more smooth flowing. The Drink would definitely get people moving on the dance floor at the club. The bridge comes in the form of a very sensual solo from Drew Loftspring on guitar. The horns and rhythm section deliver the backdrop for the duration, and Loftspring brings the spice
Vigilante, the title track, is a full frontal attack, kind of like the old video game Street Fighter. It roars from start to finish. Loftspring and the rhythm section set the stage, but the horns accelerate at a blistering pace. The video is a fun watch with a psychedelic feel that could fit in any 70s spy movie. Collin Thompson gets the solo call on trombone, and he nails it before being rejoined by his horn mates. Jackson Steiger gets the next solo on a synth set almost like a toy with chimes plinking. It wraps the album by engaging full-throttle momentum. the perfect way to close.
Ernie Johnson From Detroit are:
- Eric Osmanoglu, bass
- Nathan Lewis, guitar
- Drew Loftspring, guitar
- Brendan Blumer, drums and percussion
- Wayne Kilgard, alto and baritone saxophone
- Collin Thompson, trombone
- Jon Wiseman, trumpet
- Jackson Steiger, keys
- Rob Stamler, percussion
Buy on Bandcamp
