B-Side Guys

Brooklyn contains multitudes—particularly in its music scene, where the sanitized and polished often overshadow the raw and visceral. The Tumblers exist defiantly in the latter category, and their latest release “Starlight” serves as manifesto for an approach that values sweat over sophistication, communal energy over calculated precision.

As the closing track on their forthcoming debut album Tangerine (set for March 28th release), “Starlight” functions simultaneously as culmination and invitation—the final statement of a band that understands the power of imperfection. When Jack Crawford-Brown notes that “imperfections are fine” and “we want it to sound real,” he’s articulating an ethos that places The Tumblers in direct opposition to Brooklyn’s often over-produced indie landscape.

What distinguishes this track from similar folk-rock offerings is its unexpected instrumental dialogue. Guitarist Ian’s contributions don’t merely accompany but actively provoke the other players, creating dynamic tension that transforms traditional folk structures into something more combustible. This approach creates a sound Crawford-Brown aptly describes as “grittier and more vibrant,” particularly evident in moments where the band achieves a collective intensity that transcends individual virtuosity.

The recording methodology itself informs the track’s impact. Unlike their previous work recorded part by part, “Starlight” captures The Tumblers playing together in real-time, preserving the locked-in quality that defines their reportedly raucous live performances. This approach creates rhythmic urgency that counters folk music’s sometimes meditative tendencies, suggesting influences beyond traditional genre boundaries.

Following January’s “Voice Inside” and last fall’s dual singles “Light Of A Home” and “Tastes Like June,” “Starlight” represents the culmination of The Tumblers’ pre-album releases. This strategic rollout has constructed a narrative arc that positions the band as deliberate disruptors in a scene often plagued by conformity.

The band’s origin story—Crawford-Brown and bassist Emerson Sieverts playing together since age 11 before reuniting in New York with Ian, Will, and Camellia—suggests an artistic relationship built on mutual understanding rather than calculated collaboration. This long-standing connection manifests in musical shorthand that allows for controlled chaos within structured compositions.

“Starlight” stands as evidence that sometimes the most compelling music emerges not from meticulous planning but from the alchemical moment when musicians trust each other enough to embrace imperfection—creating something that, as Crawford-Brown puts it, people “feel in their bones.”