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A seasoned funk-jazz band shifts its focus tonight to honor Jamaica's great storyteller, drawing on rocksteady, ska, and soul-infused reggae.

Horns over a rocksteady heartbeat

The group's leader cut his teeth on the road with a chart-topping rocker before forming this unit, and the band has since learned to stretch a pocket for dance and melody. They will team with a Los Angeles trio known for cumbia and bolero touch to color the arrangements with nylon-string sparkle.

A tribute built for movement

Expect a set that likely hits The Harder They Come, Many Rivers to Cross, You Can Get It If You Really Want, and Sitting in Limbo. The crowd trends mixed-age and musically curious, with jam-scene regulars, reggae lovers, and Latin dancers sharing room while horn fans post up near stage left. Two bits of nerdy trivia add flavor: the lead man is also a noted flutist, and Jimmy Cliff played the churchy organ himself on Many Rivers to Cross for the The Harder They Come soundtrack. For clarity, these notes about songs and production are educated guesses drawn from past tours and the artists' catalogs, not a published run-of-show.

The scene around Karl Denson's Tiny Universe x La Lom

The floor fills with relaxed two-step skanks, pockets of cumbia dancing near the trio's side, and a cluster of head-nodders by the horns.

Wear your groove

You will spot vintage tour tees, canvas jackets, subtle red-gold-green accents, and a few custom hats with pin badges from past funk festivals. When You Can Get It If You Really Want hits, the crowd tends to sing the call-and-response, while claps on two and four snap into focus during The Harder They Come.

Shared memory, fresh spin

Merch trends lean toward screen-printed posters referencing the The Harder They Come era typefaces, plus La Lom vinyl that regulars scoop early. Between sets, fans trade notes about favorite Cliff cuts and compare which versions they hope to hear, from rocksteady originals to extended jams. The overall feel is open and neighborly, with people making room to dance and swapping water breaks without fuss. It is less about spectacle and more about a shared groove memory, updated by players who know how to leave space.

Karl Denson's Tiny Universe & La Lom on groove, space, and song

Vocals are shared with a gritty, tuneful lead and sturdy harmonies, shaped to fit Cliff's clear, high-aiming melodies.

Pocket first, fireworks second

The rhythm section locks the offbeat with springy guitar upstrokes while the bass glides, choosing feel over flash and keeping tempos a notch below studio speeds for weight. Horns punch short phrases on two and four, then open into round solos where Denson toggles between tenor bark and airy flute.

Rearrangements that breathe

A common live move is dropping the band to just drums and guitar skank, letting the crowd sing the hook before horns re-enter with a brighter key-center lift. La Lom adds nylon-string shimmer and hand percussion that nudges certain tunes into a gentle cumbia sway without losing reggae spine. Lesser-known quirk: Denson often starts a ballad like Many Rivers to Cross on flute, then hands the melody to sax for a late-set swell, giving the same theme two textures. Visuals tend toward warm ambers and greens with slow sweeps, keeping the focus on groove and interplay rather than big effects.

If you like Karl Denson's Tiny Universe and La Lom

Fans of Galactic will connect with the tight New Orleans funk-meets-jam approach and horn-forward swagger that this band brings.

Groove cousins and songbook neighbors

Lettuce devotees show up for elastic grooves and crisp section hits, much like the way this group stretches reggae patterns without losing pocket. If you chase roots shows by The Wailers, the songbook here speaks your language and keeps the skank honest.

Brass, bounce, and roots

Steel Pulse fans will appreciate conscious-leaning lyrics in the Cliff catalog and the steady, melodic bass movement. Those into Trombone Shorty will like the showmanship and brass firepower, even as the rhythms tip toward ska, rocksteady, and cumbia. The overlap is about groove literacy and melody-first hooks, so dancers and close listeners both get what they came for.