American jazz-fusion collective Snarky Puppy has long been the stuff of legend among classically trained musicians, progressive music enthusiasts, and jazz fusion purists alike. With a rotating lineup of players who’ve been sharpening their chops for over two decades, their arrival in Manila felt overdue. According to bandleader Michael League, the group had been “looking forward to [this] for a long time.” Last May 27, they delivered a set that proved in full force and gear that they weren’t just showing up. They were showing out.
By the time doors opened at the Filinvest Tent in Alabang that Tuesday night, the air outside was charged with anticipation. Fans filed in steadily. Some from Quezon Province, others from Cavite, and a few even making the trip from Ormoc City. For a band without major-label fanfare or mainstream radio play, the turnout said everything. Snarky Puppy’s influence may be niche, but it runs deep.
Inside the tent, the energy stayed loose but focused. “Welcome to the general assembly of musicians,” folk artist Marti Franca said as he greeted me at the entrance. There was no pretense, just a shared reverence in the room. Familiar names floated in the crowd: Jazz Nicolas of The Itchyworms, Jerros Dolino of Urbandub and Spacedog, Spacecat. Between set changes, conversations turned toward the likes of Tago Jazz Bar, which was just as much a character in the local jazz community as any player on stage.
Opener Party Pace threw an unexpected curveball. The band leaned into moodier, rock-oriented terrain rather than the rhythmic intricacies of fusion. Still, they played with conviction, and the crowd, while slightly confused, stayed on board. If anything, it served as a rough-edged prelude to the tightly wound, precision-driven chaos that Snarky Puppy was about to unleash.
The headliner kicked off the live performance by launching straight into “Flood” off Tell Your Friends, setting a tone that rarely dipped below ecstatic. Every note felt deliberate yet lived-in; trumpets soared, drums snapped, and guitars wove melodic threads that shifted without warning. Tracks like “Bad Kids,” “Semente,” and “Chonks” pushed and pulled the audience through a spectrum of moods, their dynamics masterfully dialed in. Even the prog-laced “Pineapple” made its way into the mix, with “Shofukan” turning into a surprising sing-along moment.
When the group seemed to close with “What About Me,” the crowd hesitated: Was that it? The answer came swiftly as the band returned for an encore, with the song “Lingus.” It was sprawling, heady, and as wild as ever. Solo sections were treated less like technical showcases and more like conversations. They were messy, raw, and undeniably human.
After an hour and a half of genre-bending, tempo-shifting, jaw-dropping playing, Snarky Puppy took their final bow. Manila, as expected, wanted more. And maybe that’s the point. The band gave just enough to leave people buzzing, but not so much that the mystery wore off.
In an age of overstimulation and instant playback, it’s rare to witness something this tactile, this grounded in real-time musicianship. Snarky Puppy: Live in Manila was a moment for anyone who has ever appreciated what happens when craft and spontaneity collide.
