Article Contributed by Jamie Huenefeld
Published on February 2, 2026
Beats Antique transformed the Brooklyn Bowl into a pulsing, kaleidoscopic dance hall on January 23, 2026, delivering a performance that blurred the line between concert, ceremony, and full-scale visual art piece. The trio let rhythm, movement, and atmosphere guide the night — and the packed room surrendered to it completely. The High Step Society provided support.
Opening duties fell to the Portland, OR based High Step Society, who played their very first show at the iconic Brooklyn venue. Their high-energy blend of electro-swing, jazz, and brass-driven grooves set the tone early. Their line up included Ethan Rainwater, Alex Misar, Nora Reicher, Phil Allen Wrench, and Parkpoom Aempoo. The group fused vintage twenties swing textures with a modern electronic punch, warming the floor and priming the crowd for the immersive spectacle to come. The horn section also jumped in unison and paraded through the crowd. This band is certainly a must see act on any festival bill.
When Beats Antique took the stage, the visual language immediately became as important as the sound. At the center of it all was longtime collaborator and belly dancer Zoe Jakes, whose presence felt both commanding and deeply inspiring. Flanked by four additional dancers, Jakes led choreography that moved effortlessly between sharp, percussive isolations and flowing, trance-like motion. The dancers weren’t decoration but rather rhythmic counterparts that embodied the music in real time.
That inspiration was mirrored directly in the crowd. The Brooklyn Bowl floor was packed with young women, many decked out in belly-dancing attire, such as coins, silks, and shimmer that caught the stage lights as they moved. It felt less like spectators watching performers and more like a shared exchange, with Jakes’ energy clearly resonating throughout the room. The sense of captivation was unmistakable as eyes locked on the stage and bodies swaying in unison, which created a collective affirmation of creative expression and feminine power.
Midway through the set, drummer Tommy Cappel paused to connect with the Brooklyn crowd, and mentioned that he once lived just blocks away from the Brooklyn Bowl back in the 1990s. This was a small but meaningful hometown moment that drew warm cheers. He also spotlighted string instrumentalist Miles Jay, noting that Jay builds all of his own instruments. The strange, handcrafted stringed creations were part ancient, part futuristic. They looked as singular as they sounded, which reinforced Beats Antique’s DIY ethos and global sonic curiosity.
At the end, Jakes galvanized the crowd as she addressed the room with words of encouragement to chase passions and inspire others. She mentioned being a “fourty-year old belly dancer who is living her dreams and is just getting started.” That moment still brings chills to my spine, and very much filled my soul.
As the night wound down, it was clear why Beats Antique’s touring legacy remains so strong. For nearly two decades, they’ve built a reputation not just as performers, but as curators of experience — seamlessly merging electronic music, world rhythms, live instrumentation, and dance into something immersive and transportive. At the Brooklyn Bowl, that legacy was fully on display. It was also a reminder that some shows aren’t just meant to be heard, but rather entered, inhabited, and felt long after the lights come up.
Beats Antique is back on February 6 with a show in Santa Cruz, CA. On Feb 13 – 14, they are playing two nights in Oregon, with shows in Ashland and Eugene, respectively. They head to Berkeley, CA on Feb 28 for a home town show at the UC Theater. In March, they head to Colorado with shows in Crested Butte on March 12, Beaver Creek on March 13, and Aspen on March 15. They round out this run with a show on March 19 at Harrah’s Lake Tahoe in Stateline, NV. Head on over to their tour page for more details about these shows and more.
Check out more photos from Beats Antique and the High Step Society!
