When aliens drift through far reaches of the universe, the ethereal sound of electro synth funk is what we can only imagine helps them to pass the time during intergalactic space travel. That theory may have been proven a few days ago, when Sound Tribe Sector 9 (STS9) played at Brooklyn Steel, emanating frequencies which evoked a sense of extraterrestrial presence. The five-piece instrumentalists from Atlanta, Georgia, have been elevating consciousness since 1997, giving their own cosmic view of the world through many different soundscapes. Promoting their new album Chromalight on their 2024 US Tour, STS9 claims “The multi-sensory production set out to explore the connection between sound and light, the colors we associate with musical notes and scales, and how we can tap into the power of the harmony between them to create an intentional and immersive live spectacle,” when asked about the LP in a press release.
The lights went out and a brilliant blue glow illuminated the stage. In true maestro fashion, STS9 entered without speaking and dove straight into the music, letting the notes weave their story. The set began with a furiously played violin sample beginning a commanding “This, Us,” with Alana Rocklin (bass guitarist) laying a strong bassline and David Phipps (keyboards, synthesizers) using what sounded like a horn or saxophone filter for his keyboard. This tune was followed by a strong siege into the funky “Moon Socket,” with plenty of arpeggio play from both guitarist Hunter Brown and Phipps, and a short synth soliloquy from Phipps. The lights were nothing less than interdimensional, making us feel like this was a true close encounter of the third kind. Their set took a turn as they played more astral jams with a tune from their new album, Human Dream, and a groovement favorite, “World Go Round.” The most notable track of the first set (and maybe the night) was the fan favorite and set ending, “Modular.” This jam was an absolute journey – needless to say, set one had us out of breath and begging for more.
Set two kicked off with the trippy and contemplative “Sky High,” which included a DnB rhythm from Zach Velmer (drums), alien balloons from the crowd, and continued with non-stop play into “Balancing,” “It’s Alright,” and “Breath in.” We got a good feel of tribal funk from the saucy bongo fills Jeffree Lerner brought to “It’s Alright” and after the always uplifting “Breath In,” the Sectornaughts were ready to crank it up a notch. You always know the party’s about to begin when you hear spaceship sirens from STS9, and tonight was no different as the band jumped into a Peaceblaster classic, “Shock Doctrine,” which was followed by a massive DnB remix to Ramone & Emiglio and had the crowd absolutely rabid for the jazzy, DnB, funk fest that would ensue. The set ended with the unfinished Modular jam from the first set which was preceded by Click Lang Echo, another STS9 vintage track with heart warming lyrics:
“Day in and day out, in the lights and the sound, in the world in this place, it’s just me and you.”
In dramatic fashion, STS9 came back on stage where Velmer spoke about how happy and thankful the band was to be able to play for a packed Brooklyn Steel crowd. The encore included a bit of the old and new as they began with Haze from Chromalight and dove right into Peoples from Artifact, a now almost 20 year old album, to end the show. If you’re one to partake in an interstellar spiritual awakening, definitely check out STS9 at a venue near you!
Connect with STS9 on Instagram, Spotify, TikTok and their website.
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Jonathan Sherman
Jonathan is a multi-talented creative who bridges the worlds of music and technology. As the CEO and founder of Return Records, he is building a modern record label with a retro-inspired sound. As a Change Manager and Digital Experience Specialist at an international organization, he focuses on reimagining user experiences. From his early inspirations listening to Bob Dylan and Motown, to his work today as a musician, DJ, and label founder, Jonathan embodies a dynamic and multidisciplinary approach to artistry, proving that music and tech can find their perfect groove.
During golden hour on the rooftop of Return Records (the setting of many music videos and most recently, a songwriting camp), we caught up Jonathan, where he answered a few questions for the groovement:
What was the first concert you attended?
The first concert I ever attended was Bob Dylan in the early 2000s at the Portland Civic Center. At the time, guitar and songwriting were my whole world, so seeing Dylan live left a major impression. I was struck not only by his place as one of the greatest songwriters of all time, but also by his longevity and the way he constantly reinvented his music. It showed me that artistry can be timeless, dynamic, and always evolving.
Where are you from?
I’m originally from Kennebunkport, Maine, though I also grew up in Newton, Massachusetts just outside of Boston. I spent about ten years in Newton and another ten years in Maine before moving to Washington, DC. There, I studied international affairs and economics at American University and later earned a master’s in information technology from Georgetown University. I went on to spend around 12 years working in the government tech sector and entertainment. About two and a half years ago, I relocated to New York City, which has become home and the center of my work in both music and technology.
What do you do?
That’s the proverbial question in New York — and for me, it’s a two-part answer. By night, I’m in the music industry as the CEO and founder of Return Records, a distributed label with The Orchard and Sony Music. We focus on analog and retro-inspired sounds across house, pop, and rock, with the goal of becoming the Motown of the digital era. The label supports artists through live performance opportunities, publishing administration, music distribution, community building, and production.
By day, I’m a Change Manager and Digital Experience Specialist at an international organization. My work there is about reimagining user experiences for their digital products and helping drive adoption of AI tools among staff and contractors. It’s a balance of innovation and artistry — and both sides feed each other in surprising ways.
Who or what do you draw inspiration from?
I’ve always been a multidisciplinary artist, so my inspiration comes from many places.
In music, I’m influenced by Motown, Stevie Wonder, Alicia Keys, Daft Punk, The Strokes, The Black Keys, The Beatles, Bob Dylan, Tears for Fears, Michael Jackson, Wham!, Hall & Oates, and the Philadelphia Sound.
In art, my mother — a visual artist — introduced me to Van Gogh, Picasso, Maurice Utrillo, and the Impressionists.
In fashion, I’ve been drawn to American designers like Tom Ford and Thom Browne, as well as Italian masters like Giorgio Armani.
At the heart of it, I’m inspired by the spirit of 1920s French soirees — where music, art, fashion, and lifestyle merged to create transformative experiences.
What does live music mean to you?
For me, live music has always been about connection. When I was growing up, live performance meant seeing the artist in full — not just hearing their songs, but experiencing their presence and how they connected with people.
Today, I think live music has become something even more multi-dimensional. In a world shaped by digital platforms, social media, and post-COVID virtual experiences, live entertainment is about creating a multi-sensory, emotional connection. A great live show should engage all the senses — sight, sound, even atmosphere — and bridge the digital with the physical. To me, the best performances are immersive, holistic experiences that leave audiences feeling transformed.
Do you play any instruments?
Yes, I play several. I play acoustic and electric guitar, piano and keyboard, and I’m also a DJ, spinning mostly disco house and funky house. I’ve always been both a performer and an instrumentalist. While I don’t claim to be the best among my friends, I’ve always had enough rhythm and grounding in music fundamentals to write songs and shape ideas. From there, I often let performers and producers elevate the work. That’s been my process as a singer-songwriter and it continues in my role as a label founder.
Connect with Jonathan on Instagram, via email (info@returnrecords.com) or by phone (301-335-2794).
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