On Saturday, May 16th, 2026, Tchotchke and Cut Worms brought very different but complementary energies to Warsaw, turning the Brooklyn venue into a showcase for two bands operating from distinct corners of the American songwriting tradition.
When Tchotchke took the stage, the room had not yet fully filled in, which felt like a genuine loss for anyone lingering at the bar or arriving late. The all-female trio delivered a set that revealed not only obvious talent, but the very real possibility of becoming something exceptional. Lead singer and drummer Anastasia Sanchez possesses a strikingly beautiful voice, airy yet controlled, and her ability to anchor the band rhythmically while carrying the melodies gave the performance its center of gravity. Guitarist Emily Tooraen and bassist Eva Chambers proved equally capable, locking into grooves that frequently channeled the spirit of vintage girl groups filtered through a garage-rock sensibility.
What worked most was that none of it felt overly curated or retro for retro’s sake. The aesthetic references came naturally, surfacing through melody and tone rather than costume or gimmick. At moments, the band hinted at echoes of 1960s sunshine pop colliding with downtown indie rock, and those flashes were genuinely exciting. Still, despite the undeniable charm and musicianship, the set occasionally lacked urgency. The songs drifted pleasantly rather than demanding attention, and while the textures were appealing, there wasn’t quite enough tension, danger, or sonic unpredictability to fully challenge the audience.
The potential, however, is unmistakable. Tchotchke feels like a band standing right at the edge of a breakthrough, needing only a producer or collaborator capable of sharpening the contours and introducing a little more bite into the arrangements. What’s missing is that lingering feeling — the kind of performance that follows you out of the venue and sends you immediately back to the records. The foundation is absolutely there; now the band needs to push further into its own identity and discover the edge that will make the music truly haunt people.
By the time Cut Worms took the stage, the crowd had settled in fully, and the atmosphere shifted into something warmer and more communal. It became immediately obvious why the band has cultivated such a devoted following among listeners who gravitate toward the earthy sincerity of Wilco, The Jayhawks, and Golden Smog. Their music is deeply heartfelt, rooted in a timeless Americana tradition that avoids both irony and performative authenticity. There is no false patina to what they do.
Frontman Max Clarke continues to establish himself as one of the more compelling contemporary songwriters working in this lane, carrying traces of Townes Van Zandt, Gram Parsons, and Chris Bell without feeling derivative. His songs arrived with emotional clarity and melodic warmth, offering, for a couple of hours at least, relief from the exhaustion and anxiety of contemporary American life. The entire band played with restraint and sensitivity, never overpowering the material but steadily coaxing each song forward with confidence and care.
What lingered after the set was not spectacle but emotional honesty. Cut Worms understand the enduring power of classic songwriting and know how to deliver it without nostalgia becoming the main attraction. By the end of the night, they had firmly earned a place on my radar, and I left Warsaw genuinely eager to hear what the new album will bring.
— Review and all photos by Jonathan Levitt, May 22, 2026
Instagram @elchingonphotography @chinamusicpolice
