Concert Review: Kat Cunning Outdoes Herself At Brooklyn Steel

Admittedly,  I was curious to see how Kat Cunning would transition from a small venue at Spring Place to a massive warehouse in Brooklyn. Kat uses the intimacy of spaces like art, and Brooklyn Steel is not intimate. Yet, being an artist is not solely about how you make people imagine as much as how you imagine people. 

Kat was brief on the stage, but she left her mark. In a few songs, she painted herself like a singing nymph coursing through her songs like booming trees. You could tell was picturing herself in a different space by how she moved her body. Her creative imagination was something apparent in her first concert, but became obvious in this second one, and humbled me to realize that, as an artist, you have a creative toolset. The best artists know which tools to use in which venue. For Kat, it was her body.

Kat Cunning bended and twisted her limbs as if she had an invisible lover tangoing with her. From “Baby” to “Wild Poppies”, Kat Cunning transferred her “burlesque” aesthetic into a pop regality. It was as if she put a little Kesha spice in her Dita Von Teese soup, and decided to throw in some Beyonce vegetables for good health (lol!). It was a magical concoction that the packed house ate up, but, more importantly, she served. It was clear that Kat was happy, and could envision the crowd being fully for her, of which that positive thinking worked. 

Cunning was so infectiously happy and friendly that she had the crowd hooked. Moreover, having a bigger space allowed you the revel in her voice. The woman can BELT! She knows how to use her voice as a whim and a weapon; one minute you are enthralled and the next you are cut by its power. Her capacity settled  that she will achieve, to the maximum, what she desires: to be heard by all. For More Information On Kat Cunning Click Here.