Music – Kinga Głyk Might Be the Coolest Musician You Haven’t Heard Yet
- May 8
- 2 min read
If you ask that question around Tahlequah, the honest answer might be: not enough people yet.
But in the worlds of jazz, funk, bass guitar, and modern instrumental music, Kinga Głyk is far from unknown. She has built a massive international following through pure musicianship, groove, and the internet — without becoming some overproduced pop machine.
That’s part of what makes her interesting.
Born in Rydułtowy in 1997, Głyk started playing bass young in her family’s jazz trio. Unlike a lot of elite musicians, she didn’t come through a major conservatory system. In interviews, she has said she mostly learned at home, through private lessons, live performance, and studying online.
And honestly, that independent path shows in her music. It feels real. Not overthought. Not sterile. Just groove-heavy, emotional, melodic music built around bass guitar in a way that somehow still feels accessible even if you know nothing about jazz fusion.
Her breakout moment came when a bass arrangement of Tears in Heaven exploded online. Millions of people watched it. Suddenly this young bassist from Poland was landing on the radar of musicians all over the world.
But the important thing is this: She didn’t become just another “internet bass player.”
She evolved into a legitimate artist. Albums like Dream, Feelings, and especially Real Life show a musician more interested in atmosphere, storytelling, and feel than simply showing off technical skill. That’s probably why she connects with so many people outside musician circles. The chops are there. Obviously. But the music never feels like homework.
Tracks like Joy Joy and Fast Life lean heavily into groove, melody, and movement. You can throw them on while driving, working, relaxing, or sitting with headphones and paying attention to every detail. Either way works. And people are listening.
As of May 2026, Głyk had around 95,000 monthly listeners on Spotify, nearly 200,000 subscribers on YouTube, and close to 400,000 followers on Instagram. Those are serious numbers for an instrumental jazz-funk bassist.
She has also shared stages and collaborated with major names including Marcus Miller and Michael League of Snarky Puppy.
Critics and jazz publications have praised both her playing and her songwriting, and she has toured internationally across Europe, Asia, and the United States.
So why should people in Tahlequah care? Because this town actually has a strong music culture. Between Northeastern State University, the NSU Jazz Lab, local live music, and the Green Country Jazz Festival, there are a lot more people here tuned into serious music than outsiders might expect.
Kinga Głyk fits perfectly into that world. She represents something modern musicians are figuring out in real time: you no longer have to come from New York, Los Angeles, or Nashville to build an international audience.
You can grow online, connect globally, and still make music that feels authentic. And honestly, that might be the best reason to pay attention to her. She’s not overexposed. Not overhyped. Not shoved in your face by algorithms every five minutes. She’s just really, really good.
And sometimes discovering artists before everybody else does is still part of the fun.
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