Gregory reflects on creating his EP "After The Glow," and all that went into it--from emotions, to logistics, and even choosing the best cymbals for the job.

Coyote Music: Congratulations on the release of After the Glow. The EP centers around the emotions that linger after a night with someone you love—or once loved. Was there a particular experience or moment that first inspired this concept?

Gregory Delbrouck: I guess there wasn't one specific event that sparked the entire EP. Instead, it was a collection of experiences, memories, and observations over the years moments of connection, nostalgia, excitement, uncertainty, and reflection. I became fascinated by the idea that every encounter leaves something behind, whether it's a feeling, a memory, or a question that lingers long after the moment has passed.

CM: The title After the Glow is quite evocative. What does "the glow" represent to you personally, and why did it feel like the perfect title for your debut release?

GD: It felt like the perfect title for my debut release because it captures the common thread that connects all five songs. Although each track tells its own story, they are all linked by the idea of looking back at meaningful moments and exploring what remains after they have passed. Also because many of the events, I felt something, sometimes happy, sometimes regret, I had a glow moment but then it’s over...

CM: Your music blends elements of pop, soul, blues, and jazz. Which artists or albums had the biggest influence on the sound of this EP, and how did those inspirations find their way into the songs?

GD: Some of the biggest influences on the EP come from artists such as the Blues Brothers, Amy Winehouse, James Brown's horn section.

CM: You've said that modern music can sometimes prioritize trends and algorithms over genuine emotional connection. How did you approach songwriting differently when creating these tracks?

GD: Rather than chasing a specific sound or trend, I allowed each song to develop naturally. If a song needed a blues influence, I followed that direction. If it called for jazz, soul, or pop elements, I embraced those as well. The goal was never to fit neatly into a category, but to serve the story and emotion of the song. Ultimately, my approach was simple: write the kind of music I would genuinely want to listen to myself. If listeners connect with the songs because they recognize a feeling, a memory, or a part of their own story in them, then I feel the music has succeeded in doing what it was meant to do. I made it never with the intend to impress but to be real.

CM: Tonke Dehon provides the vocals on your recordings, and you've mentioned that you always collaborate with her. What makes that creative partnership work so well, and how does she help bring your songs to life?

GD: Working with Tonke was always the right choice. I discovered her during my teaching years at a high school. She had that jazz voice that fit my style perfectly. She is always in tune, and for After the Glow it only took her 2 takes to lay down all the vocals. She can harmonize on the spot, she adds suggestions during songwriting, and she is so humble and down to earth. Someone I feel safe with.

CM: One of the most distinctive elements of the EP is the horn section featured throughout the songs. As a fan of The Blues Brothers, what drew you to that sound, and what do the horns add emotionally to the music?

GD: A major influence was definitely The Blues Brothers. Growing up, I was fascinated by the energy of that band. The horns weren't just supporting the music—they were part of the personality of the songs. They could drive the groove, answer the vocals, create excitement, and tell a story of their own. That had a lasting impact on me. Especially all the amazing solo parts in all the songs from the movie soundtrack.

My background in concert bands and orchestras also played an important role. Having spent years surrounded by brass sections, I naturally hear arrangements with horns in them. When I started writing the songs for After the Glow, it felt completely natural to include them. It will remain my signature to keep adding trumpet, saxophone, trombone and baritone sax.

CM: You recorded the EP at Trix Studio in Antwerp with Frank Rotthier handling the engineering and mixing. What was the studio experience like, and were there any memorable moments during the recording process?

GD: Frank brought both technical expertise and a fresh perspective to the project. He understood the sound I was aiming for and helped translate those ideas into recordings that felt natural, warm, and authentic. Throughout the process, he was never afraid to offer suggestions that ultimately made the songs stronger. I have worked with Frank before while drumming for a rock band and I saw he understood the music and when I asked him stuff he always knew what I meant, where to start recording again and with such a calm voice, never pressured. That’s when I knew I wanted him as recording and mixing producer.

CM: In addition to being a songwriter, you're also a percussionist, arranger, and educator. How have those different roles shaped the way you approach creating and producing music?

GD: As a percussionist/drummer I have a great love for jazz, blues and big band drumming so I knew when writing on the piano my songs were going in that direction so I knew I would be able to play some great drum parts over it.

As a educator, what I learned from it was how to work along with other people in the studio--time management and of course being well prepared going into the studio--I made a scenario and made checklists so every little detail was planned and everyone was well prepared. I think that part of me being an educator worked out well in the preparation and people management.

Being an arranger has probably influenced the overall sound of the EP the most. Because of my background in concert bands, orchestras, and brass ensembles, I naturally hear layers of instruments when I'm writing. That's one of the reasons the horn section became such an important part of the record.

CM: You're sponsored by Bosphorus Cymbals, a company known for its handcrafted cymbals. How did that relationship come about, and what do Bosphorus cymbals bring to your sound and playing style that other cymbals don't?

GD: My relationship with Bosphorus Cymbals began through a genuine admiration for their instruments long before any official partnership existed. As a drummer, you're always searching for a sound that feels like your own, and when I first played Bosphorus cymbals, I immediately connected with their character. They had a warmth, musicality, and depth that I hadn't quite found elsewhere. That connection eventually grew into a partnership, and over the years I've had the privilege of visiting the factory in Istanbul several times. What makes Bosphorus special is that their cymbals are still handcrafted using traditional methods.

On After the Glow, the cymbals played a significant role in shaping the overall atmosphere of the record. The warm wash of the rides, the complexity of the crashes, and the subtle textures they provide helped support the emotional character of the songs. Rather than dominating the music, they become part of the story. Even Frank Rotthier, the engineer was amazed by the sound of the cymbals and said, "they sound so sweet, like butter in my ear."

I think that's what I appreciate most about Bosphorus. Every cymbal has its own personality. They aren't designed to sound identical; they're designed to inspire. As a musician, that's exactly what you want from an instrument. The best instruments don't tell you what to play they encourage you to discover something new every time you sit down behind them.

CM: After the Glow is your debut EP, but it reflects years of musical experience. Looking back on the journey that led to this release, what do you hope listeners take away from the music, and where do you see your artistic path heading next?

GD: When people listen to After the Glow, I hope they find something of themselves in the music. The songs are inspired by personal experiences, memories, and emotions, but the feelings they explore are universal. We've all experienced moments of joy, nostalgia, love, uncertainty, or longing. If a listener hears one of these songs and is reminded of a person, a place, or a chapter in their own life, then the music has done its job.