Get To Steppin brings fresh authenticity to legendary songs

September 29, 2025

Allison Scavo,

Get To Steppin. // photo by Allison Scavo

Get To Steppin
Christine’s Firehouse
Friday, September 26

On Friday night, the intimate atmosphere of Christine’s Firehouse was electric as Get To Steppin, a band native to Kansas City, took the stage and delivered a performance that left the audience both nostalgic and exhilarated. With their faithful renditions of classic blues standards, Get To Steppin brought a fresh yet authentic energy to songs by legends like B.B. King, Bill Withers, and much more.

With Tony G.’s smooth, soulful voice and guitar backed by the wail of saxophone by Aaron Grinnel and the steady, rhythmic bass work of Clay Vinyard, combined with Chris Lee on drums for the heartbeat of the night, the band created an experience that transported listeners to a smoky Chicago blues club.

The band’s chemistry was undeniable. They were locked in with tight grooves that kept the night moving effortlessly from slow, heart-wrenching ballads to upbeat, foot-stomping numbers. Their setlist was a perfect blend of well-known classics and lesser-known gems, showing their deep appreciation and understanding of the blues and other genres.

If Friday’s performance was any indication, Get To Steppin will continue to be a staple in the local music scene, adding a vibrant and lively name to the talent within Kansas City.

We spoke with singer/guitarist Tony G. at the show about Get To Steppin and his path to music.

Get To Steppin. // photo by Allison Scavo

The Pitch: What first inspired you to start making music?

Tony G.: I’ve been fascinated by any kind of music since I was a kid. I was always obsessed with, if unable to comprehend, principles of rhythm, theory, dynamics and stage presence, always following music to an obsessive degree. I started writing music to express myself in a difficult home as a way to cope.

Who were your biggest musical influences growing up?

Initially I was drawn to Elvis and the Beatles, as I grew older that evolved into more pop rock, and dance music. I wanted to learn to play guitar when, as a young impressionable teen, I discovered grunge and rock music, completely inspiring me to play guitar. I have been inspired by some unorthodox sources like movie scores, ethnic music, avant garde compositions, regular-ass rock, metal, and H.P Lovecraft.

How long have you been performing?

I’ve been performing professionally approximately 25 years throughout the state and have recently done shows in Wisconsin, Chicago, Memphis, and I’ve been to the International Blues Challenge twice, where the group I was in made it as far as the semi-finals.

Get To Steppin. // photo by Allison Scavo

How has your musical style evolved over the years?

When I first started playing, I was inspired by the absolute paradigm shift that grunge represented. I wasn’t overly thrilled with glam rock or hair metal. It all felt fake and hollow. I loved the revolutionary middle finger to the status quo grunge represented.

I witnessed the shift happen with post-grunge music. It all felt uninspired, leading me to shift towards classic Led Zeppelin and Black Sabbath-styled blues and rock. All that led me to classic blues artists. Initially, I focused on Jimi Hendrix and psychedelic rock, down to Stevie Ray Vaughn, but I became obsessed with Albert King and Freddie King. Those two are just so expressive in the way they play, and it really inspired the way I play solos.

Lately, though, I have been influenced by artists such as Durand Jones, The Bastards of Soul, Black Pumas, the late great Sharon Jones and the Dap Kings, and a lot of underground new soul groups. I love the passion behind the music, the fashion and the whole style. I guess I’m in a transition period again. I would also say that I am currently writing my second doom-metal album for my original band The Dirt Prophets, but that’s a whole other story.

What genres or artists influence your current sound the most?

Sharon Jones and the Dap Kings, The Bastards of Soul, Monophonics, Charles Bradley, The Gooms. Really, any group that focuses on groove and authenticity.

What song of yours means the most to you, and why?

I wrote a song titled “Calliope” which is the capstone to my album, The Ten of Swords, for the Dirt Prophets. It’s a bit heavy. I wrote it as a way to explore themes of passing, giving your life to a cause and reaping the benefits after death or sacrifice. It’s a whole thing.

That album is a bit of a journey, though, so it’s like a finale in a musical about revolution of some sort. The album speaks to a revolutionary spirit, taking down the system, repenting when choosing the wrong side to support. No one can make that determination but yourself, but when you do, have the courage to take the necessary steps to make amends.

Get To Steppin. // photo by Allison Scavo

Do you have any pre-show rituals or routines?

I usually try to take a moment to gather myself, calm my nerves, and shut out negativity and bring out positivity and fun in my shows. Other than warm up drills, maybe we can start one if you have any suggestions.

What’s the most memorable moment you’ve had on stage?

There’s a moment during each show where I feel like I connect with the audience, where they are with me for every ebb and flow. I feel their energy, I hope they feel mine, and we are along for the ride of where the music takes me.

What message or feeling do you hope listeners take away from your music?

I hope people watching our show are inspired to have fun, groove, connect with someone special, have that moment with some they love, make memories, or be inspired to not give a fuck and be who they want to be. Lofty I know, but first and foremost have a good time.

What legacy do you hope to leave with your music?

I want my legacy to be one of authenticity. I know I won’t be able to please everyone, I just want to be known for doing what I do with authenticity, passion, and a love for music. If that has helped anyone have the courage to be themselves, then all the strife is worth it.

All photos by Allison Scavo