This year’s German Jazz Prize ceremony, held in Cologne on June 13, brought together a wide field of musicians and industry figures, but it was drummer Philo Tsoungui who drew a notable share of attention. The percussionist, known for her bold, unorthodox approach behind the kit, was awarded Drummer/Percussionist of the Year, marking a key moment in her steadily rising career.

Philo Tsoungui, originally from Plauen and now active on the wider European scene, has long had a reputation for doing things her own way. She’s played with a variety of artists, including The Mars Volta and Mine, yet she’s never seemed to follow trends. Instead, her drumming tends to walk a fine line: technical without being rigid, and loose without falling apart. It’s that balance that sets her apart in a category full of heavy competition.

The prize itself is no small thing. Spread across 22 categories, the German Jazz Prize has become one of the country’s most visible platforms for celebrating creative work in and around jazz. It honors not just individual performers, but also recordings, events, and contributions to the broader scene. While it’s still relatively new, the prize has earned credibility for spotlighting voices that push the genre without losing its core.

Tsoungui’s performance during the ceremony was delivered alongside Ludwig Wandinger, and while short, it had enough tension and edge to stand out. There was something off-the-cuff about it, but it wasn’t careless. People in the room seemed tuned in, as if they knew what was happening might not be repeated again quite the same way.

Each award winner received a financial grant: €12,000 for winners, €4,000 for shortlisted names. It’s not life-changing money, maybe, but enough to buy time, gear, or space to make the next thing. More importantly, it’s a public nod from peers, which in jazz, often means more than numbers or charts.

During the event, officials said how much they believe in jazz as part of Germany’s living culture, not just its past. That was clear in the range of winners, which included both traditionalists and more boundary-pushing names. Tsoungui’s win felt somewhere in between: respectful of where things come from, but also leaning into the new wave.

Tsoungui has kept things low-key since the event. No big statements. Just more work ahead, more music to make.