The Claudettes, Kid Bear (EP Release)
Doors open at 7 pm.
THE CLAUDETTES: The Claudettes fuse Chicago piano blues with the full-throttle energy of rockabilly and punk and the sultriness of '60s soul to write a thrilling new chapter in American roots music. Johnny Iguana pounds the piano alongside seductive singer Berit Ulseth, bassist/guitarist/singer Zach Verdoorn and drummer Michael Caskey. Johnny, who toured for years with his cult-favorite rock band oh my god, is also in the Grammy-nominated groups Chicago Blues: A Living History and the Muddy Waters 100 Band. He has toured/recorded with Junior Wells, Buddy Guy, Otis Rush and more and played piano on the new "Chicago Plays the Stones" album featuring Mick Jagger, Keith Richards and Buddy Guy. The Claudettes recorded their 2018 album "DANCE SCANDAL AT THE GYMNNASIUM!" (Yellow Dog Records) with Grammy-winning producer Mark Neill (Black Keys, Old 97's, J. Roddy Walston, J.D. McPherson). The Claudettes have recorded a new album with Grammy-winning producer Ted Hutt (Violent Femmes, Lucero, Old Crow Medicine Show, Gaslight Anthem, The Devil Makes Three). It will come out in early 2020. http://theclaudettes.com/
"A revelatory blend of jazz and blues, stirred with punk brio. There are also dashes of classical and world music, and enough stops, starts and hairpin turns to suggest the giddiness of Raymond Scott's cartoon music...How do they do it?" Greg Kot, Chicago Tribune
"A skewed cabaret band of blues, jazz and rockabilly…a sensibility that feels equal parts James Dean and David Lynch." Minneapolis Star-Tribune
KID BEAR: A chance encounter with country legend Steve Earle changed everything for guitarist and songwriter, Matt Neuroth. As Matt tells it, “I was sitting in Matt Umanov Guitars in Greenwich Village and in walks Steve Earle. He picked up an acoustic guitar and just started strumming some chords. And…I don’t know how to put it except to say that, when he played G and C, it was every country song ever written. When I played G and C, it was just a couple of chords. But, when he did it, it was deep; it had soul and groove and power. It really blew my mind. I’d been touring with all these loud rock bands (like Oh My God) and had all these chops, but he had the song in every strum. I’ve been chasing that ever since.”