NRBQ

UNITED Black Box Auditorium 

1926 Presale – 7/7 10:00am

General On Sale – 7/9 10:00am 

NRBQ hits the UNITED stage on Friday, September 18th for an evening of eclectic, stylistically innovative, and creatively ambitious rhythm and blues.

Doors: 7:00pm – Show: 8:00pm – all ages  

Tickets: $35 RESERVED SEATED (fees included)

Visit NRBQ’s website / Follow them @Instagram @Facebook / Listen @Spotify

At its best, NRBQ‘s music casually mixes up barrelhouse R&B, British Invasion pop, fourth-gear rockabilly, exploratory free jazz, and dozens of other flavors while giving it all a stomp-down rhythm that makes fans want to dance and expressing a sense of joy and easy good humor that comes straight from the heart.

NRBQ is Terry Adams, Scott Ligon, Casey McDonough, and John Perrin. “NRBQ”, which stands for New Rhythm and Blues Quartet, has often been called a national treasure, which may be why the band’s music has attracted legions of devoted fans worldwide, including Jimi Hendrix, Elvis Costello, Penn & Teller, Doc Pomus, R.E.M., SpongeBob SquarePants, Michael J. Pollard, Ian McLagan, Steve Earle, Drew Carey, and Nick Lowe, among many others. NRBQ songs have inspired cover versions by Bonnie Raitt, Los Lobos, Darlene Love, Dave Edmunds, She & Him, Widespread Panic, Yo La Tengo, and more. The group served as the unofficial “house band” for The Simpsons for Seasons 10-12.  They appeared as zombies in George Romero’s movie Day of the Dead. They have appeared at the Berlin Jazz Festival, the Grand Ole Opry, and Wilco’s Solid Sound Festival. In their 50+ year career, NRBQ has released almost as many albums, including a series of critically acclaimed titles in the past decade, among them Keep This Love Goin’ (2011), Brass Tacks (2014), and the 5-disc, 50-year retrospective, High Noon (2016).  Of the brand-new studio album Dragnet, released at the end of 2021, Bill Bentley in Americana Highways says, “They play with such startling and powerful simplicity, a style that must be earned and not learned,” while Uncut says, “[it’s] as though the history of 20th-century popular and unpopular music has gone through thorough, playful distillation.