Claire Shutters’ “Bar Fight” Soundtracks Every Kind of NYC Night
An EP that Offers the Permission to Fuck Up
by Calli Ferguson
Photos by Alexa Jae PhotographyFrom locking eyes with a crush across the room and dancing herself into heartache, to hearing about a friend fleeing a pool table-induced bar fight, Claire Shutters tapped into New York City’s electric and unpredictable trove of night-out stories to inspire her upcoming sophomore EP, Bar Fight. Exposing ourselves to it all can feel as intoxicating as it is terrifying— but the courage to be “in the arena,” whether it’s creating our art or putting our hearts on the line, is what makes it all worth it. For her next rock-forward project, Shutters shares a message to those out there trying that there is, “so much valor in fucking up.”
Ahead of the full EP, set for a July 15th release, Claire Shutters put out the bright and yearning indie track that started it all, “Cigarettes & Conversation,” followed by the punchy, girl-rock anthem, “indie sleaze jesus”, setting the tone for what’s to come.
Claire and I sat down in April just after the release of C&C for a coffee at Three Legged Cat; We talked about the new single, the EP on the way, and how it lives within her world of music, her love for New York City, and the community that continues to shape and support her.
warmly: I’m loving “Cigarettes & Conversation”. How does it feel to have it out?
Claire Shutters: Thank you! It feels really good!
It’s funny to reflect on this song in particular— I actually wrote it over two years ago. The idea was to capture a specific moment when you're out for the night. There are so many different moods you can find when you’re out in the city on any given night… sometimes you are king of the castle, and sometimes you are down in the dumps. This song is meant to capture the moment when you feel like the main character—you're in a bar, you find that person, you have that magical connection.
It’s funny, the real story is: I was seeing this person on and off, and we really did lock eyes across the room in this visceral, magical moment. We started confessing that we actually care about each other and dancing. Then, it was the band’s last song of their last show— this sad song— and right then they told me, “Oh yeah, I’m moving in with the person I’m actually into.” Complete record scratch.
So yeah, there’s a hint of melancholy in the song. But really, those magical moments before that happened were what I was trying to capture.
“There are moments here where you feel like you’re in the arena—you’re THERE. There’s so much community to be found... Of course, you’re going to fall on your face sometimes. That’s life.”
That’s such an interesting context to have, cause I really get those crush-y, bittersweet yearning vibes from the track. Did you go home and write it that night?
No—I went home and cried and called my sister. A few days later, I went on a trip with my mom and sister to Vegas. I was there for a week, just ruminating on everything. Then the day I got back, I sat on my bed after the flight and wrote it. Some songs take time, but this one came out in one sitting.
I had a show the next week, so I sent it to my band members, like, “Hey, I want to try this,” and they were like, “Oh we’re there”. It’s been a vibrant part of our set since we started playing it.
Alexa Jae Photography
Michael Morell —who I worked with on this whole EP— played drums for a gig when my regular drummer, Matt Sweeney, couldn’t make it. After the show, Michael was like, “This is a great track… You should come to the studio. I want to track it for you.” We had an instant connection- a shared vision and sensibility. I’m so lucky to have him; He’s been a guidepost. That first track went so well, I was like, “Hey… what if I have more?” And that snowballed into the full project.
I love it when a song comes to life on stage first. Did anything change majorly during recording and production?
Yeah, I mean, some layers exist in the recorded version that simply didn’t in the original. When I started playing it, I was on vocals and rhythm guitar, Matt on drums, and Jeffrey on bass. But as we built it out, there are more layers you need to add. We had synth, and Julian Mone came in and supported on some lead guitar moments. Now my band is Matt on drums, Jen Fischer on bass—she’s an artist I’ve admired for a long time, I’m so happy she’s in my band now—and Sav on keys. She’s also an amazing artist and is working on new stuff.
But for me… first of all, putting out music is expensive. And also, I come from a performance background; I have a theater degree, so that part is really natural for me. Putting together a show and having new songs is my playground. 99% of things are gonna exist on stage first.
Was there anything in particular that inspired it sonically?
Yeah—I made a little playlist of tracks I was really listening to. I love Del Water Gap. Sorry I Am, was in my head. Also, I have this conspiracy theory that Del Water Gap and Maggie Rogers are on-again-off-again. I’m so sure about it. I’ve seen them in SoHo together, they tour together, they were in a band in college… I have thoughts. But that whole dynamic—the yearning, the chemistry, the ‘maybe it’s not the right moment’—that was on my mind when I wrote this.
“My first love, more than anything, is this city.”
And then in general, a bunch of girl rocker stuff. Which is kind of what I listen to all the time. I’m a big Sky Ferreira fan, Wet Leg… I also love Charlotte Rose Benjamin. Those are some of the influences.
Did you know you wanted this to be the first single on the EP?
I did. It’s been such a solid part of the live set for a while now, and it sparked the conversation with Michael about a full project. It felt like the right move.
I’ll also tell you I’m really excited about the next single I have coming out. I feel like it nicely introduces what this next era is gonna look like for me. It’s going to be full-on sleazy, indie, grossness— in a way that I’m very excited about.
Yes! Good. We need that.
Right? I think so too! The next track is called Indie Sleaze Jesus, and it’s exactly what that title sounds like. It’s fun.
This all follows your Debut EP, Claire Shutters: Greatest Hits, that came out last February… What feels different this time around?
A lot, honestly, is the short answer.
Spring Cleaning was the first single I ever put out. That was me trying to get something out there, and I was really happy with the work I did. I worked with Nick Anton, who’s an insanely talented multi-instrumentalist. Then Divorce Me was a total 180, I recorded most of it at home and found a producer online. I’m really happy with how that worked out, too.
The challenge with that EP, though, was how eclectic it was. That’s why I named it “Greatest Hits”. It’s so audacious and ridiculous… My dad had a stint doing music and once said that if he ever released music, his first record would be called Greatest Hits. So it’s an homage to him, and it felt appropriate. It also encapsulated the songs that felt most vibrant in my live shows.
So in the world of your live stage, those actually were your “greatest hits”?
Exactly. And when it came to working on that EP, I was grateful to work on something so new with someone as experienced as Nick is.
Now, one of the things I value about working on [Bar Fight] is that Michael’s going to talk to you, figure out what you want, and then ask, “Okay, how are you going to do that?” So I play guitar, synth, and multiple instruments on every single track on this record. And it feels much more grounded in who I am and what I do, which is really exciting.
There's also a more specific vision for this project. The last one was broad strokes. This one feels more settled and focused. It was created over a much tighter time period. We recorded everything consecutively. It was a collaborative process in so many ways, which felt different.
What’s more specific about the new EP? Is there a story or theme?
“I wanted it to feel like you’re out on the town, figuring things out, having magical nights, having terrible nights, going on crazy benders...”
It ties into something I’ve said, even with Greatest Hits: my first love, more than anything, is this city. I visited New York for the first time when I was eight years old, and I went, This is where I need to be. This is where I'm going to live. So much of my life was about trying to make that happen.
There are moments here where you feel like you’re in the arena—and you’re there. There’s so much community to be found. And if you keep looking in the right places, you’ll find that kind of communion. Of course, you’re going to fall on your face sometimes. That’s life.
Brené Brown has this whole thing with the Teddy Roosevelt quote that she’s expanded on—about being “in the arena” where glory happens. I love that idea of getting down and dirty. You’re going to fall on your face—but it’s about standing back up. There will be people in the cheap seats (or even in the arena) who don’t respond to what you do, but that’s not the focus. The focus is the work.
That’s been really resonant for me. In New York, there’s potential everywhere.
That’s why the title of the EP is Bar Fight. I wanted it to feel like you’re out on the town, figuring things out, having magical nights, having terrible nights, going on crazy benders... I want to make it accessible for curious people and send the message that it’s all out there—if you want it.
Speaking of the title, here’s a fun story: One of my best friends, Jess— she’s a legend— was on a first date with this guy, and they went out to play pool. There were two other guys at the pool table, so they played two-on-two. They’re having a good time, shooting pool, and out of nowhere, one of the other guys snaps and accuses them of cheating. At pool… in a dive bar… He starts trying to pick a fight. Eventually, another guy swoops in, and a full-on bar fight breaks out. The two of them get out of there and sneak into a random bar to get off the street where they find queer fetish drawing. In the lexicon of our friend group, that guy became “bar fight guy.” And that inspired the title.
That’s amazing. Can you speak a bit more about your experience in the music scene here?
One of the things I’ve really valued is the community I’ve been able to build. Once you find your people, everyone supports each other’s shows. It’s way more welcoming than people think. The first step is having the vulnerability to expose yourself and say, Hey, I’m working on something. Will you listen? Or getting on stage in front of people.
I remember my first show here—it must’ve been summer 2021. My friend Caroline McQuaig runs a collective called Siren Songs and had a residency at Heaven Can Wait. She needed acts, and I thought, It’s now or never. I got on stage with just my boots, my guitar, and my voice. That was it.
And from there, one opportunity leads to another. The more you put yourself out there, the more you’ll take in.
Let’s rewind. What originally drew you to music? Was it musical theater first?
My mom is a dance teacher— I was in ballet slippers before I could stand. The owner of the dance studio was a theater person, and she was the one who said, “Hey, I think theater is the right direction for her.” I was probably six or seven.
On the other side, my dad’s sister was a music teacher. She’d teach me to sing in the car. I’ve always been vocal, always singing, always dancing. That’s just who I am.
So I did musical theater and took piano lessons in elementary school. In middle school, I joined the band and took up percussion. When I got to high school, to be in the band you had to do marching band—and I was like, fuck that. So I switched to choir. Our final project each year was to write a song and make a music video. That’s when I dipped my toe into how GarageBand worked and stuff.
I stepped away from that a bit when I got to college to focus on musical theater. But then 2020 happened, and trying to pursue musical theater over a screen just didn’t work. I also realized I hate auditioning. Some people thrive on it— it’s not my thing. Being on a stage has never made me anxious like that— I’ve been performing since I was four. But singing right next to someone I don’t know? Terrifying.
I got to a point where I didn’t like doing all of that work to say someone else’s words, and do what someone else has decided I’m supposed to do. I wanted to create my own narrative. Who gets to decide that for me, but me? So I went to Guitar Center and got the cheapest guitar I could with what little money I had from working at Madewell on 5th Ave. I eventually felt like I knew what I was doing and had so much more agency.
What were you listening to as a kid?
That’s the funny thing I was realizing as I wrote this EP: I would be getting driven to ballet class while listening to Nine Inch Nails on the radio.
“When I think about this project, it is so ingrained in what it means to me to be able to make music in New York. So pulling from The Ramones and The Strokes only makes sense.”
My dad listened to the new alt-rock station. He’s kind of the opposite of dads who say, “If it was written after the 90’s it doesn’t count”. So I didn’t grow up listening to The Beatles, or The Rolling Stones, or Zepplin… Any of that comes from my own adventure. I love The Ramones, they’re one of my favorite bands ever, but that’s me; my dad wasn’t listening to that.
My dad loves The Beastie Boys. But also there was Green Day, lots of White Stripes, The Strokes, the hits… all the Y2K nostalgia.
And you feel like that’s all made its way into your stuff now?
Oh my god, yeah.
When I think about this project, it is so ingrained in what it means to me to be able to make music in New York. So pulling from The Ramones and The Strokes only makes sense. And it’s definitely influenced where I’m headed sonically. This stuff is a lot more rock-focused than previous projects, which I’m excited about.
And yes, my first concert was Hillary Duff with Hailey Duff opening. It’s all in there.
My first favorite song ever was “Bring Me to Life” by Evanescence. I was like four- I remember the music video. That was the moment for me. What can I say… I’ve always been a dramatic ass rock girl at heart!
I’m so excited for the EP. Anything else you want people to know about or experience with it?
One of the things that I want to leave people with is the permission to be messy and the permission to fuck up. If you’re chasing perfection, nothing is ever gonna get done. Which ties back to what we’ve been saying about how if you don’t try, you’re never gonna learn. There is so much valor in fucking up.
If you never do things that feel cringey or awkward or don’t sit right, you’ll never do things that do sit right, and are authentic, and have their feet underneath them. Everybody is probably cringey to somebody! So do what you want to do anyways— just don’t be a dick.
And when it comes to putting your art out there, it’s so brave, but so needed. Whoever’s in your arena, somebody is there.
Absolutely. Through the breakup and putting out music, it’s been so important to have the right support system. I am so lucky to have such a solid foundational support system. It’s about the accountability and the praise. I would not be where I am emotionally, with my music career, or anything without such a strong group of, specifically, queer women. I’m endlessly grateful for that.
Huge. Okay, a few random, fun questions: What’s something that inspires you lately outside of music?
I’ve been really eating it up in the kitchen lately! I was ordering out a lot in January and February. I think I’ve had one meal in the past week that I didn’t cook myself, and I’m so proud of that. It feels so nourishing.
What would be a dream venue?
Bowery Ballroom is so historic, and there’s something so special about that space. It’s so New York, it’s so Lower East Side. I’m hoping in the next couple of years to knock that off the list. What do I have to do? Who do I have to talk to to get to that stage?
💿 listen to "CIgarettes & Conversation" and "INDIE Sleaze Jesus"
🥊 And Presave Bar Fight for Release on july 15th
📻 Follow Claire Shutters on Spotify and instagram to stay tuned on what's coming