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The Congregation

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Hometown	Chicago, IL
Genres	R & B / Soul, Blues
Band Members	Gina Bloom, Charlie Wayne, Joe DeBord, Dan Wendt, Nick ... » more
Achievements
Upcoming Shows	None

Contact Information:	Artist / Band Member Gina Bloom congregationband@gmail.com 8476444409
# Years Experience Performing Live:	2
# Live Perfomances Past Six-months:	15
Market Draw:	Home Market: 76-100
Venue History:	Darkroom - Chicago, IL Martyrs - Chicago, IL Reggies - Chicago, IL Beat Kitchen - Chicago, IL Goose Island - Chicago, IL Jerry's - Chicago, IL Double Door - Chicago, IL Underground Wonder Bar - Chicago, IL Fitzgerald's - Berwyn, IL Musikfest - Bethlehem, Pennsylvan Grant Park - The Taste Stage - Chicago, IL Sheffield Garden Walk - Chicago, IL Skokie's Backlot Bash - Skokie, IL Ultra Lounge - Chicago, IL
Similar Artists:	Sharon Jones and the Dap-Kings; Otis Redding; Aretha Franklin; Irma Thomas; JC Brooks & The Uptown Sound; Black Joe Lewis & The Honeybears; Gladys Knight and The Pips; Janis Joplin; Etta James; Ike and Tina Turner
Performing Rights Society:	ASCAP
Discography:	Not for Sleepin' EP—2010

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About the Artist

Classic soul meets rock and roll in this dynamic eight-piece collective from Chicago. The Congregation features Gina Bloom--a singer whose voice radiates with raw emotion and soul power. Charlie Wayne's punk-infused guitar riffs, Chuck Sansone's...

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Music

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Achievements

Top 10 in Soul, April 2011

Connector

Top 40 in Soul, May 2012

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Press Coverage

Local Music Q&A: The Congregation by Andy Downing
For years, Gina Bloom daydreamed about fronting her own group. Playing drums in a classic rock cover band, she would often bite her lip while the crew's singer belted out the tunes, her mind repeatedly drifting back to the same thought: “I could do better.” Yet until September 2009, when Bloom co-founded The Congregation, an eight-piece collective steeped in Motown and classic Philly soul, crippling bouts of stage fright prevented her from seeking out the spotlight. “Growing up, I could sing anything if I didn't think people were paying attention to me,” says the 28-year-old, who was born and raised in the Philadelphia suburb of Doylestown, Penn. “But when they were actually like, 'Gina, sing,' I couldn't do it.” It's a surprising admission from someone who grew up with music in her blood; the singer's father, singer/songwriter Bill Bloom, scored a minor hit when he co-wrote Frankie Smith's 1981 funk number “Double Dutch Bus.” Reached via telephone at her Lincoln Park apartment, Bloom discussed her love of Elvis Presley, the band's fashion sense and the process that fueled the heartache in “Save the Wine,” possibly the standout cut on the band's just-released debut, “Not For Sleepin'.” Has the band always dressed up in suits? Or did you show up that first day in jeans and T-shirts, look around and think, “This isn't going to work?” [Laughs.] We made a decision before we played our first show that we were going to wear suits, and we stuck with that even when we were playing outside in the middle of summer. We treat every show like it's a special occasion. We get dressed up and we go out there and play like we're never going to play again. With a name like The Congregation, I'm curious if you grew up singing in the church? No, I wish I could say that, though! I did grow up in a house that was full of music. My dad is a songwriter and singer, so family sing-a-longs were not uncommon. Growing up, there's not a time I can think of where I wasn't singing. I always knew I wanted to make music. Is the eight-piece band a byproduct of your stage fright? Did you think it'd be easier to blend in with a bigger group? [Laughs.] Not really. I don't really try to blend in. My last band was only three people, but I played drums so I could just hide behind the drum kit. There's an energy with this band that makes it easier for me to go out and do my thing. Describe your sound in five words or less. Seriously soulful rock and blues. “Save the Wine” is such a tortured song. What were you thinking about while you recorded your vocals on that one? I don't know if I put myself in another place, but I just tried to think about the fact that the song is kind of sung from this point of desperation, like, “Let's give this another shot. We can make things right.” I felt a heavy burden with that song, like, “I better nail this.” It was definitely exhausting because it was a late night. By the end of it I was like (feigns exhaustion), “Oh man.” Did you do anything to prepare yourself mentally beforehand? I drank some whiskey. That was basically it. I was also curious about your Elvis Presley cover, “Little Sister.” That was one that [guitarist] Charlie [Wayne] brought in. I've been an Elvis fan since I was 6 years old. Any Elvis song he brought in, I would have been like, “Okay.” I started taking guitar lessons when I was 6, but I only wanted to play Elvis songs like “Hound Dog” and “Heartbreak Hotel.” I became obsessed. Have you ever been to Graceland? I haven't, but that's something I need to do. I wasn't sure if you would've made a trip down there to sing at his grave like they did in Spinal Tap. [Laughs.] I'm not one of those creepy, he's-still-alive fans, so I won't be making any pilgrimage. But I do appreciate the music and the personality.

The Congregation – Not for Sleepin’ EP by Josh Terzino
It’s been a long time since I’ve been excited about a new blues band. I always get amped for new releases by the legends, and I try to catch certain guys every time they’re in town (B.B. King, Ronnie Baker Brooks, Chicago’s own Buddy Guy), but new blues artists generally leave me cold. With the exception of Indigenous and The Chris Duarte Group, I can’t think of anyone I’ve followed for more than a year. I did follow Jonny Lang and Kenny Wayne Shepherd, who were great, but they left the blues to follow God’s path, whatever that means. So I was more than happy when I threw on The Congregation‘s debut EP, Not For Sleepin’. I got knocked down due to the amount of Soul Power pouring out of my speakers. Gina Bloom’s pipes are ridiculous. Lady sings the blues, indeed. Not quite on par with Aretha or Billie Holiday, but not too far off. Certainly better than anyone else I’ve heard attempt songs like these in recent years. My one problem with The Congregation stems from the press release I read about their band. In it, they go through a lot of details about the bands personnel and sound, but they also make a remark so outrageous I must comment. They make mention of doing music the way Otis Redding did it. Well, that’s a problem for me. I’m all for shooting for the stars and that jazz, but come on. That’s like me running for Jesus. It’s just ludicrous. Otis Redding is the epitome of rhythm and blues in my mind, so to compare ANYONE to the man is blasphemy as far as I’m concerned. That said, they did it. And when I listened to the music, I wasn’t 100% dissatisfied. That in itself is remarkable. If you take that to mean I enjoyed the record, you are correct. The songs “Save the Wine,” “A Good Man Is Hard To Find,” and “He’s Gone” are the highlights of the record for me. The vocals are out of this world, and guitarist/songwriter Charlie Wayne really shines on “Good Man.” The only song I don’t really enjoy is a cover of The Stooges‘ “I Wanna Be Your Dog.” It’s a bit masochistic for my taste. Having a female sing the lyrics doesn’t make the song any better. Much like Dana Fuchs‘ version of “Why Don’t We Do It In The Road?” from Across the Universe. The horn section is lights out from top to bottom, as a good soul band should be. I’m sure that in a live setting they all get to show their stuff a but more than they do here, so I’m very much looking forward to seeing them perform. This release doesn’t drop for a couple weeks, so consider yourself warned. You will be asked to pay money for this EP, and you should hand it over gladly.

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