The Strikers in interview “Not setting any boundaries”

With The Strikers, Jean-Christophe Sutter opens a new chapter in his musical journey. More electric, more instinctive, this project allows him to fully take back the lead vocals and explore a wide spectrum, from blues to rock with folk and jazz influences. Mostly recorded live in the studio, the album Bye Bye Love embraces a sound made for the stage and a strong artistic freedom. To celebrate the release, he tells us in detail about the band’s creation, the songwriting process and the energy driving The Strikers today.

📀 Read our review of Bye Bye Love here 📀

🎤 Jean-Christophe Sutter interviewed by Cédric Vernet

Hello Jean-Christophe. After Little Mouse and the Hungry Cats, here comes your new project The Strikers. Not busy enough?

For me, saying “I don’t have time” is a bit like saying “I don’t want to.” The Strikers was unveiled a little over a year ago, but there are other projects coming. Early 2026 will see the release of a very personal project with a few exclusive tracks, plus another exciting adventure and a first single.

How was this band formed?

There are several reasons. The need to return as lead singer, the emergence of songs better suited to my voice during the writing process, and the desire to explore different musical worlds. Also the wish to leave more room for improvisation on stage.

The album kicks off strong with Bye Bye Love, a track that sets the tone?

Yes, but it’s only one of the many sides of this project. It was a collective choice to open the album with this one. A powerful blues-rock anthem that hopefully makes you want to discover the rest, but it doesn’t summarize the record at all.

This project also seems to give you more artistic freedom, especially toward a more rock-oriented direction?

More rock in a raw and improvised way on stage, but not only. Some tracks explore folk, Americana, Afro or jazz vibes which I love just as much.

How did the songwriting work? Do you bring fully structured tracks or is it collective jamming?

Songwriting was very fast. I usually come with fully shaped songs, then arrangements are built collectively while jamming. There’s a magic happening there that’s hard to explain. Sometimes we drift far from the original intention.

“I write all the lyrics”

Who writes the lyrics, and what themes inspire you?

I write all the lyrics. I tell stories collected over the years, mostly about human relationships, friendship, love, expectations and disappointments. That’s where the title of the album comes from. In that sense, it’s almost a concept album.

Where did you record? Live or track-by-track?

We recorded at [the labO] studio, in the heart of the Auvergne volcanoes. Lots of vintage gear, tube amps, keyboards, unexpected percussion, and truly inspiring scenery. Most tracks were recorded live, then we finalized the arrangements afterward. For the two guest tracks: Mickael Mazaleyrat recorded his harmonica in the South of France and Jim Roberts added slide guitar and vocals from Los Angeles. Technology can be very helpful!

Your sound is more electric and more direct. How did you shape the production choices?

The idea was to have a live sound, without artifice. Yet each song needed its own personality. This record is tailor-made. We handled every step: recording, mixing, mastering. The design was done by our friend Gilles Philippe. It’s our luxury to say it’s homemade.

Some of These Days brings you back to your blues roots…

Absolutely. The song nods to a track by Charley Patton. A great artist who put “the song” above everything else.

You have a strong voice. Did you feel limited before, not singing more?

I admit it! I can go a whole day without playing guitar, but not without singing. Music has always been part of my life. My mother was a church organist. We sang as a family. I started with piano, then guitar, then drums and then singing. This unique instrument took full control of my musical life.

Who influenced your singing style?

Chris Cornell is probably my main influence. Then a mix of many things: Ritchie Kotzen (a fantastic singer), Jeff Buckley, Beatles harmonies…

Did Hungry Cats help structure this project?

You can’t really start from scratch. It helped from a technical and production perspective.

So what is The Strikers’ identity?

It’s not a pure rock project. We didn’t want boundaries. There’s blues and rock but also acoustic and world influences, jazz, an Irish bouzouki, Cambodian flute, diverse percussion… Joss on drums is a machine!

“It always starts with a song”

You avoid blues clichés. There’s strong work on riffs and melodies.

Whatever the genre, it always starts with a song. Production choices naturally lead it toward a style.

Many tracks could attract a wider rock audience. Bigger venues ahead?

That’s not the intention when writing songs. Things happen naturally. If it appeals to rock crowds, great. People care about energy above labels.

There are also softer, acoustic songs like Keep My Grave Clean and Nobody Else.

Yes, both worlds meet on this record. On Keep, there’s a scent of Exile on Main Street that I love. On Nobody Else, we were happy to invite Mickael Mazaleyrat whom we met playing with Jim Roberts.

What do you want people to feel after a Strikers concert?

Music can deliver strong emotions and energy. If people feel that after the show, mission accomplished.

You end with a long, Hendrix-like version of Catfish Blues. Why this choice?

It shows what can happen live. On stage it’s often unpredictable and we let ourselves go. It lets listeners imagine what to expect in concert.

There’s even a flute solo! Looking for new sound textures?

Yes, a Cambodian flute recorded in a 1000-year-old basilica. Mixing cultures is essential. That’s how music and civilizations grow.

How will the setlist look live? Covers or new tracks?

Many tracks leave room for improvisation. Time disappears. But yes, there will be new tracks and a few nods to our roots.

Your voice sounds freer here. More yourself?

Exactly. With Little Mouse, composition is shared with Claire, so her voice guides the writing. It’s more structured, less wild. I love both sides, but here I wanted something very spontaneous.

Do you see yourself exploring new musical paths after this album?

Yes, it’s already happening. Two new projects are coming early 2026. One logical collaboration for a fresh start, and one very personal with even more sonic exploration. I also love electronic and hip-hop music… but I’ve already said too much!

A final word?

I invite everyone to listen to Bye Bye Love and come see us live. It has never been more important to support artists. And a big thank you to the Blues Actu team!