Felton Music Hall
Doors 7pm // Show 8pm // Ages 21+ // $15 Advance & $19 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Ian Moore, the Seattle-based, Austin, TX-born guitar player, singer andsongwriter makes the proverbial renaissance man look lazy. Coming onthe heels of Strange Days, his most successful record since hiseponymous debut and despite a never-ending cycle of touring, Mooreoffers a new release of bright, blazing rock-n-roll that combines hislegendary guitar prowess with radio-friendly songs that showcase hiselastic, soul-inflected vocals.
“It’s a very different climate right now. When we hit a city, it doesn’t matterthat i have 14 records, radio hits, etc. The only thing that matters is if wecan really show up and leave the people feeling they saw somethingamazing. It keeps me hungry, and I like the challenge” says Moore.
For years, Ian has had his eyes on the challenges faced by musicians ofevery stripe, having experienced the spectrum of artist successes andtribulations over a nearly 30-year career. In response, he founded theartist’s healthcare alliance SMASH (Seattle Musicians Access toSustainable Healthcare) and has joined the board of NARAS for the PacificNorthwest as governor and head of the advocacy committee.
You might have been surprised to hear Moore’s voice popping up on majornetwork shows on prime time television this past year; several selectionswere prominently being featured as performances on both American Idoland The Voice (“Satisfied” and “Blue Sky”).
Moore’s story is often told and probably familiar to most critics; his initialrecord on Capricorn propelled him to national tours with the RollingStones, ZZ Top and Bob Dylan, acting in the acclaimed indie feature SlingBlade and having Ice Cube direct the video for his track “Harlem.”
Moore deviated from his initial blues-oriented guitar sound on subsequentrecords, touching on graceful pop songs and the psychedelic as well asBritish pub rock and deep Americana. Toronto and its 6 tracks represents
those influences in such a way that they have informed his songwriting,but is likely more recognizable as a strong collection of the kind of guitarrock his core fan base would respond to immediately.
On the triumphant “You Gotta Know My Name”, Moore lampoons rich,entitled hipster kids. “They get their marching orders from Pitchfork andfill their brains with coke and MDMA, looking for soul and depth”, Mooreexplains. “The chorus is a way of claiming my space as a person that hasbeen slogging it out, in and out of fashion for most of my career, with adeeper sense of music, style and substance than the people that mightquickly write me off.”
The anthemic “Lords of the Levee” is a contemporary, relevant take on theatmosphere of the U.S. right now.“ It’s an attack on group thought,”
Moore says, “which is most typically shrouded in God and country, thatallows people to do some really terrible things. I wrote it about theAlabama voters rights act, and how the people that opposed it used bothGod and country to justify their abhorrent behavior.”
And it captures Ian’s blistering live sound probably better than anyrecording he’s released in recent memory. The catchy, propulsive“Looking for the Sound” is a play on the record title “El Sonido
Nuevo,” which he wrote with his last group, the Lossy Coils. “It comesfrom a Mighty Boosh skit, but the gist of the song is about what it is to bea touring musician, trying to build soul and culture, still believing the samethings I believed when I was 18, and looking for open hearts and minds tofeel it.”
On other tracks on the record, “Satellite” and the slightly outrageous“Rock N Roll,” Moore explores the underbelly of rock, the bright side andthe dangers of living your life in the magic of midnight.