Interview: Ian Moore talks psychedelic rock, the magic after midnight and decades of touring

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Photography by Daniel Work. Imagery provided by Western Publicity. 

Presently, Ian Moore is touring the Northeast of the U.S. and sharing his music to promote the release of his new album Toronto. A month prior, Moore cruised through Austin, Texas in Aug. 2018 to celebrate his 50th birthday at the iconic Antone’s. Moore is originally from Austin and he’s got a lot of Texas soul within his music. His birthday celebration deep-in-the-heart-of-Texas lasted two nights. Eric Tessmer was the opening act each night. These two artists are both deeply talented at playing guitar, songwriting and vocals. At times, their music, energy and style felt electric and transcendental, which is one of the many reasons why they call it psychedelic rock. 

Before the ATX birthday shows that were filled to brim with many of Moore and Tessmer’s beloved fans, friends and family inside Antone’s: I interviewed Ian Moore over the phone. Another Rank & Revue (R&R) writer interviewed him years ago, but this time it was my turn to interview him. At random, my editor sent over a pitch to me from his publicist at Western Publicity to see if I wanted to conduct the interview. Once I read Moore’s bio, even though I had not heard of him before: I knew I wanted to book it. Clearly, the man has talent to venture on national tours with the Rolling Stones, ZZ Top and Bob Dylan. 

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Photography: Nicolette Mallow

“Ian Moore, the Seattle-based, Austin, TX-born guitar player, singer and songwriter makes the proverbial renaissance man look lazy. Coming on the heels of Strange Days, his most successful record since his eponymous debut. Despite a never-ending cycle of touring, Moore offers a new record of bright, blazing rock-n-roll that combines his legendary guitar prowess with radio-friendly songs that showcase his elastic, soul-inflected vocals. As always, Ian has his eyes on the challenges faced by musicians of every stripe, having experienced the spectrum of artist successes and tribulations over a nearly 30-year career. “It’s a very different climate right now. When we hit a city, it doesn’t matter that I have 14 records, radio hits, etc. The only thing that matters is if we can really show up and leave the people feeling they saw something amazing. Its keeps me hungry, and I like the challenge,” says Moore… You might have been surprised to hear Moore’s songs popping up on major network shows on prime time television this past year; several selections were prominently being featured as performances on both American Idol and The Voice (“Satisfied” and “Blue Sky”). He also founded the artist’s healthcare alliance SMASH (Seattle Musicians Access to Sustainable Healthcare) and has joined the board of NARAS for the Pacific Northwest as governor and head of the advocacy committee. Moore’s story is often told and probably familiar to most critics; his initial record on Capricorn propelled him to national tours with the Rolling Stones, ZZ Top and Bob Dylan, acting in the acclaimed indie feature “Sling Blade,” and having Ice Cube direct the video for his track “Harlem.” Moore deviated from his initial blues-oriented guitar sound on subsequent records, touching on graceful pop songs and the psychedelic as well as British pub rock and deep Americana. The Toronto record 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 guitar rock his core fan base would respond to immediately”. 

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In advance to the interview, I was reading the information Ian Moore’s publicist sent me and researching other interviews of the past. I Google’d him to read about his older albums like Capricorn. Within the photos from then and now, I noticed that Moore had super long brunette hair in the 90’s and looked like a total rock star. Even though time has passed, he’s still strikingly handsome and very talented. I enjoyed listening to his musical style change from Capricorn to Toronto. I read a lot of lyrics. Watching his SXSW 2017 performance at Continental Club last spring in ATX: I could see Moore is in love with the guitar and the music. Texans are often known for being passionate and intense, especially the artists and athletes. 

As I read more and more, I realized that I was out of the loop, especially since I am an Austinite. Ian Moore has been around for three decades and I was shocked I’d never seen one of his shows. As a Texas girl and artista, I consider myself familiar with the local art scene. Obviously I was not up to track. Like many people, it seems the more I know, the less I know. There’s simply no way to keep track of all the great talent out there, and that’s sort of a beautiful thing: always discovering new artists and new music. I didn’t really know what angle to take the story. All of the music was new to me—I enjoyed many different songs from different albums—and I didn’t have much time to prepare for this last minute interview. Even though the story wouldn’t run on R&R until September. So, I figured since every other media outlet was going to be asking about Toronto and Antone’s—I decided to just get to know the artist, like any other stranger, and sort of assess what we called at SCAD, a character profile, a mini version of the artists career.

On the dot, all the way from Texas, I called Ian Moore on the number his publicist provided me with. Moore was sanding an old tour vehicle outdoors in Seattle. 

Nicolette Mallow: Growing up in Austin, did you always have a childhood fondness for music? I read you switched from guitar to violin. 

Ian Moore: Yes! One of the first times I kicked in the womb was at Vulcan Gas Company. Even though neither of my parents were musicians, they were both music enthusiasts. I started playing violin as a child and switched to guitar as a teenager. When I was 16 years old, unfortunately, I cut some tendons. Still makes me a little sad to think about because that ended my violin career… When I first started playing music in Austin, I had a real hard time starting a band. My peers were into other music. They were more into the punk rock culture, but I didn’t care much for it. I was more into soul music, blues and psychedelic rock – garage rock – 50’s music. Then I found a drummer from high school and we started making music. We were the first band to ever play at Black Cat Lounge. This was a biker bar and we brought in youth and kids from all walks of life to a new scene. It was cool because this was before Emo’s and there were limited music venue’s at this time. By ages 19-20, I started touring. But yeah, it’s my 50th Birthday and Austin is my hometown. My history is as deep as any musician there. Guitar lessons. Stages. Memories. Riding bikes to Antone’s on Guadalupe. I had to celebrate in Austin. 

NM: Your album Capricorn launched tours with Rolling Stones, ZZ Top & Bob Dylan. That’s really impressive! How long after the release of your first record did these tours come about. And do you recall the names of the tours?

IM: Capricorn. At the time, being a blues-influence guitar player was kind of unknown territory. There was no cool roots, rock scene. I had a difficult time finding people to put the record out. It was very hard to find a placement. The label who signed this deal had managed Otis Redding. Before that, one deal after another fell a part and took a while to find a place to put my record(s). After Capricorn was released, the radio success and decent tour numbers got past the agents. Once the agents caught notice, I began touring. I think, but am not certain, the tour name with Rolling Stones was The Blue Lounge Tour and I think with ZZ Top it was the Recycler Tour. But I’m not certain, it’s sort of a blur… My band was the biggest band of our generation in ATX for a good 10 years, 2000-3000 people a night at our shows. 

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Imagery from IanMoore.com. 

NM: In regard to your newly release album Toronto, I read the lyrics for the songs “Satellite” and “Rock n Roll”. Tell me about the bright side and the dangers of living your life in the magic of midnight.

IM: The magic of midnight and the brutal reality of harsh dawn; we are all eternal dreamers. We are prone to think the next place, town, song or etc.—we think it’s gonna be the next thing to connect us. We can continue to dream and be dreamers, but it’s intense and a lot of people cannot sustain it. A lot of people lose themselves. I’ve been doing KXP radio and I talked about pitfalls of touring and how to survive. Being focused on the music helps. You can tell where the motivation is. If you want to party—and you’re focused on the physical attention—you will wear yourself out. It’s crucial to focus on the music to sustain sanity. It’s very rewarding and spiritually fulfilling. Just gotta keep focused on the prize. Don’t lose yourself in the illusion of midnight, thinking that something greater is right around the corner… My music has been a continued manifestation of what I wanted to do. When I was young, learning how to play and sing, I did a lot of wandering. Leaving scenes and drifting into the ether, a wanderer with temporary companions. It’s been an interesting journey. Even though my most successful record (thus far) was my 1st album: I think I’ve gotten quite a bit better and become more interesting. I never chased the fame. However, I’ve become an underground artist.

NM: I read your quote about the challenge of keeping the crowd enticed and how the music culture has changed. How do you sustain such energy while touring, so that you can always give the crowd the experience they’re seeking?

IM: This is the hardest time to survive with music, it’s so challenging. But I have a deep passion for music. I do it all, simply because I love music. Music is most deeply motivated for me, the actual music, not the attention and the success, that is peripheral for me. No matter what, I always want to get better and write a better song and feel like if I could just concentrate harder, it will manifest… When I am all beat up and tired and miss my family: the music keeps me going. That’s the thing, I can be completely exhausted and always dig in to find that passion. 

NM: The transition to Seattle from ATX, over the decades, based upon your observations—what changed most within the local scene between the two cities? 

IM: A lot of what I do is between Austin and Seattle. I live in both towns. We had nothing here (in Washington) when I arrived awhile back. There’s been a lot more drastic changes in Seattle. Obviously, all cities are enduring major changes right now, any cool city with artists. They’re all being priced out. However, Austin is one of the best for artists, right now. At least in ATX you have some people working for you and trying to make it better. ATX is weathering the storm best.

NM: Do you have any favorite or newfound cities in Europe that you look forward to touring this year?

IM: Europe: I love Spain and Italy. Amsterdam. Denmark. London… I’d like to play in Portugal. It’s so cool playing in different places, but what’s cooler is playing well in the places you play.

To view upcoming tour dates, listen to music and read about Moore’s songwriting workshop in Canyon Lake, Texas: please visit his website at www.IanMoore.com

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Note: This article was originally published on Rank & Revue

The magic of Euphoria Music Festival lingers

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The 2017 Euphoria Music Festival came to an end and yet the magical feeling of experiencing music with over 50,000 people in Austin, Texas lingers vividly in memory. I can still hear the crowd chanting at Chromeo, and I can relive the hypnotizing light show alongside Moby’s DJ set in my mind. Perhaps this is one of Euphoria’s most lovable and endearing traits: the music festival exerts a natural high of happiness and contentment that stays with you in silence even after it’s all over. For a few hours, everyone that passed the gates entered an intimate and intense world of music, dance, art installations and light shows. There were three stages on the map: Euphoria, Elements and the Dragonfly. The first two stages are the larger set-ups, but the Dragonfly stage is a beauty, waterfront to the Colorado River. A map of the grounds can be found on the official Euphoria app that was released in April. 

Upon entrance to Carson Creek Ranch, the eyes are filled with bold and bright colors, canopies, giant tents, kites, butterflies, swing sets, hammocks, bubbles and an artisans alley. The festival even has a volleyball court, wedding chapel and a giant Tree of Life. There is a sign below the Tree of Life that reads: Write down wishes, hopes, dreams, etc. and set ’em Free. It was very moving to see the thousands of notes left on the tree. Watching the festival with digital eyes that changed moods and colors as the sky shifted from day to night — at the Elements stage there was a steep, tall fox (or wolf) overlooking the crowd. Several times I got lost staring into its round eyes as the music played. 

Founded by Mitch Morales, the 2017 festival included headliners like Chromeo, Knife Party, Moby (DJ set), Oliver Heldens, Post Malone, The Disco Biscuits, Wiz Khalifa, Zeds Dead and many other artists; bringing the sum total of the line-up to 70. As the region’s largest independent music festival, Euphoria attracts over 50,000 fans each year, all while maintaining the qualities that land it on many annual Top 10 lists. Conveniently located just minutes from Downtown Austin, the multi-stage music and camping festival returned to Carson Creek Ranch on the banks of the Colorado River and offered world-class visuals, unique stage designs, artist workshops, interactive experiential installations, enhanced camping options and much more.”

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Euphoria showcases the professionalism, style and acute qualities equal to a global event like Austin City Limits, Burning Man or Lollapalooza. Festival goers can see the time, love and energy invested into the decoration and preparation for the festival. However, unlike the ACL Music Festival that draws 450,000 people—Euphoria is much smaller in attendance and exposure. This independent festival deep in the heart of Texas provides a more intimate experience. Using the power of music to bring everyone together, Euphoria is a festival made for the community. The Euphoria Music Festival feels personalized and charming. The size of Euphoria provides a natural, easy going way of drawing people together. Even if you are attending alone as a member of the Press, like me. That is one of the nice aspects of a festival is various walks of life coming together for the love of music. 

Ultimately, the magic of Euphoria re-awakened my love for music festivals. It brought back the fun and joy of a festival that I used to feel when I was younger. As a local Austinite, I’ve been blessed to attend live shows and music festivals since before I could drive a car. I was one of the lucky people from Austin to experience the live music scene before it morphed into what it’s become today. (True, the music scene has improved with better venues, more esteemed artists and a boost in the economy, but it also came at a cost for the locals.) Years ago I was so sentimental about live music, I saved all of my ticket stubs that are now in a box. Honestly I don’t know how many times I wore a costume or got dolled up for a live show, like the night when I was the absinthe fairy covered in metallic glitter with green wings for Galactic’s Halloween show at Stubb’s. Countless days and nights, my friends and I would gather in masses to rock out, dance and let loose. Alas, after too many festivals and concerts for my stamina-—after one too many expensive tickets, late nights that lead to hangovers and dating too many musicians—the magic began to fade out. Secretly I started to become a little jaded: been there, done that and bought many, many t-shirts. The thrill of live music had begun to alter from love to stress. My heart no longer felt that spark like it once did when I was younger and I really only attend concerts these days at specific venues and no more festivals. Fortunately, Euphoria brought that nostalgic, familiar adrenaline rush back into my heart and it reminded me why I used to love festivals so much. Euphoria made my heart feel lighter and made me feel younger. Frankly I did not know what to expect at Euphoria. And to much delight, Euphoria Music Festival captured the intimacy of the art scene that used to be in ATX. I hope as the festival grows more and more each year that Euphoria will never lose its unique charm.  

I highly encourage music enthusiasts to mark Euphoria Music Festival on their bucket list. A strong indicator as to whether or not a musical event was a success is greatly determined by if the audience transcended time. Meaning, while the band is playing, the DJ is spinning or the musicians are on stage, those in attendance lose track of time. We forget our worries, stresses and anxieties for a while. We are present in the moment and feeling alive in the rhythm of the music. Euphoria Music Festival can and will take you to a transcendental place. 

To view the 2017 recap videos or purchase official merchandise of Euphoria Music Festival please visit www.euphoriafest.com. #FindYourEuphoria

SXSW interview with Director of ‘A Song For You: The Austin City Limits Story’

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BECK. Imagery provided by Go-Valley Films.

Directed by Keith Maitland, “A Song For You: The Austin City Limits Story” held its world premiere at The Paramount Theatre in Austin, Texas during SXSW on Mar. 17, 2016. The SXSW Music, Film and Interactive Conferences and Festivals is celebrating its 30th year. And this year Keith Maitland and his teammates debuted two films for the first time at SXSW 2016. “A Song For You: The Austin City Limits Story” is a vibrant, intimate and engaging documentary covering 40 years and four decades of live music filmed for the beloved television show Austin City Limits (ACL). It’s a playful and raw story—an immaculate collection of great artists and their bands that took the stage at Austin City Limits. Director Keith Maitland shares the unique story of how ACL began with ‘janky’ sound equipment and soon morphed into the longest running music show in television history.

Artists that appear within the documentary include the following: Willie Nelson, Townes Van Zandt, Steve Ray Vaughan, Beck, Johnny Cash, Bonnie Raitt, Ray Charles, Emmylou Harris, Buddy Guy, Jeff Bridges, Matthew McConaughey, Lyle Lovett, Sheryl Crow, Dolly Parton, Radiohead, B.B. King, Lighting Hopkins, The Avett Brothers, Talking Heads, Garth Brooks, Thao Nguyen and more. “Long-time producer of Austin City Limits, Terry Lickona, also transcends the TV show and gives audiences a front-row seat and backstage pass to the greatest performances of the longest running music show in television history.”

One prime reason “A Song For You” is described as the ‘ultimate backstage pass’ to Austin City Limits is because it entails endless video clippings from numerous performances filmed live at ACL alongside annotations of those who were there first-hand to experience the performances. The audience is granted the inside track regarding many ACL shows, off-stage and-onstage. Watching the artists and the production team work their magic. Feeling as if we were there, too. Hearing about the highs-and-lows of the non-stop adventure—’the flood of memories’—it’s an adrenaline rush to the heart and soul. Listening to the music, hearing the interviews and seeing it all unfold and come to life at once makes the documentary unforgettable.

Director Keith Maitland did an immaculate job of intertwining 40 years of history into 96 minutes. “A Song For You” opens with Dale Watson solely because he was the featured artist on the final episode filmed for Season 39 by Austin City Limits. Once Maitland sets the scene in present day, the Director takes us all the way back to the beginning when Willie Nelson played for ACL in 1974 and tells the story in a retrospective way. Obviously, music is the core of Austin City Limits: their universal love of music and their never-ending desire to showcase musical masters and the up-and-coming talent. The title of the film is also befitting because without the audience, Austin City Limits wouldn’t have thrived. The show needs the audience as much as we need the show. You won’t want this film to end it’s that exciting, but when it does. As the credits come to a close, there is a video of Ray Charles singing “Deep In The Heart of Texas”. Which is where it all began, deep in the hearts of Texans. Or at least those living in Texans even if born elsewhere… Many of the artists in the film are still living, others have died and passed on. But the story of Austin City Limits will live on forever.

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Imagery provided by Go-Valley Films.

Fortunately, this week the Director Keith Maitland met with Austin Examiner, Nicolette Mallow, at The Driskill Hotel to talk about “A Song For You: The Austin City Limits Story” and how this delightful documentary came to fruition. Maitland also touched briefly on his other film, “Tower” that screened at the SXSW 2016 festival, too. [“Tower” is about the sniper in August of 1966 who rode the elevator to the top and held people hostage from The University of Texas Tower for 96 minutes, and at the end of his tyranny he’d taken 16 lives and wounded over three dozen.]

Nicolette Mallow: What compelled you to make a film about Austin City Limits? Do you simply love the show and what it stands for? Or do you have a strong affiliation with the city of Austin, too? I noticed both of your films pertained to Austin, Texas.

Keith Maitland: I attended The University of Texas at Austin from 1994 to 1998. Then I lived in NYC for ten years. About ten years ago, I moved back to Austin. And yes, live music is something I’ve always loved … In the 1990’s, I saw a few ACL tapings. I even sneaked backstage a few times. Once I snuck onto Willie Nelson’s tour bus in 1998. I had a knack for sneaking backstage. And that’s really what I wanted this documentary to capture: the energy and excitement of a wide-eyed fan… How this project came about is that I used to work at KLRU. And then a few years ago, a PBS Executive in DC called me about Austin City Limits and their 40th anniversary.

NM: How were you able to pick and choose a specific list of videos from an endless supply of ACL performances?

KM: That was no easy task and there was simply no way to honor all of the artistic talent that has premiered on the show. Austin City Limits has showcased around 800 performers and their bands. That’s a rough estimate and not an exact number, but my point is that it was impossible to include everyone in 96 minutes. I asked the production crew for a list of their favorites, and that was hard for them as well. So rather than pick out favorites, together, we oriented the set list around pivotal moments of the show.

NM: I noticed the documentary focused a great deal on Beck, Willie Nelson, and Stevie Ray Vaughan. All very big artists that are loved by Austin and around the globe… Personally I loved the footage in your film of Beck’s performance at ACL. And I actually went to middle school and high school with Willie’s nephew, Trevor. Any reason you chose those three to focus on?

KM: Beck is one of my absolute favorite artists and his presence in the film portrays the musical energy of present day. It was so cool to book an interview with him and quite rare for us to get the chance. Beck is very exclusive about interviews. I think it had been about ten years since Beck had consented to an on-camera documentary interview. So that was a huge honor and I know the only reason we were able to book it is because of Beck’s love for Austin City Limits… In regards to the other two artists. There are two statues of musicians in downtown Austin: Willie Nelson and Stevie Ray Vaughan. Their names were paramount to the story because they have each cast a shadow over the legacy of this town… Plus, Willie Nelson is the first artist to perform for the show and he’s from Austin. Also, the producers of ACL absolutely adore those two. And I can tell they had a very personal friendship with Stevie Ray Vaughan and that the absence of his presence still stings the ACL family.

NM: Did you enjoy interviewing the production crew, and specifically (the producer) Terry Lickona, from the ACL crew?

KM: Yes. I did. One of my favorite parts of the film is at the end when we are asking all the employees at ACL about what lead them to their job and what their role in the company is… Terry Lickona is just a great person in addition to being a fantastic producer. He is also a live music devourer. And he is always looking to the future and ‘what’s next’ which keeps the show fresh and exciting. He is a people’s people and is constantly out there absorbing the latest news pertaining to music. Terry’s loyalty to the show— and the loyalty of the entire ACL crew—it’s astounding. They’re an amazing team. And come on, it’s a pretty sweet gig to work.

NM: My last question is about your other film “Tower”. The other day I saw “A Song For You” at the Violet Crown and I adore it. But I’ve yet to see this one. My question is, many people have made movies or written stories about the 1966 sniper that murdered people from the UT Tower on the UT campus. What defines your story from all the rest and makes it so unique?

KM: Yes a lot of people have covered this story. What makes my take on it unique is that I don’t focus on the sniper. I focus on the witnesses, the heroes and the survivors of the story. The sniper is obviously mentioned and he’s part of the story. But he’s almost like the shark in the movie “Jaws” and how we don’t really see him until the end. We just hear the music and know what’s coming. “Tower” is a story of humanity at its best and worst. We get to see the people who put their lives at risk to save another. We also get to hear accounts from those who were frozen in fear, unable to help, and the shame they felt for being paralyzed with fear. But it’s very touching to hear the stories. A lot of people risked their lives to come to the rescue of those bloodied, bleeding and wounded… There is a little bit of us all in these characters and I wanted people to be able to relate to the story. Not the sniper.

For more information regarding “A Song For You: The Austin City Limits Story” please visit the official website at www.asongforyoufilm.com. To learn more about Austin City Limits (ACL) and to search upcoming performances: please check out their web page at www.acl-live.com.

Note: This article was originally published on Examiner.com in March 2016. 

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Screenshot from the original publication on Examiner.com.

Stardust art legend David Bowie dies after his 69th birthday

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A mural of David Bowie in Brixton on January 11, 2016 within London, England. Photo by Carl Court/Getty Images.

Yesterday the world lost an illustrious artist: David Bowie. After battling cancer in secret for 18 months, Starman David Bowie died on January 10, 2016 at the age of 69. Around the globe fans are mourning the loss and memorializing the life of their beloved Bowie.

Since the 1960’s, David Bowie illuminated and fascinated the world with his magnetic and cosmic career in the arts. Born in England on January 8, 1947, David Robert Jones—better known by his stage name David Bowie—soon become a universal icon. Bowie’s distinct presence and energetic life force permanently transcended the music, art and fashion industries with his unique sound, vision and style. David Bowie is also recognized by his many alter-personas that include the following: Ziggy Stardust, Thin White Duke, Major Tom, Aladdin Sane, Halloween Jack, and Elephant Man. Partaking in various films as well, Bowie is notorious for his role as the Goblin King in the film Labyrinth which debuted in 1986.

On the day of Bowie’s 69th birthday—January 8, 2016—he released a final studio album titled Blackstar. A hauntingly beautiful album of seven songs, Blackstar almost reminds listeners of an artistic and modernized requiem. The Telegraph posted an article stating, “David Bowie’s final record was a carefully-orchestrated farewell to his fans, his producer has confirmed. Lazarus, released on the Bowie’s 69th birthday just two days before his death, opens with the lyrics: ‘Look up here, I’m in Heaven!’ Tony Visconti, the producer who worked with Bowie to complete his final album, has released a statement saying it was deliberately created and timed as a ‘parting gift’ for his fans.”

Even though David Bowie’s mortal life may have come to an end. Thankfully his spirit will live on forever within the art world and our hearts. Returning back to the stars that gleam in the galaxies above—David Bowie’s legendary artistic career will radiate eternally on planet earth.

Note: This article is originally published on Rank & Revue and Mallows Miscellany.