Sneak A Peak At Moore New Music

by Kate Mackley

DALLAS — Ian Moore, guitar prodigy turned American gothic singer/songwriter, will play the Granada this Friday. Dallas' Sorta, led by Trey Johnson, will open. Johnson and Moore are songwriters that look deeply into both the social psyche and their own souls. Moore's stripped-down songs are intense and beautiful. Sorta is fun, with segues into summery songs and ballads about killer lovers. An excellent pairing, the two bands bring folk and rock together in their music and speak of the uniquely American experience of life. They put on a show that's daring and a damned good time.

Ian Moore answered a few questions about life on the road in Europe, the past in Dallas, and the future of his upcoming album, which he’ll preview at the show.

Kate Mackley: You're going into the studio soon to work on a new album. Will this be a departure from Luminaria, or will your fans find it comfortable territory?

Ian Moore: It seems that there is somewhat of a departure, and frankly I would love that. I really enjoy Luminaria, but I guess it is inherent in my nature to want to move forward at all times, and in some sense, the more satisfied I am with something, the easier it is to leave it behind.

KM: What new songs will you be previewing during this tour?

IM:We have nine or ten new songs, some of which we have played before, but it is a lot of new material, and per usual we ask a lot of the crowd to follow along.

KM: Is this your first time playing with Trey Johnson and Sorta?

IM: It is, and I have heard so many nice things about both him and the band that I am quite excited about the night. I have to add that I have been so lucky to play with the people I have in the last few years. Early in my career I struggled to find music that I felt fit what we wanted to do, and I don't know if it is being more aggressive with my tastes or just timing, but there is such a flow right now of great, interesting bands.

KM: Do you still consider your music experimental? In what direction do you feel it's going?

IM: I am the son of an experimental man, and I have always had his blood in my veins. I don't look at "experimental" as a direct type of sound, rather as an approach to art and life in general. I don't try to control things, whether it is the song or the band, etc. I guess a better phrase would be "interested in individuality." Working in juxtaposition to the increasing pressure away from individuality is what seems to birth experimental things. I am actually quite into structure, defined melody, etc, but my background, which was quite improvisational, could be viewed as experimental. Keep changing the backdrop and the foreground changes as well.

KM: You recently wrote a moving tribute to Chris Whitley. Would you elaborate on that?

IM: Chris was such a brave soul, and I think so many people missed the point. Because he played a dobro and had so many connections to old American music, before these things were common hipster currency, he was somewhat of a cultural orphan. To me those types of people are the groundbreakers, and I consider him and his music to be some of the bravest out there. I view the biggest challenge to forward motion in the underground as people's inability to think outside of really tired form. I find it to be the worst often with music critics and fans of "styles" of music, whether it be "indie," "alt country," or whatever. As soon as you are defining yourself in that way, you should just get a lifetime pass to Disney and call it a day.

KM: Playing in Europe, you played to non-English-speaking audiences, yet your lyrics are crucial. Did you feel the crowd was missing something in your set?

IM: It put me quite a bit further on my toes. Some nights were tough, but Europeans also get quite a few things that Americans miss. They tend to pay more attention to details, and take a more studious approach to the music they like. They really allow a lot of great artists, many of my fave American artists, from the Walkabouts to Centro-Matic, to keep going.

KM: What was your favorite European show?

IM: Copenhagen was my fave of the last tour. Denmark is just amazing!! Though I really loved the London show, and in general I just had a great time being there, stumbling through so many new places, and feeling like I was just started.

KM: You recommend a few books on your website. Continuing on with the European theme, you're a fan of Herman Hesse. What about his work appeals to you?

IM: I don't know that I'm a Hesse fan. I was when I was a sophomore at UT and I felt that if I was well-caffeinated and didn't understand something it must be good.

KM: You have played in Dallas longer than most local bands. Both Trees and Club Dada closed this month. Is this the death knell for Deep Ellum, or do you think it's just a trough in the natural flux of the area?

IM: I have no idea what it holds for the future. Dallas has always been a tough town, difficult for many to figure out. I kind of like it better now that many folks from Dallas have moved to Austin. I think live music has waned a bit, and honestly I don't know if it will ever be the presence it was. There are too many things beyond going to shows to do when you are 18. There didn't used to be.

KM: You don't play in Deep Ellum when you come to Dallas. Why not?

IM:I played Deep Ellum for years. I don't really care where I play as long as I can get people around me that are open to what I am doing. It has just worked out that lately I have played other places. That is what it is to play for a while. Things come together, things fall apart. I had a great run at Tree's for years. I truly miss those days. I had some of my best shows there; used to know many of the bands in Dallas, saw some amazing shows in the process.

KM: What's your advice to bands or songwriters struggling in an unsupportive atmosphere? Can it be good to have a hometown that doesn't appreciate artists that are not commercial, or do you feel that it is detrimental?

IM: I was playing Neutral Milk [Hotel] for a friend today and telling her that Jeff had come from Rustin/Shreveport, made it down to Athens, and really blossomed there. I think you need to be where your talent can flourish. If what you naturally do isn't supported, there is a good chance there is somewhere else where it is. That said, many people move around a bunch, without taking into account how we all play into our own equation. There are always cool people around; you just have to find them. I think even just having Good Records is so huge for Dallas. Those guys are a shining light of goodness and inspiration and if I was a kid I would live at that store.

KM: What do you like best about Dallas?

IM: I like all of my old friends, and my new friends. At this point I really tour more to see the people I love than anything else. It makes my life feel less random... that and I love that Middle Eastern deli style restaurant up around Mockingbird... Fadi's. Man, the best cafeteria-style food ever.

Kate Mackley is a freelance writer and photographer and supporter of the local music scene.

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