Kip Moore

Me And My Kind Tour 2016

Kip Moore

with special guest Jon Pardi, Runaway June

Thu, December 1, 2016

Doors: 7:00 pm / Show: 8:00 pm

Terminal 5

New York, NY

$36.50 advance / $37.00 day of show / $119 VIP

This event is all ages

Kip Moore
Kip Moore
Kip Moore often lies awake in bed at night. Melodies and lyrics swirl through his head. Sometimes they’ll dissipate as seamlessly as they first arrived. Other times, the singer-songwriter can do nothing but begin singing them aloud. It frees his ever-churning mind. It allows him to continually discover his own voice. It grounds him. Most importantly, for a man prone to bouts of self-doubt, it reassures Moore that his path is a righteous one. “I have a complete sense of calm right now,” the singer-songwriter says. “During this whole journey, as down as I’ve gotten at times, I’ve done this thing my way. I don’t have any regrets. I’m always looking ahead.”

The journey Moore speaks to is a monumental one: from that of a struggling Nashville musician to a massive country superstar with his mammoth 2012 debut album Up All Night; and an artistic adventurer with 2015’s sonically bold and critically revered second effort, Wild Ones.

Now Moore is set to release his most unflinching, distinct testimony yet: “I know how strong this record is. I know its capabilities,” Moore says of SLOWHEART, the country star’s evocative and profound third album due on September 8th. The culmination of an ever-evolving talent’s process of selfdiscovery, the LP is a warm and honest embrace of Moore’s rugged rock roots and a showcase for his innate poetic prowess.

“This album is growing into where I am now,” Moore says of a vivid album that bleeds with lyrical raw emotion and rings true with sonic warmth. “I’m never going to be one of those artists that’s trying to stay relevant. I’m going to grow as my music grows. I’m going to grow as a human being.”

Central to Moore is the knowledge that in SLOWHEART he’s created a collection of enduring, sturdy songs, ones that showcase his knack for rich storytelling and are not unlike the albums he was raised on. Over 13 tracks, Moore unfurls acute accounts of loss and longing (“Plead the Fifth”), confusion and conviction (“Bittersweet Company”), frivolous falsehood (“Blonde”) and always daring to dream (“Guitar Man”). “I want to be an artist that moves people to their core and that they hold onto forever,” he says. “That’s what got me into this; it was all for the purity of the music. I never gave two shits about money and fame,” he adds. “It was all about the songs.”

Arriving at his current place of “clarity and peace” required Moore to remove himself from the rigors and oft-grinding politics of Nashville. Following the rigorous Wild Ones tour, the singer spent time traveling through Costa Rica, Hawaii and Iceland. He immersed himself in nature and self-reflection. “It helped me to really step away from the whole industry side of things,” Moore explains. He’d been previously quietly writing and recording new material, four or five songs, if only to put his thoughts down on wax. “It was a very organic process,” Moore recalls of the earliest days of SLOWHEART. When Moore returned home from traveling he learned his record label was ecstatic with what he’d created. “They just went nuts over the songs. It was so nice,” he says with a laugh. “It was just like ‘Hey man, go make the record you want. Nobody is gonna mess with you.’ So I had total freedom to do whatever I wanted,” Moore, who produced the vast majority of SLOWHEART, adds, “So I was going to go in and finish this record the way I heard it in my head and not have one sense of doubt. If I loved it and I felt it I recorded it.”

This take-no-prisoners attitude is all over the album, and slathered atop a swath of brutally honest cuts: “The Bull,” written by Jon Randall and Luke Dick and anchored by a spiraling acoustic guitar lick, is Moore’s rejoinder to those who doubted him along the way. After Dick played him the song, “I flipped out,” Moore recalls. “I was like, “I definitely have to do this. This is exactly how I feel.” On lead single “More Girls Like You,” Moore comes to terms with the prospect of settling down, maturing, and living a more reigned-in life. “Well, I've been living like a wild old mustang/Out in Montana fields,” Moore sings with vigor and virtue. “Might've earned me a bad reputation/ But never stopped these wheels.” The song, he says, was inspired after he helped a father teach his young daughter to surf while in Costa Rica. “That is the first taste of the idea that I might be ready for my next chapter of life,” Moore offers. “It’s a very direct reflection of me evolving as a human being.”

The musician says he was intimately involved in the recording process for SLOWHEART like never before. “Before I might get quiet in the studio but now I’m not like that,” he says. “Now I know what I want and what I hear in my head and that’s what I want to be on the record.” Alongside his engineer, Dave Salley, longtime co-writers like Westin Davis and David Garcia, and his band, the Slow Hearts, Moore crafted the album exactly as he saw fit: live and decidedly un-slick. The sonic feel then, Moore says, is of “a band in a room just sitting down and figuring out a song and how it moves you. We kept all that warmth and air in the room. We didn’t try to suck any of it out.” To that end, Moore points to the six-minute reflective album closer, “Guitar Man.” Moore sang his entire vocal part live to tape as musicians Tom Bukovac and Dave Cohen unknowingly played the tender guitar lines in the adjoining room. “That’s why you hear me taking breaths and catching up with my phrasing,” Moore says with a laugh. “I loved it.”

The singer says he’s immensely proud: not only of his career, his album and his never-compromising attitude, but of the trust and dedication he’s fostered in his audience. That symbiotic relationship between Moore and his fans is never more apparent than during one of his reputation-making live performances. Moore views his shows as an emotional roller coaster with both he and his audience hanging on at every turn: the singer’s calling card, a Kip Moore show typically swerves from the raucous and rowdy one minute to the intimate and emotional the next. It’s led to a deep, profound and poignant bond between the singer and his fans. “There was a huge undercurrent of fan support that’s been building for the last couple years,” Moore says of him beginning to sell out massive theaters across the country during the Wild Ones tour and, in the process, tripling the size of his audience, many of whom who chant every word he sings right back at him.

“Through this whole experience I’ve had a sense of peace that I have a real fanbase that’s gonna stick with me,” he says. “I’m very in touch with my audience and they’re in touch with me. I know how they’re gonna feel about this project.

“What I’m doing now has deep roots that are not going to break off,” Moore continues. “There’s never been any gimmicks. I’ll get to where I want to go.” He pauses and lets out a knowing chuckle, “That’s because I’m going to do it the way I want.”
with special guest Jon Pardi
with special guest Jon Pardi
California native and Capitol Records Nashville’s Jon Pardi is undeniably country, with an evident influence from country music pioneers from Dwight Yoakam to Merle Haggard. His laid back, fun-loving approach towards life, charisma and authenticity strike a chord with country audiences as he regularly sells out shows across the country and prepares for the June 17 release of his second studio album, California Sunrise. Lead single “Head Over Boots” is a swinging, mid-tempo tune currently climbing country radio’s Top 15, gaining Top 15 in country track sales, surpassing 33.6 million in streaming and noticeably, immediately connecting with fans.

California Sunrise is the follow-up to his highly-praised debut, Write You A Song, which landed on multiple ‘Best of 2014’ lists including the Los Angeles Times’ Mikael Wood’s all-genre Top 10 and both Rhapsody’s and Taste of Country’s Top 10 Country Albums. Write You A Song features the Gold-selling Top 10 “Up All Night” and fan-favorites “Missin’ You Crazy,” “What I Can’t Put Down” and “When I’ve Been Drinkin.’”

Pardi has toured with Dierks Bentley, Luke Bryan, Eric Church, was hand-picked by country legend Alan Jackson for his 25th anniversary tour, and recently, he wrapped his own highly-successful All Time High Tour.
Runaway June
There's a sound that hasn't been heard on country radio in quite some time – the sound of organic, three-part female harmonies, ringing strings and stories that speak the language of modern women everywhere. It's a sound that was the backbone of a little group known as The Dixie Chicks, and now it's making a comeback through a vocal trio called Runaway June. Rootsy, brightly colored and mixing bluegrass tradition with dusty desert cool, Runaway June is comprised of three very different women who fuse their own influences to create a style country fans have been craving.

Lead singer and guitarist Naomi Cooke grew up in Florida enchanted with the other-worldly vocals of Alison Krauss, then made her way to a stage in Nashville's world-famous Tootsie's Orchid Lounge.

Singer and mandolin picker Hannah Mulholland was raised in Malibu, Calif., a nature-loving hippie chick who latched on to the liberating messages of Sheryl Crow and began writing her own music at 6 years old.

And singer/guitarist Jennifer Wayne – another California native – is a Garth Brooks lover so dedicated to country music she gave up a pro tennis career to write songs in Nashville (like Eric Paslay's "She Don't Love You"), and happens to be the granddaughter of Hollywood legend John Wayne.

Each of these talented young ladies were unsurprisingly Dixie Chicks fans, and each could have been a solo artist in her own right. But after forming a friendship and discovering their shared love for acoustic soul, soaring vocals and do-it-yourself positivity, Runaway June was born – a name that nods to their common bonds. Both Jennifer's grandmother and one of Naomi's sisters are named June, and Hannah completed a life-changing 25-day, 220-mile hike in the month of June. Plus, they all felt pulled to "run away" from their homes and toward their dreams.

Part of the Wheelhouse Records imprint of BBR Music Group, the first thing listeners will notice is the trio's obvious musical connection, and their stunning three-part harmonies – natural and effortless in feel.

"I grew up in choirs singing low harmony, Jen naturally sings high harmony and Naomi has this perfect mid-range voice," Hannah explains, surrounded by her bandmates in a Music Row conference room. "If we all switched positions, it wouldn't be the same."
Just as impressive is their musicianship, a modern twist on a way-back sound that sets Runaway June apart from the pack as a true, self-contained band.

"We've always had a Western feel to the music in some way, and kind of a cowboy feel," Jennifer says. "But not rhinestone-y — rough and leather-y."

"Our brand of music is tied to country's roots in that it's all real instruments and real sounds," Hannah adds. "But I feel like we have a modern take on it lyrically."

Indeed, as strong women who are not afraid to take risks in achieving their goals,
empowerment is a recurring theme for Runaway June – and not just female empowerment.

"We want to be including," says Naomi. "We want to sing to everybody, so we steer away from being super negative to either gender."

"We don't do man-bashing songs," Jennifer clarifies with a laugh.

In a time when female voices have been squeezed into a few narrow categories at country radio – the bad girls, the good girls, the crusaders – Runaway June want to break the mold. They know women's lives are far more diverse, and even though their sound is rooted in the past, their stories are very much of the here and now.

"You won't hear a lot of synthetic anything in our music," says Naomi, "but we're modern women living in a modern world, so what we say and what we want to write and sound like is modern, without even trying."

Continues Jennifer, "Everything we write is what we know – it's from the heart."

Case in point is Runaway June's debut single "Lipstick" – a breakup song that's actually upbeat and positive. Its central idea is that sometimes breakups ARE for the best, and that a girl should be with someone who ruins her lipstick, not her mascara. But holding true to their promise not to be man-bashers, the girls barely even mention the heartbreaker in the story, instead focusing on the good guy who's still out there.

"It's not preachy," says Naomi. "But it's something I would want to say to my little sisters."

With their high-voltage harmonies kicking the song off, "Lipstick" (produced by Mickey Jack Cones) is the perfect intro to this new group.

"It's like 'Here we are! We're a vocal trio. It's gonna be harmonies,'" says Jennifer. "For some reason, whatever we have together really works. I feel like what I'm lacking they have and what they're lacking I have. We're great individually, but we're the best together."

"Without planning it, we all have the same taste in music and the same feel for it, and the same things we want to say," Naomi agrees. "You can't really design that."

With that, the new trio lock eyes and smile, sharing a silent moment of realization before Jennifer sums up their happiness: "I think we all know we have something special."
Venue Information:
Terminal 5
610 W 56th St
New York, NY, 10019
http://www.terminal5nyc.com/