In this increasingly fast-moving world, most of us should be so lucky to find a job we love doing and stick with it for thirty-five years. This is exactly what the members of Moe. have done, taking a steadfast, working-class approach to being in a band that has allowed them to persevere for over three decades and has earned them a rightful place as one of the most legendary acts in the jam scene. In a recent interview with this writer, guitarist Al Schnier attributed moe.’s longevity to the simple fact that the band and crew actually like and respect one another. As the band enters a milestone year and also celebrates the release of their new album Circle of Giants – a collection that shows their continued creative progression as well as their first with new band member Nate Wilson – they are embarking on a tour that feels like a victory lap of sorts. On Thursday, January 30th, moe. kicked off that tour with a two-night run at the Aladdin Theater in Portland, Oregon.
With a capacity of around 600, the Aladdin Theater felt intimate by moe. standards, even for a two-night run. This was evident in the amount of gear and the expansive lighting rig that crammed the stage as fans eagerly waited for the band on Thursday night. When the band members finally appeared after being introduced as if entering a wrestling arena, it was clear the audience was in for a throwdown. As if to remind fans of their resilience, the band opened with the defiant rocker “Not Coming Down” before segueing into a version of “Wormwood” complemented by Chuck Garvey’s flowy guitar and Wilson’s aquatic space Moog. Wilson stayed in the spotlight for a rousing performance of the new song “Yellow Tigers” that carried strong Black Sabbath vibes. Ultimately, set one was less about long jams and more about preciseness and big moments. Some of those moments included the groovy-laden rocker with Wilson laying down a monster organ to up the funk factor, the flute-heavy “Bat Country” that turned into a Santana-esque shred fest accentuated by Jim Loughlin’s percussion magic, and the combo of “Jazz Wank” and longtime favorite “Buster” that saw Schnier donning his double-guitar as the band wrapped the set with a stretched out jam that veered from spooky to fun.
Set one may have set the bar high, but the band was already firing on all cylinders when they opened set two with the Pink Floyd-esque title track off Circle of Giants and Wilson used his Moog powers to reach for the depths. Schnier stepped out with a jazzy solo and set the mood for a “Moth” that was dreamy, drippy, and dark. Garvey would earn has place as MVP of the whole show throughout the night, and he truly flourished during “Tubing The River Styx” as his guitar set the lively pace and tone. Loughlin’s uptempo percussion bounced along in a danceable and mysterious way, helping the band build into “Meat” and creating an epic full circle moment when they closed out by jumping back into the “Moth.” Loughlin handling the screamed vocals during an encore of Led Zeppelin’s “Immigrant Song” was only icing on the cake for a nearly perfect moe. show.
There was a noticeably larger crowd packing the Aladdin for night two on Friday, January 31st. The band was clearly feeling the energy in the room as they opened with the reggae-laced rollercoaster ride “Seat of My Pants,” with Vinnie Amico pouring on loads of cymbal bursts and ferocious psych-guitar bustouts from Schnier. Fancy time changes soon gave way to the freewheeling Minutemen-like punk-funk of “Sensory Deprivation Bank” that soared with Wilson’s boogieing organ action. Following the catchy singalong anthem “Okayalright,” Wilson took the spotlight again with blue-eyed soul of new song “In Stride” that saw the band giving it an almost proggy quality. Set one carried major set two energy with plenty of stretched jams and flashy guitar workouts, but mostly, the band just felt simultaneously loose and locked in. This was evident in standout moments like the country rocker “Tomorrow is Another Day” segueing into a sprawling “Four.”
Returning to the stage for set two, the band drew early excitement from the fans as they dropped into a moody and atmospheric jam during “Interstellar Overdrive,” following it up with a version of “Tailspin” that carried a wild punk energy and saw Garvey leaning into a sparse, eloquent guitar solo that morphed into a percussion-heavy dance jam. Maybe the best new song performed across both nights was “Band In The Sky,” with Schnier taking the whole band to an elevated level with a guitar solo that was beautiful and hopeful. He would soon lead the band through one of the finest jams of the run as he laid down a Don Rich-on-acid guitar solo during an impressive “32 Things.”
Across two nights in Portland, moe. delivered the same high level of consistency and surprises that has given them such staying power for all these years. Each show offered a different dimension to the band, from the tight rocking of night one to the complexity and sprawling improvisation of night two, with a flawless balance of new material and classics to satiate the old heads. If the Portland run was any indication, year thirty-five may be yet another strong chapter in the journey of moe.
Photos of Friday’s show by Greg Homolka
