Ticket Sales end: Friday, September 10 at 10:00 PM CDT
Ian Moore returns to historic Tower Theatre in Oklahoma City on September 10, 2021.
NOTICE: FOR THE SAFETY OF OUR GUESTS, ARTISTS, AND STAFF FACE COVERINGS WILL BE REQUIRED TO BE WORN PROPERLY AT ALL TIMES UNLESS SEATED. IN AN EFFORT TO ENFORCE SOCIAL DISTANCING GUIDELINES OVERALL CAPACITY HAS BEEN REDUCED BY 80% (204 MAX) AND ALL TICKETS TO THIS SHOW ARE SOLD IN GROUPS OF 2, 4, & 6. PLEASE BRING GUESTS YOU ARE COMFORTABLE WITH TO FILL PURCHASED SEATS. UNUSED SEATS WILL NOT BE REFUNDED.
DOORS 7 PM / SHOW 8 PM
SOCIAL DISTANCING GUIDELINES
For the safety of our guests, staff and community, this show features limited seating and social distancing expectations, in addition to increased cleaning and sanitizing measures.
- Maximum capacity reduced by 80% (204 People)
- All employees and guests required declare any symptoms
- All employees and guests required to wear PPE Face coverings (Guests may remove face covering only while seated)
- TICKETS SOLD ONLY IN GROUPS OF 2, 4, & 6. Tables and Rails on the Floor and Grouped Seats in the Balcony.
- Box Office is closed – all sales online and no-contact ticket verification
- No counter service. All service will be provided by Tower Theatre Staff to tables or chairs.
- All guests for an event must be registered and contact info provided. We do this for contact tracing purposes in the instance of a known viral presence
- Tower Theatre continues to reserve the right to remove anyone from the building for any reason including but not limited to following PPE and Social Distancing rules.
- Gathering and standing around is generally prohibited. Groups may be asked to separate or distance themselves if Tower Theatre Staff deems necessary.
- Elevator limited to 1 guest
- Free parking lot directly south of the theatre across 23rd street
- Full bar inside venue
- No weapons of any kind are allowed in the building
- Visit our website for more information!
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 and 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. 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.
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. “Its 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”).
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.
New discoverers of Moore’s live shows and last few records are coming on board every day, as his live shows have graduated once again from barrooms to bigger stages and warmer rooms, despite a blustery big stage headlining appearance this past New Years Eve at Auditorium Shores in Austin. Moore delivered in gloves and muffler, despite snow and 27 degrees (In Texas!)
On the triumphant “You Gotta Know My Name,” Moore lampoons rich, entitled hipster kids. “They get their marching orders from Pitchfork and fill their brains with coke and MDMA, looking for soul and depth,” Moore explains. “The chorus is a way of claiming my space as a person that has been slogging it out, in and out of fashion for most of my career, with a deeper sense of music, style and substance than the people that might quickly write me off.”
The anthemic “Lords of the Levee” is a contemporary, relevant take on the atmosphere of the U.S. right now. “It’s an attack on group thought,” Moore says, “which is most typically shrouded in God and country, that allows people to do some really terrible things. I wrote it about the Alabama voters rights act, and how the people that opposed it used both God and country to justify their abhorrent behavior.” It captures Ian’s blistering live sound probably better than any recording 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 comes from a Mighty Boosh skit, but the gist of the song is about what it is to be a touring musician, trying to build soul and culture, still believing the same things I believed when I was 18, and looking for open hearts and minds to feel it.”
On other tracks on the record, “Satellite” and the slightly outrageous “Rock N Roll,” Moore explores the underbelly of rock, the bright side and the dangers of living your life in the magic of midnight.