Concert Review: Kip Moore is still brilliant live
I started my last Kip Moore review with, “Kip Moore is brilliant live. Review finished.”
And while that might sound like hyperbole, it barely scratches the surface of what makes Kip Moore’s performances unforgettable.
His brilliance was further solidified for me at a recent show at the legendary Stone Pony in Asbury Park, New Jersey. You know, the historic concert venue associated with Springsteen, Bon Jovi, Stevie Ray Vaughn and many more big names.
During the song “Sweet Virginia,” each and every member of the band sang the chorus, one after the other (including the drummer, which isn’t that common). Each had an impressive voice and put their own little spin on the presentation.
And then the entire band sang it in harmony.
It was one of those religious experiences. As those voices combined, I got goosebumps. I reacted on an emotional level while soaking it in.
It was absolutely mesmerizing to hear their voices blend and know it was the real deal. You don’t have to question whether it’s live or Memorex at a Kip Moore show.
Perhaps it was the history of the Stone Pony and its guitar-and-autograph-laden walls that accentuated it so, but it was a memorable moment that illustrates what sets a Kip Moore show above so many others and, for me, puts him in the same category of so many legends.
Kip seems to thrive on audience energy, which was only amplified by the intimacy of the club setting. The crowd sang along loudly, and the packed venue amplified the sense of unity.
There’s no denying the man has a fanatical fanbase. A couple in front of me was traveling to all shows within the New York, New Jersey, Connecticut and Pennsylvania geography. That’s the thing about Kip Moore fans: They really do connect with the man and the music.
I saw more men singing along than I have at many other shows I attend. Men often don’t put themselves out there like that.
Seeing so many men singing loud and proud struck me. Perhaps it’s Kip’s authenticity that breaks down those walls – either his lyrics or his blend of country roots with rock inspiration – to let their guards down and connect. Maybe it was the intimacy of the Stone Pony. Maybe it’s the fact the songs are so good. Maybe it’s that Kip is such a likeable guy.
Whatever it was, the crowd was electrically engaged.
While Kip isn’t exactly an arena-level draw, he certainly attracts more than a club. So, he performed two nights at the Stone Pony, and many in attendance the second night had been there the first. I considered attending both but decided to opt for a VIP ticket instead.
I don’t regret the VIP ticket— I do regret missing the first night.
Because – as I expected – Kip put on a nearly flawless show from start to finish – all two hours and 15 minutes of it. People close to the stage said that the setlist had 24 songs on it. He played 31.
Kip – like the similarly impressive Oliver Anthony – taps into something raw and deeply honest. His storytelling style, the diversity of his music, and his unmistakable vocal delivery elevate him to an unparalleled position.
The first time I saw him in concert was the Wild World tour. I bought the ticket on the strength of the songs “Last Call” and “She’s Mine.” By about the third song, I was in awe. It was an almost magical concert experience – an artist whose performance reached in and touched my soul (as I said, Oliver Anthony was the same – in fact, Oliver and Kip were my top two artists on Spotify and Apple Music this year.)
Here's the thing about Kip – like Oliver (Chris is his real name; Oliver was his grandfather’s) – they’re authentic in their songwriting approach. Kip has a way of distilling an emotion or a concept down to its essence in his lyrics, often using a storytelling hook to draw you into the moment.
At this point in his career, Kip has certain songs he has to play, like “Wild Ones,” “Beer Money,” “Somethin’ ‘Bout a Truck” and “Come and Get It.” But he also adds in a variety of deeper cuts, like show opener “Lipstick,” “Tennessee Boy,” “Running for You” and “Sometimes She Stays.”
He also played three new songs, which will appear on his new album early next year. The songs are what you expect from Kip: diverse in style. From the tongue-in-cheek expletive-laden “Live Here to Work,” to the passionate “Wildfire” and the bittersweet “Flowers in December,” Kip continues to deliver. If these three songs are any indication, his new album will be as impressive as his last one, “Damn Love.”
I’ve been to more than 60 shows in the past two years. Kip Moore is one of the most impressive of those. I could have listened for another hour, even with a two-and-half-drive home ahead of me. I didn’t mind that he extended his setlist.
“Flowers” was to be the show closer until Kip told his band they were doing one more, the narrative-heavy “Micky’s Bar.”
With “Micky’s Bar,” it felt like Kip was bidding us farewell with one last story—a reminder that his shows are more than concerts, especially to the hearts he speaks to:
“Same old scene, same ol’ faces
“Last call for drinks, it’s closing time
“Micky’s wiping down, Sheri makes the coffee
“For all the cold and lonely hearts.”
Setlist:
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