Adam Moe On the Making Of ‘Leaving Can't Be Wrong’
How did you come up with the theme?
These songs contain a lot of love and loss, with a hefty dose of self-medication and confusion. That’s likely because many of them were written during, or in the immediate aftermath, of the Covid pandemic. I had written a few songs before, but it was Covid that gave me the time to write with purpose. When Minnesota was shut down, I was writing a song every day and posting them all to my Patreon page whether they were good or not - sort of a “with great quantity comes possible quality” approach.
That period also brought huge changes for me. Before 2020, I had worked to build a duo project. All together, my duo partner and I worked for 21 years together on various projects. When the calendar emptied in 2020, I took it as an opportunity to move on. This album, being my first solo effort, is also heavily influenced by that decision. The title track is steeped in the conversations I had with myself about change and whether it was time to move on or not. That’s not to say the song is 100% about the end of a long artistic relationship, but it’s sure in there!
I have continued to write, and some of these songs are more recent, but the overall themes likely come from my Covid headspace. It was a time of great change and loss and emotion for all of us, and that’s where this album was really born. That said, this is NOT an album about a pandemic. It’s not a downer, but it has its moments.
How does 'Leaving Can't Be Wrong' reflect your growth as an artist?
I’ve been involved in many recording projects over the years, from fiddle sessions for others to albums with my old duo partner. What I can tell you is that recording ‘Leaving Can’t Be Wrong’ is the first time I’ve felt really comfortable in the studio. I’m not sure if it was because they were all my songs and my decisions and that my choices didn’t impact anyone but me, but that was definitely part of it. Also, many of the friends I hired to play on the project did their work remotely, opting to use their home studios rather than the commercial one I recorded in. I feel like that comfort level reads in the work, and I’m really pleased with that.
Can you talk about any standout tracks on the album and what makes them special to you?
I guess the first track, “Some Days,” is a good one to talk about. I put it at the beginning because first, the groove ended up being such that listeners would have a good grasp on the album’s sound within the first few measures.
But more importantly, this track was one of the first songs I wrote during the 2020 explosion of output. It, more than any other song on the album, spells out the headspace that gave birth to the project - a sense of change, confusion, and seeking answers. Plus, there are a couple of lines I’m particularly proud of considering my love of wordplay and language.
I’m also quite fond of “Blue Skies and Highways.” It’s a trucking song, and I’ve always had the notion that traveling musicians and truckers have a whole lot in common. We aren’t home as much as we’d like to be, and the amount of windshield time can be overwhelming. I’ve got a couple of trucking songs, and I’ve had OTR drivers approach me after shows and tell me they really appreciate those tunes. And as a Jerry Reed fan, it felt good having a banjo laying the foundation on a big-rig tune!
What do you enjoy most about performing live and connecting with your audience?
Honestly, when a crowd is REALLY with me and I’m REALLY with them, my favorite thing is making people laugh. People always say that all musicians want to be comedians, and vice versa, and that’s probably more true than not. I don’t want to be a comedian, but if I get a chance, I’ll go for the laugh!
Also, after a particularly good performance of a song, that moment of contemplative silence in the crowd followed by a unified intake of breath and then applause is amazing. That’s a great moment. It’s almost like the audience doesn’t want to spoil the moment by clapping, but then realizes it can’t help but applaud. It’s that moment when I know we’re all on the same page, and it’s why most of us chance getting on a stage at all.
Can you share a valuable lesson or piece of advice that you have learned along your musical journey?
My number one rule in music, and the most important thing I’ve learned during my time in the business, is this: Don’t be a dick. Making and performing music requires a whole lot of collaboration between players, writers, studio people and PR folks, not to mention creating strong relationships with audiences and venues. If one link in that chain starts acting up, the whole thing can very quickly fall apart. That’s why you can’t be problematic as a performing musician. Be nice and don’t be a dick! And while I don’t always succeed at this, it’s always front of mind for me.
