By Chris Paul

originally published: 06/26/2025

We arrived in Red Bank, NJ early for dinner and the restaurant we chose was 1/3 full of moe.rons. Seeing t-dyes around the room complete with flying pig cartoon faces on them I knew we had come to the right place. Arriving slightly early at Count Basie Center for the Arts we were rewarded with time to catch up with friends. The nexus of the NJ Shore jam-music scene colliding with fam.oely made for a fantastic reunion as we all filed into the beautiful performance space. This historic room is ideal for a concert thanks to a high vaulted domed ceiling and all the wood overlays on the seats and other fixtures throughout the space.

Moe. released its newest album, “Circle of Giants” in January 2025. This was the theme for their winter and spring tour, and they have extended this theme for summer tour. An early treat was the WWF/WWE (wrestling) style introductions of the band. The individual introductions were hysterical and, at the end, moe. was credited to be “the most resilient band on the planet” with a reminder that moe. is triumphantly celebrating their 35th year together in 2025.

Right out of the gate, moe. launched into “Yellow Tigers” off the “Circle of Giants” album. This song was written and is also sung by Nate Wilson (keyboards). Nate joined moe. in 2023 and has contributed so much to the band’s sound and vibe since then. This opening number was a small tribute to his contributions. It also captures the album 70’s classic rock (think smoke on the water) essence. On the front of Nate’s keys is a painting of a cartoon wizard straight off the side of a classic 70’s van or the front of an album cover. I learned that night from Nate that the wizard was a gift from sound/guitar tech Frank Robbins. Since the wizard does not have an official name yet, he should now be referred to as “Frank”.

Up next was “Living Again”. This Al Schnier (guitar) written song debuted live in 2004 but had never been released on an album until this year’s “Giants”. This “fictionalized vignette” about a single mother captures the inner take no prisoners attitude that characterizes moe. A spacey jam from this song then landed seamlessly into “Bullet”, from 2003’s “Wormwood” album. Nate’s opening tickles along with Rob Derhak’s bass line and moe.’s backline provided by Vinnie Amico (drums) and Jim Loughlin (percussion) drove into the first verse sung by Chuck Garvey (guitar). This transition is a great example of “flow” that Vinnie described to me in a recent interview, that he aims to achieve in writing the band’s setlist when it’s his turn in the rotation. The end of this song flashes like a shot in the dark with Nate, Vinnie and Rob dropping the hammer. This song also features one of my favorite moe. dismounts made up of Rob’s slaps, Jim’s xylophone and Chuck’s (Satan) guitar play. Next up was the Rob sung, “Calyphorya”. The song reemerged in January 2025 on the west coast tour swing and had not been played since 2018. It is a pessimistic star on the walk of fame and features some more early xylophone fills from Jim.

Following was “Head”, written and sung by Al. This song originated on “Tin Cans and Car Tires” in 1998. Moe. recently dubbed a 2-night run at the Pour House in Charleston, SC the “time.moe.chine” with all songs played from 1999 or earlier. “Head” was clearly another ride on the way back moe.chine to the crowd’s delight. After the grand crescendo of “Head”, came “Faker” from 2001’s “Dither” album. This ironic ballad, sung by Rob brought more rain lyrical references and was the 1st “Faker” I have heard with Nate’s contribution giving portions of it through his key peppering a Billy Joel’s “Scene from an Italian Restaurant” feel.

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Set 1 ended with Al sung “The Road” from 2007’s “The Conch” album. Written collaboratively by the band, this sound captures a perfect time capsule of moe.’s journey and life on the road. Vinnie kicks up the beat complimenting Al’s guitar leads and hips shook good before a short set break. The transition from ending jam back into the final chorus was also a perfect example of the artful timing of moe.’s lighting director Cy Lagrassa.

Set 2 opened with the real meat and potat.moes of the night thanks to a 27 minute long “Timmy Tucker”. This song was written by Rob, Chuck, and Al and comes from 1994’s “Headseed” album. This jam “geek” features all the best parts of moe., starting with killer bass lines from Rob and zany lyrics also sung by him. Nate jumped in early with an electric organ grind reminiscent of 1976’s “Pinball Number Count”, produced by Imagination Inc. for PBS’ “Sesame Street.” Vinnie also kicked in right on time with thunderous beats echoing Rob’s drops and Chuck tore our ears a new one with blinding speed and guitar fire that only he (the dark one) can produce. Jim and Al joined in with Jim’s precise percussions and Al’s rhythmic sway. Cy Lagressa also contributed greatly to this epic performance with the signature Timmy greens and well-timed blinding flashes of color and light. The end of “Timmy Tucker” spiraled effortlessly leading to instrumental “Mar De Ma”. This song swings to the islands thanks to Jim’s effort and Nate broke out his flute to mimic the tropical breeze. Next came, “Giants” the title track from “Circle of Giants” written and sung by Nate. It fits well with the 70’s classic rock vibe evoking Pink Floyd’s “Echoes”. The dual guitar dynamics of Chuck and Al also shined with well-timed collaboration throughout this song.

Following, was the Al written and sung “Big World” also from “Tin Can and Car Tires”. This song serves as another great example of the layering that Nate brings to moe.’s sound providing depth and notes that feel like they have always been there but have not been heard before his arrival. Jim and Vinnie also blasted off like a linear induction roller coaster fueled in part by Beelzebub himself (Chuck) into jam vehicle “Ricky Martin”. This song goes calypso nicely thanks to Jim’s Latin influenced percussions and the interchange play of Chuck and Al. The end of “Ricky Martin” effectively demonstrates this band at full sail. A tight turn on a dime by Vinnie brought the night to a close with a 17 minute “George”. Another collaboration written by Rob, Chuck, and Al, Jim slaps the crowd in the face with his nimble percussions, and Vinnie builds so much energy with his tight technique. The dance party reaches 11 with one of my favorite jams once again demonstrating the fully operational potential of this amoe.zing group of musicians. Then comes the best part of “George”, the ending, what I consider to be the BEST song dismount by moe. My mind flashes to the fireworks display at the Stone Pony in 2009, moe.’s 2nd appearance on the Summer Stage for this holiday where the melodic meander of Chuck and the end of this song sparkles forever in my memoe.ry. The bittersweet sentiment that is so east coast, so New Jersey, “I’m sorry that life is so hard for you, but it’s not my problem.”

Before the encore, a stage announcement was made about the not-for-profit founded by Rob and his wife recently in memoriam of the passing of their son Eddie. The band was offering tokens for donations to support mental health awareness that are redeemable for hugs. The point of this is to raise awareness that every person matters and especially when they cannot feel the love, Eddie’ Hugs is there to remind us to demonstrate empathy and that love is always there. Al also wished my wife and I happy anniversary in his nightly announcements, in honor of our 1^st wedding anniversary celebrated recently. I met my wife attending moe.down (a festival the band hosted in upstate New York).

The encore was “Letter Home” also from “Tin Can and Car Tires”. Since the traditional 1st anniversary gift is paper, this letter from the band was much appreciated. “My home, my heart, my best friends…”, thank you moe. for sharing your journey and thank you for an incredible 1st night of summer ’25 kick-off in dirty Jerz.