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Sat, Apr 02


The Masonic Auditorium's Demolay Room

Moon Hooch at The Masonic Auditorium's Demolay Room

(This presentation of Moon Hooch, originally scheduled for the Saucy Brew Works Vibe Garden has been moved to the Masonic Demolay Room)

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Moon Hooch at The Masonic Auditorium's Demolay Room
Moon Hooch at The Masonic Auditorium's Demolay Room

Time & Location

Apr 02, 2022, 6:00 PM – 11:00 PM

The Masonic Auditorium's Demolay Room, 3615 Euclid Ave, Cleveland, OH 44115


About the Event

Greyt Culture Presents in partnership with Saucy Brew Works and Cleveland Vibes

Moon Hooch at The Demolay

With Londin Thompson & Jason Leech

Doors at 6pm

Show at 7pm 

About the Venue:

(This show was moved from The Saucy Brew Works Vibe Garden to The Cleveland Masonic Auditorium's Demolay Room) 

Live Painters &  Artisan Vendors 

Justin Roberts - Tessa LeBaron - Hailey McCracken - My Dood - EverArbor - Holland Creative Studios - LAND Cycles - 

Witchins Kitchens - Tom Reed - Primitive Auras - Lauren Delcoma - Rock Paper Cigars

About Moon Hooch 

Spotify | Youtube | Instagram

Moon Hooch started in the NYC subway platforms in 2010. They are currently touring the world.

“I‘m realizing more and more every day that you can make anything happen for yourself if you really want to,” says Moon Hooch horn player Mike Wilbur. “You can change your existence by just going out and doing it, by taking simple actions every day.”

If any band is a poster child for turning the power of positive thoughts and intentions into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group— Wilbur and fellow horn player Wenzl McGowen and Ethan Snyder—have gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country.

Though the band—whose members initially met as students at the New School—turned heads in the music industry as relative unknowns with a charismatic, unconventional sound (they play with unique tonguing techniques and utilize found objects like traffic cones attached to the bells of their horns to manipulate tone, for instance), they were already a familiar and beloved sight to strangers in New York, who would react with such joy and fervor to their impromptu subway platform sets that the NYPD had to ban them from locations that couldn’t handle the crowds. NY Mag once referred to their sound as “Jay Gatsby on ecstasy,” while the NY Post fell for their “catchy melodic hooks and funky rhythms,” saying they had “the power to make you secretly wish that the short [subway] wait becomes an indefinite delay.”

While the band’s busking days are behind them now, the lessons they learned from all those platform parties helped guide their approach to recording ‘Life on Other Planets.’ “What we discovered playing in the subway,” McGowen explains, “is that the more focus and the more energy you put into the music, and the more you listen to everything around you and integrate everything around you into your expression, the more the music becomes this captivating force for people.”

The band followed up 'Red Sky' by releasing the 'Light It Up' EP in 2018. Recorded in bucolic Williston, Vermont and co-produced by Tonio Sagan (grandson of famed astronomer Carl Sagan), this collection of three songs was a foray into a more electronic and studio-produced sound. Full of horn textures, big drops, and throbbing bass lines, these tracks extend the possibilities of their subway instrumentation. Between 'Red Sky' and the 'Light It Up' EP, the band uses an evolving arsenal of electroacoustic techniques to utterly demolish any and every possible barrier that could stand between your ass and the dance floor.

“When we were playing in the subways, we were playing entirely acoustic,” explains Wilbur. “It was just two saxes and a drum set. Then Wenzl acquired a baritone sax and we all started getting into music production and incorporating electronic music into our live shows.” At their performances, the band now plays through what they call a Reverse DJ setup, in which the live sound from their horns runs through Ableton software on their laptops to process recorded effects onto the output. In addition, to flesh out their sound on the road, the band began utilizing Moog synthesizers, an EWI (an electronic wind instrument that responds to breath in addition to touch), and other exotic woodwinds like the contrabass clarinet and bass saxophone. Wilbur has even added vocals to his repertoire on some tracks (something the subway never allowed him to do).

The band members all speak reverently of meditation and consciousness and the role it plays in their music (McGowen believes his introduction to it, spurred on in part by Wilbur and former member James Muschler, saved his life), but equally close to their hearts are the environmental causes they champion. Moon Hooch tries to live up to their green ideals while traveling as much as possible, playing benefit shows, organizing action days to support local farmers and co-ops, participating in river cleanups, planting trees, filming informative videos for their fans, and more.

For the members of Moon Hooch, commitments to consciousness, environmentalism, veganism, philosophy, and peace aren’t separate from their commitment to music, but actually integral parts of it. It’s all tied into that same core approach that led to their discovery on the subway platform: try, even if it’s just a little bit every day, even if it’s just with the power of your mind, to make the world less like it is and more like you wish it could be.

“I’d say all of our songs express the essence of that kind of energy,” concludes McGowen, “because before you can even think any thoughts, there exists the energy that drives those thoughts, and that energy is intention. I feel like we’re putting the intention of positive change constantly into our music. While we’re playing, I often see the future emerging: skyscrapers getting covered in plants, frowns turning into smiles, fistfights into hugs. I can see the energy of love and collaboration and trust replace the energy of fear, hatred and violence.” It’s an ambitious vision, to be sure, but considering the band’s track record at turning their thoughts and dreams into action and reality, perhaps it’s only a matter of time.

About Londin Thompson 

Spotify | Youtube | Instagram

Each lyric brings you a little closer to Londin Thompson. Candid confessions, off-the-cuff observations, and delicate details depict her life without posturing or pretense. For as unassumingly personal as the approach may be, her voice seamlessly stretches from gentle intonation into irresistible hooks. After independently generating millions of streams and landing on playlists such as Spotify’s “New Music Friday” and more, her Republic Records debut tells a real and relatable story.

Under her birth name Julia Thompson, the self-described “girl from Cleveland” stirred up a buzz independently with the single “Hits.” On its heels, “Spark” captured coveted real estate on playlists such as Spotify’s Fresh Finds [713K followers] and Fresh Finds: Pop [86K followers]. Meanwhile, “Nights” graced New Music Friday [3.6 million followers]. As she cultivated a following, she also garnered airplay on MTV. In April 2020, she first shared a snippet of “Wish It Would Rain” on Tik Tok, and it sent fans into a frenzy. Soon after, she inked a deal with Republic Records. Now, she makes her formal debut with “Wish It Would Rain.” On the track, dreamy guitar bubbles beneath vivid lyrics such as the chorus reflects a moment of longing for home as she launches a high-register bridge. 

Londin welcomes you right into her heart with every song.

About Jason Leech

Spotify | Youtube | Instagram

Arriving onto the scene with a fresh take on live electronic music, Jason Leech is quick to catch your attention. With the mixture of influences from Pink Floyd and Led Zeppelin to Flume and RL Grime, his eclectic sound brings something new to the table. Having opened for artists as big as GRiZ, Galantis, and Big Gigantic, he has made headway in the EDM scene with his funky jamtronica feel and an undertone of bass. Born in Morgantown, West Virginia, but currently resides in Louisville, Kentucky, he adds the perfect taste of classical piano that amplifies dynamics of songs for a keen electronic sound.

Jason’s love of music began when he started learning piano at the young age of 6. Motivated by his admiration for classical rock – once he realized he could take those songs and play them, it propelled him into perfecting an instrument so he could let out emotions that cannot be put into words. Obtaining a Bachelor’s Degree in Music Technology from California University of Pennsylvania, Jason has the tools, knowledge, and soul to create infinite melodies that will brighten our days. Having the ability to perform live on the keys while expressing himself and exploring his own creativity, along with renditions of others, drives his passion to produce and showcase his talents to the world.

Since his debut EDM keyboard set in 2017 for Brownies and Lemonade, Jason has been featured on various festival lineups such as Asteria, Interstellar, and Lost Lands. His recent collaboration projects consist of working with CloZee, LUZCID, and Zeds Dead. He has also appeared on Lizzy Jane’s and TVBOO’s podcasts to talk about his career and future projects.

His use of piano, keytar, and synthesizers keep him busy as he works on new originals and remixes for other well-known staples in the electronic scene. Constantly creating and upping the ante, he wishes to collaborate with other artists by adding piano to their tracks and positively affect more people with his talents.

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