Back in 1962, the Folk scene in Greenwich Village was exploding. It was a time of turmoil and protest; of uncertainty and war. A relative newcomer to the village had recently begun to make a name for himself: a young folk singer by the name of Robert Zimmerman. Robert had been honing his skills and performing his songs for the better part of a year but on April 16th, 1962 – everything changed. He performed an impromptu two-verse version of a song he’d been writing called ‘Blowin’ in the Wind’. People began to listen to what this young man had to say, marveling at how one so young could speak with such depth and wisdom. Robert finished the song and added a middle verse. Four months later, he legally changed his name to ‘Bob Dylan’ and the rest, so they say – is history.
Just like Dylan, Ned Moss isn’t your average songwriter. He’s a poet, a story teller, and (unlike Dylan) one HELL of a guitar player. But don’t let his youthful appearance fool you; this recent graduate of the Purcell School of Music is already composing far beyond his years. With his latest single ‘The End of the Play’, Moss looks to showcase the culmination of his many years of hard work and dedication. The song unfolds as a beautiful metaphor, equating the act of being in love to being an actor in a play. The line “if only we’d of thrown away the script; if only we’d got up after we tripped” seems to suggest that sometimes in love, as is true in acting, we’re playing predetermined roles with a predestined fate. That no matter how hard we wish we could affect or change the outcome, we only ever have the lines we’ve been given. That in love and in life: we are not our own.
The track itself is soaking in simplicity: a lonesome-sounding finger-plucked electric guitar melds seamlessly with the rich timbre and reverberation in Moss’ vocals. Every line commands attention and with each new verse Moss offers a fresh perspective from a different point of view: like a living movie compromised of multiple vantage points. At no point does Moss over-complicate matters or attempt downplay the emotional components of the song. He’s speaking to his audience on common ground, relating a series of events in a manner that we can all appreciate and empathize with. His jazz styling is nothing short of incendiary and his slow-hand guitar-play is unmatched. ‘The End of the Play’ is the type of song that draws you in, provoking introspection and rewarding active listening. Moss plays his role to perfection, delivering a lasting and impactful musical performance that won’t soon be forgotten.
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Listen to The End Of The Play on our New Music playlist on March 6th