Behind The Lens: Quentin Moore (Part Deux)

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How many times do you edit a song before releasing it? When do you finally know a track is done?

When it comes to editing, I really try to let the message guide everything — the lyrics, the melody, and the feeling have to be clear before I even get deep into post-production. By the time I hit “record,” I’ve already shaped the song in a way that doesn’t actually require a ton of heavy editing afterward.

I’m not against editing at all, but I don’t believe in over-editing either. I’m not trying to be a perfectionist — I’m trying to be understood. The goal is for the listeners to really feel what I’m communicating, both in the music and the words. So I take my time and find the balance: not so polished that the soul gets stripped out, but not so raw that the message is unclear.

The purity of a record matters to me. If you edit too much, you lose the heart of it. If you don’t edit enough, people may miss what you’re trying to say. So I try to land right in that sweet spot where the emotion is still intact, the direction is clear, and the listener gets a finished product that still feels alive and honest.

How do you decide on the cover art for a release? Do you take the lead creatively, or trust your photographer/director to run with the vision?

When it comes to cover art, I usually take the creative lead from the very beginning. I like to start with the concept myself — the mood, the colors, the overall message — and once I have that vision shaped, I’ll bring in a photographer or graphic designer to help bring it to life.

Sometimes I can finish the idea completely on my own, but other times I’ll collaborate to make sure the final product matches what I’m seeing in my head. More recently, AI has played a big role in that process, too. It’s helped me develop visual concepts even faster, and then I’ll work with an AI artist or a designer to refine those ideas so they look polished and professional for release.

So overall, the inspiration starts with me — the identity, the “feel” of the record — and then I partner with the right creatives to elevate it and make sure it connects visually with the audience.

Which streaming platform do you enjoy using the most—and why? Is it about fan access, functionality, payouts, or community?

My go-to streaming platform is Spotify. It’s the one I personally enjoy using the most, and it’s also where I choose to focus a lot of my promotion. From a listener standpoint I just find it the easiest and most intuitive to navigate. Plus, I don’t use an iPhone — I’m team Samsung — so Apple Music has never really been part of my daily rotation. Spotify has become a home base for both my listening and my releases.

What’s the studio atmosphere like for you? Do you prefer solo sessions or feeding off other energy? Walk us through your ideal creative space.

When I’m creating music, I usually prefer solo studio sessions — especially in the early developmental stages of a record. That’s where I shape the blueprint of the song and really lock in on the direction and emotion I want it to have. About 80 to 90 percent of my studio time is just me alone building the core of the track.

Once the foundation is solid and I know what I’m trying to say musically, that’s when I start bringing in other musicians and producers to help elevate it. If we’re recording live instrumentation with the full band, that’s more like a live performance environment than a traditional “from scratch” session.

But for the creative birth of a song — the spark, the structure, the vibe — I like working solo so I can fully form the idea. Then I bring the right people in to help expand and bring that idea to life.

What’s your perspective on staying independent vs. signing with a label? Where do you see the biggest benefits—and biggest sacrifices?

Being an independent artist has its advantages and its challenges. The biggest benefit for me is having 100% creative control and 100% ownership of my masters. I get to decide the sound, the story, the direction — nothing has to be filtered through a boardroom first. The music stays authentic.

But the trade-off is the budget. As an independent, you don’t always have the resources to create at the scale you envision. You’re constantly stretching dollars — sometimes crowd-funding, sometimes compromising, or finding the best engineer or designer you can afford, even if your dream choice is outside the budget. Marketing is another major hurdle — labels come with built-in networks, booking connections, and funding for promo. Independents have to build all of that piece by piece.

With a label, you gain amplification — marketing, touring infrastructure, radio campaigns — but you usually lose ownership of your masters and at least some degree of creative control, unless it’s a smaller boutique or indie label.

My ideal situation would be an independent label partnership — one that still allows me to own my masters, keep creative direction, but provides some marketing support and booking power behind the music. I wouldn’t mind sharing a little creative control if it’s with a team that genuinely believes in my sound and wants to help elevate it rather than change it.

Where has been your favorite venue to perform so far? What made the experience memorable?

That’s a tough question because I’ve had incredible experiences in a lot of different countries, so I don’t really have just one favorite — I have a few top venues that stand out for different reasons.

One of them is the Kozlov Club in Moscow, Russia. I’ve been performing there for about eight years now, and it’s become a staple for me internationally. The atmosphere is always on point, the staff and tech team are fantastic, and they livestream and professionally record the shows, which is a huge bonus for an artist.

Another favorite is The Jazz Café in London. I played there back in 2014 opening for Kindred the Family Soul, and the place was absolutely packed. That show was one of my most memorable club performances — the energy, the intimacy, the crowd response — everything just aligned that night.

I also love Bizz’Art in Paris. I actually performed there last night, so it’s fresh on my mind. That venue is full of energy every time — it’s soulful, warm, and the audience really pours into the music.

And I also want to shout out two venues in Spain — Sala Clamorens Madrid and Jamboree in Barcelona. Both were intimate rooms with amazing staff and great sound, and they really stood out as places where the connection with the audience felt personal and powerful.

So each of those venues is special to me for a different reason: the culture, the energy, the history, and the memories I have on those stages.

Do you think artists should be more vocal about political or social issues? Why or why not—and do those views influence your music?

I absolutely think musicians should have the right to speak on political or social issues if they choose to. Music has always been a voice for the times, and artists have a unique platform where people actually listen. I don’t personally talk about politics in conversation very often, but certain social issues and moments in history definitely influence my writing.

A good example is my song Peter Norman. It was inspired by the 1968 Olympics in Mexico City during the men’s 200m medal ceremony when Tommy Smith and John Carlos raised their fists in the Black Power salute. Peter Norman — who was the white Australian sprinter standing with them on the podium — didn’t turn away or distance himself to protect his own image. He stood in solidarity, knowing the weight of that moment. He didn’t wear the glove, but he wore the Olympic Project for Human Rights badge in support of their message, and he risked his own career to do so.

That story moved me, because it shows how powerful quiet solidarity can be. Sometimes just standing with people is a statement.

So I believe musicians should absolutely have the freedom to address social issues through their art. If you feel something deeply and it inspires you creatively, it deserves a voice in the music.

Are you making a New Year’s resolution—or starting/stopping something cold turkey? What’s your mindset heading into the new year?

I don’t really do New Year’s resolutions in the traditional sense. I’m more of a continuous goal-setter — weekly, monthly, yearly — I’m always working toward something, not just when the calendar resets.

This past year my goal was to release new music, especially after taking some time before putting out anything new. I accomplished that, and going into the next year my focus is on promoting that music, touring with it, and continuing to release more.

So instead of calling it a resolution, I’d say it’s just an ongoing commitment to growth — staying consistent, building momentum, and leveling up each step of the way.

What song (yours or someone else’s) reminds you of winter—and why? Is it nostalgic, motivating, or calming?

There are definitely a couple of songs of mine that remind me of the winter season. The first is a song I wrote back in 2004 called Snowflakes. I was in college when I wrote it, and it actually became a little campus hit before I ever had the budget for CDs or distribution. I’d just perform it live around campus and people connected with it immediately. That song still takes me back to the feeling of winter — cozy, nostalgic, very personal.

More recently, I wrote a holiday record called You Are My Season. I released it last year, and it really captures the spirit of Christmas time for me — not just the season itself, but the feeling of warmth, love, and closeness that winter can bring.

What’s a motivational quote or mindset you live by? And where can people connect with you and follow your journey?

I’ve been thinking about motivational quotes a lot lately, and one that I really live by is: connection over perfection. I actually shared this with a friend of mine at her debut show back in September.

As artists, we sometimes get so focused on trying to execute everything perfectly — every note, every transition, every moment — that we forget the most important part of performing is connecting with the people in front of us. You can have a technically perfect show, but if the audience doesn’t feel you, it won’t stay with them. But when you connect — when they feel seen and included in the moment — they remember that forever.

That doesn’t mean you shouldn’t rehearse or sharpen your craft. Preparation still matters. But don’t become so obsessed with perfection that you lose the humanity of the performance. People don’t come to see robots — they come to feel something real.

Find me on all socials @Qmooremusic or on streaming platforms "Quentin Moore" or on my website www.qmooremusic.com