Earlier this month, the Paste Studio On The Road team journeyed to Mass MoCA for Wilco’s Solid Sound festival to capture intimate performances from some of the most compelling voices in music today. Among the highlights was a standout session from Chicago-based singer-songwriter Elizabeth Moen, who stopped by Fresh Grass Institute’s Studio 9 to share a preview of her forthcoming LP, Fields On Fire.
Moen opened the set with “Renaissance Man,” a sharp, guitar-driven track that balances wit with raw vulnerability. Produced by Spencer Tweedy, the song captures Moen’s unique vocal delivery—a blend of playful purrs and conversational storytelling that feels both intimate and expansive. The performance highlighted her ability to command a room, with the song’s rich, thrumming energy reverberating throughout the studio.
The session continued with “Not You Not Me,” the second single from her upcoming record. Featuring a propulsive drum beat from Jack Brereton, the track showcases Moen’s impressive vocal range, particularly her delicate head voice. Reflecting on the festival atmosphere, Moen expressed her enthusiasm for the experience, noting that the energy of Solid Sound was a perfect backdrop for her new material.
In a surprising turn, Moen stepped away from her original compositions to deliver a heartfelt cover of Willie Nelson’s “Hands on the Wheel.” Accompanied by bassist Gus Martini, Moen’s rendition was both mournful and contemplative, demonstrating her technical precision and emotional depth. “I grew up with Willie Nelson,” Moen shared during the session. “It’s been in my gut since I was a kid.”
The set concluded with the title track from Fields On Fire, a swaying, melancholic piece that evokes the classic songwriting sensibilities of artists like Lucinda Williams. With gentle piano accompaniment from guitarist Tristan Huygen, the song allowed Moen to showcase her powerful, resonant vocals. As the performance faded, it became clear that Moen is an artist operating at the height of her craft, delivering live performances that often surpass the polish of her studio recordings.
