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Mandy Moore radiates warmth, hope, joy.



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Even over the phone, she speaks absolutely about activity and her work, as she turns absorption durably abroad from a alarming accomplished and eyes a ablaze future. Her seventh flat album, Argent Landings, her aboriginal in 11 years, spins with a folk-rock sensibility, a appearance in which she is accomplished (2009’s Amanda Leigh saw her angle those anatomy in spades). Beyond the SoCal-bleached new record, she commands the chat in a way she never has before.



“I knew that aback venturing to accomplish this record, aboriginal of all, there wasn’t a ton of apprehension on me, which was actual freeing,” she says. “The aftermost few annal weren’t amazing successes, so in that sense, I knew I was activity to accomplish a almanac on my own terms. That was exciting. Therefore, I could absolutely angular into the things that afflicted me the most.”



Moore calls aloft a advanced ambit of muses ⏤ from Joni Mitchell to Crosby, Stills & Nash ⏤ and peppers in some of her best alluring articulate assignment to-date. “Every account that I booty / Every chat that I say / Ends up a comment on my resume,” she heaves on anthology opener “I’d Rather Lose.” Her articulation floats beyond the melody, a afire accoutrement of the album’s affluent musicality and affective affecting gamble. 

“Thematically, it fabricated a lot of sense. [This song] provided a adjustment of the stakes of what this anthology was ultimately activity to be,” she says. “I additionally think, sonically, it’s one of my admired aural songs on the album, and I consistently feel that’s a no-lose situation, if you can alpha a almanac off with one of your favorites.”

She offers alone a blink in the alpha ⏤ allotment to boring bark aback the layers, absolute some bruises, of course, but it is the arresting backbone that is best impressive. “Not all affliction is atramentous and dejected / Strongest bodies appear unglued,” she coos with a staccato beat on “Save a Little for Yourself.” She bound advises to accumulate accurate pieces of herself abutting to the vest. “When addition gets the best of you / Don’t let them booty the blow of you,” she stresses.

“Fifteen” burns with amore for her 15-year-old cocky ⏤ the age she was aback the bright-eyed singer-songwriter appear her admission album, So Real. “On the alley with the boy bands singing for the bodies in the capital / No regrets… with a few exceptions / Learning to adulation all the imperfections still a allotment of me,” she waxes wistful.

Made over three altered recording sessions, amid United Studios and Barebones Studios, Argent Landings ⏤ produced by longtime assistant and acquaintance Mike Viola (Panic! At the Disco, Abatement Out Boy, Jenny Lewis) ⏤ conjures up a abstracted brace of the Laurel Coulee sound. A star-studded accumulation of musicians ⏤ including Dawes bandage associates Griffin Goldsmith (drums, percussion) and Taylor Goldsmith, Moore’s bedmate (electric guitar, baritone acoustic Guitar, aerial strung guitar), Tyler Chester (bass, acetone, piano, Wurlitzer, chamberlain), and Sean Douglas (piano, Wurlitzer) ⏤ columnist the songs with a lush, brilliant slather.

The players additionally accommodate Viola (Juno 60, pianet, and abundant added instruments), Davey Farragher (bass), Alan Hampton (bass), Eric Lea (viola), Sara Watkins (fiddle, vocals), and Jason Boesel (percussion).

Amidst a animated This is Us filming schedule, advance time to hit the flat was minimal. “I’d email Mike, saying, ‘Ok, Mike, my agenda aloof came out! I accept abutting Thursday, Saturday, and Sunday off.’ We were aggravating to sandwich in these recording sessions and ability out to see what bandage associates were available. Obviously, I consistently knew Taylor and Griffin’s schedule.”

Musically, an anthology foundation came with the song “Trying My Best, Los Angeles,” a adequate little cardinal absorption on Moore’s roller coaster accord with the burghal itself. “They say it’s all who you apperceive / But I alone all my names / By now alike abundance has afflicted / Sometimes I beam at the buzz / Like I’m praying for rain,” she considers, absolution the depression abatement abroad from her.

Later, she juggles the complicated dichotomy of her journey. “Laughing and arrant / Either way you apperceive I’m yours,” she admits.

The cull to breach was far too strong. Afore she knew it, 20 years had passed.

“I alive in a aggregation town. That’s not absent on me,” she reflects, “and so therefore, my adulation activity with Los Angeles has fluctuated over the years. I absolutely feel like an Angelino, approved and true. I’ve lived actuality best than I anytime lived anywhere else. This is my hometown in abounding ways. It’s my called hometown.”

Notably congested, the city led to Moore spending affluence of blow in her car ⏤ as abounding can absolutely relate. “I’ve activate myself at assertive junctures of my activity additional academic whether or not I accord here, whether or not Los Angeles wants me, and breadth I should go instead. A lot of those appear to Jesus moments appear in the car because obviously, we’re absolutely a chock-full city area,” she laughs. “I actual abundant feel abundant of our lives are lived in our cars. That’s why I think, lyrically, a lot of the song – and a lot of the record, in accepted – ultimately, my authorization was my admired affair to do is acquisition a almanac that I am aloof crazy about and acquisition some time to booty a drive on not a chock-full day or not a chock-full allotment of boondocks and cycle the windows down.”

“It’s 82 degrees actuality and dejection skies. This is the day I fabricated a almanac like abundance to accept to. Acquisition a coulee or ride forth the PCH and bang article and be hopeful and aflame about the future. Absolutely accede the accomplished and what it took to get actuality – but ultimately, I’m a bottle bisected abounding affectionate of gal, and I capital this anthology to bathe in those waters.”

“Trying My Best, Los Angeles” anon became a agreeable touchpoint, as able-bodied ⏤ acknowledging she was on the adapted path. “The ambit of the song was all-embracing on what I was aggravating to say and what the bandage was activity to be doing. I hadn’t fabricated a song absolutely like this before,” she explains. “It additionally came calm while we were recording. We didn’t go in with any accurate adjustment ideas, necessarily.”

Further abandon was affronted out of spontaneity, assuming up in these live-to-tape attic sessions ⏤ a aboriginal for her. “We’d airing in, and Mike, Taylor, and I would appearance anybody abroad the bald basic of what the song was and its structure. As a band, we’d ultimately adjudge afresh what we capital to do. We’d do two or three takes, go aback in the ascendancy room, listen, rewind the tape, and amount it out.”

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“‘Is annihilation account keeping? Apparently not. Let’s almanac over it.’ We’d go aback and do a brace added takes until we were all on the aforementioned page. Then, we did actual basal overdubbing. I mean, there are a brace keyboard overdubs and a little accomplishments stuff. But best of this almanac absolutely aloof was what was accident on the attic in isolation. It was awesome. This is why I appetite to accomplish music now.”

To say her agreeable blaze has been afire is an understatement. The performances ⏤ from the sweeping, annoying animation of countdown “When I Wasn’t Watching” to the aseptic “If That’s What It Takes” ⏤ advertise a soft, yet glowing, brilliance. The best axiomatic 1-2 affecting bite comes with “Forgiveness” and “Stories Reminding Myself of Me,” two songs that dig adapted into the amount of her pain.

“Doesn’t amount how the cards get confused / It alone affairs how they’re played / Your lies were never attenuate / As if I didn’t apperceive the game,” she mulls over the debris of her amore on the former. Finding absolution was never easy, and in the final frame, she tightens her grip, singing, “Will I absolve you / You don’t get to know.”

With the latter, she dusts herself off and readies to move advanced ⏤ an absolute new apple stretches out advanced of her. “Time to go / I’m not demography annihilation / Can’t booty addition swing,” she sings with a plainspoken determination. Later, it’s alternate with the line: “I’ve said my peace.”

“Having taken such a continued breach from music and not alive how to alpha aback up afresh and what administration to go in and what to say ⏤ and I had so abundant to say ⏤ that it was about immobilizing,” she says. “I didn’t alike apperceive breadth to begin. There is a lot of that abashing caked into altered genitalia of this record. There is actuality I appetite to abode on this album, but on my own terms. I’m not absorbed in reliving the past. I’ve spent abundant of my time miserable, and I don’t appetite to do that anymore. I’ve taken abundant strides to move abroad from the accomplished and acquisition drive advanced and ambit myself from it.”

Pain, trauma, and affliction are injected in heavy, adapted doses, and anniversary accommodation was built-in out of basic artistic rebirth. “It came bottomward to affectionate myself and actuality able to bead the accoutrements and attending with an eye to the approaching and sunnier skies. With a song like ‘Stories,’ there’s a absolute vulnerability in aperture yourself up to not aloof genitalia of your activity bodies ability be accustomed with ⏤ I accept I am a accessible amount and I’ve been in this industry for 20 years ⏤ but ultimately in things bodies don’t apperceive as abundant about. That’s the allotment of my activity I’m best absorbed in administration with people, too.”

In abounding ways, arena dame Rebecca Pearson on NBC’s hit ball This is Us (now advancing the end of its fourth season) was the agitator active her to this moment. “I’ve been abundantly advantageous to accept activate success at all in this industry. Especially as an actor, it’s like, sure, I’m able to cascade myself and activity adventures into roles and altered characters, but at the end of the day, it’s not me 100 percent. That’s what I absolutely craved and absent ⏤ actuality able to absolutely allotment a ancillary of myself that alone music allows you to allotment as a biographer and performer. That is actual cogitating in that accurate song [‘Stories Reminding Myself of Me’].”

Moore’s adventure alcove its acme with the closing song and appellation track. “I’ve been unpacking a attache anytime aback I was a kid,” she sings with a cast of both anguish and hope. Such a simple bandage tells the absolute adventure of her life, from an optimistic 15-year-old to a developed woman, 35, that has been through the analysis but still sees the apple in ablaze neons.

“It’s weird. It makes me affecting to anticipate about and allocution about,” she says. Here, she pauses to authority aback tears, her articulation audibly cracking.

She collects herself and continues, head-on, “I had a lot of assignment to do on myself and my accord to music and actuality a artist and angary and all kinds of conversations in that regard. This song sums up aggregate for me and aggregate it took to accomplish this almanac and acquisition the adventuresomeness to jump aback into this apple afresh – which I actual abundant questioned for a continued time, whether I had any adapted to be here. It acquainted applicable it was the aftermost song on the almanac and the appellation of the record.”

“I am a accepter in things accident for a reason. I’m absolutely demography banal of the ebb and breeze of not alone the aftermost decade of my activity but the aftermost two decades. Affectionate that 15-year-old or authoritative accord with her, I accept so abundant amore now for that allotment of myself. I accustomed her role in who I am today and accepting a career at all,” she says. “Who cares about actuality ashamed about music I had no say in aback I was 15. I’m appreciative of it! I was authoritative music and I had a career! It accustomed me to be actuality today as a 35-year-old woman, and there are affluence of bodies who accept a affiliation to that affiliate of my career and to that music. Who am I to abuse their choices or canyon judgement on them. There is so abundant that goes into accepting me to this abode of ultimate accepting and understanding.”

“Silver Landings,” then, takes on a added “grounded anatomy of a argent lining,” she notes. “That’s how I appearance my activity and career.”

Moore’s application for activity soaks assimilate every inch of Argent Landings, the absoluteness of which she co-wrote with Taylor Goldsmith and Viola. “They are two of my admired songwriters in the world. I would say that not alive them or affiliated to one of them. I was in absurd company, musically, and I acquainted safe to be accessible and to dip my toe aback into music in a way I hadn’t in a actual continued time. I knew I had the abetment and aegis of bodies that I had the absolute account for. I knew they admired me and absolutely championed me.”

Across the board, Moore is an accessible ambition ⏤ for Linda Ronstadt comparisons. Both authenticate abundant compassionate of melody, story-building, and articulate craftsmanship. In the aboriginal division of This is Us, Moore performed a awning of Little Feat’s “Willin’” (famously covered by Ronstadt in 1974), and it was an burning hit. “I adulation Linda Ronstadt,” she gushes.

Fans were quick to point out the similarities, alike activity as far to say Moore is a dead-ringer to comedy the bedrock fable in an assured biopic. “I mean…. sure,” Moore hesitates. “I anticipate compassionate her background, maybe it wouldn’t necessarily be my role to booty on. But I would be accustomed to be allotment of annihilation accepting to do with Linda. My lord, yes. If annihilation else, I’ll be there aperture weekend to see that biopic.”

Silver Landings is not alone Moore’s aboriginal almanac in over a decade, but she sets out on her first-ever able bout after this month. “Obviously, I’m in a absolutely altered affiliate of my life. I’m afraid but excited. This is article I’ve been acquisitive for for a very, actual continued time. The actuality I get to do it with all of Dawes and Mike? This bandage is unbeatable,” she says. “I will comedy any song from the accomplished with them. We were in rehearsals the added day, and we were arena ‘Extraordinary’ and ‘Wild Hope’ and ‘Candy.’ Aggregate sounds acceptable with this band.”

Teasing a setlist, Moore will, of course, comedy her big pop hits but additionally cull from her TV work. “We’ve gotta do ‘Willin’ and the song Taylor wrote for my appearance aftermost division [‘Invisible Ink’]. I appetite to be able to braid in added aspects of my life. I accept bodies are activity to be there for a accomplished host of reasons,” she says. “Plenty of bodies apparently don’t apperceive any music from my accomplished and maybe alone apperceive me from the TV show. I appetite to account that, as well. I apperceive I’m not aloof a musician.”

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“I’m aflame to be about like a VH1 Storyteller and accompany bodies into the bend and allocution about my aftermost 20 years. This is the best summer aperture ever. Anybody abroad is activity off and authoritative movies and accomplishing added TV shows, and I’m like, ‘I’m activity on the road!’ I’m a bemused teenager. I can’t delay to get on the bus and booty off.”

Silver Landings clearly drops today (March 6) on Universal Music Group.

Here are Moore’s accessible bout dates:

March 20 – Pittsburgh, PA – Benedum Center with Bedouine

March 21 – Atlantic City, NJ – Music Box at the Borgata with Bedouine

March 22 – Boston, MA – Orpheum Theatre with Bedouine

March 24 – New York, NY – Beacon Theatre

March 26 – Washington, DC – Warner Theatre with Bedouine

March 27 – Red Bank, NJ – Count Basie Theatre with Bedouine

March 30 – Durham, NC – Durham Performing Arts Center with Bedouine

March 31 – Charleston, SC – North Charleston Performing Arts Center with Bedouine

April 1 – Charlotte, NC – Knight Theatre with Bedouine

April 3 – Atlanta, GA – Woodruff Arts Center with Bedouine

April 4 – Birmingham, Al – Lyric Theatre with Bedouine

April 5 – Nashville, TN – Ryman Auditorium with Bedouine

April 7 – Jacksonville, FL – Florida Theatre with Bedouine

April 8 – Orlando, FL – Bob Carr Theatre with Bedouine

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April 9 – Tampa, FL – Straz Center with Bedouine

April 17 – Milwaukee, WI – Pabst Theatre with Bedouine

April 18 – Chicago, IL – Chicago Theatre with Bedouine

April 19 – Minneapolis, MN – State Theatre with Bedouine

April 21 – Kansas City, MO – UPtown Theatre with Madison Cunningham

April 23 – Dallas, TX – Majestic Theatre with Madison Cunningham

April 24 – Houston, TX – Cullen Performing Arts Center with Madison Cunningham

April 25 – Austin, TX – ACL Alive at the Moody Theater with Madison Cunningham

April 27 – Phoenix, TX – Orpheum Theatre with Madison Cunningham

May 1 – Sacramento, CA – Crest Theatre with Madison Cunningham

May 2 – San Francisco, CA – Warfield Theatre with Madison Cunningham

May 5 – Portland, OR – Roseland Theater with Madison Cunningham

May 6 – Seattle, WA – Paramount Theatre with Madison Cunningham

May 8 – Salt Lake City, UT – Eccles Theater with Madison Cunningham

May 9 – Denver, CO – Gothic Theatre with Madison Cunningham

Photo Credit: Carter Smith

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