On an overcast evening, pockets of sunshine streamed through the clouds, shining a natural spotlight upon 89th Street, the historic music venue planted in the Britton District.
Baggy clothes topped with beanies and shaggy hair, filtered sporadically through the doors of the venue. Hanging lanterns above the wood-paneled bar and blue stage lights illuminated the space as heavy metal pulsed through the speakers, while audience members patiently gathered at the foot of the stage. The atmosphere was relaxed, creating a close-knit setting that allowed every detail of the evening to come into focus.
Ken Raymundo, better known by his stage name Moondough, performed in Oklahoma City on February 17 as part of The OMW Tour, the musician’s debut headlining run. The Southern Californian artist made OKC his fourth stop, bringing his groovy melodies and sun-soaked sound to the city.
Two artists were featured as openers for the night. First was Oklahoma-based artist Pretty Well, who has described himself as someone with a “propensity for laziness and writing emo songs.” He commanded the stage as a solo act, acoustic guitar in hand, delivering velvety, full vocals while singing about love and all it encompasses.
Following was Way Back Ruth, a three-piece band from Colorado and longtime friends of Moondough. Their indie-pop sound carried an easygoing essence, reminiscent at times of Vampire Weekend and Greer. An upbeat percussion section with bright, energetic qualities allowed the audience to feel the rhythm, displayed through steady head nods and shoulder sways.
After the openers concluded, patrons grabbed drinks at the bar while awaiting the headliner’s performance. It was a subdued crowd, able to indulge in an up-close experience with each artist.
Once the audience had been thoroughly warmed up, it was time for Moondough and his band, fondly referred to as “the raccoons,” to sweep the night away. Raymundo has described his style as drawing elements from funk, soul, jazz, and a touch of rock ’n’ roll. All of these influences blended and complemented one another effortlessly, never feeling out of place or unnatural.
Raymundo was impacted by music at an early age. He has recalled a memory of his cousin showing him a guitar when he was ten years old as the moment he most vividly remembered wanting to pursue music himself.
Blue and yellow stage lights coordinated their flashes with the strongest beats of the choruses as soulful melodies floated through the air. Raymundo’s infectious ear-to-ear grin and teal tie-dye shirt mirrored the good vibes radiating from the instruments around him.
One of Raymundo’s greatest artistic inspirations is Earth, Wind & Fire, which was not difficult to detect while listening to his music. It reflected the essence of a now distant era with electrifying synth solos and hefty bass lines. His stage presence was full of irresistible movement that the audience mirrored, bopping along in time. This was the kind of music that is nearly impossible not to dance to. The singer swung his lengthy black hair and kicked his feet when the song demanded it.
The 2020 release “Time’s Up” stood out as one of the more mid-tempo selections, delivered with cool composure and low, warm vocals. The track allowed the electric guitar solo to carry the energy forward.
A performance of their newest release, “Intrusive Thoughts,” showcased the band’s wide range of musicality. Midway through the song, the tempo shifted dramatically slower. The verse took on a hypnotic, dreamlike quality, with Raymundo’s swelling falsetto entrancing listeners before a steady build returned the song to its original melody. The dynamic contrast highlighted the band’s versatility.
“I just hope my music can bring people together and make them feel something. If that is accomplished, I feel like I’ve done my job,” Raymundo said of his intentions as an artist.
Within the close-knit setting, there was a special quality that seemed to disarm both musicians and listeners, enabling a personal connection to the performance. There was space to breathe, yet patrons chose to stand as near to the stage as possible. Without distraction, those offstage devoted themselves fully to the music. By the end of the night, the experience felt shared and memorable.
It was hard to leave the concert not humming one of Moondough’s choruses.
This article appears in Spring Break Splash.