He’s back.
Like many artists out there today, Kip Moore is one of those names that simply has never gotten the attention he deserves. Despite having a #1 right out of the gate with his debut single “Something ‘Bout a Truck” back in 2012, the Georgia native has routinely fallen into the “severely underrated” category throughout most of his career. And yet, it’s never really mattered. He’s carved his own path, earned his own fans around the country, and even around the world, building an impressive and sustainable career without much help from the likes of country radio.
Throughout the years, he’s simply gotten better with age. It seems as if many artists, especially those like Moore who experience success early in their career, tend to fizzle out creatively and never try to reinvent themselves as creatives. That’s simply never been the case with the “She’s Mine” singer.
Despite being around for nearly 15 years at this point, recently, it seems as if Moore has hit his stride from a creative standpoint and has been on an absolute tear release-wise.
This has been put on full display recently. After extending 2025’s Solitary Tracks to a massive 26 tracks later in the year, back in May, he dropped his seventh studio album, Reason to Believe, which delivered nothing short of a knock-out punch. Filled with standout songs such as “Wild Things Like You,” “Josephine,” “Long Time Coming” and the title track, the record found Moore in his sweet spot once again as he dealt with the grief of the loss of long-time friend and collaborator, Brett James, and continued search for something bigger than himself.
Just when you thought Moore might have been done for the year with releases, he began teasing another new project earlier in the week. As it turns out, he was gearing up for a two-song collection, Dyin’ On The Vine.
Discussing the inspiration behind the project in an Instagram caption, the “Hey Pretty Girl” singer would explain that it comes from a place of confidence in himself as an artist, not caring about preconceived notions about his sound and style or how quickly it’s been released after May’s Reason To Believe.
Additionally, he’d add that he’s not thinking of any genre boundaries nowadays as well.
“I’ve never wanted to feel confined when creating music. I try to write and record music that represents where I’m at during that specific time in my life. I don’t think about genres, the current sonic landscape, or anything that could restrict where I’m being pulled. That leaves you open to criticism of abandoning what you were or what the public has known you to be. I’ve learned to be okay with that because I’d find no joy in making the same record over and over.
I want to release music while I still feel a deep connection to it. Most artists are nine months or more removed from making music by the time it comes out. You can feel like a different person by then. I wrote and recorded both of these tracks recently and told myself I don’t care if I just dropped a whole record a few months ago. I want to release this now.”
That can be felt on both tracks here on Dyin’ On The Vine.
On the title track, which was written by Moore, Hillary Lindsey and Thomas Salter, it sees him lamenting about the state of the union lately, proclaiming that “this world is a mess.” Here, he’d point to the exhaustion he feels lately watching the news and seeing a world “hell-bent on destroying itself.”
“With ‘Dyin’ On The Vine,’ I see the madness of this world and I simply can’t make sense of it. I don’t know where it’s all headed, but it ain’t looking good. I get cynical sometimes and try not to let it overtake me. I have zero answers, and I’ll never come on this platform acting like I do.
I wrote about the exhausting nature of a modern world that seems hell-bent on destroying itself. I’ve been an individual my whole life. I don’t walk with the herd, I’m not swayed by my tv, and I belong to no team. I see nuance and my faith lies in something bigger than man. I hope we course correct.”
As for “Janie’s Song (American Heartbreak),” longtime fans of Moore should be familiar with the character. First appearing on Wild World’s spectacular track, “Janie Blue,” she’s also been referenced on the likes of “Payin’ Hard” and, most recently, “The Darkness” from Reason To Believe.
Here, we get what looks to be the final chapter of her story. In an incredibly classic, heartland rock-inspired track, Moore reveals that the former muse is currently living on the street after finding another man who didn’t give her the love she deserved, lamenting that she went “from American dream to American heartbreak.”
“’Janie’s Song’ is the last thread of a character I’ve stretched across seven albums. While in a city recently, I saw a girl pushing a cart full of her belongings every day for a month. I kept wondering how she got there. She was once someone’s little girl, and now she’s lost in a deep, suffocating trench of despair.
I’ve been on my own a lot in life and felt despair in different situations, but none measure up to what I imagine hers must feel like.
Overall, Dyin’ On The Vine is everything you’d expect from Moore in the best way possible. Diving into the current hopelessness felt by many today on the title track and giving fans another (and presumably final) update on the popular character on “Janie’s Song (American Heartbreak),” it’s a two-song collection that packs one hell of a punch.
“Dyin’ On The Vine”
“Janie’s Song (American Heartbreak)”
Reason To Believe Tour Dates
December 3 — Denver, Colorado — Ogden Theatre
December 4 — Park City, Utah — The Marquis Park City
December 5 — Missoula, Montana — The Wilma
December 10 — Chicago, Illinois — Vic Theater
December 11 — Indianapolis, Indiana — Old National Centre
December 12 — Madison, Wisconsin — Orpheum Theatre
December 17 — Albany, New York — The Egg
December 18 — Toronto, Ontario — Danforth Music Hall
December 19 — Cleveland, Ohio — Agora Theatre and Ballroom
