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Sitting across from country singer/songwriter Niko Moon, the words "GOOD TIME" are inescapable, peeking
through the threads above his knees. "Good Time" is a track on his forthcoming genre-testing debut EP, a
moment he wanted to benchmark with tattoos: "GOOD" on his right leg, "TIME" on his left.
"I always wear holy jeans," Moon explains, "and I’m starting to run out of real estate."
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Moon’s relationship to both makes the cross-pollination a natural one. Douglasville, Georgia, where he spent
his teens, is 30 miles due west of downtown Hotlanta, the epicenter for OutKast, T.I. and The Ying-Yang
Twins. Douglasville is likewise 30 miles north of Newnan, the home of holy-jeans wearing country singer Alan
Jackson and the birthplace of "Seven Bridges Road" songwriter Steve Young. Adding to Moon’s musical
upbringing, his father was a part-time musician with a penchant for smart country artists – such as John
Prine and Kris Kristofferson – and all those influences blended into Moon’s artful persona: a mix of hooky
melodies, shrewd wordplay and edgy, electronic beats.
"If my life was to have a sound, this is it," Moon says of the summery architecture in Good Time. "The way I
think of it is bass and drums is Atlanta, and everything above it is Douglasville."
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Sam Hunt, Jason Aldean and Kane Brown are among the artists who’ve fused country and hip-hop over the last
decade, though it’s rarely been accomplished so slyly and seamlessly as Moon does it in Good Time.
"There's millions of people that are just like me, who are country people but want their country music to
hit," Moon muses. "My goal in high school was to blow up my S10 speakers in my little truck, and it was hard
to do that with country music at the time.
"I'm a country artist 100%, and I'm going to be a country artist. I just love to feel that hit in the chest,
and that's what I love about the Atlanta thing."
Moon’s journey began in Tyler, Texas, where he was born the son of a truck driver and a waitress at a Chinese
restaurant. His father gave up an opportunity to tour as a drummer when he found out Niko was on the way,
but music remained a significant part of the family’s personality.
"Both of my parents are songwriters," he says. "They're not professional, but they love to do it. Some of my
first memories in life were crawling into the living room and watching them write a song together on guitar,
sitting Indian-style on the floor."
When Niko was 10, his mom picked up a job with a temporary staffing company in Douglasville, and it was in
the new location that Niko took up music on his own. When Dad was away, Niko routinely snuck a guitar out of
the closet and learned to play left-handed on the standard, right-handed instrument.
He immediately started writing songs, unwittingly establishing his future path. His first experience as a
band member came playing rudimentary bass for a local punk group. And when his prowess in cross country
brought a full-ride athletic scholarship at Samford University in Alabama, he used the opportunity to focus
his studies on music, a pursuit he felt gave him the best chance to make a difference.
"When I first saw live music, I felt that crazy, enigmatic feeling like I was connected to something bigger,"
he says. "I don't even know if you can put a name on what that is. I just felt connected to something."
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The two began co-writing, and Moon became a regular collaborator, credited on five #1 Zac Brown Band hits:
"Loving You Easy," "Homegrown," "Beautiful Drug" and "Keep Me In Mind" – plus "Heavy Is The Head," which
topped the rock charts with Chris Cornell singing lead.
Brown, of course, was a perfect foil. His version of country is a hybrid form that blends pop, soul and
Southern rock, and it suited Moon, who became a fulltime songwriter for years. When Brown formed Sir
Rosevelt with Niko and Ben Simonetti, it pushed Moon’s experimental tendencies even further, melding
country, pop and EDM.
That project coincided with a move to Nashville, where Moon’s creative sphere widened further. His wife, Anna
Moon, snagged a pop deal with Monument, and Niko expanded his co-writing work, landing a Rascal Flatts
single, "Back To Life," and supporting reggae/hip-hop artist Michael Franti as a co-writer and producer.
During the work on Franti’s Stay Human, Vol. II, Moon’s personal journey reached a tipping point, inspiring
him to make his own artistic statement. He enlisted Anna and a longtime friend, guitarist/producer Josh
Murty (Luis Fonsi, Brandon Heath), to co-write what became Good Time. The goal – true to the project’s title
and to Moon’s development – was simply to be a positive force in the world.
"The only thing I'm really concerned with is: Does it make people feel good? Does it make them feel happy?"
he says. "If the songs do that, then I did my job."
With the title track setting the pace, "Drunk Over You" weaves a languid Dobro and gang vocals over a trippy
bass-and-drums format. "Paradise To Me" inserts rich piano bass notes in the country/hip-hop circuitry,
while Moon transports the trendy beach party to a backwoods lake, where the bulk of country fans are most
likely to gather.
The songs sound big, but there are surprisingly few instruments involved. That, Moon says, is
"super-intentional."
"I'm a pretty minimal person," he says. "I don't like clutter, and I don't like to inundate people with too
many sounds at one time. Especially in country music, the story is so important."
Some of country’s prominent movers and shakers bought into Moon’s artistic story right away. Already signed
to Warner/Chappell, he landed a booking deal with the Creative Artists Agency, and secured Luke Combs’
partners, Lynn Oliver-Cline and Chris Kappy, as his managers. Sony Music Nashville – his first choice for a
label – signed Moon within a week of an audition in chairman/CEO Randy Goodman’s office.
"With Maren Morris and Kane Brown, they’re doing so well with the progressive country artists," Moon says.
"That's definitely the lane that I'm more in, pushing the envelope."
Thus, some of Nashville’s strongest business players are on board with an artful singer/songwriter breaking
down barriers between two musical worlds that once seemed so separate. Moon’s Good Time is a reflection of
country’s new order in the 21st century, a culture of fluid genres and wider tastes.
"We were listening to country and hip-hop all at the same time and we were constantly flipping back and
forth," Moon says of his own good-timin’ musical heritage. "I really wanted to figure out how to mix those
two worlds together in a way that felt really authentic and genuine to who I am. And to everyone else who
grew up the same way."
