Moon Taxi came up in Nashville, blending crisp guitar pop with jam-friendly breaks, and they have built their rep on long, feel-good sets.

Nashville roots, festival instincts

In recent years they leaned back into self-production, cutting parts of Set Yourself Free at home studios, which sharpened their DIY streak. Expect a New Year's set that favors big hooks early and open-ended codas near midnight.

Midnight setlist vibes

Likely anchors include Two High, Morocco, Let the Record Play, and Not Too Late, with one cover tucked near the countdown. You will see a blend of long-time fans who know the whistle lines and friend groups in festive jackets, trading cheers without elbowing for space. Lesser-known note: guitarist Spencer Thomson often handles co-production, and Morocco started as a simple riff they stretched onstage before recording a studio version. Note: song picks and production mentions here are informed guesses and may shift once the band hits the stage.

Moon Taxi crowd notes

New Year's shows draw a mix of sequined tops and denim jackets over band tees, plus plenty of comfy sneakers for the long dance arcs.

Glitter and guitar tees

Expect people to flash peace signs during Two High and try the whistle hook together, which feels more neighborly than rowdy. Merch lines tilt toward sunset-and-mountain art, caps and soft hoodies rather than flashy limited drops.

Little traditions

You will hear pockets of fans swap Bonnaroo memories and argue favorite closers, then quiet down for the countdown hush before the burst. At Moon Taxi shows, the loudest chant is usually simple singing on the wordless hooks, with claps landing on the two and four like a shared metronome. It is a scene that prizes friendly space, quick high-fives after a good solo, and taking the energy home rather than peaking before midnight.

Moon Taxi under the hood

Moon Taxi's live mix starts with Trevor Terndrup's clear tenor sitting clean over rhythmic guitar and keys that double the hooks.

Hooks first, then lift

They favor tight verses and open the choruses by pushing the kick and cymbals, then let the outro ride a pocket rather than sprinting the tempo. Spencer Thomson often uses bright, delay-kissed tones for melodic leads, while Tommy Putnam's bass stays simple and rubbery to glue the jams. Wes Bailey's keys handle many transitions, sometimes cueing the next tune with a short arpeggio so songs flow without full stops.

Small tweaks that land big

A small but telling habit: on Two High they sometimes start with a keys-only prelude, then drop the beat to let the crowd whistle before the band slams the first chorus. Visuals lean warm amber and cool blue, supporting the sunny-to-dusky mood without shouting for attention, with a little extra sparkle reserved for the countdown.

Moon Taxi neighbors in sound

Fans who cross the aisle

If you like The Revivalists for their horn-friendly soul-rock and hands-up choruses, the lift in Moon Taxi's refrains hits a similar nerve. Young the Giant fans may connect with the polished indie sheen and the clean vocal leads that still leave space for guitar color. The acoustic-leaning warmth and community singalongs mirror what draws people to The Head and the Heart. Judah & the Lion bring a similar Nashville-born mix of bounce and sincerity, with crowds that show up to participate rather than pose.

Shared grooves, shared rooms

Across these camps, the common thread is melody up front, grooves that stretch a little live, and a crowd that values a bright mood without losing edge.