Andrew Moore and Hooch do not tiptoe into “Mountain”. The Kentucky five-piece arrives with a live-room pulse, a headline-grabbing guest spot, and a title built for a raised fist.

This Americana album turns a sophomore moment into a full-band statement. For listeners hunting new music with country grit, blues heat, and rock-and-soul muscle, “Mountain” wants the crowd in the room, not behind glass.

Andrew Moore and Hooch formed in 2022 and grew from Andrew Moore’s piano-led writing into an award-recognised five-piece. Moore fronts the band as singer and pianist, joined by Logan Turner, Gabe Crockett, Matthew Skaggs, and Jeremiah True.

On “Mountain”, Moore wrote every lyric and composition, then brought the songs into a group setting. That gives the project a collective stake and stage-ready force.

Producers Jason Groves, Justine Blazer, Nick Autry, and John Daly share production credits, and five studios were involved, including Sound Stage Studios in Nashville.

“Mountain” has a stated centre: live takes. That decision fits a band known for high-energy shows and an Americana mix shaped by blues, country, rock, and soul.

It leaves room for immediate moments that make a group feel present rather than lacquered.

“Tyrant” is the instant conversation starter. It features John Daly and Grammy-winning artist Dan Tyminski, and its video placed Moore and Daly together in a story that later earned coverage from TMZ and Music Crowns.

Here, the guest slot brings a bigger audience to a band willing to argue on record. Moore says Daly heard an early version, then asked him to write together.

“Peace Love and Harmony (Live at the Record Shop)” is the counter-punch, a direct appeal for people to reject hatred and treat one another better.

Pairing it with “Tyrant” lets “Mountain” move between resistance and repair, two instincts that often collide in a group chat or family kitchen.

The record gives its message a target, then asks for an alternative.

That makes the peace track a smart choice for community radio, acoustic rooms, and short-form video.

The most revealing anecdote comes from “Tasmanian Devil.” Drummer Matthew Skaggs proposed a chorus of vocals alone, then gathered odd percussion items from a closet, including an air blast, to colour the section.

It turns a recording session into a group problem solved in public, and gives the album a human fingerprint. The band recorded live, so that left-turn speaks to an appetite for response, timing, and risk.

The album has a title track, “Tyrant,” a kindness anthem, and a rodeo-bull tale in “Tasmanian Devil,” all competing for attention.

The group would benefit from live clips that place these songs side by side. The band has a performance-first identity, a clip-friendly guest feature, and songs with distinct hooks.

The next step is letting new listeners see how those pieces belong together.

“Mountain” is poised for listeners who want the grit of a band at work rather than a perfect digital finish. It should travel through Americana playlists, regional radio, music-video channels, and live bills.

Moore and Hooch have dates listed into late 2026.

“Tyrant” gets the door open, “Peace Love and Harmony” gives the visit a conscience, and the live-band approach keeps the floor moving.

If the next chapter carries this appetite for risk, the group will have new ears ready to press play.