“Honestly, it's not so much about learning. The blues is the train running through my life, a constant line from my 'year zero' to my final one, with its own hidden and sometimes strange tracks. I'm not forced to get on this train, but every single day, I inevitably do.”

Patrick Moschen: Nothing But The Blues

A passionate blues music enthusiast, Patrick Moschen boasts, especially in recent years, important collaborations with renowned artists, one above all Angelo "Leadbelly" Rossi with whom he plays in the Three Dogs Night project. The blues that best characterizes him is the raw, raw, and acoustic blues of his origins, but he doesn't shy away from the occasional electric outing in broader musical contexts when he performs accompanied by bass and drums. He's found his means of expression in the guitar, with which he loves to paint his blues, alternating intimate, hypnotic moments with rhythmic, rasping moments. A beautiful journey on the roads of the blues… Patrick Moschen was born in Levico Terme (Italy) on September 1970, and at the age of 14 he became passionate about the guitar. His beginnings, like those of all self-taught musicians, were among the most arduous but were made easier by the help of some friends who were already experienced in using the six strings. He plays in countless contexts and with various musical groups, some of his own creations and others in which he is called upon as a guitarist.

(Patrick Moschen / Photo © by Daniele Curti)

The blues arrived one evening in 1989, at a venue in his hometown of Levico Terme, the then-famous "Birreria Romanda," where he attended a live performance by a very young Rudy Rotta. It was there that he began to understand that the blues was a kind of language, and so he slowly and unknowingly allowed that seed to germinate. In 1999, he and three others formed "Hot Road," a psychedelic rock band with which he toured Trentino for nine years, with occasional trips to Veneto. With them, he experimented with his first blues licks, infusing them into a few songs. After Hot Road disbanded, he launched a project he called "Blues4Fun," which allowed him to experiment as a composer and singer.

Interview by Michael Limnios

What do you learn about yourself from the blues and what does the blues mean to you? 

Honestly, it's not so much about learning. The blues is the train running through my life, a constant line from my 'year zero' to my final one, with its own hidden and sometimes strange tracks. I'm not forced to get on this train, but every single day, I inevitably do.

How do you describe your sound and songbook? What's the balance in music between technique and soul?

I am an enthusiastic devotee of the blues. The blues that defines me most is the music of the origins—raw, rough, and acoustic—though I don't shy away from some electric excursions in broader musical contexts when I perform with bass and drums. I have found my medium of expression in the guitar; I love to paint my blues with it, alternating intimate and hypnotic moments with rhythmic and gritty situations.

As for the balance between technique and soul, for me, there is no balance. There is only an outpouring of soul and artistic coherence, without having to necessarily mimic the greats of the past. It's about always paying respect to them, without ever pretending to be them.

“Regarding the past scene, my biggest regret is simply not having been able to witness it. As for the future scene, my hope is to always have a foot inside, even if it’s just in a very small space. But I absolutely want to be a part of it.” (Patrick Moschen / Photo © by Marco Vignazia)

Why do you think that the Italian Blues Scene continues to generate such a devoted following?

I believe the answer lies in the power and immediacy of the blues language, specifically the ability of the lyrics to immediately create strong images set to music and structures that are not necessarily complex.

Which meetings have been the most important experiences for you? What was the best advice anyone ever gave you?

There have been many important meetings, but the most striking one was definitely with Angelo 'Leadbelly' Rossi. It was a real encounter, instruments in hand, and he was a legend to me. I've had the privilege of playing with him many times, and he taught me so much. I owe him a few phrases that have really stayed with me, one of which is: 'Do things seriously, but don't take yourself too seriously.'

Another piece of advice that has always been with me since childhood was a lesson from my grandfather, a phrase attributed to Carl Gustav Jung: 'You are what you do, not what you say you will do.'

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

I have so many memories and intense emotions from these experiences, but I wouldn't want to be unfair by mentioning only a few things, because festival stages, although different from one another, are always thrilling. Those who organize these events truly pour their heart and soul into them.

What I can certainly mention is the enormous thrill of playing at the Bitonto Blues Festival in front of a packed square, especially after driving a thousand kilometers to get there—that was unforgettable. Another wonderful recent experience was the Steinegg Blues Live, where I performed with Walter Fortarel on bass and Massimo Visintainer on drums for the opening act of the great Big Daddy Wilson and Stefan Hauck. But truly, every single gig carries indelible memories.

“I believe the answer lies in the power and immediacy of the blues language, specifically the ability of the lyrics to immediately create strong images set to music and structures that are not necessarily complex.” (Patrick Moschen / Photo © by Thomas Guiducci)

What do you miss most nowadays from the blues of past? What are your hopes and fears for the future of?

I don't have a crystal ball to predict the future, and perhaps it's a blessing not to have one, because then you can face it head-on and, with the right attitude, be amazed by everything that happens.

Regarding the past scene, my biggest regret is simply not having been able to witness it. As for the future scene, my hope is to always have a foot inside, even if it’s just in a very small space. But I absolutely want to be a part of it.

What are some of the most important lessons you have learned from your experience in the music paths?

I've learned many lessons, but I can summarize the most important one with a single word: listening.

Listening with your ears, listening with your heart, listening with your gut, listening with your whole body—listening and feeling every small vibration. This has made me musically free and has prevented me from locking myself into rigid schemes. It means recognizing that others are different from me, seeking out people who share this very value, and staying away from quick and unreflective judgment.

How can a band/musician truly turn the blues into a commercial and popular genre of music for the today's audience?

I swear, if I could give an answer to this question, I would be the happiest man in the world, because this is precisely one of the biggest problems. It's about all the obstacles that exist to make a niche music like the blues truly emerge. The great artists of the past managed it, but it's really tough for the medium-sized bands; very few succeed. There is no real support system for the dissemination of this music. It is a genre that fundamentally must be heard live, but we often find ourselves having to self-organize even for large and important events. Yet, to dream of being able to tell one's own stories through music remains the true blues for those who play and love the blues.

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(Patrick Moschen / Photo © by Silvio Carcereri/SKAttomaTTO)