TRICKY CRICKET is fun acoustic folk music. Scott Moore and Charlie Patton draw from a wealth of various influences (folk, classical, rock, and the like) to craft tunes and arrangements that explore the limits of what can be done with a fiddle, cello, guitar, and two voices. Sometimes intricate, often exhilarating, and always well-intentioned, Tricky Cricket is a sound unlike quite anything else. With an original score and live collaboration with the Louisville Ballet under their belt, and a debut album in the works, exciting times continue for this homespun yet riveting acoustic duo.

SCOTT MOORE was born and came of age in rural Kentucky. He began his career as a violinist and composer as a four-year-old in New York. He's been a soloist with a number of fine orchestras, played Mozart for the Archduke of Austria, and given an impromptu recital in Carnegie Hall for an audience of ghosts. He's been an organic farmer and a professional driver, learned fiddle tunes from old-timers in the hills of eastern Kentucky, drunk bourbon with rock stars on a steam-powered riverboat, and played music on four continents.

"Staggeringly versatile and gifted" (LEO Weekly), he has built a formidable reputation for "skillful and inventive fiddle playing" (Country Music People) and a "stand-out" (Wildy's World) approach to a variety of genres—both alone and in collaboration with peers including the 23 String Band, Rachel Grimes, Will Oldham (Bonnie “Prince” Billy), Houndmouth, Ben Sollee, Jim James (My Morning Jacket), Waxfang, Tyler Ramsey (Band of Horses), James Lindsey, Dawn Landes, Daniel Martin Moore, Teddy Abrams, Basia Bulat, Jenna Dean, Shannon Wright, Jason Sellards (Scissor Sisters), the Louisville Orchestra, the Louisville Ballet, and countless others.

Recent seasons represent a new high-water mark, with ongoing solo appearances including co-writing and performing the Louisville Concerto with the Louisville Orchestra (2015); opening for the Kronos Quartet with Rachel Grimes at Knoxville’s Big Ears Festival (2015); a tour as concertmaster of the New York Gilbert and Sullivan Players (2015); composing, performing, and recording the original scores for William’s Folly (2016), Lady Lear (2017), and Tempest (2018) with the Louisville Ballet, Kentucky Shakespeare, and choreographer Roger Creel; playing all around with Teddy Abrams and Friends, including the Forecastle Festival in '16, '17, and '18; reuniting with the 23 String Band for a handful of exciting shows; and the upcoming release of his band’s debut full-length album. 

He makes his home in Louisville, home of Hunter S. Thompson, where he climbs trees, dabbles in yoga, and routinely breaks the speed limit—on his bicycle. When not practicing, writing, recording, cooking, or sleeping, you may find him playing basketball or tinkering with a 1968 Triumph Bonneville. He did not play guitar for Elvis, nor is he in the Rock and Roll Hall of Fame.

CHARLIE PATTON grew up in a musical family in the deep south. Though classical cello was his primary focus as a young musician, his love of folk music inspired him to explore a variety of instruments, including mandolin, guitar, bass, clarinet, and saxophone. While studying cello at the University of Louisville, he met a fellow student, Ben Sollee, whose innovative approach to the cello fueled his own desire to incorporate the cello into folk music. Since that time he has immersed himself in many different genres of music, using lessons learned from other instruments to inform his technique.

Charlie holds a Bachelor of Music in Cello Performance from the University of Louisville School of Music. He has appeared with the Mississippi Symphony Orchestra and Commonwealth Musicians, and has been a frequent contributor to the Sclater Chamber Music Series at Mississippi College. He has performed with Ben Sollee, Andrea Davidson, and Jane Rothfield, and was a featured artist at Great Big Yam Potatoes festival. He served as the Director of Children's Music for St. Matthews Episcopal Church in Louisville, and is currently performing with a number of ensembles in the metro area. He is not the father of the Delta blues, nor did he influence John Lee Hooker and Howlin' Wolf.