Introduction
Justin Hayward has long been the voice and songwriting soul of The Moody Blues, and if anyone understands the band’s evolution, it’s him. Looking back, Hayward sees the group as existing in two distinct forms — the recording band with its signature sound, and the high-energy touring act that had to adjust to rising volumes with each performance.
“We started with a very defined sound in the studio,” Hayward shared during a recent interview from the road in Jacksonville, Florida. “But then live, I went from using 30 watts to 800 watts over time. It got really loud.”
Now, as he tours on the Blue World Tour — named after the 1983 single “Blue World,” which was never performed live by the full band — Hayward returns to his roots. At the Pantages Theatre in Minneapolis this Sunday, he’ll be joined by guitarist Mike Dawes, singer/multi-instrumentalist Julie Ragins, and flutist/singer Karmen Gould. The trio brings a sound that’s closer to the early Moody Blues era, the one known for the lush orchestral arrangements on tracks like “Nights in White Satin” and “Tuesday Afternoon.”
“The songs are closer to how they were written and recorded originally,” he explained. “The only thing missing is the massive volume.”
A Band Fueled by Unity, Not Ego
While Hayward was often the face of the band, he insists that The Moody Blues operated as a true democracy. “There was never a need for anyone to dominate,” he said. “None of us were celebrities. The songs were the stars. That really kept our egos in check.”
This humility extended to their early career choices, too. When many British bands hesitated to play second fiddle in the U.S., The Moody Blues had no problem opening for acts, no matter how unusual the pairing. In fact, Hayward recalled opening for Tiny Tim in Minneapolis back in 1968.
“People laughed at Tiny Tim, but he was genuinely kind,” Hayward said of the ukulele-playing artist best known for the quirky hit “Tiptoe Through the Tulips.” “Those early years, we opened for just about everyone, and that shaped us.”
The Road to the Rock & Roll Hall of Fame
Despite their enduring popularity, critical acclaim eluded The Moody Blues for much of their career. It wasn’t until 2018 — nearly 30 years after first becoming eligible — that they were finally inducted into the Rock & Roll Hall of Fame. Ironically, that was also the year they disbanded.
Still, there were other signs of recognition. “We were on The Simpsons in 1999,” Hayward laughed. “That felt like validation.”
New Work, New Inspirations
At 78, Hayward is still creating. He recently released a cover of “Life in a Northern Town” with producer Mike Batt, recorded with the London Philharmonic Orchestra. “It’s such a beautiful song, and Mike’s arrangement was outstanding,” he said. “I played it from memory, and we’ve got more tracks waiting to be released.”
He also continues to release original songs like “Living for Love,” “One Summer Day,” and “My Juliette.” However, he noted the challenge of promoting them without touring. “If you’re not out there performing, it’s hard to get attention for new music,” he said.
The Stories Behind the Songs
“I Know You’re Out There Somewhere” (1988)
This song was a spiritual sequel to “Your Wildest Dreams,” a hit produced by Tony Visconti. “It reflects something universal — wondering about your first love,” Hayward said. “And yes, they are out there somewhere.”
“Tuesday Afternoon” (1967)
“Days of Future Passed” was originally a demonstration project to showcase stereo technology. “We weren’t famous, we didn’t have a record deal,” Hayward explained. “The London Festival Orchestra wasn’t even real — just a name we made up.”
Hayward wrote “Tuesday Afternoon” in a field behind his parents’ house. “Tuesday just sings better than the other days,” he joked. “It’s a beautiful day to write about.”
“Question” (1970)
This song reflects the moral and emotional tension surrounding the Vietnam War. “We saw American college kids grappling with the draft,” Hayward recalled. “That hit us deeply.”
Interestingly, “Question” began as two separate songs — one political, one romantic — that were eventually merged in the studio. “The title came only after the recording,” he added. “Sometimes that’s the hardest part.”
“Nights in White Satin” (1967)
Written during the emotional overlap of one relationship ending and another beginning, this song remains Hayward’s most personal. “Every word means something to me,” he said. “I’ve spent my life trying to explain it — not very successfully.”
In an odd twist, the studio version includes a small crash near the end, caused by a cat knocking over a percussion stand during recording. “I was the only one in the studio when it happened,” Hayward laughed. “We just kept it. You can’t redo the whole take.”
Later, during rehearsals for an orchestral concert in 1990, an arranger asked about the sound. Hayward told him to leave it in. “At the time, none of us thought anyone would ever actually hear that record,” he said. “And here we are.”
Hayward’s ongoing journey is a testament to passion, humility, and a lifelong love for music. Whether performing timeless classics or unveiling new compositions, he remains one of rock’s most enduring voices.