“The Deepest Art of Performing Is Becoming a Vessel of the Music” — Meet Wenzl McGowen

Wenzl McGowen, better known as WENZL or “Traffic Cone Sax Man,” has redefined what it means to be a musician in today’s fast-evolving industry. Genre-defying and endlessly creative, Wenzl combines the energy of electronic dance music with the soulfulness of jazz, turning unexpected objects—like a traffic cone—into tools of sonic exploration. His viral performances and over 4 million followers have catapulted him into the spotlight, but his artistry goes far beyond flashy moments.

Before launching his solo career, Wenzl toured the world with his band Moon Hooch, bringing raw energy to stages large and small, including Tiny Desk and TED. Along the way, he became an author of two books exploring spirituality and creativity, underlining his belief that pushing artistic and personal boundaries leads to profound transformation.

In this candid conversation, Wenzl reflects on his journey, from sleeping on floors during early tours to creating globally recognized music, and how his collaborations—like his recent work with ISINA—align with his philosophy of authenticity and growth.

— Touring with Moon Hooch and now performing as a solo artist under your own name, how has your perspective on music and performance evolved over the years?

— When I started touring, it was 14 years ago. I remember the first time I got an email from an agent saying he wanted to take Moon Hooch on a national tour. It was paying $200 per show. We were three guys and a videographer, and somehow we pulled that off. I feel like today, that would be impossible—to tour with that little of a budget.

The way I built my fan base with Moon Hooch was very organic—sleeping on floors, taking every opportunity possible. I don’t think that’s really something you can do anymore.

— Do you miss those days of grassroots touring?

— No, I don’t think so. I mean, I was in my early 20s when I did that. Now I’m in my 30s, and I don’t want to break my neck like I used to. The music industry has shifted a lot, and it’s fascinating how social media has changed things. Artists can now reach millions of people without leaving their homes.

But at the same time, I feel like this has created artists who don’t have the experience of standing on thousands of stages. What was unique for me was playing so many shows—some of them really small. It allowed me to grow gradually.

I look back at myself as a teenager and remember how nerve-wracking it was to be on stage. Like in comedy, you have to fail over and over again to develop stage presence. I’m very grateful for the opportunity to grow into the artist I am today.

— You’ve performed in a wide range of settings—from street corners to renowned venues. What has been your favorite performance spot?

— Let me think. Maybe the most memorable? There’s a really cool new venue called The Elm in Bozeman, Montana. It’s in the middle of nowhere, but it’s incredible. A lot of American venues were built during the rock era, and their acoustics reflect that.

The Elm feels like it was designed for the evolution of music. It’s sound-isolated, has bass traps, and the PA is finely tuned. It’s perfect for electronic music. Playing there was a fantastic experience.

— What’s been the most memorable audience reaction you’ve received?

— Probably my first viral video two years ago when I went to Chipotle and started playing. Watching that video still cracks me up—the people’s reactions were so funny.

— How has your collaboration with ISINA and Kika Kim on the latest project been?

— Honestly, it’s been great working with ISINA and Kika. I don’t think I’ve ever worked with a team this efficient and professional.

Releasing music these days is so complex—you need to work with playlists, influencers, producers, and so on. A lot of record labels today are full of empty promises; they gamble with artists instead of committing to building something meaningful. They jump on trends that go viral, then abandon them when the hype fades.

And so far, it really seems like ISINA isn’t just full of empty promises, which is a lot of record labels today. I feel like to really have value in the music industry, we have to build trends and build music and build careers that are strong and withstand the ups and downs of the industry. So I feel like it’s a good team of people at ISINA, and I get a good vibe about what they’re doing. It’s legit, and they know what they’re doing.

— Your books, The End of Fear and The Sequence of Latent Truths, touch on profound themes. Can you briefly share what readers can expect?

— The End of Fear is a novel. It’s engaging and fun, but it carries the same message as The Sequence of Latent Truths, which is a more philosophical exploration. That book came about after I traveled the world interviewing scientists, asking questions like: What is reality? What is spiritual awakening? What is God?

I try to approach these big questions without offering definitive answers. Instead, I aim to inspire curiosity and humility—acknowledging that there’s so much we don’t know.

— Do you see a connection between your writing and your music?

— Absolutely. My work in spirituality has transformed me as a musician. There’s a spiritual aspect to performing. Historically, performers were shamans or medicine men—people who led ceremonies.

The evolution of performance has shifted toward “putting on an act,” but I think the deepest art of performing is about becoming a vessel for the music. Just like a shaman allows a spirit to take over their body, a performer or DJ can channel the vibe of the show and bring people into a blissful, collective state.