The release of Triumph’s tribute album, “Magic Power: A tribute to Triumph”, was a great opportunity for an interview with drummer/singer, Gil Moore, about this, as well as a lot of stuff about the Canadian band’s past, and future. Sakis Nikas had an intimate and heartfelt discussion reflecting on the band’s enduring legacy, and their unexpected resurgence through a documentary film, the aforementioned tribute album, and reunion performances. What begins as a conversation about recent collaborations soon evolves into a meditation on friendship, perseverance, and the power of music to transcend time.
Gil Moore recalls their recent reunion with warmth and humor, especially the experience of performing live again… “We played in the documentary film together. Mike (Ed, Mike Levine, Triumph’s bassist) and I played on one of the tracks on Rik’s (Ed, Rik Emmet, Triumph’s singer/guitarist) album a few years ago… but actually being in front of a live audience was really something special.”
He also described traveling together for the NHL event (Ed, Triumph performed live in Edmonton just before Game 2 of the Stanley Cup Final, their first public show since 2008) sitting side by side on a four-hour flight and reminiscing about “the future and the past and everything in between.” Watching Rik Emmett and Phil X (Ed, Phil X replaced Rik Emmet in Triumph, recorded “Edge Of Excess” and toured with the band between 1992-1993) perform together was particularly moving: “You’re talking about two of the greatest guitar players, in my opinion, of all time. Those two guys are a double-barreled shotgun… very different, like salt and pepper, but with real admiration and mutual respect.”
The sense of camaraderie extends to the band’s deep appreciation for the chemistry that defined Triumph’s sound as a power trio, a format that demands total trust between musicians. “If you think about great power trios like Cream or The Jimi Hendrix Experience or ZZ Top… you realize how dependent everyone is on each other,” Gil Moore reflects.
The conversation shifts to Triumph’s documentary, which chronicled the band’s rise and unexpected decision to stop performing while at the height of success. “When we stopped performing live, we were really kind of at the peak of our career. That was the thrust of the documentary — it’s a funny time to hang it up. But there were a lot of things behind the scenes that people weren’t aware of… and in a way, I think it was a blessing for all of us.”
Despite the break, Triumph’s mission always remained clear: to live up to their name. “We always tried to go on stage and really excite people, make them have a good time and walk out of the arena going, ‘Wow, that was amazing.’”
The band’s unexpected return to prominence came through several events — a documentary, the resurgence of their hit “Lay It on the Line” as a hockey anthem in Canada, and most notably, the creation of a tribute album produced by Mike Clink, famed for his work with Guns N’ Roses.
Clink’s involvement rekindled old friendships and introduced Triumph’s music to a new generation of artists. Yet the album’s production during the COVID-19 pandemic was fraught with challenges.
“To get it done in Covid seemed like an impossible task. Mike had both arms tied behind his back, but he just had the most incredible determination and perseverance.”
The band expressed deep gratitude to Clink. Gil describes him as “an absolute genius and just a great, salt-of-the-earth dude.” He considers his effort a small miracle…
The resulting tribute album features an impressive roster of contributors. “To have these great musicians, singers, and songwriters actually pay tribute to us on this record is a great honor,” one says. “It’s been very humbling for us.”
Gil highlights a couple of songs; “Nancy Wilson from Heart took ‘Fight the Good Fight’ in a totally different direction. It doesn’t even sound like Triumph — it sounds like Heart, and it’s beautiful.”
Another standout contribution, according to the drummer, came from Alex Lifeson of Rush and his band Envy of None, who transformed “Blinding Light Show” into a haunting, modern soundscape. “It’s so different that it’s an Envy of None song,” Gil notes. “But that’s great — for the fans, it’s fantastic because it’s so different.”
However, when Dee Snider (Ed,Twisted Sister) was chosen to sing “Lay It on the Line,” it seemed like an unusual fit at first. “Dee’s got a huskier voice — not an obvious choice for a song with a high, floaty vocals. But, Mike Clink could hear it. And of course, Dee knocked it out of the park.”
Throughout the discussion, Gil Moore looks back on Triumph’s journey with humility and awe. “When we started bands as kids, we were just trying to get a tiny audience in a local high school or church basement,” he recalls. “You never think about awards, gold records, Hall of Fame — much less a tribute album.”
The conversation also explores the pressures that led to Triumph’s temporary split — the relentless touring, the business demands, and the absence of proper management. “We were kind of truly an indie band before that term even existed,” he admits. “We created a bit of a hamster wheel for ourselves.”
Yet time and perspective have softened old frustrations. Gil, Mike and Rik managed to become friends again and stay connected. “We had a couple of hiccups in our relationship, but we got through them. We’re brothers again. We weren’t perfect — we weren’t the greatest band in the world — but we had a hell of a good time, and we had great fans.”
