Matt Keating and Band Put On a Clinic in Purposeful Janglerock
Last night Matt Keating put on a fiery, jangly, two-guitar full-band show. Beyond the catchiness of the tunes and the cleverness – and frequent ferocity – of the lyrics, it was a consummate display of musicianship. Keating is a perfectly good lead guitarist in his own right, but he’d chosen this time to give that job to Steve Mayone, who put on a clinic in good taste and judicious use of as few notes as possible. Rare in a guitarist, rarer still in a lead player. Mayone’s first solo was a blue-flame scorcher that ended in a flurry of tremolo-picking, so it seemed that he’d take it even higher after that. Nope. As it turned out, he stayed on the counterintuitive tip, first choosing his spots through a series of short, bluesy, single-note leads, often using a vintage analog chorus pedal for a deliciously watery, ominous tone. As the show went on, he switched on and off between that and more of a biting, distorted timbre, finally cutting loose and blazing his way to the top of the fretboard on one of the closing numbers.
Meanwhile, bassist Jason Mercer filled the role of second lead guitarist with his lithe slides, slithery upward runs and stairstepping moves toward the looming, foggy bottom of his hollowbody Danelectro SG copy. Like Mayone, drummer and longtime Jenifer Jackson collaborator Greg Wieczorek was all about counterintuitivity, throwing elbows and unexpected accents when a space would open up. To max out the textures, he cushioned his snare with a cloth on one of the early numbers and varied his attack from song to song: sometimes he’d be hitting the snare with a stick and the rest of the kit with a bundle, or with brushes, or he’d switch from mallets to sticks as a song would rise from misterioso to anthemic. Keating began on acoustic and then switched to Strat for couple of the harder-rocking, more Stonesy songs, although he saved his most intense wailing for the acoustic on the loudest number of the night, an unhinged, practically brutal version of They’ve Thrown You Away. It’s classic Keating, a searingly imagistic Flyover America narrative that ponders a lot of things, not the least whether or not the guy with designs on the damaged woman at the center of the narrative can drive her home from her job at the roadside corporate chain since he might have gotten his license revoked for giving a cop the finger.
And where did the band decide to show off all this artistry? The Beacon? City Winery? Nope. Hifi Bar in the East Village, in the old Brownies space where Keating had played, probably more than once, twenty years ago. If that isn’t keeping it real, you figure out what is. The songs ran the gamut from some of the catchiest material on Keating’s characteristically dark new album, This Perfect Crime, to a pair of jangly powerpop set pieces – Saint Cloud and Louisiana – from his brilliant 2008 double cd, Quixotic – to the ghostly Coney Island 1910, to a slowly crescendoing take of the old crowd-pleaser Lonely Blue, on which Wieczorek started out by transforming it into trip-hop before picking up with a stadium-rock drive as the band reached for the rafters. Watch this space for upcoming hometown shows from this killer group.