Show Review: Matisyahu at Stubb's
Having just released his Shattered EP and preparing for the release of Light in 2009 (an album featuring members of Fishbone, Glitch Mob, and Sly and Robbie), Matisyahu is at an advanced stage in his career that in some ways vaguely mirrors his 2005 self. While the music hasn’t moved far beyond the jam-reggae formula, Matisyahu has since dropped the independent, non-profit Jewish label J-Dub for Epic records, has become a father and husband and, weirdly, even a spokesman for Kenneth Cole. Big changes, sure, but other than more electronic dalliances, fans appear to be in for more of what they love from future Matisyahu records and performances.
Fans did, however, have reason to be wary of Chicago opener Future Rock, a trio of self-congratulatory, tiresome instrumentalists whose idea of a good time involves pulsing, repetitive and generic electronic exercises that fall somewhere between Ray Lynch and the demo music that comes with any low-cost keyboard. The less said about this band the better, but to summarize: it would behoove Future Rock if they spent less of their disposable income on fancy keyboards, drum equipment, etc., and instead purchased better records, or, better yet, a clue. Audience members – the best advice I can give is to come late if you find these guys on the bill.
Matisyahu came onstage swinging his arms and dancing across the stage, backed by more keyboards, guitar, bass and drums, a fittingly concise but technically-adept band that more than once took the spotlight from the singer. The set rotated between fan favorites and new material, and early in the set Matisyahu brought out his little boy to pound the drums. Pretty adorable. The night was less celebratory and frenzied than expected, with Matisyahu’s set planted pretty firmly in thoughtful mid-tempo contemplation than excited reggae stomp. It actually suited the mood pretty well, with most concertgoers listening carefully rather than losing their attention spans somewhere in the clouds and clouds of pot smoke that hung over the amphitheater. At a few points the keyboards were so prominent – even drowning out the guitar – that the set leaned into a kind of Alan Parsons Reggae Project, which wasn’t so bad, if a little disconcerting. Despite being professionals, the backing band thankfully kept a lid on excessive soloing or wanking during the set.
But then came the encore. Whatever indulgent impulses being smothered were let loose in the very long encore, during which we heard everything from about ten minutes of Matisyahu’s beatboxing to instrumental jams to bass solos – basically excessive filler wherein the band could have been playing actual songs. Also: double-bass pedals should probably remain in the realm of hardcore and metal acts, and are about as necessary in pop or reggae drumming as a gong.
Just to address the elephant in the room, references to Matisyahu’s Hasidism are perpetually overstated in reviews, and basically act as a red herring for critics who want to either peg him as a novelty act or to overemphasize his religious conversion’s effect on his musical growth. Whatever. Perhaps being raised Jewish means that the man’s wardrobe and beliefs raise less flags than they normally would – how many Hasids have led us Yids in Sabbath songs and dances over the years? Probably a million – and so something like David Browne’s review of Youth from Entertainment Weekly which contains references to “a one Talmud pony,” “Jewish-American Idol,” and a few gag-me nods to the Torah feel excessively forced. The real question is whether or not the music is authentic and good enough (it is), and if his audience will take the plunge and dip into some of the harder stuff (that remains to be seen). For now, the show and music – impressive if not mind-melting – are enough.
Future Rock: [website] [myspace]
Matisyahu: [website] [myspace]
