Matt Nathanson Entertainment Art House of Blues Chicago, IL November 20, 2008

Nonetheless, the anticipation for Nathanson, who hit Chicago’s House of Blues for a two-night stand after a gig in Madison, WI, was certainly present in the sold-out room. Nathanson, from the minute he strapped on his 12- string, to the final swing of his pelvis as he accentuated the last note of his hit-single “Come on Get Higher,” was refreshingly the same man. At times it seemed that the San Francisco- based singer-songwriter was just happy to have reached this point in his budding career, and was merely taken aback by the sold-out crowds that his new album “Some Mad Hope” has brought. Despite it being his sixth-official release, Nathanson had an air about him that seemed as if he were fresh on the scene.

In a musical era where light-rock crooners like John Mayer, for better or worse, seem oddly removed from their fan base, almost rejecting the support that has elevated them to fame, Nathanson seems right at home with his loyal following. “When we fade into obscurity, remember us” Nathanson implored the crowd before exiting the stage.

Somehow, at the moment, fading into obscurity and Matt Nathanson don’t seem logical in the same sentence.

Nathanson, and his three accompanying musicians made up of Aaron Tap on electric guitar, John Thomasson on bass, and Konrad Meissner on drums, jumpstarted the show with a high-energy version of “To the Beat of Our Noisy Hearts” followed immediately by some of Nathanson’s increasingly-famous and strangely- humorous ramblings. The topics discussed in between tunes ranged from fan’s reactions to Journey cover songs to his new preoccupation with the hit WB show Gossip Girl. It’s hard not to think that perhaps he was playing to his demographic of star-struck girls with his pop-culture laden dialogue, yet strangely enough it seemed natural. To put it simply, his persona seems goofy enough to make it work.

To say Nathanson’s sound is diverse within his catalog would be a stretch, but nonetheless his rendition of “Skill,” another new track displayed his modern-day interpretation of the blues (fitting for his choice of venue). It provided a nice diversion from his prototypical originals that feature a plethora of major chords and a resounding amount of choral lyrics such as “Ya!!” or “Whooaaa.” The phenomenon of acts like Nathanson, that seem to function on songs in D major that sound essentially the same, is not new. But hey, he’s a heartthrob right? And an eccentric one at that, so he can be forgiven this time.

At times during the performance, Nathanson would stutter-step back, while making sure to move around his pink guitar cable, and shoot Meissner a glance, as if to say, “We really are doing this, aren’t we?” Again, quite a refreshing display of modesty to see from an up and coming star in this line of work.

Now there’s nothing wrong with young artists covering songs. If you are going to cover songs however, make sure they are unique and not already beaten mercilessly on the open market. Nathanson apparently didn’t get this memo. With covers like Rick Springfield's “Jessie’s Girl” and Cheap Trick’s “Surrender,” Nathanson lost me. The crowd seemed to enjoy, but then again what group of adolescent females, and that one fist-pumping frat boy in a sleeveless-T, wouldn’t enjoy some 80’s karaoke classics. At least Nathanson prefaced “Surrender” by telling the crowd, “We really don’t know how to play this, but what the hell!”

When he wasn’t covering sleazy bar songs, Nathanson was in his element. With strong chord-based songs like “Car Crash” and “Wedding Dress,” both off his new release, the 35- year old songwriter performed at a high level. If he is disenchanted in any way by his recent fame, it certainly didn’t show during these tunes as he jilted around the stage with an air and grace usually only seen at a Battle of the Bands.

Before ending the show with a quite likeable rendition of “Detroit Waves,” Nathanson explained the process of an encore to his adoring fans. Mocking bands that act as if they only came back onstage because of the crowd’s energy, Nathanson promised that even if the crowd were silent, the band would be back for two more songs, (including their hit single).

Right on cue, the four-piece band was back after what seemed like a 30-second break, to crank out “Surrender, ” featuring opening acts Jessie Baylin and The Break and Repair Method as accompaniment, followed by the concluding heartfelt “Come on Get Higher” which has dominated mainstream radio, yet still failed to disappoint.

With his encore-promise kept intact, it is quite evident Nathanson doesn’t lie and neither do his results. While perhaps the airplay “Some Mad Hope” has received may not be reached again with his next release, don’t count Nathanson out. After all, he’s seemingly just happy to be along for the ride.

Comments

Matt Written by Guest on 2008-11-28 12:30:43 matt nathanson is fantastic... he's been doing it for years the old fashioned way... and i love his 80's covers.

chilis waiter Written by Guest on 2008-12-03 12:32:23 yeah, you want the chips.

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