Very few artists wield so much charisma that they can sell you just about anything before you’ve realised what’s happened. Matt Joe Gow has the charisma to be one of those artists – but he isn’t.
Having performed around Australia from The Sydney Opera House to The Queenscliff Festival’s Blues Train, Matt prefers to concentrate on the conviction. You don’t have to listen to more than thirty seconds of his new album ‘Seven Years’ to appreciate that.
An album redolent with the crackle and cackle of honky tonks as well as the lonesome echo of a stray dog lost down a well. A diverse collection of songs, ranging from foot stomping rock ’n roll, Americana belters, through to raw and sparse ballads, the album showcases seven years of Matt’s finest work.
“I think overall as an album, ‘Seven Years’ is more diverse in sound to my first album (The Messenger), somewhat due to the writing spanning that amount of time and the different sessions it was recorded at. It also exemplifies the way I wrote much of the album, mostly alone out in St Leonards, Victoria. I wrote much of it without the intention that anyone would necessarily hear any of it and I think that helps to create a very honest combination of songs.”
And that voice. Rich, resonant. A baritone cloak of many shades and shadows. A songwriter whose swagger has taken him from the dusty influences of Townes Van Zandt, Ryan Adams and others, to the swirling urban chime of electric, ambient pop . . . and now, back again.