Major Matt Mason USA at The Music Club
Leaving the Saturday evening hustle of Langstane Place (gateway to Soul - it ought to be guarded by a three-headed dog) the Music Club is found by climbing a series of brightly lit yet eerily quiet stairs, following makeshift signs and holding on to shiny stainless steel handrails. Even fifteen or so minutes after doors there weren’t very many people besides the band-folk and it is this lack of footfall which means that unfortunately The Music Club is the latest music venue casualty in Aberdeen. Tonight’s gig marked the end of a short-lived time in business. It’s a real shame because they’ve done great things with the space. Both the coffee and continental beer were very good and the sound system was rich and warm; perfectly suited to the minimalism of the evening’s acts.
Despite initial concerns though, by the time the Matricarians took to the stage (or at least one half of the four piece) there was a buzz of conversation and the majority of tables and sofas had filled up with people. Alan and Susan treated us to a delightful half a dozen richly-looped folk deconstructions which took us all the way from wistful, innocent love through to, well, necrophilia. On the way there were Oxfam-sourced bird whistles, xylophones and Alan’s guitar noodlings. It was a lot of fun and set the tone nicely for the rest of the evening.
Next up was Francis MacDonald, Teenage Fanclub’s drummer, owner of Glasgow’s Shoeshine Records/Spit & Polish, manager of bands such as Camera Obscura and, it turns out, a singer-songwriter in his own right. Never taking himself too seriously Francis opened by apologising for his guitar playing (”I usually play the drums”) and then knocking out the Laurel & Hardy tune Honolulu Baby. His songs were simple, quirky affairs driven by a lovely up-tempo 60’s pop guitar style. Songs largely centered around girls and in fact it appeared that the whole thing was performed for the lassie with the nice smile sitting in the front row. He finished off with highlights from his “pop opera” called Sauchiehall And Hope.
The headline act was New York city DIY and anti-folk singer-songwriter Major Matt Mason USA who releases records in the UK on MacDonald’s Shoeshine Music label. I’d come across the name on a few different blogs over the years but had never really given his music the time it deserves. The gig was the perfect arena to really give it some attention.
Major Matt Mason USA by dream sister
Although originally hailing from Kansas (”we thought everyone else spoke funny”) Matt is a product of New York and the vast scope that city has for producing something which flys in the face of anything approaching a trend. For me he bridges a gap between the lengthier, less radio-friendly works of Neil Young (think the wandering nature of Thrasher) and post-grunge bands like Placebo (and I’m not just talking nasally vocals). Whilst his guitar playing is minimalist it is his songwriting which shines - laced with pathos, humour and the occasional slash of darkness, they tell stories of people (well him) with a refreshing honesty.
His song-intros were borderline stand-up at times and he even recited a poem he had written on the train up from the south lands - the Major Matt guarantee that at least one part of the show will be completely unique and never repeated again.
All in all he thoroughly delighted the audience and it was sadly all too soon that he was stepping down to great applause, the lights were up and the Music Club’s all too brief life as a music venue came to a close.












































