Matt Costa performs an inspired set to a sold-out crowd in Montreal, treating listeners to most of his debut album Songs We Sing and a few well-chosen covers.
Matt Costa first appeared on the radar of music fans last summer when he opened for Jack Johnson on his sold-out tour. At his packed show in Montreal on July 7, it was easy to see why this musical one-two punch thrilled audiences around the world.
Like Johnson, Costa's music expresses a simple, unabashed joy. Basic chord progressions, addictive melodies, and playful, uplifting lyrics form the foundation of many of his songs. The result is a style that integrates touches of folk, country, pop, and even a hint of ragtime and jazz.
But despite the diversity of his influences, the music remains fundamentally accessible to all audiences, from teenagers to baby boomers. As a result, his writing and arrangements can be best compared to Paul Simon's early work in their straightforward, yet subtly poetic tone.
On this night (as is probably the case on all nights for Costa), a scream from the women in the audience welcomed the 24-year-old to the stage. The native Californian played the part of the sensitive artist down to the last detail, sporting a scruffy beard, long brown hair, and a black-and-white striped sailor shirt, just like Picasso used to wear.
Despite the obvious heartthrob appeal, there was nothing pretentious or artificial about Costa's performance. He took the stage and quickly launched into the bouncing guitar strums of "Oh Dear." Immediately, the room was hypnotized by this magnetic young performer and the full band that skillfully fleshed out the normally stripped-down songs.
As they moved enthusiastically through most of Costa's debut album Songs We Sing, the audience responded in kind, dancing and swaying with their hands in the air. "Cold December," the record's first single, inspired the crowd to belt out its refrain of "I have not failed to be what you'd expect of me / swallowing glass just to stay pure."
The show, however, was not without surprises. Covers of Donovan's "Jennifer Juniper" and Buddy Holly's "Well Alright" offered a perfect compliment to Costa's own selection of dreamy, sing-along anthems.
As a whole, the show was expertly paced. For example, on "Yellow Taxi," Costa stepped forward and performed with minimal accompaniment, in the process showing off his easygoing finger-picking guitar style. Then, the band rejoined the singer, revved up, and played an fervent, jubilant version of "Sweet Rose" in what was a high point of an incredible set.
After briefly leaving the stage, Costa returned for several solo songs, and then invited both his own band and that of Elvis Perkins, the concert's opening act, back to the stage. The evening ended with a rousing chorus of "Shalala's" and Perkins earnestly embracing a metal chain as a new type of percussion instrument.
As the crowd shuffled out of the theatre, most were laughing, smiling and recounting the shows highlights. It was clear that Costa's performance left listeners with the type of lingering happiness that only comes from a combination of warm summer nights, friends and good music.
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