Good-ness gracious!
Matt Good’s triumphant return to the stage ♥♥♥♥♥
PHOTO AND REVIEW BY IAN BAXTER
When tickets went on sale for Matthew Good’s Sept. 28 concert, it didn’t take long to sell out every inch of the Garrick Theatre. There is a certain cult-like following with Good fans — some stood in line for hours, others waited impatiently for their chance to win tickets, and a few went as far as to pay ridiculous amounts for the few tickets sold on Ebay.ca the night before. All of this comes as no surprise, however, as the night would become another example of Good’s staying power. It would be a night to remember.
Dala, Good’s opening act, was perfectly suited to lighten the crowd for a night of acoustic mastery. “Anywhere Under The Moon” and “Sunday Dress” stood out prominently; the mere mention of Winnipeg in “Anywhere” had the crowd ready to hear more from this upbeat new sound.
Good never fails to deliver in a live performance; he remains a staple, as he continuously manages to sell out venues all across Canada. In each performance, Good manages to capture a unique take on almost every one of his releases, meticulously blending them in much the flawless fashion of a professional DJ, only this time with nothing but a solitary acoustic guitar at his disposal. The audience was treated to an array of songs, spanning all of his albums, all the while constantly sending throwbacks to Hospital Music. The pace was set by keeping the theme of his new album, while adding to it with older songs. You could really get a blended sense of the stressful memories that have accumulated and weighed heavily on Good over the years. There was not a set list to be seen at his feet; his set felt improvised, adding to my awe-struck expression as he glided through songs with professional eloquence.
Throughout the course of the performance, we were treated to everything from slices of “Girl Wedged Under the Front of the Firebird” merging into “Boy Come Home,” an ode to “Champions of Nothing,” “Suburbia,” “Avalanche,” a passionate rendition of “The Fine Art Of Falling Apart,” and a massive roar from the crowd could be heard during “Apparitions.” All the while, Matt would take breaks to pause and lighten the mood with smirking comments.
The lighting was some of the best I’ve seen in a Good show, with five columns as backlights to the two main front stage lights and four colour enhancers at his feet. During the course of his show, you could hear the audience singing along to almost every song played, a feat few musicians can attest to.
At the end of the show a few lucky fans were treated to a short meet-and-greet behind the venue. Despite being immersed in a sea of fans, Good was reported as being polite, personable, and jovial, letting fans have a chance to see the inside of his tour bus. You really don’t see this kind of dedication anymore. All of this points to great things on the horizon for Good. If he can keep this up, and really beat back his demons, we may see his emergence from the more intimate venues, so catch him while you can — this act is not one to miss.
