M. Ward – The Borderline, London 25/02/09

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When did Matt “M.” Ward become so popular? Perhaps his musical dalliances with Hollywood actress Zooey Deschanel (A.K.A. She & Him) have raised awareness of the curly haired one, but it came as a bit of a shock to witness the sheer fervour that awaited him at London’s intimate Borderline. The attention’s obviously well deserved- the man’s got a fantastically characterful voice, but it’s a shame it was given so little time to breathe in a set that too readily traded substance for style.

The main issue was Matt’s backing band. Proficient musicians all, but too often a burden rather than a boon. Yes, they gave flavour and some variety to the set- unless you’ve got a particularly magnetic personality (Bon Iver, please stand up), it’s hard for singer-songwriters to capture an audience with just an acoustic guitar. Certain songs, ‘Poison Cup’ for instance, worked well with their new arrangements, turning things up a notch without sacrificing emotion for volume. Unfortunately, other tunes were delivered with the subtlety of a sledge-hammer, the upbeat bar-blues vibe undermining the more delicate moments of Matt’s oeuvre. I’ve no real problem with a band sounding like the Hold Steady, but it seemed out of place at times. Perhaps it would have been easier to accept if he hadn’t given a tantalising taster of his solo performance at the beginning of the set, enchanting all with the understated majesty of his voice- it made what came thereafter seem a touch shallow in comparison.

That said, there was still much to commend. What the show lacked in depth, it made up for in visceral, foot-tapping musical thrills, with Matt Ward’s impassioned piano playing and some top-notch old school blues jamming ensuring that things rarely got dull. Perhaps one might note the irony that the highlight of such a feted songwriter’s set were a medley of ragtime classics and a cover of ‘Roll Over Beethoven’, but for once the material and the musicians truly meshed and got the crowd roaring with appreciation. His own tunes weren’t so bad either; naturally the focus was on new LP Hold Time but his older works got a fair airing, with the five songs from “Post War” particular standouts. In a nice touch, he shifted from the third-person to the first for closer ‘Magic Trick’, crooning “I’ve only got one magic trick…I disappear” before promptly doing so. But if he’d performed the more satisfying trick of lending his shows the emotion his albums have in spades, I’d have been even more impressed.