Matt Andersen Keeps It Honest

Andersen’s latest album is Honest Man, a blues-rockin’ disc that debuted at No. 4 on the Canadian Soundscan chart.

But Andersen seems to take it all in stride as he takes his music from city to city.  Currently touring the U.S., the maestro chatted with Pollstar via email.

When you walk into the studio to begin recording a new album, do you already know which tracks will become singles?

No, not really. Songs are pretty bare bones when I head into the studio. They don’t really take shape until I get in the room with other musicians and the producer. Lots of times, songs can take a completely different direction than I had originally thought. I like to let them grow organically with the input from the other people in the studio. I find having it planned out too much can kill the creativity in the room. So, we really don’t know what a song is going to sound like until it’s done.

Do you prefer to record live or do you like to layer your tracks?

I like to at least record with the rhythm section live, to get the base of the tune laid out. Adding harmonies and other instruments after that can be kind of fun. Gives you a chance to really feel out what will work best on each song. But the bass, drums and my guitar have to be recorded live.

Is there very much studio enhancement on the new album or is it unadulterated, straightforward Matt Andersen?

We kept it all straightforward. I’m not a fan of having something on an album that can’t be reproduced by live instruments. We stayed away from Auto-Tune and the like. You get me, mistakes and all. Well, except for the crickets on “Quiet Company,” we didn’t record them.

Are there any tracks you are particularly proud of?

I love how “Honest Man” turned out. The horn parts on that tune kill me. I love what (producer) Commissioner Gordon did with that track.

What brought Commissioner Gordon to the album?

My manager suggested Gordon to me. I didn’t know his work by name but after looking into him, I had definitely heard a lot of his work before. 

Was he already familiar with your music?

No, not at all. We had a chance before we decided to work together to hook up at his studio in New York and see if we would be a good fit. We hit it off right away. We found a lot of common ground in music, what we enjoy about it and how we wanted to record. We had a great connection personally as well. We got comfortable with each other really quick. It was a great match.

Do you always have a guitar within reach even when you’re not doing anything musical?

For the most part yes. If I’m at home there is always a guitar nearby. Even after all of the hours I spend playing on the road, I still love to just pick up the guitar at home.

Are some of the best performances those that audiences never get to hear, like playing with friends in your house or just jamming during sound checks?

Sound check is where a lot of ideas of what to do in the show come from. Just jamming and having fun with the music. Trying things to see if they work or not. If it makes us smile, there is a pretty good chance that it will make it into the show.

What hurdles do Canadian artists face when trying to crack the U.S. market?

I would say just the size of the U.S. There is so much territory to cover. You’ve got to focus your energy and time on one region at a time. Trying to take it all on at once is definitely an uphill struggle.

Do the border locales where Canada and U.S. media overlap play important roles in helping Canadian artists gain footholds in the U.S.?

I would say it can help, for sure. Although it might not play such a part now with all the social media people have access to. Word of mouth is being spread in so many more ways than before. I have people coming to shows that have never heard me on radio, TV or any major media, but have heard from me on a friends Facebook post, or just from cruising around on YouTube.

You recorded a stunning cover of Bill Withers’ “Ain’t No Sunshine.”  How do you approach recording other artists’ songs?

I don’t put a lot of thought into it really. I just play them how I feel them. Sometimes it can be close to the original and sometimes it can be a totally different take. 

Can you play someone else’s song after hearing it only once or twice?

I’m lucky to have a pretty good ear for music. I might not nail it note for note but I can usually pull off a passable version. Of course, some songs are harder than others. Too many “fancy chords” and you’ll lose me.

If you were a radio DJ, whose songs would you play before and after one of your own recordings?

I’m a huge Bill Withers fan; can’t go wrong with him. Then maybe a song from Emmylou Harris. That’d be a lovely place to have my music sit.

What kind of venues work best for your music?

Wherever folks are there to listen. I’ve played clubs plenty, they are fun but you can sometimes feel like you’re just a jukebox. I often think of the relationship between performer and audience as a conversation. The best conversations are when there is a sharing back and forth. It’s the same in a concert. The more positive energy I get back from a crowd, the more I put out. It can build and build all through a show. Any place where that can happen is the kind of place I want to be. Big or small.

Do you check out the audience before the show to get a feeling for the vibe that night?

You can usually tell a lot of what the energy from a crowd is going to be by listening to them before the show starts. When there is a buzz in the room, that pretty much always means that folks are excited and there is going to be some energy in the room.

What goes through your mind those first few seconds after completing a performance?

Well, not much. After putting myself out there for a 90-minute show or whatever the case may be, when I’m done and walking off stage, I just let myself decompress a bit. I have to let myself come down.

How many guitars do you take on tour?

Two to four. Depending if I’m going out solo or with the band. I always like to have a back up when I can.

Is there a “breaking in” period when you acquire a new guitar or will you play it at that night’s show?

As long as it is ready for stage, I’ll play it that night. Sometimes they might need a bit of work before they can go on stage without any worry of not functioning.

What provides that first moment of inspiration that develops into a song?

Can be a number of things. Sometimes it’s a lyric that pops into my head, or just a phrase that catches me. Other times it can come from sitting and playing my guitar. I find it usually comes when I’m not looking for it.

One of the tracks on the album – “Let’s Get Back” – has been hailed as a political statement.  Did you write that before or after current Prime Minister Justin Trudeau took office?

That song was written as the elections were taking place.  I was really feeling like Canadians were losing some of the better things about what I’ve always felt was our identity. You could feel people wanting a change. This song is a call out to people to make the effort to get that identity back.

Do you consider yourself a political person?

No, not so much. But as I’ve gotten older, it is something that I find myself paying more attention to.

What moves you from town to town when on tour?

This tour it’s a bus. The first time I’ve taken a bus on the road. Usually it’s planes and rental cars. Whatever will get me there.

How is the bus life treating you on this tour?

Great. I miss driving sometimes but have to admit it’s a real luxury to not have to worry about driving after a show if it’s going to be a long haul. It’s much better for the health for sure. Also it’s a blast being on the bus with the guys in the band and crew. You really become a family when you’re spending months on the road at a time with each other.

What advice would you give a teenager who’s showing some promise on the guitar and is thinking of pursuing a music career?

Play as much as you can and work to make things happen, don’t wait for them to happen. Nobody will hear you play while you’re sitting home waiting for the phone to ring. I’m a firm believer things will happen when they are supposed to.  Until then, keep working at it and don’t let up.

Matt Andersen’s upcoming shows:

May 12 – San Diego, Calif., Winston’s Beach Club
May 13 – Los Angeles, Calif., The Mint
May 14 – San Francisco, Calif., Brick & Mortar Music Hall
May 15 – Santa Cruz, Calif., Moe’s Alley
May 17 – Eugene, Ore., Hi Fi Music Hall
May 18 – Bend, Ore., Volcanic Theatre Pub
May 19 – Portland, Ore, McMenamins White Eagle Saloon
May 20 – Seattle, Wash., The Triple Door
May 21 – Electric City, Wash., Sunbanks Lake Resort (Sunbanks Rhythm & Blues Festival)
June 23 – Halifax, Nova Scotia, Delta Halifax – Raise A Little Help
July 2 – Cavandish, Prince Edward Island, Cavendish Beach Events Centre
July 9-10 – Cumberland,  British Columbia, Vancouver Island Musicfest
July 30 – Saint John, New Brunswick, Waterfront (Area 506 Festival)
July 31 – Canmore, Alberta, Canmore Folk Music Festival
Aug. 6 – Billings, Mont., Magic City Blues Festival
Aug. 21 – Salmon Arm, British Columbia, Salmon Arm Roots & Blues Festival
Sept. 1 – Ridgefield, Conn., Ridgefield Park
Sept. 2 – Charlestown, R.I., Ninigret Park (Rhythm & Roots Festival) 
Sept. 15 – Fredericton, New Brunswick, Harvest Jazz & Blues

For more information, please visit Matt Andersen’s website, Facebook page, YouTube channel, Twitter feed, and Instagram account.