There’s an undeniable magic in the air when the lights dim, the crowd hushes, and the first notes reverberate through the venue. Live performances possess an enchantment that studio recordings can only attempt to replicate. It’s in the unpredictability, the shared energy between the artist and the audience, and the unfiltered, unvarnished essence of the music that unfolds in real-time. Matt Glickman, a burgeoning force in the New England jam scene, invites us into this enchanting realm with his debut live album, “Live from Starks, Maine 10.1.22.” The album, much anticipated, offers a glimpse into Glickman’s world, marked not only by musical prowess but also by a candid exploration of personal battles with mental health.
The virtuosity of Glickman as a keyboardist is evident, but it is the raw, powerful, acoustic setting that becomes the canvas for emotional expression, as seen in the title track “Steady As Footprints” and “Color Fields.” The extended tracks times allow for a deeper immersion into the nuances of the compositions, as exemplified in the energetic and dynamic track “Leave It To Me (ft. Darby Sabin),” transforming each note into a brushstroke, painting the emotional canvas of Glickman. Glickman’s collaborations with Yardbirds members, his recurring appearances at renowned venues like Levitate Backyard, and his coveted slots at esteemed festivals like LOCKN‘ are the foundation upon which this live masterpiece is built.
The live aspect of the album breathes life into Glickman’s compositions, creating a captivating experience beyond the confines of traditional studio recordings. The track “Maybe It’s For The Best (ft. Darby Sabin)” proves this with its intricate and textured execution and stunning vocals. The nuances of the performance, the symbiotic relationship between the artist and the audience, and the raw, unfiltered energy captured in every note of the track “Steady As Footprints Tease.” This track establishes an organic authenticity, uniqueness, and individuality that is often lost in the polished perfection of studio productions.
The vivacious interplay between Glickman and his audience is palpable, an exchange of energy that propels the music to new heights, including from a visual perspective. As if unifying his release into a seamless whole, the musician complements the sense of a live performance with an extraordinary album cover. The darkness of the venue, a bright beam of spotlight, and the captured emotions from the performance. This vivid image so effectively illustrates the entire album that you can’t help but envision a concert inspired by this cover.
The album transcends mere auditory stimulation, becoming a visceral experience that resonates with the core of one’s being. Philosophically, Glickman’s live album serves as a metaphor for the ebb and flow of life itself. Each track becomes a chapter in the book of existence, with its highs and lows, its moments of chaos and serenity. A notable feature is the extended 20-minute solo acoustic performance of Phil Lesh’s song “Unbroken Chain,” which serves as the concluding piece of the album.
The vibrant core of the album emerges as a palpable force, a fluid and ever-shifting entity that undergoes a metamorphic journey with each fleeting instance. This living essence pulsates with an inherent dynamism, shape-shifting and evolving organically, ensuring a sonic experience that transcends the boundaries of conventional musical expression. Glickman’s debut live album not only captures this magic but magnifies it, immortalizing a fleeting moment in time where the boundaries between performer and spectator dissolve, and the collective heartbeat of the audience becomes an integral part of the composition. This is precisely what makes the album so unique, distinctive, and capable of transcending time itself. I am absolutely captivated by the sensuality of the performance and the musician’s complete dedication. I strongly recommend you dim the lights in the room, play the album, and simply savor the moment of connecting with greatness.
Indie Boulevard Magazine 