by 
November 14, 2009
November 10, 2009
The Centre
Vancouver, B.C
During my first visit to The Centre for David Cross’ recent book reading I was certain it would act as fantastic venue for music, offering word class acoustics. Amongst the 1836 purple velvet seats I found mine, dead centre, fifth row and waited for Mother Mother to put the room to the test.
Other than the praise I’d gathered from colleagues and a handful of MySpace tracks, I was rather unfamiliar with Mother Mother’s efforts, not to mention their live performance. Backed by an attractive mix of both male and female band mates, Ryan Guldemond lead the bunch, standing centre, donning a blonde mohawk, suspenders, and a classical acoustic guitar. Immediately I couldn’t believe my ears. “Ghosting” started the program and the sound was surreal, with clarity and definition I have never heard in a full band performance… ever. While a top-notch venue surely worked in their favor, no matter where you are, you can’t turn shit into gold. All instruments were represented properly and clearly. Ryan’s unique, effeminate vocals rang out favorably with beautiful harmonies by both his sister Molly Guldemond (synth) and Jasmin Parkin (keys).
Being a Vancouver-based act, Guldemond explained, “We live here. We rolled out of bed to be here,” before thanking us for our attendance. Although I’ve spent a lengthy amount of time trying to pinpoint what song contained the lyric “I do believe in every mistake I’ve made”—I’ve spent an even longer amount of time considering the meaning behind it, deciding if I’m in agreement and pondering the uncomfortable, yet optimistic feeling it derives. 
Musically, the tune displayed Jeremy Page’s bass guitar and Ali Siadat’s drums like a thick, hearty backbone to Ryan’s delicate, catchy acoustic pickings. Page’s switch to the saxophone for a solo furthered the sonic allurement of said offering.
The cute sing along harmonies heard in “Arms Tonite” was reminiscent of Karen O and The Kids on Where the Wild Things Are soundtrack, though Jasmin’s brief vocal solo had me thinking/hearing Jewel. Indie/rock comparisons were drawn as they closed with their latest album’s title track, “O My Heart,” a catchy Kinks/Costello-esque rocker. Matthew Good must have a strong sense of confidence opting to follow these indie rockers each night for their two-month Canadian tour.
Matt walked out, alone, in the dark with only a couple white bright lights behind him, starting things off rather mysteriously. Shortly he was joined by his band mates to begin with “On Nights Like Tonight,” followed by “Avalanche” where his guitarist offered pleasing slide guitar. These additions offered a different touch than the last time I saw Matt on his solo acoustic tour in 2007. Visually and sonically the performance was kicked up a notch thanks to both Matt’s switch to a telecaster and the display of numerous clusters of red and blue lights behind them.
I felt a literal connection to the protagonist in “The Boy Who Could Explode” thanks to the pounding on my throat and torso, due to the pulse of the kick drum through the sound system, comparable to the bass at an intimate dance party. Although it sounded great, it was a tad much to take physically considering the style and setting of the performance.
As always, Matt showcased his dry sense of humor with much stage banter and audience talkback alike. On the subject of one world government, he outlined his plan of demilitarizing the western world, turning over all arms and power to places such as Mongolia (who allegedly needs a comeback for the first time since Genghis Khan) or to a country that simply doesn’t give a shit, like Jamaica.
Incorporating a full band for cuts off of his truly solo, acoustic album Hospital Music such as “I’m A Window” and a personal favorite “Born Losers” was an interesting, though inferior twist. The electric guitar solo in “Losers” exemplified a weak replacement of an otherwise majestic execution heard on the recording. Contrarily, the lead guitar outro complimented the drummer’s xylophone in the final seconds of “Last Parade.”
Although at one point he did address the fact that our perception of him switching from trivial behavior and stage banter to serious songs may be perceived as odd, he felt that it was appropriate to segue into “Apparitions” (of all songs) with a discussion regarding the “underrated” film BASEketball. I guess we all have our faults.
The evening’s encore began with Matt by himself performing a wonderful rendition of “Metal Airplanes.” He was rejoined both by the band but also one sole, dancing 
audience member who rose from her second row seat as the only fan to stand up and dance during “Strange Days.” While each and every other person sat tranquil enjoying our encore, this ginger haired young lady and her sensual sway looked anything but out of place. In fact, she looked right at home and if not at any other point this evening, I imagine so did Matt. Moments later, my personal high point of the evening occurred when I heard him cry “never turn your back on me again” during “Weapon.” Closing with the early classic “Everything’s Automatic” was a great reminder of where it all began. Soon we all rose for a standing ovation because no matter what venue, what number of band mates, or when— there’s no denying how good Matthew really is.
… Weasel Was Here
Visit these artists online:
Mother Mother – mothermothersite.com myspace.com/mothermotherspace
Matthew Good – matthewgood.org myspace.com/mothermotherspace
Photo credit: Mother Mother – Jennifer Picard Photography Matt Good – Everett Starling
Everything is Automatic