A brief history of Matt Scott...
Scott’s early musicianship was crafted by the influence of Thin Lizzy, The Doors, Led Zeppelin, Creedence Clearwater Revival, Peter Green and (early) Kings of Leon. By the time the chords came easier and stealing Brian Robertson’s solos became more noticeable, Scott’s interest in lyricism became the primary endeavour – and so was born the solo singer-songwriter, Matt Scott.
An affair with folk tendencies and the compulsion to say something, Matt Scott began performing his own songs in the usual dingy venues one would hope to dread introduction to the ‘scene’. For real, the stakes had risen from playing to inebriated football fans on a Sunday afternoon to headlining a stage at the illustrious Belladrum Festival. A little and a lot happened in between including a kudos from Scots sweetheart Paolo Nutini and the highest praise from one Frankie Miller - a tale for another beer.
"A songwriter with an acoustic guitar? - original, man". Well.. No.
To reduce the will and testament of a songwriter's work to the cliche of sullen acoustic lamenting would be a disservice to the big hitters who have come before to show us up: Bob Dylan, Bruce Springsteen, Tom Waits, John Prine, Frankie Miller, Nathaniel Rateliff - the royalty that Scott can be heard badgering on about from any distance in a bar. mix these acolytes with the units of The Strokes, Jesus and Mary Chain, BRMC et al., and you have a chance of nailing the connection between Scott's art and his inspiration. Flirting with traditional folk ideals and the power of compressed drums, harmony guitars and brash beaten riffs, Scott is here to bring his debut album for consumption and disposal.
Now that it's here, done and unknown - the way it is. it delivers the flung together ability of instrumentation built on and lost through practice. Every instrument was bastardised to say what the record meant. He played every not and beat. He wrote and sang every word. It is the way it is supposed to be. it is as it was when it happened.