Sunday 20 Apr

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
Home · Articles · Music · Music · 'Yahu!


Despite looks that scream novelty, the Jewish reggae rapper Matisyahu resonates for real with faithful audiences.

Matt Carney August 11th, 2011

Jay-Z has rags-to-riches. Nas, urban poverty. Nearly every word Bob Marley sang, barbed with social criticism.

credit jared polin_10-58x15-91cm

“I think, to be honest with you, most people have one thing to say,” Matthew Miller said. “They have one thing to put forward.”

For Miller, better-known by his Hebrew and stage name, Matisyahu, that one binding theme is his Orthodox Jewish faith, an ever-unfolding struggle to grow closer to God. From this fount, he ladles nearly every lyric accompanying his eclectic fusion of reggae, hip-hop and jam rock. Even his own blood relations fall far behind in terms of influence.

“It’s natural,” he said. “When I’m writing songs, I’m not usually thinking about my kids. Those are two different things. Family’s family; it’s not necessarily part of art or the creative process.”
So how does music inspired by mediation, Old Testament study and teachings from rabbis translate into gold-certified records, charting singles and crossover success?

Simple: The dude can spit.

Matisyahu shows stand up as bold, high-energy performances when measured against today’s jam and rap standards. It’s a sight both rare and compelling: a guy in his 30s sporting gray curls unfurling from a yarmulke, spouting off with a technical speed few in the rap game can handle. Sync that kind of talent with a skilled, fearless fusion band, and you’ve got live shows not easily forgotten.

It’s no surprise that 2005’s “Live at Stubb’s” marked Matisyahu’s arrival in the public consciousness, an institution that praised the urgent edge to his voice — something of an anomaly in a genre as laid-back as reggae. Ska-addicted stoners shook with a certain divine fear of “King Without a Crown,” as his double-time verses likened God’s providence to a drowning man’s rescue line.

When asked about the biggest difference between that breakthrough album and its recently released sequel, “Live at Stubb’s: Vol. II,” Matisyahu pointed out the obvious.

“The difference is about 700 shows,” he said. “In the early days, honestly, I was trying to prove myself. Every time I got in front of an audience, I was trying to show people who I was.”

Audiences across the country reciprocated his sincerity by turning out in droves after the release of “Live at Stubb’s: Vol. I.” But these days, he wonders if that wasn’t the most genuine reflection of himself.

“On this tour in particular, I feel myself coming out of my shell,” he said. “I’m starting to realize that I have this following, this group of people who ... we’re really sharing something together, giving to each other. There’s been times during my process where I’ve been in my shell, and unable to open myself up to realizing and connecting with people.

“I think I’ve gotten to a certain place now with my music that I feel it’s true, and I feel that it resonates with people in a real way.”

Photo by Jared Polin
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