Producer Tony Doogan (Beck, Air) assembled a backing band drawn fromthe ranks of Belle and Sebastian. Costa produced 2010’s Mobile Chateauhimself, while 2013’s self-titled effort brought him to Scotland, where He began his career on Jack Johnson’s Brushfire Records, where bothhis 2006 debut, Songs We Sing, and 2008’s Unfamiliar Faces were producedby No Doubt’s Tom Dumont. And I remember thinking, What am I? Do I even belonghere?” But at no point did he ever think, “Okay, I'm just going to be a guywith a guitar. “I went up there with myacoustic guitar and played like a Pixies song, and a Donovan song, and thenan original of mine. “One of my first shows that I played was with a band that was allabout things like At The Drive-In,” he remembers. Coming out of that world, hehad a punk side, but also became enamored of Scottish folk, and BrianJones’ guitar style in the Rolling Stones.
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He was 21 when he made his first EP,having immersed himself in music after a bad skateboard landingsidetracked what might have been a pro career. The 37 year-old Costa has a lot of music and artistic growth under hisbelt, particularly in the last six years. By the time the car was fully fueled I asked him to play backthe chords to me as I sang the song.” Back on the road, the next sign said“AVENAL: 2 Miles” and Costa had both his opening track and song title. Chase was strumming a few chords as the gas waspumping, and I sat under a tree humming a melody and frantically writingĭown lyrics. We stopped at a gas stationoverlooking highway 5. “Running away from something, trying tofind something, trying to find myself. “I was in asearching headspace,” Costa says.
The Wurlitzer eventually got used and sampled on “Avenal,” whichCosta and his friend Chase Perkowski (Iris and the Shade) wrote on agoing-nowhere road trip a few hundred miles northeast of L.A. Insteadof a bedside table, a Wurlitzer Sideman drum machine. He had moved into aLaguna Beach studio - as in the size of his living quarters, not a recordingcomplex - with just the bare minimum of furniture and instruments. From the insinuating acoustic riffs andlo-fi beats of “Avenal” and the snappy fatalism of “Slow” to the almostchurch-like fragility of “Last Love Song,” Yellow Coat is equal parts lost‘60s AM radio hits, folk-pop beauty and dark night of the soul music.Īt the time that Costa started writing, he had stripped things down notonly emotionally, but in terms of his surroundings. Yellow Coat is a masterpiece ofheartbreak from a preternatural tunesmith, its raw emotion channeled intogently swinging, hooky love songs, most of them awash in strings andmellotron and harmonies and groove. So it's hard to think these songs will neversee the light of day.”Īnd now, of course, they have. But at the same time, I writesongs and perform for a living.
“Some of my favorite writing is like that -VincentVanGogh’s DearTheo ,orSteinbeck’s ALifeinLetters.T hosearereally revealing, because it’s not intended as part of their body of work.There’s something really special about that. “ I feel really close tothem for that reason,” he says. The songs were like Costa’s letters to himself, with the honesty andintimacy of something that was not meant to be heard. Itwas just a process I was going through, clearing myself of these feelings andthoughts.” “I think every other record that I've written, I wrote knowing that thesongs would have an outlet,” Costa says “And for this one, I really didn’t. The music needed to exist, and itwas as much an emotional exercise as a creative one. When Matt Costa started working on the songs for his sixth recordYellow Coat, he’d been on tour for the better part of two years and had justended a relationship of almost a decade. Doors 7pm // Show 8pm // 21+ // $20 Advance & $25 Day of Show
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