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Locating the root of singer/guitarist Matt Costa's passion for folk music means returning to the scene of a most gruesome injury. At age 18, the Orange County-bred Costa was a skateboarder on the verge of going pro. Then, during one skating session, he botched the landing of a staircase jump, leaving him with a rolled ankle and bone jutting out of skin. In one go, both his leg and hopes of skating professionally were shattered.
"Before [the accident], I always was on the move," he says. "When you're laid up, you think about things more. Songs hit me more."
More than a decade after his leg was broken, Costa stands again, now in a very different place. Instead of being a professional skater, he's a professional musician with multiple records, significant tours, and notable song placements under his belt. He retains great affection for the school of sound that scored his post-accident downtime -- evidence of which is found in the fantastically full-sounding Matt Costa.
Costa conceived his fourth and latest record as a moody, melancholy album in the vein of Bruce Springsteen's Nebraska or material by Donovan and Nick Drake. After making good on his dream of going to Glasgow to record, Matt Costa producer/engineer Tony Doogan (Belle & Sebastian, Mogwai) successfully talked the musician into skewing the album's style more toward the direction of a spaghetti Western soundtrack.
"I feel like I owe myself to the music," Costsa says, "and there's nothing more I'd rather like to do." -- Reyan Ali
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