Released in 2001, End of Amnesia helped to further develop Ward's penchant for dusty, timeless narratives and bluesy, back-porch ballads, but it wasn't until 2003's Transfiguration of Vincent that Ward would begin to penetrate the mainstream. His first release for indie darling Merge Records, Vincent cashed in on the Great Depression obsession of the post-O Brother, Where Art Thou? gold rush, paving the way for 2005's Transistor Radio and 2006's Post-War, both of which firmly established Ward as a major player in the burgeoning indie folk/adult alternative
Tuesday, September 01, 2009
I have had a chance to see M. Ward on two occasions in the past, once during SXSW with his lovely sidekick Zooey Deschanel with their group She & Him and also last year here in Denver during the Democratic National Convention. It is always a pleasure to see M. Ward and the musical prowess he brings to the stage make sure to catch him at The Monolith Music Festival as he takes the Esurance Main Stage at 6:15 p.m. on Saturday night.
Portland, OR-based singer/songwriter M. Ward (born Matthew Stephen Ward) grew up listening to gospel and country, two genres that figure prominently in his breezy, West Coast take on Americana. After a six-year stint with the folk-rock trioRodriguez, Ward began sketching out songs deeply rooted in the classic traditions of American country-folk. Ward's first solo effort came in the form of Duet for Guitars 2, which was written and recorded while he was living between Chicago and various locales on the West Coast. Eventually, the album was placed in the hands of the ever enigmatic Giant Sand mastermind Howe Gelb, who released it on his own Ow Om Recordings in the fall of 2000. The record enjoyed favorable reviews and a considerable amount of attention in underground rock circles, and Ward supported it with a handful tours throughout the United States and Europe.