Matt Hendricks has been a mainstay at Legends for almost two decades now. He has a number of different styles, but to me, he is best known for his resonator guitar. More than that, like all of the best blues artists, he’s a historian of sorts. He’ll tell you all about the musicians who came before him but rarely mentions or promotes himself. His sound and songs are comforting and mellow, perfect for meeting up with friends for a relaxing time. I asked him to sit down for a short talk about performing, the state of the industry and how he makes it all work.
AP: Do you struggle with motivation, or find yourself “phoning it in?”
MH: It can start that way, but once I start playing, it goes away. Sometimes it takes a few songs, you know. Sometimes you feel like shit, “I gotta go play” and whatever, but I am so lucky that I don’t have to work a day job anymore. I have to remind myself, “You could be working in a factory or painting houses again.” The last job I had was a shipping and receiving gig at a furniture place and it was good money and I had good hours where I could still gig. It was early in the morning so I didn’t have to deal with anybody. Then it came to the point where I got to do this for a living and sure, it can get to you sometimes. Plus, what goes along with the life, it doesn’t make you the happiest person all the time. All the late nights, the drinking and things can wear you down, but that’s a small price to pay. It all comes down to the music.
AP: Have you been keeping up with A.I.?
MH: Not too much, I don’t want to work myself up and fall deeper down that rabbit hole. I know it’s coming, but I really just don’t want to “keep up on it.” Out of sight, out of mind kinda thing. Of course, some people will do anything to save a buck. My spin on it is this: I’ve put out six or seven records but that’s not my main thing. I like it well enough going into the recording studio and recording, getting it made and done, but I really love to perform and play live way more. I don’t think I see A.I. going to get me there – at least for a while. I did however see these robots playing live instruments, a note for note Black Sabbath song. It kinda freaked me out because they were robots, not skinned to look human or anything, just mechanical looking robots. They’re playing “War Pigs” note for note, with the feel and everything. Honestly, electronic musicians, you know DJs, it’s the same thing, kinda. I think they’re a greater threat to my performance career in that they can bring a sampler or a sequencer and a drum machine and can play all night. Not to say they’re not artists but it does make it hard to compete. There are people who want live musicians with original material and then there are those who want a live jukebox. One could argue it’s the same thing every time you hear it; it’s not but I can understand how someone might feel that way.
AP: Would you consider yourself to be ambitious? How would you measure success?
MH: I think when I was younger I was more of a go-getter. When I was young, I wanted it and was hungry. Took every gig I could find. I never had a steady band to back me all the years. I’ve had a lot of pickup groups I would put together for gigs, just a drummer too sometimes but mainly solo. When I started trying to really play this music, I was listening to the first guys that recorded. Mainly acoustic acts and mainly solo performers. I had heard electric blues bands since I was a kid but that didn’t get under my skin like those early ones. Through them and my own experiences I’ve morphed into what I play now. I love the music that I’m playing and believe in it–my own tunes too, especially my own songs. Back to your question though, I measure success by how happy you are with what you do. I’m happy being a part of the whole river of the blues. I’m in the water, trying to keep it flowing in my own way. That’s all I’ve ever wanted. Just to play the music and for it to be appreciated and to contribute to its legacy any way possible. That’s success for me.
AP: Would winning an award mean anything to you professionally?
MH: Maybe, depending on the award. I don’t know what that award would be. I don’t really take any of that too seriously, I don’t know, maybe because I’ve never won any awards for music. You can tell there are some artists who are into that but, yeah, I don’t know. The blues community is a family for sure, that’s why some parts of the family are better than others. You know when I first started doing shows I never really spoke to the crowd, I just played. This was before I got booked into Legends when I was in Milwaukee. Now between every song I like to tell a story about the song, or who wrote it, and who it was originally done by. Sadly most people don’t care or just don’t know, but if I can give that information to them through word of mouth, not wikipedia, I think it’s important to keep that tradition going–even if I can get just one person to listen! If that person takes it in, who knows who they might pass it on to or how they might continue the oral tradition, and that person could be anyone, any age, culture, or interest.
AP: It’s pretty well documented that record labels or producers who recorded the music are the ones making money instead of the families of the musicians. That’s some b.s.
MH: Oh for sure. I think it’s kind of an historical thing with the music business in general. The early blues guys didn’t really get paid and there were no royalties. I would hope the descendants of these artists would get their due but I doubt it. Some of the early artists made money I think, like Blind Lemon. I’ve heard stories about him owning a car and having a chauffeur and spending lots of money–and this was in the 1920’s–but he was in the top five percent. It’s different today to be involved in music because the business side of an artist is pretty much dictated by the artist. The days of getting a major record deal for most artists isn’t the goal anymore. You can carve out a music career all on your own now. It’s very cool, like taking the middleman out of the whole equation. If it was like this back in the day, many artists, not just in blues, but country and rock, would have made far better livings for themselves and their family line.
AP: Who are 5 living artists you think everyone should know, and 5 who have passed?
MH: I’d have to say Billy Flynn is great and he’s from my hometown of Green Bay. Singer Oscar Wilson is one of my favorites. I’ve always dug Studebaker John for his original songs and he’s a great performer too. There’s a guy from Denmark who I was recently introduced to called Big Creek Slim. My buddy Rodrigo Montovani played on his recordings. Great stuff, the real deal. Number five, I’d have to say go see Chris Foreman at the Green Mill here in Chicago. Chris is a blind hammond B-3 organ player and is fantastic. As far as deceased musicians go, there’s just so many, but I’ll give you five favorites. Everyone should know Charley Patton. He influenced everyone in his time and after. From Son House to Robert Johnson to Howlin Wolf to Captain Beefheart even. Patton is blues music’s ground zero. Sure there were blues singers who recorded before him but I think he’s had the biggest influence overall. Around the same time in history there’s a guy named Blind Blake. Totally different stylistically than Patton but he had a style that’s so enjoyable. More upbeat and swinging and with humor mixed in. Some more recent artists I would recommend are Steve James who recently passed away, and Chicago’s Jimmy Johnson who passed during covid. Last on the list I’d say the great piano player Otis Spann. When I get home from gigs late at night I like to put some Otis Spann on to kind of decompress. He’s one of the best I’ve ever heard. His playing style is unlike most piano guys and he was a great singer too.
AP: Isn’t it about time for a new album?
MH: It has been a long time, yes (since the last album). Over the years I’ve made great money selling my recordings but CDs are not really popular anymore in this country. Other countries sure, but vinyl has come back big time here. It costs quite a bit of money to get a vinyl record made so that’s one obstacle. CDs are way cheaper to make. I can always keep selling digital formats on Bandcamp, but a physical product is just cooler. My next project I’m thinking will be to release some 45 rpm records, two songs on each record. I think 45s sound better than LPs so I’m trying to figure out a budget for that. I have the material and the means, just need the moolah. If I can come up with a project and give myself a deadline, I’m able to finish it all up.
AP: What is the coolest venue you’ve played? No criteria, could be best audience or just a cool looking venue whatever.
I’d have to say the Pabst Theatre in Milwaukee was the coolest because I had seen so many shows there before and that’s where I got to open for Buddy for the first time. It’s a special place for me. I should also mention Sun Studios in Memphis. I was really fortunate to get to record there back in 2010. That place is magic. So much history there you can just feel it in the air.
AP: Do you have any upcoming projects you want to mention or anything you’re excited about coming up in the blues community?
Coming this fall is the yearly King Biscuit Blues Festival in West Helena. I went down last year with Bob O. and played, met a bunch of great people and had a blast. When you’re down there you make a point to go over to Clarksdale and check out Ground Zero Blues Club or Red’s. Deak Harp has got a place there, so does Charlie Musselwhite. There’s also Hopson Plantation; that was a lot of fun playing there. I went to Stovall Plantation; we saw where Muddy Waters’ once lived. They have a monument there for him. There’s just so much history down there man, you really feel it when you’re there, especially when you’re surrounded by cotton fields. It’s intense. You’re not gonna get that feeling on a blues cruise, guaranteed.
Catch Matt on his website, or on instagram and don’t forget to come see him every Thursday at Buddy Guy’s Legends.Bluethumbmusic.comInstagram.com/mjhendricks
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