Sidestepping traditional music formats, Mateo Denali The Band follows the creative muse on their own terms. In the process, because the songs are unconventional in structure and format, not easily being categorized as accessible or catchy, the audience can get lost in the shuffle. Yet they are invited on the journey of exploration with the band not excluded from it. Even some established rock acts have eccentric or idiosyncratic tendencies when they often perform the material not as commercially recognizable to the chagrin of their audience or literally turn their backs away from the participants and jam for extended periods of time during their concerts. This can occur because it’s what moves or inspires the performer to infuse the art and go deeper challenging themselves to go the edge. The audience in turn, absorbs the music, listening, interpreting finally feeling the vision displayed by the band. They are moved by the bold choices to take the material to another level and willingly accept having their expectations shaken up for this payoff. One show at The Temple Bar proved this theory correct. It won’t be an overnight process, but one in which it peaks your interest for more over time. Though basically an amalgamation of roots (reggae) rock and folk, the sound is very different because the singer/songwriter Denali says the music is very forward thinking and progressive in its approach. The self-possessed and poised Denali calls it futuristic hip-hop. His influences range from Bob Marley and the Wailers on the reggae side. Sly and The Family Stone and The Isley Brothers represent the funk. Even a jazz element is present as Denali described discovering Miles Davis at 15 and proceeded to buy every album he recorded from then on. Denali was born in Seattle but moved around a lot during his formative years between New York City, Philadelphia and the Midwest. His mom spurred a love of music in Denali because she was collector of records and he said he absorbed a number of music genres and she got him to take piano lessons as well. When Denali moved in with his dad he said it was like growing up in a recording studio. His father was a professional musician since a teen. He started as a singer and eventually branched into songwriting, production and then publishing. Also a forward thinker, Denali’s described his father being ahead of time. He incorporated an uncommon combination of styles, and utilized very direct communication when crafting music about the state of affairs between government and the citizen, men and woman, the ego and spirit, corporations and nature, and so on. Denali sings, raps and talks while performing. He says this lyrical/vocal journey keeps within the rhythm and translation of the written word. Low-key yet intense and direct, Denali’s way of putting a song across originates from a variety of stylized interpretations that have influenced him over time. They include Shirley Horn, LL Cool J, Big Boi of Outkast and Al Green. Yet he manages to brings his own distinctive approach and slant to the material. The songs are personal, universal and political in nature. "Precipice Nigga" grew out of conversations between Denali and an acquaintance who would play CDs of each other’s music for one another and just talk about life and politics. The outgrowth of this new connection, Denali says, was this song which dealt with being stressed out and on the edge of faith and hope, depression and joy, and success and failure. "Ray of Joy" is a song about a relationship breaking up but much more according to Denali. It goes deeper. The idea and concept is not merely ruminating on the "end" but exploiting the best parts or happiness that was once there. Even taking it to another level spiritually with lyrics like "What I give I will get" and "Sometimes I am weak then I remember the love I seek." Another important part of keeping within the vision and sound of Denali should go to the five supporting band members including guitarists Morley Tatro, Dan Cole, keyboardist Andrew Carroll, bassist Greg Swiller and drummer Nathan Lane. This backing ensemble is a relatively new lineup and they made the transition feel smooth and rather seamless. The band has been together since November 2005. Though they are not responsible for collaborating on any of the material performed at the Temple Bar appearance and arrangements as of yet, they played as if they have been together a very long time. The bond, connection and chemistry locked in well onstage. The musicianship matched the high quality standards Denali said he was striving for. The band came together through referrals with the exception of bassist Greg Swiller who whom Denali performed with in a play. He attributed the reason they jelled so well together was primarily due to rehearsals. Denali said that is where a band gets to know one another, the music and their tendencies (positive and negative), etc. He says treats rehearsals differently in the fact he’s more interested in getting deep inside a couple of songs than playing as many as possible in the time allotted. So, the band doesn’t necessarily play all of the songs at every rehearsal, but when they do play a song, it gets played until it feels right. Also what could have been seen as a challenge or obstacle, the band succeeded in meeting: dealing with not having many people to perform for. As of this show, at least, a sizable following was not apparent. Despite that, the ensemble seemed to motivate and win over a small number of crowd goers standing in from the stage floor. The few attendees danced and move pretty steadily to the reggae/jazz/folk-flavored rhythms without pause obviously stirred by the insistent jamming. No small feat for a group that’s only played a few shows around town.