He does play the banjo, acoustic and electric guitar and mandolin, but he uses these instruments to create a haunting brand of folk/americana.
Matt contributed to the "Tribute To The Anthology of American Folk Music by Harry Smith" by appropriating "Willie Moore." He recorded a big EP "Wasps and White Roses", a very great success where folk banjo mingles with the sweet voice of Matt.
Matt was also well surrounded,indeed, as we can notice on this disc Jolie Holland and Mariee Sioux contribute to the birth of his album as guest Vocal... This spring, Matt was on the European roads, accompanying Alela Diane on her tour, as a musician (Banjo & Bass)
On November 2008, He also proposed some Solo Shows in Paris,to share with us his Musical Art. This was where I met him... A very nice, humble and smiling person who did not hesitate to grant me his time for sharing some words about his music, his inspiration and even for a picture :)
In the tradition of the early records by Gillian Welch and David Rawlings, singer-songwriter Matt Bauer produces an ominous mixture of neo-traditionalist folk, country, and bluegrass that hinges on minimalist banjo and guitar touches. Bauer's latest short form, Wasps and White Roses, is a collection of experimental vignettes designed to haunt and enchant.
The opener, "Carve It Out," is an ethereal acoustic guitar track that finds Bauer and guest vocalist Jolie Holland cracking and wailing in the country tradition. The title track also features a guest vocal, this time from Mariee Souix. On this song, Bauer calls on the mystics with Souix's spellbinding soprano accompanying him through serene a capella parts. The brief instrumental, "White Horse," consists largely of droning fiddles and delicate banjo, while the updated traditional "Sea Lion Woman" is at once rousing and ominous. "Sea Lion Woman" also features new verses that turn the tale of a flirtation into a tale of desperation and loneliness.
The second half of the EP begins with the instrumental "The Owl and the Snake." On this melancholic ode, Bauer employs an Eastern-influenced intro inspired by John Fahey before turning to bluegrass once again. The revamped "Heap of Little Horses" follows, with Bauer changing the lyrics to turn the traditional lullaby into a cryptic murder ballad. The closing track provides a marked contrast to all that came before. The Bauer composition "Poor Robin" has a full square-dance-meets-Western-swing feel. Fiddles and banjos drive this love song that features high lonesome guest vocals from Nathan Wanta of Last Of The Blacksmiths.
Here is a video where you can discover this GREAT ARTIST