Matt Maeson Finds Light at the End of the Tunnel in “Bank on the Funeral” Album

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Matt Maeson has cruelly made the world wait his debut album for over three years since his first single, “Grave Digger,” but we sang our “Beggar’s Song” loud enough and Bank On The Funeral is finally in our hands. The Virginia native has travelled a rough road to get to this point and his experiences have shaped him into the exceptional singer-songwriter we have fallen in love with.

Maeson has been impressing the world with his dynamically emotional lyrics and equally powerful melodies with every song he releases, and Bank On The Funeral is no different. His authoritative voice commands the attention of anyone in earshot. Maeson strays on the lines between folk and alternative-pop, showcasing his diverse inspirations ranging from Johnny Cash to Kurt Cobain. This album is so on brand for Maeson, as both of his previous EP’s are also related to death.  

Bank On The Funeral kicks off with “I Just Don’t Care That Much,” his story of personal reflection and needing time to find himself, the man he lost to “drugs and cigarettes.” This is followed up by his viral hit “Cringe.” His rough past caused the people he loved to turn their backs on him. Maeson grew to understand that it wasn’t solely others’ lack of support bringing him down; it was also himself. His live performance of this deeply intimate song is one of the most experiences one can ever witness. Watch him perform “Cringe” down below: 

Written around the same time as “Cringe” is the brutally honest “Go Easy.” While trying to maintain a healthy relationship, Maeson also works to improve himself because he knows that he is far from perfect. Directly after these two songs, written during a period of introspective growth and confusion, comes the empowering “Tread On Me.” Maeson takes everyone’s advice on how to be the best version of himself and is fed up with people “lookin down on [him].” This is the first song where he takes a stance for himself, instead of just criticizing himself, and we are lucky enough to witness years of growth in a span of minutes.

Stemming from a drunken conversation with an old man on the side of the road is the inspiring “Legacy.” This old man ensured Maeson that no matter how bleak the present is now, he could always leave his legacy. Who knew a stranger could have that impact on someone? Before he can “pick up the pieces” and leave his own legacy, Maeson must face his destructive, addictive tendencies in “Hallucinogenics.” Maeson takes a step back from reality in the simple “The Mask.” Unlike the complicated mask that he creates to cope with pain, the production of this song is stripped back to showcase his raw, powerful vocals. Hiding behind the mask is an exhausted, strong man who will persevere through any obstacle in his way, which he discusses in “Beggar’s Song.”  

Speaking of pushing through a difficult situation, Maeson pushes past his self doubt in “Tribulation.” He doesn’t quite understand how to “love [the subject of his songs] right,” but he realizes that no one knows the exact definition of love, so he isn’t alone. This is followed by the mysterious, yet passionate, “Dancing After Dark,” in which he questions the extent of the love in his relationship. In that relationship, Maeson becomes the support system for someone else in “Feel Good,” contrasting to the lack of anyone supporting him.

Maeson wraps his debut album up with a very personal lesson he learned. His uncle, much like him, had a troubled past but cleaned up his act and proceeded to minister for fellow troubled individuals. One of his subjects ended up killing him, and his uncle’s courage to go where no one else would dare was the inspiration behind “Bank On The Funeral.”

If you were lucky enough to get a ticket to Maeon’s upcoming completely sold out tour, don’t forget to bring a box of tissue, or ten.

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