Post by brookesquatchy on Jul 7, 2023 23:16:08 GMT
Mathew William Kearney (December 1, 1978 - present)
Voice Type: Youth Pastor Chris MartinVocal Range: D2 - G♯4 - G5
{Background and Vocal Analysis}Mat Kearney is an Adult Contemporary/Christian Hip Hop/EDM/Soft Rock artist hailing from Eugene, Oregon and currently based in Nashville, Tennessee. He released several independent EPs and an independent album in the early 2000s before signing onto Aware Records and releasing 3 albums on that label, all of which saw some level of chart success. After this he would release 1 more album with Republic and then return to indie labels for his 2 most recent albums, all 3 of which would still perform well given the contexts of their release and the circles in which they would pass through.
Since the beginning of his time in the mainstream his voice has regularly been compared to that of Coldplay's Chris Martin (to the point he began to reference it in his lyrics), and while his musical style is wildly different, it's not hard to see why those comparisons arise. While perhaps less exploratory of his vocal extremes than Chris Martin, his singing while in his tessitura sounds markedly like what you could imagine Chris Martin would sound like were he to not have his trademark British accent. Its worth noting, however, Kearney's tessitura itself seemingly sits very very slightly lower than Martin's.
Kearney tends to stay in the parts of his range where he displays confidence in the majority of his music, usually opting not to push past E4 or below A2 in his modal voice, though he has displayed decent capability outside of said extremes. His falsetto adds another near-octave onto his high range, and is used quite extensively, with decent flexibility and agility. Mat Kearney may not be a massively impressive vocalist by most standards, but don't let the lack of bolds fool you. He's quite a solid vocalist and knows how to use his instrument within the parameters by which it's capable of sounding pleasant. He's not a rangewanker, as some would say, and on some level that's commendable by itself.
Since the beginning of his time in the mainstream his voice has regularly been compared to that of Coldplay's Chris Martin (to the point he began to reference it in his lyrics), and while his musical style is wildly different, it's not hard to see why those comparisons arise. While perhaps less exploratory of his vocal extremes than Chris Martin, his singing while in his tessitura sounds markedly like what you could imagine Chris Martin would sound like were he to not have his trademark British accent. Its worth noting, however, Kearney's tessitura itself seemingly sits very very slightly lower than Martin's.
Kearney tends to stay in the parts of his range where he displays confidence in the majority of his music, usually opting not to push past E4 or below A2 in his modal voice, though he has displayed decent capability outside of said extremes. His falsetto adds another near-octave onto his high range, and is used quite extensively, with decent flexibility and agility. Mat Kearney may not be a massively impressive vocalist by most standards, but don't let the lack of bolds fool you. He's quite a solid vocalist and knows how to use his instrument within the parameters by which it's capable of sounding pleasant. He's not a rangewanker, as some would say, and on some level that's commendable by itself.
Significant High Notes:
G5 ("Watch Me Go")
F5 ("Billion", "Watch Me Go")
E5 ("Moving On")E♭5 ("Sumac")
D5 ("Drowning In Nostalgia", "Face to Face", "Kings & Queens", "Powerless", "Save Me", "Watch Me Go")
C♯5 ("Air I Breathe", "Billion", "Money", "Moving On", "Ships in the Night", "Sleeping at the Wheel")
C5 ("Down", "Easy", "Heartbeat", "Hey Mama", "Keep on Loving You", "Grand Canyon", "One Black Sheep", "Powerless", "Wanted Man")
B4 ("Annie", "Anywhere With You", "Head or Your Heart", "Everything Changes", "Fire & Rain", "Fortress", "Grand Canyon", "I Can't Wait for You to Get Here", "Nothing Left to Lose", "Runaway", "Ships in the Night", "Still the One", "Sumac", "Wait", "Won't Back Down")
B♭4 ("The Conversation", "Count on Me", "Down", "Easy" "Edge of the World", "Learning to Love Again", "Powerless", "Straight Away")
A4 ("Breathe in Breathe Out", "Closer to Love", "Crashing Down", "Dandelion" "Drowning In Nostalgia", "Easy", "Face to Face", "Good Thing Going On", "Here We Go", "Hey Mama", "Money", "One Black Sheep", "Palisade" "Poor Boy", "Real One", "Renaissance", "Runaway", "Say it Right Now", "Ships in the Night", "Sooner or Later", "Walking Over the Water", "Where We Gonna Go from Here", "White Christmas")
G♯4 ("All I Have", "Can't Break Her Fall", "Chasing the Light", "Fire & Rain", "Let It Rain", "On & On", "Nothing Left to Lose", "Sleeping at the Wheel", "Something Beautiful", "Sumac", "They Don't Know", "Walking Away")
G4 ("Annie", "Boulder", "By Your Side", "Closer to Love", "Coming Home (Oregon)", "Daydream", "Everyone I Know", "Headlights Home", "Heartbeat", "I Wanna Love You", "Lifeline", "Los Angeles", "One Night Town", "Powerless", "Runaway Car", "Running in Circles", "Say It Now", "Smile", "Straight Away", "Trainwreck", "Two Hearts", "Undeniable", "Vienna by the Sea", "Watch Me Go", "Young Dumb and in Love")
F♯4 ("Air I Breathe", "Anywhere With You", "Better Than I Used to Be", "Blame", "Can't Break Her Fall", "Count on Me", "Drowning In Nostalgia", "Fire & Rain", "Here We Go", "I Can't Wait for You to Get Here", "Lifetime", "Miss You", "Never Be Ready", "Odds", "One Heart", "Pressing on a Bruise", "Renaissance", "Revive Us", "Ships in the Night", "Sooner or Later", "Still the One", "Stuck in the Moment", "Sumac")
F4 ("Billion", "Bullet", "Chasing the Light", "Down", "Easy", "Face to Face", "Ghost", "Good Thing Going On", "Headlights Home", "Hey Mama", "In the Middle", "Keep on Loving You", "Kings & Queens", "Let it Rain", "Los Angeles", "New York to California", "One Black Sheep", "Poor Boy", "Powerless", "Runaway Car", "Shasta", "She Got the Honey", "Tomorrow")
E4 ("All I Have", "Anywhere With You", "Better Than I Used to Be", "Boulder", "Breathe in Breathe Out", "Call Me", "Can't Break Her Fall", "Can't Look Back", "City of Black & White", "Closer To Love", "Crashing Down", "Finding Me", "Girl America", "Hawthorne", "Heartbeat", "I Want to Love You", "Lifeline", "Moving On", "My Two Hands", "Never Be Ready", "Nothing Left to Lose", "Odds", "One Night Town", "Palisade", "Pressing on a Bruise", "Real One", "Runaway", "Runaway Car", "Save Me", "Seventeen", "Smile", "Something Beautiful", "Sooner or Later", "Times Like This", "Trainwreck", "Two Hearts", "Undeniable", "Wait", "Walking Away", "What She Wants", "Young Dumb and in Love")
Significant Low Notes:
D3 ("Blame", "Call Me", "Can't Look Back", "Crashing Down", "Dandelion", "Daydream", "Drowning In Nostalgia", "Goodbye", "Headlights Home", "Here We Go", "I Want to Love You", "Kings & Queens", "Memorial Stones", "Memorized", "One Night Town", "Pressing on a Bruise", "Renaissance", "Sooner or Later", "Still the One", "Stuck in the Moment", "Tomorrow", "Walking Over the Water", "Walls", "Where We Gonna Go from Here")
C♯3 ("All I Need", "Billion", "Chasing the Light", "Count on Me", "Fire & Rain", "Learning to Love Again", "Lifeline", "Miss You", "Old Flame", "Sleeping at the Wheel")
C3 ("Breathe in Breathe Out", "The Conversation", "Closer to Love", "Face to Face", "Ghost", "Good Thing Going On", "Hawthorne", "Headlights Home", "Let It Rain", "One Night Town", "Pontiac", "Real One", "Runaway Car", "Running In", "Say It Now", "Two Hearts", "Vienna by the Sea")
B2 ("Arms of Love", "City of Black & White", "Here We Go", "I Can't Wait for You to Get Here", "I Don't Really Care", "Miss You", "Money", "Moving On", "On & On", "Ships in the Night", "Sleeping at the Wheel", "Sooner or Later", "Stuck in the Moment", "Tell Her You Love Her", "Times Like This")
B♭2 ("Bullet", "The Conversation", "Just Kids", "Keep on Loving You", "Learning to Love Again", "Never Be Ready", "Old Flame", "Running in Circles", "She Got the Honey", "Straight Away", "Wanted Man")
A2 ("Air I Breathe", "Better Than I Used To Be", "Blame", "Christmas Miracle", "Drowning In Nostalgia", "Fortress", "Grand Canyon", "Heartbeat", "Lifetime", "Odds", "One Night Town", "Ships in the Night", "Tell Her You Love Her", "Times Like This", "Virginia is for Lovers", "White Christmas")
G♯2 ("Arms of Love", "Chasing the Light", "Count on Me", "Good Thing Going On", "Old Flame", "Revive Us", "Shasta", "White Christmas")
G2 ("Daydream", "Easy", "Finding Me", "Heartbeat", "I Want to Love You", "Lifetime", "Los Angeles", "One Night Town", "Save Me", "Smile")
F♯2 ("Air I Breathe", "Arms of Love", "Just Kids", "Sumac")
E2 ("Finding Me", "Head or Your Heart")
E♭2 ("Shasta")
D2 ("Memorial Stones")
{Questionable Notes}F5 ("Powerless"[2])
E5 ("Smile"[2])
D5 ("Times Like This"[2])
F♯2 ("Miss You"[2][4])
F2 ("Revive Us"[3])
E2 ("I Want To Love You"[3])
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[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
E5 ("Smile"[2])
D5 ("Times Like This"[2])
F♯2 ("Miss You"[2][4])
F2 ("Revive Us"[3])
E2 ("I Want To Love You"[3])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
{*}As the vocal recordings on Bullet tracks and their re-releases on Nothing Left to Lose are seemingly identical they are not distinguished from one another for a given note.
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• Blue indicates falsetto notes
• Boldface indicates outstanding notes or passages.
• Underlines indicate notes obscured within the mix.
• Boldface indicates outstanding notes or passages.
• Underlines indicate notes obscured within the mix.
