Sigh No More

Mumford & Sons finally played America's fourth-largest city September 17.

In the early '90s, Matney played drums for the local hardcore band Refuse to Fall and later pursued musical projects in styles ranging from ska and big-band to Japanese Taiko drumming and West African djembe.

It is Matney's range of skills and accomplishments as a musician that enables him to practice as a therapist. Music therapists must be able to play several instruments to be eligible for licensure.

Matney explains that this capability qualifies the therapist to choose from a variety of media for applying treatment, and it is through this multidimensional application that music therapy works.

Depeche Mode's Martin Gore (left) and Dave Gahan
Depeche Mode's Martin Gore (left) and Dave Gahan

"The music therapist chooses the music, because within that choice, there exists a mechanism — specific to the client's needs — that facilitates change," Matney says. "The music therapist is intimately familiar with the music selection, and has chosen it with this mechanism in mind."

Music therapy has become a popular choice for the treatment of children and adults with autism and other developmental or learning disorders. Both music therapy and art therapy — another recently expanding field — are often incorporated into treatment plans for special-needs children. For instance, autistic children — who struggle with communication — are encouraged to express themselves through artistic rather than verbal means.

One of the most promising aspects of music therapy is its wide scope of applications. According to Matney — who has worked with patients in a variety of treatment settings, from addiction recovery to grief counseling — the only requirement for benefiting from music therapy is a need that can be met through it.

"In many cases, the clients I worked with could not sit in a room together without arguments," he says. "If I am able to create an environment that allows them to interact appropriately in a unique way, then I've begun a process that is working." Anyone interested in finding Houston-area music-therapy providers should visit the Music Therapy Center online at

Live Shots

Just Can't Get Enough
Depeche Mode was leatherier than ever at The Woodlands September 18.

Pete Vonder Haar

People talk about how improbable it is that Keith Richards is still alive to tour with the Rolling Stones, but for a time there in the mid-'90s, it seemed equally unlikely Depeche Mode would ever hit the road again. Singer Dave Gahan suffered a heart attack in 1993, attempted suicide and finally had to be revived by paramedics following a heroin overdose in 1996. Richards may have been an addict longer, but to my knowledge he has never had to be brought back from the dead.

Of late, DM has settled into a familiar cycle, releasing new albums every few years and embarking on lucrative tours. Of course, as with most bands whose peak years are well behind them (and whether they like it or not), Mode is largely a nostalgia act. Folks who abandoned the group circa Ultra may not even be able to name their recent efforts; hint: The latest is the Violator-ish Delta Machine.

But really, who cares? None of that matters much when you're arguably the greatest electronic band of all time, having influenced everyone from a-ha to Rammstein. Besides all that, Gahan's been clean for quite some time now. And if this show is any indication, he's back at the top of his game, putting on a sinewy, animated performance as Depeche Mode held a steamy CWMP crowd in the palms of their black-lacquered hands.

Delta Machine's "Welcome to My World" opened the show, with Gahan and fellow DM lifers Martin Gore and Andy Fletcher emerging in full leather/vinyl/something-probably-really-freaking-hot regalia. This was followed by "Angel" from the same album, following its track order, and might have led some to worry that DM was about to play the album in its entirety. Fortunately Gahan removed his jacket at this point, distracting everyone.

My personal high point may have been the third song, "Walking in My Shoes" from the (in my mind, anyway) unjustly unappreciated Songs of Faith and Devotion. More to the point, from that song on, the crowd was Gahan's. Those abs! Mercy.

Next up was "Precious" from 2005's Playing the Angel, accompanied by videos of cute doggies doing, well, cute dog things. How very precious indeed. Crowd-pleasers "Black Celebration" and "Policy of Truth" followed, reminding us how extensive DM's catalog really is. Some Great Reward was ignored entirely, even though it contains at least four songs that would've brought roars of approval from the crowd.

Well, most of them. I really can't stand "Somebody."

"Heaven" was also accompanied by the song's music video, which is just lazy. But the band's equivalent of a Mortal Kombat chain combo attack closed out the main set: "A Question of Time," "Enjoy the Silence" and "Personal Jesus." The two Violator cuts may be a little hoary, but still resonate. However, as a friend of mine commented about "Question," maybe it's time to retire the songs about 15-year-old girls, especially when you're old enough to be their grandfather (see also: "Christine Sixteen").

The encore started off with "Heaven" (acoustic Gore) and a disappointingly subdued "Halo" (fuck a "Goldfrapp remix"). "Just Can't Get Enough" was next, thankfully the only throwback to the band's "deet-doot-deet" early-'80s work, and bless Gahan's heart for acting like he doesn't hate this song with the fire of a thousand suns.

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This article is garbage. Thankfully we live in a country where people can write whatever their opinion's are on whatever they so choose to; as stupid as those opinions may be. Perhaps you did not attend the same show I did, but it obviously says something if a band can sell out everyone of their concerts minutes of when their tickets are released. Maybe your garage band failed and you are envious of their success, who knows, but these are some opinions you should keep to yourself because they are pointless.

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