“Adam, the embodiment of a human musical instrument, backed [Rhiannon Giddens] up with perfectly timed beats and phonic scratching. When the Luminescent Orchestrii joined them on stage, Adam’s horn-sounds were corporeal and sharp, a true virtuoso of aural orchestration.” 

Examiner.com (NY)


“And then there was the incredible Matta, able to use his voice to make a mournful trumpet solo or thumping bass solo, or lay down a jaw-dropping, how-does-he-do-that hip-hop beat behind the thumping hit “Hit ‘Em Up Style.” Matta even took a turn at lead vocals for a country lament about how his cheating woman makes it hard for him to “smile and beatbox at the same time.”



“The east side was abuzz after the Carolina Chocolate Drops wowed a big crowd at last summer’s Orton Park Festival, so small wonder that the Barrymore Theatre was packed last Friday night to see the band’s return to town. But the band member everybody was talking about after the show wasn’t even part of the Drops last summer. Human beatbox maestro Adam Matta joined the band late last year, and his vocal pyrotechnics were astounding, whether he was adding a mournful trumpet under a ballad or a complex funk drumbeat underneath the Blu Cantrell cover “Hit ’Em Up Style.” Again and again, you marveled, “How are those sounds coming from that guy?”

Square (Madison)


"Man, I can feel the 808 coming from your f@!!n chest!!!" Henry Rollins


“…a wizard… he went beyond beat-boxing. It was as if Girl Talk’s music lived inside him. At one point, he even busted out the f*cking Tom Tom Club!”  

Detroit Metrotimes


“[Adam Matta was]..a treat…”

New York Times


"Like a John Coltrane solo, Adam’s Beat Boxing creates narratives which mere words could never accomplish."

Reg E Gaines, playwright, Bring in da Noise, Bring in da Funk


"…beatbox maestro…"






"….brilliant…like sonic abstract expressionism…"

Ithaca Times



The Star Tribune


"……his ability to remix his own voice is remarkable, at first singing over a synced beat and then slowing it down, speeding it up, dubbing, scratching, even using the layrngeal equivalent of a wah-wah pedal. He’s wonderful to watch in these moments, right hand on the mic, left hand flailing in time, drops of spit and sweat flying off him. He must get terribly dehydrated…."

Village Voice


"…Matta is the soul of [‘Beatbox Bard’], and because his mic covers his face throughout, we only see his impassive almond eyes and his quiet, rhythmic physical presence — until the curtain call, when the mic drops and the person behind the performer breaks through. With throat, tongue, voice and breath he creates not just beatbox rhythms (an urban tradition already a quarter-century old), underscoring or counterpointing the play’s action, but an entire soundscape…"

Ithaca Journal



Art or Something Like It, CUNY TV


"His beats are unsurpassable, but what really makes this guy wail is the mind inside the body heretic."

Lynn Book, professor, Wake Forest University


“Matta is a focal point of any performance. His vocal-pyrotechnics include evocations of drum & bass and jazz combos to horn arrangements and hip-hop. While he defies categorization, he could be said to fit into the progressive realm of “crossover jazz”, a la performance art. You’ll find him blending a unique approach to live vocals with layered realtime, electronic wizardry. His collaborations are likely to resonate with fans of anyone from Bobby McFerrin (with whom he has worked) to DJ Logic.”



“A lot of people have heard of beatboxing, but they haven’t seen anything like Adam. Adam is a master, a dynamo.”

Dom Flemons, of the Carolina Chocolate Drops, in Mother Jones


“Matta is a human beatboxer who can do absolutely unbelievable things with nothing more than a microphone.”

Mother Jones


“…his presence is a reverent percussive touch…”

PopMatters, July 2012


Village Voice, "Here and Now," Alexis Soloski (2007)


ConnectSavannah,  "Adam Matta IS the Beat" (2014)