Matt Johnson’s Keyspace: The 2025 Keyboard Killers – No Filler, Just Fire

Matt Johnson doesn’t mess about—2025 was a year of relentless touring, from arena shows with Jamiroquai to solo album runs across Europe and the US. The man’s got more keyboards than most people have socks, but only a handful actually made it out of the studio and onto the stage.

With a schedule that would make a Red Bull rep sweat, Matt’s selection process is pure survival of the fittest. If a board can’t handle the road, the setlist, and the odd bit of studio wizardry, it’s out. There’s no room for sentimental clutter when you’re bouncing between continents and genres. This video is less a gear flex and more a ruthless cull—only the most-used, most-abused keyboards get a mention.

The Yamaha Montage M isn’t just another workstation—it’s the first one Matt’s actually loved. Usually, these things are the beige wallpaper of the synth world: functional, forgettable, and about as inspiring as a spreadsheet. But the Montage M flips the script, packing virtual analog, FM, and AWM engines into a single slab that can actually spark some joy.

Matt’s all about those big, original patches—upright pianos, whirly scenes, and custom pads that cut through the Jamiroquai mix. The Montage M’s scene-switching makes it a live weapon, letting him flick between sounds mid-song without breaking a sweat. He even runs his Oberheim and Moog through it, abusing the onboard effects for extra sauce. If you want a board that can do it all and still sound massive, this one’s top of the pile.

Ditching the classic Fender Rhodes for a Vintage Vibe electric piano is a bold move, but Matt’s got his reasons. The action is smoother than a late-night radio DJ, and the variable voice control means he can dial in the perfect Rhodes flavour for every track. Whether it’s mellow for “Space Cowboy” or bright and chorus-soaked for “Love Philosophy,” this board adapts on the fly.

The real kicker? There’s a lush stereo chorus pedal in the mix—a secret weapon Matt’s helped design, but he’s keeping the details hush-hush for now. If you want to hear how this setup actually sounds, you’ll need to watch the video. Trust me, words don’t do that chorus justice.

Some synths never die—they just get louder. Matt’s Prophet 5 (or Prophet 10 when he’s feeling extra) and his Moog polysynths are proof. The Moog’s dual layers, four LFOs, and a buffet of envelopes make it a programming playground, but it’s the sheer size of the sound that keeps it in the live rig. It’s not just fat, it’s obese—in the best way possible.

The Prophet, meanwhile, is all about directness. Mono, punchy, and unapologetically funky, it fits into mixes and pop tracks like it was born for the job. Matt admits he gravitates to it over the Oberheim OBX8 for most gigs. If you want a synth that just works—no fuss, no drama—the Prophet’s still the king of the hill. And yes, the Groove Synthesis Third Wave gets a nod for its massive, PPG-inspired tones, but the old guard still holds the crown.