About Dickerson and Nop


“Presence”, the new album from Matthew DIckerson and Susan Nop, available November 1, 2015 in digital format at iTunes, Amazon, and CDBaby.  Click the play button above to hear some songs from the new album, as well as songs from our earlier Christmas album “The Brilliant Whiteness of Snow.”

Matthew Dickerson and Susan Nop have been writing and performing music together since 2010. They have brought their style of original roots Americana and roots Gospel to venues such as SoulFest--where they played with the band Zephyr (2012 and 2013)--was well as clubs, cafes, colleges, churches, and music halls around the northeast.

Susan Nop
brings more than three decades studying, teaching, and performing classical piano to the duet--along with a newfound love for the keyboards on her accordion. But it is her soulful and passionate lead vocals as much as her skill on the keys, that give Dickerson and Nop their distinctive sound. Tapping into her southern roots, she brings both passion and authenticity to her work.

Matthew Dickerson studied piano for eight years as a young adult, but while all the theory he learned from his jazz pianist instructor stuck in his head, a failure to actually practice enough proved an impediment to his becoming the pianist his mother wanted him to be. In high school and college he picked up harmonica. He took up acoustic guitar in his early twenties, followed by with electric bass (which he actually practiced fervently). He became the bassist and a songwriter for the blues band Deep Freyed, earning national airplay for two independently released CDs, “Blues Oil” (1999), and “Faces of Blue” (2001). 

    Eventually Dickerson’s first love for the rootsy acoustic singer-songwriter tradition of such artists as Mark Heard, Pierce Pettis, Buddy and Julie Miller, Bruce Cockburn and T Bone Burnett drew him back to Americana music. His collaboration with Nop encouraged and inspired a new wave of songwriting, and their work together leading worship at church also prompted a desire and effort to express elements of his faith within the sort of musical tradition he loved.