February 13, 1995 |
Like many writers, the musicians of the Dave Matthews Band need an editor to make them look good. This was painfully apparent Saturday night when the band played the second of two consecutive, sold-out nights at the Tower Theater. Under the Table and Dreaming (RCA), the recent major-label debut of this Charlottesville, Va., jam band, was produced by the renowned Steve Lillywhite. It's a revelation. Melodies tumble to a start; eloquent textures are created through frequent time signature changes, lambent vocal phrasing, and the use of violin, sax and acoustic guitar.
July 27, 1998 |
What a difference 3 1/2 years has made in the live sound of the Dave Matthews Band. When this writer first saw the group at the Tower Theater, it was shortly after the release of its multiplatinum, major-label debut, Under the Table and Dreaming. At that time, long-winded jams by Boyd Tinsley on violin and LeRoi Moore on tenor sax dominated the evening, and drummer Carter Beauford seemed to fly off in his own direction. At the sold-out show at the Waterfront Entertainment Centre, in Camden on Friday (a second sold-out show took place Saturday)
December 25, 2012 |
It's a safe bet most folks at the Wells Fargo Center for Saturday's sold-out Dave Matthews Band gig always knew what they would get. All the veteran Virginian septet's live selections - 20 songs over three hours - were largely unedited, played at full strength and length. That was just fine by the satisfied crowd, which stood to sing along with the amiable namesake frontman through anthemic regular set-closer "Ants Marching. " After all, those who want more concise interpretations can stick to DMB studio albums.
July 14, 2002 |
All through 1999 and 2000, as fans of the Dave Matthews Band pined for a new studio album, the message from the Charlottesville, Va., quintet was the same: Please be patient. It's not quite ready. The band was in the studio, diligently working with longtime producer Steve Lillywhite to capture the cherished warhorses of its live show, among them "Grey Street" and "Bartender. " But after what Matthews calls several "frustrating" rounds, the project was shelved, and Matthews wrote a slate of songs with producer Glen Ballard that became last fall's pop-leaning Everyday.
October 4, 1994 |
Dave Matthews cocked an eyebrow. "The last time we were in Philadelphia, there were about three people here," he began, but the audience barely heard him over the noise of its own frenzied cheering. Matthews took none of this for granted. Again and again Saturday night, he thanked the sold-out Theatre of Living Arts crowd for showing up. In return, the Dave Matthews Band delivered an incredible night of country-tinged neo- classic rock. Sometimes quietly compelling, sometimes wild with joy, the Charlottesville, Va., quintet presented a controlled swirl of music, with the high arc of Matthews' voice sailing over it. The group's violin, sax, flute, guitar, bass and drums tangled, then settled into a unified whole.
April 3, 2013 |
HIGHLANDS, N.J. - Researchers have gathered enough data to be able to say that an oyster-restoration program wrecked by Hurricane Sandy will work, and they now have more than $16,000 from the Dave Matthews Band to help reestablish the research on a Navy pier. The band, through its Bama Works Fund, gave the grant to the NY/NJ Baykeeper group, which will use it to rebuild and relocate an aquaculture building destroyed by the storm. Meredith Comi, director of Baykeeper's pilot project at the Earle Naval Weapons Station, said many nets holding the oysters were ripped from the pier during the storm.
April 26, 1998 |
Now here's a nightmare modern-rock sequence: Marcy Playground's "Sex and Candy" followed by Sister Hazel's "All for You," Agents of Good Roots' "Come On" and "Don't Drink the Water," by the Dave Matthews Band. Even the sadistic music director who programs these album cuts back-to-back might have trouble discerning one artist from the other. All rely on easygoing, prowling rhythms and unconventional instrumentation. All are shaped by laconic, sleepy-voiced singers. All attempt variations on that greasy, quasi-funk groove.
July 7, 2005 |
It was late in the Dave Matthews Band's 2 1/2-hour show at the Tweeter Center on Tuesday when the trademark improvisational juices finally flowed with purpose, rather than just dripping listlessly. The quintet was feeling its way out of the grit-caked "Louisiana Bayou" when Boyd Tinsley coaxed from his violin an agitated wail, which Matthews underscored with carefully phrased leads as he played electric guitar for the only time in the 18-song set. Saxophonist LeRoi Moore took the relay, repeatedly honking out a melodic line that sparked a Sly Stone-style double-time journey home.
July 22, 2004 |
Dave Matthews began "Sugar Will," one of several new compositions his band previewed at its sold-out show at the Tweeter Center Tuesday, by plucking an intricate solo phrase on the acoustic guitar. It seemed unexceptional at first, another of the recurring syncopated patterns that anchor much of the band's repertoire. But Matthews played it over and over, hammering sharp percussive accents until the phrase took on a trance-like aura. Then the band came in. Following Matthews' outline, the musicians created a choppy, seafaring churn that resembled the interlocking pulsating rhythms used by minimalist composer Steve Reich.
April 12, 2002 |
Over the last few years, as it's grown into the biggest draw in rock and roll, the Dave Matthews Band has come in for some heavy criticism. Much is the generic sniping that inevitably accompanies success, but detractors also harbor more specific grievances. The songs too often balloon into interminable suites. The shows follow a predictable arc. The fans are frathouse beerheads who would be enthusiastic about anything. Wednesday night at the sold-out First Union Center, Matthews and his cohorts offered a rousing, unerringly solid evening of music that enchanted the faithful and probably did little to sway those resolute nonfans.