Those who have read my article earlier in the week will already know that I’m a fan of the Dave Matthews Band. They’re a band I’ve grown up with in many ways, and between 2005 and 2007 I had the opportunity to catch them three times between Australia and the USA. What followed was what some might call a drought of opportunity; a drought that ended tonight with the band’s first performance in Sydney in seven years.
First up though was Austin’s newest Blues hero, Gary Clark Jr, who – as per tradition – was introduced to the crowd by Dave Matthews, as he also introduced his reasonably impressive Australian accent. I guess that’s the South African in him…
Emerging with a three piece band behind him, and a classic Blues bass line, Gary launched straight into his set with a cover of Robert Petway’s “Catfish Blues” (also made popular by B.B. King, among others). With a soulful voice drenched in the blues that would make Ben Harper proud (and indeed B.B.), and some effortlessly stunning guitar work, Gary pumped out a 45 minute set during which only six tracks make an appearance, thanks to plenty of impressive instrumental moments, which gave both himself – and his backing band – moments to shine.
The rest of the set focused on his highly acclaimed record Blak and Blu, with “Ain’t Messin ‘Round” bringing us some great grooves, an epic instrumental in “When My Train Pulls In” serving up the highlight of the set as it built up to a stunning climax, the soulful “Please Come Home”, the rockin’ “Don’t Owe You A Thing” and “Bright Lights”, which ended the set, as Gary screams “you gotta know my name” into the microphone, while his guitar shreiked and wailed. And indeed, if anyone in the crowd didn’t know his name before they came to the show tonight, they’ll never forget it now.
His music is full of classic riffs, melodies and sounds that Gary makes his own, as if he was the one that helped start the genre in the first place. I wouldn’t question it. Unfortunately that would be the last we’d see of Gary tonight – though often Dave’s supports join him on stage later in the set, that would not be the case. But it would be hard to argue that there was any disappointment in the night; just perhaps a missed opportunity.
After a brief changeover, Dave Matthews stomped his way on stage with his six piece band, jumping straight into things. The odd piece of banter was exchanged – including plenty of thank yous, some more attempts at an Australian accent, and something that I think was a strange version of “Get Lucky” by Daft Punk. But for the most part, this was a two and a half (plus!) hour set that barely stopped for a moment.
With seven years and two albums between visits, there wasn’t as much focus on the last two albums as you might expect; but such is typical of a Dave Matthews Band performance. They change the set every night and try to make sure that pieces from all of their back catalogue make an appearance. Indeed, tonight, with 7 tracks devoted to the two latest records, the rest were spread out amongst our favourites of the rest, with only Remember Two Things and, to a lesser extent, Busted Stuff, missing out. Even Dave’s solo record got a moment to shine with “Gravedigger”, although unlike when he performed it at the Hordern in 2007, this time he kept the full band on stage for the fan favourite.
If you’ve ever listened to a DMB live record, you know what you’re in for: extended jams turning tracks that at first glance seemed pretty low-key into epic, twenty minute, mind-blowing experiences. There’s barely a track that doesn’t have some form of alteration or extension in the live space, even the newest additions to the repertoire, such as “If Only” and “Rooftop”.
Though I daresay bass guitarist Stefan Lessard didn’t have the moments to shine that I’ve seen him receive in the past, the rest of the band certainly had plenty of their own. Violinist Boyd Tinsley is particularly prevalent in a few of the tracks that made the set tonight, including the classic “Dancing Nancies”, which brought Boyd to the front of the stage with Dave for the first time, as they locked eyes and jammed, while the rest of the band kept building the pace. Things got so intense, in fact, that Boyd dropped his bow! Laughing it off, they continued the song as though it never happened – and somehow it seemed like he never missed a beat in spite of it!
There are a few points of note, too, about the band between visits. Tragically we lost saxophonist LeRoi Moore in 2008, but his replacement, Jeff Coffin, is now very much entwined in the set and sounded phenomenal. This Australian tour also marked the first time we’ve seen Tim Reynolds as a permanent member of the band down under. Fans will know Dave and Tim performed together solo for many years, but with the exception of a brief stint in 1998, it wasn’t until 2008 that Tim joined the band, and they’ve enjoyed a second guitarist in the live mix ever since. Around the same time, keyboardist Butch Taylor left the band, and no keys were seen on this tour as a result.
Suffice it to say, 2008 was a fairly termultuous year for the group and their sound has changed slightly as a result. But for fans, this is ultimately an exciting thing, as the ever-changing set keeps moving forward, with new additions, new highlights and the return of old tracks into the repetoire that had long been rarities. It was great to hear “Proudest Monkey” and “Drive In, Drive Out” from Crash amongst the set, along with “Satellite” off of Under The Table and Dreaming and “So Right” off Everyday for starters, the last of which was phenomenally improved live against the orignial.
But the highlights of the set are always going to be the live “standards” that DMB are known for. And there were a LOT thrown in tonight. “Don’t Drink The Water” was outstanding and came early, while “Jimi Thing” was as epic as always and featured a tongue-in-cheek cover of “Sexy M.F.” by Prince as their outro (I’m told this is now common in their sets). “Crash Into Me” gave us goosebumps and “Ants Marching”, which closed the main set, featured a lengthy intro that was quite unlike any I’ve heard from the group before. Very much enjoyed it – and the song that closed the set, Before These Crowded Streets‘ “Rapunzel” was an apt choice indeed, after which drummer Carter Beauford took his time to get as many drumsticks out to the audience as possible! A lost art, that.
All in all, this was the set you’ve come to expect from the band. There were jams, there were skats, there were solos and there was a superb setlist to go along with it. After over two and a half hours of phenomenal music from one of the world’s finest live bands – not to mention a terrific support act – it would be hard to say any fans would have been disappointed. And for the Americans in the room in particular, they just couldn’t believe their luck at getting to see the band in a space which is relatively up-close-and-personal. You have to understand, this is a band who sells out stadiums over there! So we are very lucky indeed to have them back down here, in venues such as this (though doesn’t beat 2005 at the State Theatre!). Let’s just hope it’s not another seven years before we get the chance once again…
The band continue their Australian tour in Melbourne on Thursday before two appearances at Bluesfest in Byron Bay over Easter Weekend!
DAVE MATTHEWS BAND SETLIST:
Squirm
Belly Belly Nice
If Only
Don’t Drink the Water
Proudest Monkey >
Satellite
You Might Die Trying
So Right
Spaceman
Seven
Dancing Nancies >
Drive In Drive Out
Gravedigger
Rooftop
Jimi Thing (with “Sexy M.F.” by Prince, Cover as Outro)
Crash Into Me
Ants Marching
Encore:
You and Me
Pantala Naga Pampa >
Rapunzel
GARY CLARK JR SETLIST:
Catfish Blues
Ain’t Messin ‘Round
When My Train Pulls In
Please Come Home
Don’t Owe You A Thing
Bright Lights
