I'm nearly a week late with this, but it took me nearly a week to compose my thoughts about three separate yet intriguing shows from a band I love so dearly. The last time Dave Matthews Band visited Berkeley's Greek Theatre on the Cal campus, Jerry Garcia died two days earlier and the group was supporting its major label debut, Under the Table and Dreaming. Fast forward 13 years, when the band finally made a return to the tiny, Bay Area-venue as an established, triumphant rock talent with an adoring, die-hard throng of fans. Also, too, the visit came just weeks after the sudden death of saxophonist LeRoi Moore, who died from a blood clot following an all-terrain vehicle accident suffered in June. As the writer of For Those About to Rock can be counted among the devoted DMB faithful, we'll take a look at all three shows.
Friday, Sept. 5
Before I get to the meat of the DMB material, opening act Sharon Jones and the Dap Kings is worth mentioning. Jones was a treat to watch, strutting, dancing and inviting audience members onto the stage each of the three nights as the emcee of her own R&B/funk/jazz/soul ensemble. Despite knowing the majority of the audience was there for the headliner, Jones' engaging attitude, energetic performance and stellar voice made her worth seeing each night.
Fanaticism was the flavor Friday night. Performances ended and fans chanted band members' names until they acknowledged. When Matthews' name was called, he pointed to himself and mimed his head swelling to explosion.
The set was a combination of material from the group's pre-2000 catalogue, a few new cuts and a cover of Talking Head's "Burning Down the House." This night, guitar virtuoso Tim Reynolds, who spent the entire summer on the road with DMB, sat back a little bit, allowing others to shine.
While "The Stone" is almost always a riveting opener — and the band's namesake included an interpolation from "Can't Help Falling in Love" which immediately sent the crowd into singalong mode — it was "So Damn Lucky" which unexpectedly, inadvertently became the first symbolic reminder of Moore's absence. In an extended closing horn/electric guitar jam, guest saxophonist Jeff Coffin (of Béla Fleck and the Flecktones fame, called in to serve as Moore's injury replacement) and trumpeter Rashawn Ross twinned their efforts, peppering the soaring soundscape as Matthews' repeated line of "amazing what a minute can do" grew from a cautionary cry to a yell. The lyric and the moment spoke volumes about the group: The sheer power, cohesion and energy showed the group has plenty of firepower to continue, even though Moore's death changed the group's future irrevocably in an instant.
The lone misfire of the night was "Stay or Leave," a yearning lament for a lost relationship from Matthews' 2003 solo record, Some Devil. In its acoustic performances with Reynolds, the tune's confessional, regretful ambiance is allowed to breathe. In its full-band interpretation, it was simply overstuffed. However, this cannot be said for Some Devil single "Gravedigger," which adapted to the DMB setting admirably thanks to drummer Carter Beauford's chops.
The highlight of night one was the unexpected guest appearance of Gov't Mule/Allman Bros. Band's Warren Haynes. After a trademark Haynes solo, he traded riffs Reynolds, each trying to one up one another on "#41" as Coffin and Ross played the melody from the Flecktones' "The Sojourn of Arjuna."
Running more than 10 minutes over Berkeley's sonic curfew limit, the night closed with "Sister," a quiet tribute to Matthews' sibling, and a rousing rendition of fan favorite "Two Step."
Saturday, Sept. 6
Covers were a prominent feature on the playful second night, the first evening to land studio material from this millennium.
However, the night began on an introspective tone with "Seek Up." Also belying the upbeat tone was the pensive, hornless "Out of My Hands," which found Matthews tickling the ivory, a new feature added to DMB's act this year.
Though joking and playful throughout the first several songs, it was in the second hour when DMB broke into improvisational mode. After chanting Matthews' name for the second straight night, Beauford rattled off a quick drum roll. Quickly, a jam emerged: Coffin and Ross chewed off a funky horn lick as Matthews riffed on the children's song "Fuzzy Wuzzy," although it's doubtful the hairless bear was ever "smokin' his w*** and shakin' his a**," as Matthews adlibbed.
The covers, Peter Gabriel's "Sledgehammer," Pink Floyd's "Money" and Bob Dylan's "All Along the Watchtower," diverse as they are, all delivered. While the horn section had room to shine in "Sledgehammer" and "Money," it was Reynolds who sparkled on "Watchtower," a DMB staple since the group's earliest days. His solo dialed in a "Stairway to Heaven" send up, but his moment in the spotlight concluded when he leaned forward and ended his solo by playing the guitar with his teeth.
Other early-career treats included Under the Table and Dreaming's "Lover Lay Down," "Rhyme & Reason" and a ripping take on personal favorites "Warehouse" and Before These Crowded Streets' "Rapunzel."
A tribute to Moore came in "Where Are You Going" as the band left the space for the late saxophonist's solo empty; Coffin did not play on the song. Ross played his usual fills during the bridge, parts which underscored what Moore might've done.
Sunday, Sept. 7
Though lacking Friday's fanaticism or Saturday's playful tone, Sunday's show earned its moody atmosphere.
The night would've marked the late Moore's 47th birthday, so the evening took a tone of reflection and celebration of the man. Fans brought signs, balloons, bubbles and even birthday cake to commemorate Moore. The opening lines of "Bartender" took on a new weight: "If I go before I'm old, oh, brother of mine, please don't forget me if I go."
Though Matthews only made a brief mention of Moore near the end of the night, his presence was inescapable. In an introductory solo to "Crush," bassist Stefan Lessard played part of "Over the Rainbow," a song which the DMB obsessives have seized as part of Moore's memory after a comment Matthews made at the show on the date of Moore's passing
Most touching, though, was a tribute to Moore which came during the encore break. A collection of videos and photo stills from throughout his life streamed on the video screens as the Under the Table rendition of "#34" played, showing Moore from his football-playing youth, the sax-tooting college years and his nearly two decades with DMB. At its conclusion, the crowd roared its approval for Roi, leading to a bittersweet chant for the late saxophonist.
Also adding to the night's unusual atmosphere was the 10 p.m. curfew, which forced DMB to take the stage earlier than usual, near 7:15 p.m. Despite the waning sunlight, Mother Nature did her part, providing cloud cover to allow the band's complex light show to shine.
The set featured a few more rare nuggets: live gem "Loving Wings," early song "The Song That Jane Likes" and all-but-forgotten Crash cut "Drive in Drive Out."
Whatever DMB decides to do following Moore's passing, the Berkeley shows were confirmation that they'll do it with the same impassioned spirit with which they've always taken their live shows.
All photos taken with a camera phone by Nick DeCicco
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