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By Dan Apczynski

The stage is set at the 2009 Outside Lands music festival in San Francisco’s sprawling Golden Gate Park, but the namesake and front man of Saturday night’s headliner, the Dave Matthews Band, prefers not to think about it. “I don’t dwell too much on where we are, just try to get it right,” Matthews says. “I’ll think about it afterwards—quickly if it goes well and longer if it doesn’t.” His sincerity makes it almost too easy to accept his humble position, and the win-some/lose-some perspective makes for a fair enough assessment from someone who has had a year like Matthews—his band’s new album, Big Whiskey and the GrooGrux King, was certified platinum just over 12 months after the passing of dear friend and DMB saxophonist LeRoi Moore (the intended “king” from the album’s title).

The band’s evening set is drawing a throng of devotees who have already begun reserving their spots at the main stage by early afternoon. Backstage, Matthews picks up a beautiful Taylor acoustic (with fretboard inlay of the word “Grux” and a king’s crown illustration from the album’s liner notes) and says, “It’s funny, because I always think, ‘Why does Acoustic Guitar magazine want to talk to me? That guy is a guitar player. I just hold onto it so I have something to do with my hands.’”

When I told friends and fellow editors here at GQ that I was interviewing Dave Matthews, they chortled and snorted. Two guys broke into damning imitations of Matthews’ raspy singing voice. Another pantomimed Matthews’ bizarre, spastic, onstage version of the Charleston. A friend called the music “soft prog.” One coworker just put his head down on his desk. Okay, dudes! I get it. Dave Matthews is not cool.

But you know who doesn’t care about cool? The 31 million Americans (and counting) who have bought Dave Matthews Band albums. My many friends in high school who got to first, second, and third base for the first time on the lawn of Lakewood Amphitheater in Atlanta while DMB ran down “Tripping Billies” onstage. And people in towns across the U.S. who got hand-me-down Allman Brothers, Genesis, and Steely Dan albums from older brothers instead of records that put you on the shortcut to cool like Fugazi, the Clash, and the Sex Pistols.

by Clark Collis

The Dave Matthews Band’s new album Big Whiskey and the GrooGrux King (out June 2) is a tribute, in large part, to saxophonist LeRoi Moore, who passed away last August at the age of 46 following injuries incurred in an ATV accident. Just a couple of years ago, however, relations between the group's members became badly strained. "As far as our friendships, we’d not been in top form," admits frontman Dave Matthews. "And in the last few years we have taken the time to rediscover each other, so to speak." After the break, Matthews talks about Big Whiskey..., how the band dragged themselves back from the brink, and his fond memories of Moore’s foul-mouthed

Entertainment Weekly: "Grux" was LeRoi’s nickname. But where does the "Big Whiskey" part of the CD's title come from?
Dave Matthews: LeRoi certainly liked “big whiskey.” But that came from a drunken harmonica player walking down the streets of New Orleans when we were recording the album who would play harmonica and then announce that he needed a “big whiskey." That was his way of courting cash. We thought Big Whiskey and the GrooGrux King had a sort of a grownup fairly tale-sound to it.