If the Dave Matthews Band is a family, Stefan Lessard is the baby brother. Joining the group at age 16 on the recommendation of his mentor John D'earth, the bassist literally grew up with his band mates. Music has clearly been a life-long passion for Lessard, perhaps helped by the fact that he was born to musician parents. Now, at age 35, Stefan has transformed into a full-blown adult, without losing any of his boyish charm or enthusiasm. In fact, it may be thanks to his persistent spirit, that fans could be treated to some fantastic surprises this summer.If the Dave Matthews Band is a family, Stefan Lessard is the baby brother. Joining the group at age 16 on the recommendation of his mentor John D'earth, the bassist literally grew up with his band mates. Music has clearly been a life-long passion for Lessard, perhaps helped by the fact that he was born to musician parents. Now, at age 35, Stefan has transformed into a full-blown adult, without losing any of his boyish charm or enthusiasm. In fact, it may be thanks to his persistent spirit, that fans could be treated to some fantastic surprises this summer.
Dave Matthews may be unsure about the existence of God, but there's one universal entity that he truly believes in. Love. For every deep, dark, and searching lyric, outlining Matthew's profound uncertainty in an all-knowing being, there is an equally deep, but light and promising phrase, describing love as a power greater than all of us. Dave subscribes to the belief that this unifying emotion can heal our wounds and bring us together in a transformative way. And because we all come equipped with the capacity to love, we need search no further than ourselves to experience that which transcends us all. What a stunning paradox.
One of the best parts of being at a Dave Matthews Band concert is the way that anticipation gives way to surprise when an unforeseen song is presented. Since we are not privy to the night's set-list beforehand, it's always a treat to hear something unexpected. But even with tunes that aren't high on the rarity index, DMB still finds a way to make every performance unique; otherwise we wouldn't need 98 versions of “Ants Marching” on our ipods, would we? Perhaps one of the most meaningful variations can be found in the impromptu introductions to certain melodies. While researching here on DBTP, I found that Chris, our tireless administrator, took the time to document 12 years of “Two Step” intros (1996-2008)! And after looking through them, I discovered some fascinating patterns that offer a glimpse into the mysterious mind of Dave himself.
Today in London, England, the Dave Matthews Band kicked off their 11 date European portion of the Summer 2009 tour. The intimate show at the Brixton Academy, seating only 4921 people boasted a great set, opening with “Rapunzel” and featuring many “Big Whiskey” treasures, along with old favorites like “The Stone,” “Jimi Thing,” "Two Step," and "Grey Street." After England, the ensemble will travel to France, Belgium, Switzerland, Italy, The Netherlands, and Spain, before wrapping it up on July 11th in Lisbon, Portugal. While we may think of DMB as mainly an American touring group, these musicians are no stranger to the other side of the big seas. Since their European debut of 11 dates in 1995, these men have made numerous trips to Europe, South America, and Australia, performing at festivals, free events, and small and large venues alike.
Part of what gives the Dave Matthews Band their unique flair is their belief in abundance vs. scarcity. From day one, they have openly encouraged taping at their shows, knowing that these recordings will only further their following. Ticket prices have remained considerably lower than those of similarly popular artists, and the fee for membership in their fan club is a mere $35 per year, which allows enthusiasts advanced purchasing of tickets prior to public sale, among other perks. Unlike many musicians, they have never condemned internet downloading of their work. Instead of greedily protecting their output, they have essentially given listeners a golden key to their treasures. Clearly, the members are not suffering financially from these decisions. Rather, their generosity has served to fuel the flame, exposing the masses to their genius. I love to see successful ventures built on this foundation. It reminds us that the path to the top doesn't have to be littered with the misfortune of others.
Earlier this week, the first video release from “Big Whiskey and the Groogrux King” debuted. The 4 minute and 30 second clip, directed by DMB lighting designer Fenton Williams and Jeff Crane, sets “Funny the Way It Is” to a series of strange and animated movements by Dave himself. Parts of the production are reminiscent of the “Eh Hee” video where Dave sat in a chair, enduring all manner of liquids and towels being rubbed onto his face while he experienced a variety of emotions and seemingly uncontrollable ticks. In this newest output, Dave is again undergoing messy spills on his head and even being blindfolded with a mask. While I would bet that Dave would explain these tactics as humor inducing, it also occurs to me that this kind of treatment goes along with his self-deprecating nature. Never taking himself too seriously, Dave is always one to point out his own silliness. In the recent interview with Matt Pinfield, while discussing the phrase, “I like my coffee with toast and jelly, but I'd rather be licking from your back to your belly,” Dave admits that in writing sexual lyrics he tries to keep things a little “ridiculous” and “self-deprecating” in order to lighten the mood.
While thousands of fans were braving the rain around Rockefeller Center last Friday, in anticipation of the Dave Matthews Band's first ever morning television performance, Dave was sitting down with Matt Pinfield and Leslie Fram of The NY Rock Experience. Dave talked with the radio hosts for over 40 minutes before graciously apologizing that he had to run, as if he was on the way to get his dry cleaning rather than entertain on national television! The interview spanned the making of “Big Whiskey and the Groogrux King,” including the creative process of the band, the terrible loss of LeRoi Moore, and several insights into individual songs. Listening to this for yourself is a must, but in the meantime here are some highlights from the broadcast.
Dave starts off declaring “Big Whiskey” as “one of the best records we've ever made.” He openly admits that the “weird, unique and...accessible” energy that the group transmitted up until and around the time of “Before These Crowded Streets” was missing in the last two albums, noting that this one is “sort of like the fourth record.” Dave joyfully recounts the way that the men fell back in love with making music and with each other under the focused but spontaneous guidance of producer Rob Cavallo. Starting in their Charlottesville studio, and continuing in Seattle and New Orleans, the musicians found themselves working in ways, and conditions, that were reminiscent of their earliest days.
Fans who ordered the Super Deluxe version of “Big Whiskey and the Groogrux King” received, among other goodies, a bonus disc containing four songs: “#27,” “Beach Ball,” “Little Red Bird,” and “Write a Song.” None of these songs have been previously released as a studio track, although listeners might recognize “#27” and “Beachball” from their live recordings. The bluesy “#27” debuted live on 7/28/07 (too bad it wasn't one day earlier on the 27th!) and was played three times during the Spring 2009 tour. “Beach Ball” was first performed live on 4/29/09 and presented once more last Spring. “Little Red Bird,” and “Write a Song,” have yet to be introduced on stage.
Anytime a world renowned band releases a new album, a plethora of reviews is sure to follow. Every opinion from the good, to the bad and ugly will be expressed. Some neophytes expose their lack of knowledge about the band by misquoting lyrics or mistaking the number of albums produced, or worse yet, making it clear that they've never experienced a live show. In many ways, critical analyses tell far more about the assessor than the assessed. That being said, here's a summary of what the journalistic world is saying about “Big Whiskey and the Groogrux King.”There are a few key points that most writers are articulating in their descriptions of the new creation.
Dave Matthews was right when he described “Big Whiskey” as a record that “doesn't apologize.” With this effort, the band held no bars and left no stone unturned. The album boasts incredibly diverse sounds, representing everything from the back streets of New Orleans in “Alligator Pie,” to an almost Jimi Hendrix-like feel in “Seven.” The fact that one production successfully merged such divergent musical genres is a stunning accomplishment, even for the Dave Matthews Band.