REVIEW: Dave Matthews Band achieves commercial success with ‘Come Tomorrow’

Come Tomorrow

Come Tomorrow

Alex Novak

Dave Matthews Band has always had a unique sound. One that has broken genre and has bended and burst its way into the ears of unsuspecting listeners everywhere to their joy — now for over two decades.

They have blended country and blues, mixed with rock and jazz, and even the heartland folk sound into a progressive movement of superior instrumentation.

Its sound is of pure fun, and you can see musicians completely in mastery, simply jamming, creating and exploring their own limits.

Now we have arrived at ‘Come Tomorrow,’ and the latest hour of DMB delight. Having defined themselves for fusing several similar genres with a few surprises to deliver a truly welcome flavor of music, they have done it once again with this album, delivering their closest rock sound to date while still honing in their craft of the signature hits as well.

It landed them an opening spot of number 1 album in the world with its release, on June 22, earlier this summer.

Flashbacks to their work on 1998’s ‘Before These Crowded Streets with the longtime live feature “Can’t Stop” now in studio version, and 2001’s ‘Everyday’ with their latest hit “Samauri Cop (Oh Joy Begin).”

In fact, their newest release highlights nine previously performed tracks from their set rotations, dating back as far as 2006.

They will certainly draw comparisons back to their early work with “Do You Remember?,” including their best-known hit “Crash”, from 1996, with “Come On Come On”, as a blues and soul piece of moving heartfelt exploration.

Moreover, they showcase their mastering musical prowess with a truly Beatles-esque entry with the softer, touching “Here On Out.”

The highlights of this album are undoubtedly the anthemic “That Girl Is You,” and jazz-inspired “Virginia In The Rain.”

Longer songs have always been a staple of theirs, giving them more time to jam and flesh out ideas with extended riffs and chord progressions — the ones they showcase on this track continue that trend.

Although most of the album delivers something for everyone, “Bkdkdkdd” is simple and short; a frequent trademark of their work with this entirely instrumental interluding track, and will convince listeners that they are not slowing down anytime soon.

This album is one of the best of the year from one of the oldest, classic bands still out there.

Particularly, the on-point drumming of Carter Beauford is perhaps the best whole-album performance of his career. And, additionally, the directness and clear focus of their sound and Matthews lyricism on this piece will deliver another powerful experience into their tremendous catalog.

Alex Novak is an entertainment reviewer. Contact him at [email protected].