The Dave Matthews Band helped give mouth to mouth to a gasping concert industry last night. The group headlined the first of two shows at the 40,000-plus Citi Field, playing to a nearly full house. (Tonight's show is sold out).
Together, that makes these gigs one of the few successful stadium runs of this recession whacked season. The only other act to exceed this feat is Bon Jovi, who currently pulled off four packed dates at the New Meadowlands Arena.
Unfortunately, the business aspect of last night's show made a more striking impression than the musical one. The performance, while respectable and fitfully entertaining, seemed a routine affair for DMB, despite the triumphant setting.
Matthews' strengths remain his band's mastery of briskly intricate rhythms and unusual melodic structures. The music they put on display last night wove elements of funk, jazz fusion, rock, Cajun music, country and pop into something that, for better or worse, sounds like no one else.
But their music can also often fall victim to ungainly melodies, homely solos,and clunky beats. While Matthews has gone a long way toward smoothing out those tendencies in the studio, the sound at the gaping Citi Field coarsened things again. In a song like "Seven" Matthews' falsetto sounded particularly squeaky. In "Rapunzel," Boyd Tinsley's violin seemed more screechy than ever.
The night was not without redemptive stretches. In "Lying In the Hands of God," the snaking and busy sax solo from Jeff Coffin had fluid invention, while Carter Beauford's muscular drumming gave it the perfect goosing. Likewise, Matthews found his finer voice in "Stay Or Leave" and in a funked up cover of Daniel Lanois' gorgeous "The Maker."
Too often, though, the show played up the band's ongoing lack of sensuality. Despite all their history, and commercial command, at times they sounded like little more than a first rate bar band that got out of control.
Together, that makes these gigs one of the few successful stadium runs of this recession whacked season. The only other act to exceed this feat is Bon Jovi, who currently pulled off four packed dates at the New Meadowlands Arena.
Unfortunately, the business aspect of last night's show made a more striking impression than the musical one. The performance, while respectable and fitfully entertaining, seemed a routine affair for DMB, despite the triumphant setting.
Matthews' strengths remain his band's mastery of briskly intricate rhythms and unusual melodic structures. The music they put on display last night wove elements of funk, jazz fusion, rock, Cajun music, country and pop into something that, for better or worse, sounds like no one else.
But their music can also often fall victim to ungainly melodies, homely solos,and clunky beats. While Matthews has gone a long way toward smoothing out those tendencies in the studio, the sound at the gaping Citi Field coarsened things again. In a song like "Seven" Matthews' falsetto sounded particularly squeaky. In "Rapunzel," Boyd Tinsley's violin seemed more screechy than ever.
The night was not without redemptive stretches. In "Lying In the Hands of God," the snaking and busy sax solo from Jeff Coffin had fluid invention, while Carter Beauford's muscular drumming gave it the perfect goosing. Likewise, Matthews found his finer voice in "Stay Or Leave" and in a funked up cover of Daniel Lanois' gorgeous "The Maker."
Too often, though, the show played up the band's ongoing lack of sensuality. Despite all their history, and commercial command, at times they sounded like little more than a first rate bar band that got out of control.
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