Too happy. Too predictable. Bland. Cheesy. Just bad. Dave Matthews Band has heard it all. And it kept going.
The Hater Phenomenon
As Dave Matthews Band (DMB) would come to learn early on, it’s not enough for detractors to simply state that what resonates with one might not resonate with another.
When the then quintet from Charlottesville, Virginia, broke onto the scene with its 1994 debut studio album, Under the Table and Dreaming, it had a problem on its hands. This was, after all, the era of grunge, and in the minds of some, anything not fueled by heroin addiction and suicidal ideation wasn’t art.
Too cheerful.
College-educated fans—some in fraternities—flocked to the band’s live shows, presumably because they enjoyed what they were hearing.
Too white. (Three of the five original members sported a healthy dose of melanin.)
The music was hard to categorize. Was it rock? Jazz? Folk? World?
Unclassifiable. (Is that a bad thing?)
The lyrics were declared as uninspiring.
Safe. (Apparently all that she wants is another baby was better?)
Some even inexplicably objected to the presence of a saxophone and violin.
As the band’s portfolio grew, so, too, did the chorus of denigrators.
Until, finally, it didn’t.
The blistering criticism that accompanied the acuity of early success was no match for the chronicity of prolonged achievement, making even the most ardent disparagers…tired.
Post-Hater
Three decades—and ten albums—later, the haters have largely moved on. In frontman Dave Matthews, we’re now left with just the facts.
A former bartender turned musician.
An apartheid-era South African who is color blind.
A regular guy with regular looks who writes real songs with real instruments.
A songwriter who emphasizes musicianship over entertainment.
A family man with a wife and three kids.
A leader who dismissed his longtime bandmate, Boyd Tinsley, after sexual harassment allegations surfaced in a different group.
A thinker who only occasionally dabbles in the cesspool that is politics.
A worker who has been working at his craft for over 30 years.
In other words, there’s not much to dislike.
Of course, if you don’t dig the music, there’s a simple solution—don’t listen.
But in the meantime, here’s a sampling from each album, keeping in mind that it’s the live product that makes the band.
“Ants Marching”
From the aforementioned debut album, this is arguably the song most associated with DMB, at least among non-diehards.
“Tripping Billies”
The second album, Crash (1996), is loaded with essentials, but it’s hard to argue with eat, drink, and be merry, especially when served with a violin solo (courtesy Tinsley).
“Rapunzel”
Album number three, Before These Crowded Streets (1998), is stacked as well. This jam’s rhythmic complexity—courtesy drummer Carter Beauford and bassist Stefan Lessard—and exhilarating saxophone solo stand out.
“Everyday”
From the next album, Everyday (2001), the eponymous track is one of those joyful ones that everyone loves to hate—or just love.
“Where Are You Going”
Hardcore fans might not be enamored with the first single from the band’s fifth album, Busted Stuff (2002), but a lot of other people are.
“Hello Again”
On the sixth album, Stand Up (2005), catchy hooks are harder to come by, meaning a few listens might be required to process this unique country-inspired product.
“Lying in the Hands of God”
The seventh album, Big Whiskey & the GrooGrux King (2009), was the first released after the death of saxophonist LeRoi Moore. Matthews’ pensive side has always been front and center, perhaps even more than usual here.
“Snow Outside”
From the eighth album, Away from the World (2012), comes this song, a slow mover that rewards patience.
“Virginia in the Rain”
On album number nine, Come Tomorrow (2018), this keys-centric song is hard to overlook. Again, patience will be your friend.
“Madman’s Eyes”
And finally, from the tenth and most recent album, Walk Around the Moon (2023), the lead single takes a stab at Middle Eastern sounds—and gun culture.
So thank you, Dave Matthews Band, for not listening.
