{"id":1861,"date":"2005-09-05T20:00:02","date_gmt":"2005-09-05T20:00:02","guid":{"rendered":"http:\/\/216.71.127.204\/wordpress\/?p=1861"},"modified":"2015-10-19T20:52:18","modified_gmt":"2015-10-19T20:52:18","slug":"dave-matthews-band-woodlands-pavilion-spring-tx-3","status":"publish","type":"post","link":"http:\/\/houstonmusicreview.com\/wordpress\/2005\/09\/05\/dave-matthews-band-woodlands-pavilion-spring-tx-3\/","title":{"rendered":"Dave Matthews Band – Woodlands Pavilion – Spring, TX"},"content":{"rendered":"\n\n\n\n\n
Written by Abel Longoria <\/span><\/td>\n<\/tr>\n
Sep 05, 2005 at 08:00 PM<\/td>\n<\/tr>\n
\n\n\n\n\n
<\/td>\n<\/tr>\n
\"Image\"The Dave Matthews Band drove into the Woodlands Pavilion to perform the third and final show of their trip through Texas, which included Selma and Dallas. DMB is often regarded as one of the toughest touring bands in all of the music industry. Tonight proved that is definitely the case since it seemed as though they had the energy of a band that had just started their nationwide tour when in fact this was stop number 58 on a 62 show tour! Simply Amazing.The band was on tour helping promote their newest release Stand Up which was a little different than the typical DMB albums of the mid 90\u2019s. Even though it is different, it is definitely a good different and the 16,000+ fans at the show tonight also agree.<\/p>\n

Matthews started the night off with The Stone (Before These Crowded Streets – 1998), which eased the crowd into what was to become a great night of live music. Just when we thought they were going to break into something a bit more recent, they take us even further back with One Sweet World which dates back to early 1992-1993. This was a great treat for hard core fans that have been following the band since their first EP release.<\/p>\n

After the first two opening songs, Dave takes a minute to express the band\u2019s gratitude towards the state of Texas in regards to the Hurricane Katrina Relief effort. Dave continued by saying that they were proud of the great example that Texas set for the rest of the country. Outside the gates of the pavilion were a line 18 wheelers accepting donations to the Houston Food Bank set up by DMB. The band was also contributing a large portion of the proceeds from tonight\u2019s show to be as be applied to their goal of raising $100,000 for the relief effort for those affected by the hurricane.<\/p>\n

After Matthews\u2019 comments about the disaster the band appropriately leads right into Louisiana Bayou from their latest release. Throughout the night the band threw in an older releases here and there that really spiked the crowd\u2019s enthusiasm. Lie In Our Graves is one of those oldies that really got things ramped up. This song seemed as if it lasted 10 minutes all on its own which included a mean violin solo by Boyd Tinsley which was followed by solos from Butch Taylor (keyboard) and Carter Beauford (drums). At one point you almost forget what song they were in the middle of since we were in complete awe of the onstage energy. Dave simply stood back in the shadows strumming his part as his fellow members took the limelight.<\/p>\n

The main set ended with one of Dave Matthews Band\u2019s best closing songs ever All Along The Watchtower which is also one of their most popular live songs even though it has never been recorded on an official studio release album. DMB\u2019s version of this 1960\u2019s Bob Dylan classic is definitely my most memorable song of the night. The energy and soul the band put into this entire show was all summed up by this one particular song! Simply Amazing. Throughout the fans seated in the pavilion there were several mic stands stood up above the crowd about 8-10 ft or so. DMB has continued to allow fans to make audio recordings of their shows since that is indeed how the word spread about their music in the very early days before they had a record deal. Tapers, as they are known in the community, are at every live DMB show and some individuals even attend upwards of 20-30 shows a tour!<\/p>\n

These tapers aren\u2019t using $20 cassette tape decks like the early tapers of the early 90\u2019s used. The guys of the new generation are using high quality DAT recording setups that cost upwards of $3,000. DMB\u2019s taping policy is mainly comprised of two rules, you may only record from your seat location and the recordings are not to be sold. So yes, that means these recordings are completely free to the general public and can be downloaded at will. In fact, by the time you read this review, chances are the high quality recording of the entire show will be available to download from the internet.<\/p>\n

DMB’s Set List<\/strong>
\nOnstage: ~8:30pm
\nThe Stone
\nOne Sweet World
\nLouisiana Bayou
\nEverybody Wake Up
\nCrash
\nSay Goodbye
\nHunger For The Great Light
\nDreamgirl
\nLie In Our Graves
\nWhat Would You Say
\nAmerican Baby Intro
\nYou Might Die Trying
\nSmooth Rider
\nEveryday
\nAll Along The Watchtower
\nEncore:<\/strong>
\nAmerican Baby
\nWhat You Are<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Written by Abel Longoria Sep 05, 2005 at 08:00 PM The Dave Matthews Band drove into the Woodlands Pavilion to perform the third and final show of their trip through Texas, which included Selma and Dallas. DMB is often regarded as one of the toughest touring bands in all of the music industry. Tonight proved… <\/p>\n

Read More<\/i><\/a><\/div>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1861","post","type-post","status-publish","format-standard","hentry","category-concert-reviews"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/posts\/1861","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/comments?post=1861"}],"version-history":[{"count":1,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/posts\/1861\/revisions"}],"predecessor-version":[{"id":1862,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/posts\/1861\/revisions\/1862"}],"wp:attachment":[{"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/media?parent=1861"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/categories?post=1861"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/houstonmusicreview.com\/wordpress\/wp-json\/wp\/v2\/tags?post=1861"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}