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dave matthews band: live in chicago 12.19.98
The "series of releases featuring Dave Matthews Band in concert" put out by RCA may be excessive. But DMB is a great live band, and the latest in this series, Live in Chicago 12.19.98, is exceptional enough to warrant release. It captures the band before the Glen Ballard-produced regression of its most recent album, Everyday.
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The setlist for Chicago is based on a mixture of the band's best work from Crash and Before These Crowded Streets and is spiced up with a few older songs and covers of Daniel Lanois' "The Maker" and Bob Dylan's "All Along the Watchtower." Thankfully absent are many of the weaker songs that DMB often plays in concert, such as "True Reflections" and "Satellite." The setlist, as well as the absence of background gospel singers, are vast improvements over DMB's previous live album, Listener Supported.
The concert's highlights are abundant, but they rest largely on the talents of guest performers. The 10-minute version of "#41" climaxes with an incredible solo from bass guitar genius Victor Wooten of Bela Fleck and the Flecktones. The powerful combination of Wooten's bass with the guitars of Tim Reynolds and Mitch Rutman really make "The Maker." And, Reynolds' electric solos on "Lie in Our Graves" and "Watchtower" are memorable, much more so than the actual band's performances on these songs.
This isn't to say that DMB is not at its best on Chicago. The extended sax lines on "The Last Stop" bring the crowd to an early roar, while the short and pretty "#40" and "Pantala Naga Pampa" are nice changes of pace. And, in general, the band avoids many of its usual "jamming" flaws. The very best moments of Chicago come when the band properly incorporates Reynolds; at these points the electric guitar really makes the songs more interesting but does not overshadow the band. This cohesion is perfected on perhaps the best version to date of the band's classic "Jimi Thing."
Despite boring moments in songs like "The Last Stop" and "Too Much," Live in Chicago 12.19.98 is an excellent live document. Its highlights are enough to please the hardcore DMB fanatic and the setlist and sound are appealing enough to represent DMB as a live act and satisfy casual fans. Too bad the solid judgment the band showed in choosing to release Chicago was not present when making Everyday. (RCA)
—Jeremy Schmidt
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