Photo by Andrew Dubinsky

Dave Matthews Band with moe.
Molson Amphitheatre
Toronto, ON
May 28

They say that familiarity breeds contempt, but try telling that to fans of the Dave Matthews Band. As one of the most successful touring acts of all time, DMB has consistently built on a dependable formula of songwriting and execution – the material on display at any given performance offers a sense of comfort for devoted followers, with the added bonus of improvisational jaunts to differentiate nightly takes. Any given show is likely not to disappoint simply thanks to the volume of sheer talent that Matthews has assembled. An instance of proverbial choruses and blinding chops was unsurprisingly on tap, when DMB visited Toronto.

moe. made the trip across the border to fill the opener slot, which unfolded as crowd members steadily rushed under the amphitheatre pavilion to avoid heavy rainfall. Highlighted by a rousing “Happy Hour Hero,” which featured Jeff Coffin sitting in on saxophone and some Frampton-esque talk-box action from Chuck Garvey, the group’s sound filled the cavernous space. The catchy riff, insistent cowbell, and guitar shredding in “Okayalright” tempered the once-heavy precipitation, as a thick fog rolled in for the main event.

Sheer power was the name of the game, as DMB bolted out of the gate with “Tripping Billies.” The quintessential cut was the only “classic-era” material that would appear for well over an hour, as the most recent decade of Matthews’ catalog promptly took over. “You Might Die Trying” and “Rooftop” followed, both boasting the kind of space-filled breakdown sections that the band frequently uses to clear a path for impeccable soloing – in both cases here fulfilled by the electric guitar force of Tim Reynolds. Massive ending sequences climaxed both Reynolds sections, and the night was off to a formidable start.

Over the hour to follow, Coffin and Reynolds made the most of their many spotlit flashes, sax taking over “Belly Belly Nice,” and axe ripping “Corn Bread.” The latter, with Matthews’ scat-like vocalizations and a full-band funk explosion, capped off a high point – before the first real breather of the night appeared in the breezy “Mercy.” Unfortunately, a few moments of homogenization also popped up during this portion of the show, where even the unmatched rhythmic command of Carter Beauford lost some of its might.

The ominous strains of “The Stone” ushered in the home stretch, which Matthews wisely loaded with fan favorites. Rashawn Ross took the reins in “Recently,” his commanding trumpet bringing a New Orleans feel to the twenty year-old tune. “Granny” came next, a testament to the subtlety of Matthews’ writing. The set-closing combo and lone encore brought pure satisfaction to the chilly thousands under the roof and on the lawn – violinist Boyd Tinsley enjoying ample notoriety with a breakdown section of his own in “Jimi Thing,” which saw Ross tease “Oh Canada” before an impromptu transition into Prince’s “Sexy MF.” “Ants Marching” did its customary job to follow, on top of which only “Two Step” could perch. Matthews quoted his own “Time Bomb” during the patient introductory build, and the jam-laden version that ensued peaked with Beauford’s monstrous drum solo. The screaming fans that applauded Matthews and his band as they bid farewell, would have happily stayed in the rain and fog for hours more of the music they so adore.

Familiar? Sure. Effective? No doubt.