Following a six-year hiatus, popular, eclectic rock band Dave Matthews Band, comes back in top-notch form on ‘Come Tomorrow.’

Dave Matthews and Dave Matthews Band are finally back.  Prior to the arrival of their latest album, Come Tomorrow, the band had been on a six-year hiatus between albums (Away from the World, 2012).  Despite making fans wait such a long time between LPs, for the most part, the band makes up for it on Come Tomorrow, which has its fair share of hits over its 54-minute duration.

“Samurai Cop (Oh Joy Begin)”

“The day you came / Naked, afraid / Young mother screams and pushes you…” On “Samurai Cop (Oh Joy Begin)”, David Matthews literally wants everyone to remember how their lives began – the same as everybody else. Throughout the course of the song, he takes it back to simplistic beginnings including child birth itself, first steps, broken bones, laughter, and ultimately, joy. In many respects, “Samurai Cop (Oh Joy Begin)” feels like Matthews is trying to unify, perhaps most evident on the chorus:

“Let’s not forget these early days / Remember we began the same / We lose our way in fear and pain / Oh joy begin.”

All in all, “Samurai Cop (Oh Joy Begin)” is an enjoyable, thoughtful opener on Come Tomorrow.  Things get even better, and funkier on the horn-fill, riff-laden “Can’t Stop.” Matthews delivers incredibly assertive, high-flying vocals, clearly invested into his inability to stop loving her.  The chorus is among the best of the LP.

“Here on Out 

“Here on Out” has two tough acts to follow.  Even so, the cooler number is beautifully sun and conveys a thoughtful sentiment overall.  Like on “Can’t Stop,” Matthews sounds authentic and sincere about his love.  Keeping things romantic, he asserts “That Girl is You,” kicking up the pace, increasing the rhythms and riffs, and delivering ‘wild’ vocals.  The playful vocals aren’t pitch-perfect or smooth in the least, but Matthews’ dedication and raw emotions deserve credit. He follows up with the rocking “She,” which has more assertive bass and guitars providing a punch.  Matthews is more locked-in vocally regarding overall finesse, but still delivers bite, edge, and grit.  While “The Girl is You” is a track with plenty of redeeming qualities, “She” is better-rounded.

“Idea of You” 

“Idea of You” is arguably a step-up from “She,” which speaks to its excellence.  On the verses, Matthews maintains a sense of poise and restrain, while supported by ample rhythm, carried by the guitars and drums.  Likewise, his melody is rhythmic, but he doesn’t ‘stick it to the listener’ until the spirited chorus, where horns further accentuate the record.  Safe to say, the ‘idea of you’ is a glorious one to Matthews, and the same can be said of the record itself.

Among the most low-key records is “Virginia in the Rain” which never reaches the dynamic highs of the most energetic numbers.  Nonetheless, this enigmatic, low-key number is incredibly intriguing.  Matthews shows off his upper register, exhibiting a smoothness that is incredibly unexpected but highly effective.  The biggest rub is “Virginia in the Rain” runs north of six minutes – that’s a lot of rain.

“Again and Again” smartly restores the intensity, that preceded “Virginia in the Rain.” Still, some of the refinement of “Virginia in the Rain” carries over, specifically Matthews in his potent upper register.  Beyond the vocals, the sound of this record shines.  “Again and Again” is set in a compound meter, brilliantly shifting between minor and major, and featuring lovely orchestrations (strings and horns).  Rhythm remains king. The brief, nonsensical, funk interlude “bkdkdkdd” follows.  27 seconds just isn’t enough, unfortunately.

“Black and Blue Bird” 

“Black and Blue Bird” continues the pleasantness of Come Tomorrow.  The band sounds in-the-pocket, fueling Matthews’ lead with liberal use of rhythm.  Even with such a busy backdrop, the melody is particularly lovely here.  Instrumentally-speaking, the soprano saxophone solo is a high point.  DMB keeps on trucking on “Come on Come on,” with Matthews delivering his familiar, relaxed, somewhat-delayed vocals (that’s the best way I can describe them).  Per the usual, the rhythmic machine is in full effect, enhanced with lovely strings.

“Do You Remember” features more groove, a lighter sound, and more playful vocals from Matthews. It’s not a life changing number, but another solid part of Come Tomorrow. The moving “Come Tomorrow” finally arrives as the LP’s penultimate record.  In full-on prudent, thoughtful mode, Matthews seems to place emphasis on pushing through and finding a way to make it through ‘tomorrow’ – a metaphor for the future.  “Let the children run the show.”  Brief ballad “When I’m Weary” concludes Come Tomorrow gorgeously.

Final Thoughts

In all honesty, Come Tomorrow comes as a pleasant surprise. As a more casual Dave Matthews Band listener, my expectations were actually a bit lower than say the hardcore fan.  Likewise, my excitement level wasn’t as ‘turned-up.’ Regardless, Dave Matthews and company impresses over the course of this 54-minute comeback album. There are some great performances, while the music is consistently top-notch.  A 51-year old Matthews doesn’t sound too shabby.

Gems: “Samurai Cop (Oh Joy Begin),” “Can’t Stop,” “Idea of You,” “Virginia in the Rain,” “Again and Again,” “Black and Blue Bird” & “Come Tomorrow”

Dave Matthews Band • Come Tomorrow • RCA • Release: 7.8.18

Photo Credit: RCA