Festivals are always a gamble. The logistics, the overlapping schedules, the sound bleed from other stages—all of it can conspire to make even the best bands feel rushed or out of place. But when Dave Matthews Band took the stage at the Oceans Calling Festival in 2024, none of those potential pitfalls mattered. From the moment they walked out, it felt less like a festival set and more like a perfectly curated, career-spanning headline show—one that reminded everyone why DMB remains one of the most vital live bands on the planet.
An Opening Built to Ignite
The first notes of “Ants Marching” came before anyone could even settle in. Opening with one of their most beloved classics was a statement: this wasn’t a night for slow warm-ups or cautious pacing. The instantly recognizable snare intro from Carter Beauford sent a jolt through the crowd, and as Dave hit the first verse, thousands of fans—many of whom had been waiting all day for this—sang every word back to him. Stefan Lessard’s bass thumped like a heartbeat under the bright festival lights, while Rashawn Ross’s trumpet soared over the top. Starting with “Ants Marching” felt like skipping small talk and heading straight to the good stuff.
From there, the band slid into “When the World Ends,” a fan favorite from Everyday that carried a darker, slinkier energy. Dave leaned into the song’s apocalyptic romance, his guitar work tight and rhythmic, while Beauford added subtle polyrhythms that gave the tune an extra layer of tension. The shift from celebratory opener to moody groove showcased the band’s range, setting the stage for a night that would move effortlessly between moods.
Surprises Early and Often
DMB’s willingness to throw curveballs is a big part of their live reputation, and they wasted no time here. Next came a buoyant, horn-driven cover of David Bowie’s “Let’s Dance.” The festival crowd erupted as Tim Reynolds ripped through the iconic guitar riff, giving the classic a slightly funkier, jammed-out treatment. Dave delivered the vocals with playful swagger, while Ross’s trumpet solo gave the song a celebratory New Orleans vibe. It was the kind of surprise that makes festival sets legendary—a nod to the past, reimagined with DMB’s trademark elasticity.
That sense of discovery continued with “Lie in Our Graves,” which morphed into a sprawling jam that included a sly interpolation of Eric Clapton’s “Wonderful Tonight.” The moment Reynolds teased the familiar Clapton melody, the crowd cheered in recognition, and Dave grinned mischievously as the band wove it seamlessly into the groove. The jam stretched for over ten minutes, with Jeff Coffin’s saxophone lines darting in and out of Reynolds’ guitar explorations. It was pure DMB alchemy: a song you thought you knew, reshaped into something thrillingly alive.
Heart and Soul in the Middle
After the fireworks of “Lie in Our Graves,” the band brought the mood inward with “The Space Between,” one of their most enduring love songs. Dave’s voice, slightly raspier with age, gave the lyrics a lived-in warmth, while Buddy Strong’s keyboard work added a lush, almost cinematic texture. Couples in the audience swayed together, singing every word as if the song belonged to their own personal history.
From there, the band dove into “Madman’s Eyes,” one of their newer compositions. Live, it’s a beast—part rock anthem, part Middle Eastern-tinged groove. Beauford drove the song with thunderous drums, while Coffin’s saxophone provided an ominous counterpoint. It was a reminder that DMB isn’t content to simply coast on past glories; their newer material still pushes boundaries and demands full attention.
The crowd barely had time to catch its breath before the unmistakable intro to “Warehouse” rang out. This song has always been a live staple, and tonight it stretched into an epic performance complete with the famous “woo” chant, echoing across the festival grounds like a joyful battle cry. The energy surged again as Dave grinned at the audience, clearly feeding off the communal release.
A Masterclass in Flow
One of the things that sets Dave Matthews Band apart is their ability to craft a setlist that flows like a single narrative, balancing tempo, mood, and improvisation. After the cathartic jam of “Warehouse,” the band eased into “Satellite,” offering a moment of gentle beauty. Tim Reynolds’ delicate guitar arpeggios sparkled against the night sky, while Dave’s vocals floated over the intricate rhythm section. It was a chance to breathe, to take in the ocean air and the twinkling stage lights.
But that calm didn’t last long. The opening bass line of “Sledgehammer”—the Peter Gabriel classic—sent a wave of excitement through the crowd. DMB’s version has become a live favorite over the past decade, and tonight’s rendition was pure joy. Ross’s trumpet and Coffin’s sax filled out the horn lines beautifully, while Dave’s slightly rough-edged vocals gave the song a playful grit. It was impossible not to dance.
Then came “Crash Into Me,” a song that still carries the power to make an entire audience collectively sigh. Dave played it with a tender intensity, his voice soft but commanding, while Reynolds’ guitar harmonics shimmered in the background. Even after all these years, it remains a spellbinding moment, and the festival crowd responded with hushed reverence.
The Jam Session Explodes
The quiet beauty of “Crash Into Me” gave way to the sprawling playground of “Jimi Thing,” one of DMB’s most reliable vehicles for improvisation. Tonight’s version stretched well past the ten-minute mark, with each member taking a turn in the spotlight. Beauford and Lessard laid down a groove so deep you could lose yourself in it, while Reynolds unleashed a guitar solo that veered from bluesy bends to spacey effects. At one point, Dave scatted along with the band, his percussive vocal bursts drawing cheers from the crowd. It was a quintessential DMB jam: unpredictable, joyous, and completely in the moment.
If “Jimi Thing” was a high point, the next surprise took things even higher. Without warning, the band launched into a cover of the Commodores’ “Brick House,” a rare treat that immediately turned the festival grounds into a funk party. Buddy Strong’s keyboards anchored the groove, while Ross and Coffin traded scorching horn lines. Dave, clearly having the time of his life, strutted across the stage as the crowd sang along to the iconic chorus. It was the kind of left-field choice that only works when a band has the chops to pull it off—and DMB delivered in spades.
Closing with Fire
With the night reaching its final stretch, the band tightened the focus and went for pure momentum. “So Much to Say” came next, its rapid-fire lyrics and propulsive groove setting up the seamless segue into “Anyone Seen the Bridge,” the short, funky jam that always signals something big is coming. Sure enough, the band crashed into “Too Much,” a furious, horn-driven explosion of energy that had the entire festival dancing. Beauford’s drumming was a masterclass in controlled chaos, driving the band forward as Dave shouted the final refrains.
For the finale, DMB chose “Crush,” a song that encapsulates everything great about this band: sensual lyrics, intricate rhythms, and room for soaring improvisation. Tonight’s version was a slow burn, starting with Lessard’s unmistakable bass intro and gradually building into a towering jam. Coffin’s sax solo was both fiery and melodic, while Reynolds layered shimmering guitar lines over the top. By the time Dave delivered the final “It’s crazy, I love you,” the crowd was lost in the groove, completely in the band’s grasp.
The Setlist
For those keeping score, here’s the complete set that turned the Oceans Calling Festival into a DMB playground:
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Ants Marching
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When the World Ends
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Let’s Dance (David Bowie cover)
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Lie in Our Graves (with “Wonderful Tonight” interpolation)
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The Space Between
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Madman’s Eyes
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Warehouse
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Satellite
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Sledgehammer (Peter Gabriel cover)
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Crash Into Me
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Jimi Thing
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Brick House (Commodores cover)
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So Much to Say
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Anyone Seen the Bridge
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Too Much
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Crush
Reflections on a Festival Triumph
As the last notes of “Crush” faded into the night and the band took their final bows, it was hard not to marvel at what had just unfolded. Festivals often force artists to trim their sets, but Dave Matthews Band managed to pack this show with everything that makes them great: deep cuts, crowd-pleasers, daring covers, and jams that felt like they could stretch into eternity. Each song flowed into the next with an almost telepathic sense of timing, a testament to a band that has spent decades honing its chemistry.
What made the night truly special, though, was the feeling of connection. DMB shows have always been about more than just music—they’re about community. Looking around the festival grounds, you could see strangers dancing together, couples swaying, and longtime fans trading smiles of recognition during deep cuts. The ocean breeze carried the sound across the boardwalk, blending the music with the distant crash of waves, as if the band was in conversation with the setting itself.
Walking away from the Oceans Calling Festival, I felt that familiar mix of exhilaration and gratitude that only a DMB show can deliver. They didn’t just headline a festival; they transformed it into something intimate, unpredictable, and unforgettable. Whether you were a first-time listener or a fan who’s followed them for decades, this night in Ocean City was proof that Dave Matthews Band remains, after all these years, a force of nature—still pushing boundaries, still making every performance feel like a once-in-a-lifetime experience.