The Bowery Presents
Dave Matthews Band (Full Set Every Night)

DMB Caravan

Dave Matthews Band (Full Set Every Night)

Dispatch, Warren Haynes (Solo), Brandi Carlile, Rubblebucket, The Postelles

Sat, September 17, 2011

Doors: 1:00 pm / Show: 1:00 pm

Randall's Island

New York, NY

$85 GA Single/$325 VIP Single/$195 GA 3-day/$825 VIP 3-day

This event is all ages

All tickets are available via www.DMBCaravan.com/randalls-island-tickets
Travel information is available at http://www.dmbcaravan.com/nyc-2
Governors Island tickets will be valid for the corresponding date (e.g. Friday tickets valid for Friday only). 3-day passes will be valid for all three rescheduled dates. For information on how to exchange tickets from the Governors Island Caravan please visit www.DMBCaravan.com/exchange

Dave Matthews Band (Full Set Every Night)
Dave Matthews Band (Full Set Every Night)
Dispatch
Dispatch
“We’ve been called the biggest band nobody’s ever heard of,” says Brad Corrigan, one of Dispatch’s three singers and multi-instrumentalists. "People either know everything about us or they know nothing. There never seems to be any middle ground."

How Corrigan, Chad Stokes, and Pete Francis met in college, formed a band, and — with no radio airplay, major-label support, or significant press coverage — became one of the biggest draws on the live music scene, and arguably the biggest independent rock band in history, is a remarkable story. Though Dispatch hadn’t released a full-length album since 2000, and even officially called it quits in 2004, its music continued to capture the hearts and minds of new generations of rock fans through pure word-of-mouth. A 2004 farewell show at the Hatch Shell in Boston drew 110,000 people, including fans from Europe, South America, and Australia. Not one, but three 2007 shows at New York City’s Madison Square Garden sold-out immediately. A 2009 all-acoustic show, held at the Kennedy Center in Washington, D.C., at the request of Zimbabwe's prime minister Morgan Tsvangirai, sold out in less than two minutes.

Having repaired their friendships and reconciled the issues that led to their break-up, Dispatch regrouped for a sold-out U.S. tour last June that included three shows at Boston’s fabled TD Garden Arena, three shows at Red Rocks in Colorado, and the first-ever concert at New Jersey’s 25,000-seat Red Bull Arena. They also released a six-song EP and recommitted to touring and recording, honoring not only the alchemy that occurs whenever these three gather to make music together, but also the powerful bond they have forged with their fans over the last decade.

In March 2012, Dispatch embarks on its first-ever European tour, performing at theatres in London, Paris, Berlin, and Zurich, before appearing at the Bonnaroo Festival in June, followed by the August release of the band’s first full-length studio album in 12 years, Circles Around the Sun. Featuring cinematic, expansive production by Peter Katis (Interpol, Jonsi, The National), the album is an eclectic all-American rock and roll record that delivers the gutsy storytelling, radiant harmonies, and good- time grooves that Dispatch are loved for. Kicking things off is Stokes’ rootsy “Circles Around the Sun,” followed by the swaggering “Not Messin’” (composed by all three members), the jangly “Get Ready Boy,” and the bluesy “Josaphine” before the album closes out with two down-tempo tracks, Corrigan’s “We Hold A Gun” and Francis’ “Feels So Good.”

“We all bring different influences to the table, whether it be Led Zeppelin, Traffic, Radiohead, or Cat Stevens, and just kind of throw it all together,” Stokes says. “The harmonies are definitely a focal point. I personally like to tell stories within my songs. All three of us appreciate meaningful lyrics, whether they’re more direct, like in Brad’s songs, or more poetic, like in Pete’s songs.”

Stokes, Corrigan, and Francis, who each sing lead vocals and trade instruments on stage, met at Middlebury College in Vermont in the early ’90s. “We were all athletes, but we really bonded over our voices,” Francis says. “There was this real lock that happened when we sang together that was undeniable.” After playing together in various duos, the three joined forces as Dispatch, performing shows at Middlebury and neighboring colleges in New England. In 1996 they released their debut album, an acoustic-driven folk-pop affair called Silent Steeples, on their own Bomber Records label, followed by 1998’s reggae-flavored Bang Bang. “From Bang Bang on we started hearing that the music was being handed off to people’s friends and siblings,” Corrigan says. “We thought it was so cool that there was a family of fans developing.”

The 1999 release of Dispatch’s third album, Four-Day Trials coincided with the launch of then- illegal file-sharing service Napster, which enabled the band’s young, tech-savvy audience to freely share MP3’s of Dispatch songs like “The General” and “Bang Bang” and grow the audience in the process. “We played a show at a college in Pomona, California — a state we’d never visited, and a thousand kids turned up and sang along to every word,” Francis says.

Naturally, once Dispatch had established itself as a profitable touring entity, the major labels began sniffing around. “Not one time in any label meeting did anyone say, ‘We love your music and we just want to give wings to what you’re doing,’" Corrigan says. “It was always ‘We’ll make you into the next Dave Matthews Band.’ It was the exact opposite of what we wanted to hear. We knew it would kill our creativity. We don’t have a desire to be anything other than the first Dispatch.”

And yet at the height of their popularity, the members of Dispatch walked away. “We were just incredibly burned out,” Corrigan says. “We had no real friendships outside of each other and we wanted to have lives outside of the band and be part of our communities again.” “It actually felt dishonest to play for our audience when the relationships within the band were breaking down,” Stokes says. “It just didn’t feel right.”

The band members each pursued their own projects, with the Denver-based Corrigan forming the band Braddigan, Francis performing as an acoustic singer-songwriter, and the Boston-based Stokes, recording and touring with his band State Radio. In 2004, the three decided they owed it to the fans to give Dispatch a proper send-off and organized a free show in Boston on the Esplanade, anticipating perhaps 20,000 people would turn up. The concert became the largest independent music event in history (documented in a feature film The Last Dispatch). A contest that awarded backstage passes to the fan who travelled the furthest distance attracted responses from Portugal, Peru, and the United Arab Emirates.

In 2007, Dispatch came together once again to raise money for humanitarian organizations working in Zimbabwe, a country suffering from issues that resonated deeply with Francis, Corrigan, and

especially Stokes, who lived there for six months after high school. After tickets to the first Garden show disappeared within minutes during the fan pre-sale, Dispatch added two more shows and became the first independent band to sell out the storied venue. The three-night-stand grossed more than two million dollars and raised hundreds-of-thousands of dollars for charities in Zimbabwe.

Social responsibility has always been a major component of the Dispatch culture. During its June 2011 tour, the band rolled out its Amplifying Education campaign, which focused on educational issues in the U.S. Not only did one dollar from each ticket sold go to benefit education in each local market, but audience members were encouraged to sign up to volunteer, which they did eagerly. “I'm always amazed when people show up for these volunteer events, because everyone's busy and has a lot going on in their lives,” Stokes says. “But our fans are so passionate about the band, and that seems to lend itself to their wanting to do more than just come to the show.”

Not wanting to let down those fervent souls, Dispatch decided to record new music, which led to last year’s Dispatch EP and now Circles Around The Sun. “We all write so we knew there was material out there,” Stokes says. “If we were going to do a tour, we wanted to play new songs.”

Another motivator was knowing that they were giving back to the fans who had given so much to them. “It’s a dream to know that your music is actually a part of people’s experiences and becomes tied to special moments in their life,” Corrigan says. “That makes it all worth it. Also, it all just feels fun again. We’re so fired up to be great friends and to travel the world and see places we’ve never been before. I mean, come on. It doesn’t get much better than that.”
Warren Haynes (Solo)
Warren Haynes (Solo)
Warren Haynes’ long anticipated solo album, Man In Motion (in stores may 10th from Stax/Concord Records), is a timeless collection of songs that crackle with modern vitality yet draw on his deepest roots as an artist. In addition to his three solo discs (including 2004′s acoustic Live At Bonnaroo), seven albums with the Allman Brothers and Gov’t Mule’s 16 studio and live releases, Warren Haynes has accumulated stacks of accolades for his efforts. They range from Grammy wins and nominations to his ranking at number 23 on Rolling Stone’s list of “The 100 Greatest Guitarists of All Time.” Haynes has played New York City’s historic Beacon Theater nearly 300 times, more than any other artist. Gov’t Mule has sold over two million song downloads from their own MuleTracks web site. And a wide range of stars including Garth Brooks, Gregg Allman, Phil Lesh, Little Milton, John Mayall, George Jones, Derek Trucks, Susan Tedeschi and Buckwheat Zydeco have recorded his songs in addition to the 25 songs he’s written for the Allman Brothers Band.

If there’s such a thing as karma, perhaps that’s a factor in Haynes’ success, since he’s also a major supporter of Habitat for Humanity, a charity that builds housing for the disadvantaged. Each year he organizes his annual “Christmas Jam” benefit for Habitat now in its 23rd year, in his hometown of Asheville, NC. Of course, Haynes is not resting on his laurels for a moment. He’ll be touring behind Man In Motion this spring and summer while Gov’t Mule is on hiatus, and then regrouping with his Mule-mates to write and rehearse songs for their ninth studio album.

“There are other projects I want to do, too,” he relates. “I’m interested in recording a singer-songwriter oriented album with more acoustic instruments, a jazzy instrumental CD and a straight-up blues record. But like Man In Motion, those albums will have to wait until the time is right.”
Brandi Carlile
Brandi Carlile
Were we ever gonna get out of this town?
- Just Kids - BEAR CREEK
“If you start a band with me, I’ll get us signed and on the road within a year”…… Not only did the determined, confident and tenacious 22-year-old Brandi Carlile come through with her promise to twin bothers and initially reluctant band members Phil and Tim Hanseroth, but she also exceeded their expectations. Carlile landed the prophesied record deal with Columbia Records one year later and with the guidance of producer Rick Rubin, they recorded and released their eponymous debut album in early 2005. “The Twins were local heroes to me, I used to go and watch them play live when they were in The Fighting Machinists, I thought they were cool but more importantly great singers and songwriters.” Carlile, in a vain attempt to impress her newfound comrades, ordered in some dry ice to lure them to their first band rehearsal. “I didn’t know how dangerous overexposure to carbon dioxide could be, so I ended up nearly killing us all from asphyxiation!” Near-death experiences aside, this was the beginning of a unique collaboration. It was a partnership that would see Brandi Carlile and Tim and Phil Hanseroth sharing everything from the stage, songwriting and production credits and all creative business decisions, to bunk beds, road pranks, swine flu, confined spaces and dirty t-shirts too.

On the eve of Carlile’s 5th major label album release BEAR CREEK and after almost a decade of extensive touring, the trio and self-confessed “road dogs” and “dirty pioneers” are back with a bang. But it’s not record sales, industry accolades or commercial success that make Brandi Carlile a uniquely compelling artist; in fact some would say she has purposely gone out of her way to avoid it, “I would never write commercially or dress commercially or behave in any way that would inspire mainstream success". It’s tales from the road, where she and the twins have spent the best part of their careers building Carlile’s fan base and audience, whilst remaining under the industry radar, that tells you the story of who she really is.

Unaware of years to come
- Save Part Of Yourself – BEAR CREEK
“I've been singing and performing music since I was seven, so I don't ever remember making a conscious decision to be a musician. I would’ve had to have made a conscious decision NOT to be a musician” Throughout her late teens Carlile had already built up a local fan base in her home city of Seattle through hard work, determination and an unwavering belief in her talent. Blessed with a truly remarkable voice and an innate gift for performing, she always believed she was destined to be a great singer. She would hone her skills by studying and listening to her favorite vocalists, experimenting and testing the boundaries of her voice to see how long she could hold out a note, and how loud and high she could sing. “I wanted to learn to scream my head off like Thom Yorke and yodel like Patsy Cline”. Carlile busked, played coffee houses and persuaded local business owners to give her residencies by guaranteeing the venues would reach their full capacity on the nights she appeared. Carlile recalls how she would personally ensure her fans attended her gigs. “I passed around mailing lists to my audiences and I would take their numbers and call them myself on the day of my next gig to make sure they would turn up.” And turn up they did and still do, except now they number in the thousands.

Over the last eight years Carlile has enjoyed groundbreaking success, headlining and selling out major shows and venues across the United States and the rest of the world. Working her way up from playing acoustic at Medin's Ravioli Station and busking at Pikes Place Market, to fronting her six-piece band at The Ryman Auditorium and leading a symphony at Benaroya Hall; Carlile has earned her reputation as a fearless and consummate performer who is undoubtedly in a class of her own.

Collaborators at heart, Carlile and The Twins have written, produced, recorded and shared the stage and with “anyone we can get to sing with us”, touring with friends Ray Lamontage, The Avett Brothers and Dave Matthews, who refers to Carlile affectionately as “a big fat trumpet head”. Sheryl Crow, somewhat more eloquently, describes Carlile’s voice as “the most amazing voice I may have ever heard. Soulful. Country. Perfect in every way.... and propelled by taste.” And it is that same, unmistakable voice that jumps out and shakes your very foundations when you first hear the opening track on BEAR CREEK.

I can be the engine, you can be the wheel
- Hard Way Home – BEAR CREEK
BEAR CREEK, named after the studio where it was recorded, is certainly a departure from 2007’s break-though THE STORY and its critically acclaimed follow-up, 2009’s GIVE UP THE GHOST. Having been steered on her previous albums by super-producers T Bone Burnett and Rick Rubin, this time Carlile was determined to take the wheel. “I would liken working with A-list producers to going to college,” she says. “You don’t want to be a perpetual student. At some point, you need to apply your knowledge”. For the first time, Carlile was eager to work in a studio environment closer – both physically and in spirit – to her own rural abode. Bear Creek, a converted turn-of-the-century barn nestled among the tall trees of Woodinville, Washington, proved to be ideal. “Bear Creek is very similar to home for all three of us - musically, you’d be amazed at how you act when you feel at home”

Embracing her own philosophy that “a live show should never sound like a record; a record should sound like a live show,” Carlile and the Twins brought in members of her “road family”, including cellist Josh Neumann and drummer Allison Miller, as well as her touring sound engineer and guitar tech, “We basically pulled our bus up to Bear Creek and then everyone got off of it and made a record, band, crew, cheap tour beer and everything…we wanted it that way for once.” Carlile also realized a long-held ambition to work with Grammy award-winning engineer and producer Trina Shoemaker, who fully embraced and nurtured the band’s live approach in the studio and “rough-around-the-edges sonic appeal”. They veered off into new musical territory, fusing classic rock ‘n’ roll, folk, bluegrass, and “Shoemaker-inspired soul” to create their own distinctive sound. Carlile and her band took full advantage of the vintage equipment at Bear Creek dusting off “pianos that smell like Grandma’s house” and experimenting with bluegrass instruments “feeling no self-consciousness about the fact that we didn't know how to play them…. without a producer it was like ‘OK, now what are we gonna do while Dad’s gone?’”

It came upon a lightning strike
- Raise Hell – BEAR CREEK
Comprising of songs inspired by faith, heartache, addiction, childhood, accidental piano chords and thunderstorms, BEAR CREEK promises to be Carlile’s most revealing and personal record to date “It scares me how much of who we are is in this album.” However, she admits “I can talk about making records all day long,” “but what really drives me is what I’ve been doing on the road all this time. When we play these songs for you, what’s going to happen between you and us? That’s what matters most to me.” True to form, Carlile and is now eager to introduce BEAR CREEK to her audience. Summer 2012 will see her biggest headlining tour to date, with stops at world famous venues such as Red Rocks Amphitheater and Wolf Trap.

BEAR CREEK stands as a major milestone for Carlile; the moment in which she and The Twins embraced simplicity, familiar faces and trusted musicianship to craft a stripped-back, honest and timeless record; perhaps her bravest work to date “because without anyone to hide behind or acclaimed cameos and guest appearances, it’s just us..... terrifying but real life." In fact, the only guest appearance comes from a chorus of frogs (courtesy of Bear Creek) who appear on the closing track of her most definitive album thus far – and listen all the way to the end?..... You most definitely will.

Do I make myself a blessing to everyone I meet?
- That Wasn’t Me – BEAR CREEK
Firm believers that artists in the public eye have a social and moral responsibility to promote and marry humanitarian efforts with their musical agenda, Carlile and The Twins have used their success on the road to fund The Looking Out Foundation. Founded in 2008, the foundation serves the chronically underserved through its ongoing philanthropic efforts and involvement with social issues. Brandi Carlile and her fans donate $1 from every concert ticket sold to The Looking Out Foundation, channeling hundreds of thousands of dollars and resources to organizations that support the arts, women, public health, the hungry and the homeless. Carlile is particularly proud of co-founding The Fight The Fear Campaign, a community-oriented violence prevention initiative. “It really isn't about fighting other people, it's about respecting the fact that you yourself are worth fighting for.” In true trailblazer style, she and the Twins hope to expand their outreach through music, and make a positive impact on the world for many years to come.
Rubblebucket
Rubblebucket
Rubblebucket has spent the last five years building a reputation as a band that blurs lines. The Brooklyn, NY by way of Boston and Vermont seven-piece has evolved into something that is "utterly post-genre—horns, synth, guitars, harmonies—a smile-inducing point on the tangent that connects Björk and Broken Social Scene", which is to say that you never know what you'll see or hear next.

Over the past year the band has taken a break of sorts (the only way Rubblebucket knows how), playing only a few festivals and one-off appearances, while writing and recording new material that will come in the form of a new EP, that also serves as a teaser to an album to come in 2014.
Titled Save Charlie, the EP will be released September 24, 2013 via Communion Records worldwide (Daughter, Caveman, Willy Mason). Tracked in Brooklyn's Trout Studios, the band co-produced the EP with Tom Biller (Liars, Warpaint, Kate Nash), while mastering duties were given to Dave Cooley (M83, Silversun Pickups).

2012 was a banner year for Rubblebucket, seeing the outfit grace the stages of Bonnaroo among countless other festivals, collaborated with heroes tUnE-yArDs and Questlove for a Fela Kuti compilation and made their late night TV debut on Jimmy Kimmel Live. Finally the non-stop touring group brought their raucous live show, along with their handmade giant robot puppets and love-tunnels, to larger and larger crowds across the US and received love and affection from Paste, Rolling Stone, Stereogum, Wall Street Journal, SPIN and so many more. It wasn't until the fall that the band released the self-released Oversaturated EP, which took Brooklyn's freshest seven piece to a new level; between Kalmia Traver's unmistakable voice and the band's hip shaking, off-kilter arrangements, the EP highlights everything that makes Rubblebucket so special.

It was in 2011 however that Rubblebucket marked its first milestone with their proper debut LP, Omega La La. Recorded at Plantain/DFA Studios with Producer Eric Broucek (LCD Soundsystem, Cut Copy, Hercules and Love Affair) at the helm, the record was their most ambitious conquest yet, with the band dipping into everything from dancey indie-pop arrangements to Fela-Kuti inspired afro-beat stomps. The record has earned a wealth of praise, with Stereogum hailing the record’s “tricky arrangements, whistle solos, and disco guitar leads” and Paste Magazine calling the album “instrumentally rich but catchy enough to ass-kick Katy Perry off the pop charts (in a just world)—mega-melodic without sacrificing an ounce of atmosphere or creativity.”
The Postelles
The Postelles
“Sound check is always easy,” explains Daniel Balk lead singer for the young twenty-somethings New York City band, the Postelles. “When we play gigs we just plug in our instruments and play to have fun. There's no synthesizer or computer to set up. It’s about the songs, not the sounds we’re able to make.” This is a sentiment that distinguishes the band - bassist John Speyer, drummer Billy Cadden, and lead guitarist David Dargahi – from many of their contemporaries. Of late, the New York city's music scene has been defined by a set of Brooklyn bands. But the Postelles are Manhattan kids—born and raised in the city and influenced by a different lineage of music. “We’re not trying to be different,” further explains John “We just feel that we’ve found the right medium for our music.” With the release of the “White Night” EP and their debut full-length to follow in June, the band defines itself both as an antidote to the dominant trend of quirky, self-referential rock and as a powerful new voice in the classic pop lineage.

The Postelles are part of an ideological bloodline that connects The Velvet Underground to the Ramones to Blondie and Television to the Walkmen, artists with unique and varied sensibilities, certainly, but who have in common an allegiance to the unabashedly unadorned rock song. In fact, it was during the late 90s, when New York had no unified sound to speak of and the members of the Postelles were just kids pouring over their parents' record collections, that the seeds of the band's sound were sewn. They were all reared on 50s and early 60s rock and roll – Buddy Holly, Sam Cooke – these were the bands they heard as kids, these were the bands they aspired to be, and these were the bands that initially brought them together. David and Daniel bonded over a mutual love for the Stones and the Beatles. Music also drew John into the fold. One day Daniel was walking by the music rehearsal room at school and heard John playing the Beatles "Yesterday" on the Cello. "Next thing you know, while everybody else is studying during free periods, we're spending ours locked in a music closet playing songs," John remembers.

By senior year the guys started booking themselves proper shows, playing residencies at Bowery Poetry Club, Sidewalk Café, and Le Royale. It was during one of these shows that the band met Strokes guitarist Albert Hammond Jr. "Albert was walking past Sidewalk and John ran outside and was like 'Albert we love you we're playing here you have to come see us,'" Daniel recalls. "He's so nice, he actually did. He came back with his girlfriend and watched our show. I remember I was so nervous before the gig I was shivering."

In the fall of 2006, John, David, and Dan decided to go off to college (Harvard, Boston University, and New School respectively) and try to keep the band together at the same time. They stuck it out for a year – traveling back and forth for rehearsals, working on songs via email – but it soon became clear that if they wanted to make the band work, they'd all have to be in the same place. "By the end of that academic year we really felt that the four of us were clicking," David recalls. "So we said let's give this a shot and see where it takes us."

"I had run into Albert a couple of times," Daniel recalls. "And we'd hang out and talk about music for a few hours. We had this song '123 Stop' that we loved and we're like, 'this is our best song, we need to send it to him.' So I did and he's like, 'Wow you've got to come over and record this.’ We went to his house and recorded in his living room. “The process was just fantastic. It was great to finally have another ear contributing the mix, hearing things we couldn’t,” explains John. Encouraged by Hammond's enthusiasm, the band decided to get serious about writing more songs. For a few weekends in a row they decamped to a quiet country home in Connecticut and started working on the six songs that would become The Postelles debut EP. In February 2008, a limited run of 1000 copies were pressed, released, and quickly sold out.


The new recordings earned the band noticeable buzz across the pond; the British music press heralded them as a fresh new sound coming out of New York City and influential Radio 1 DJ Zane Lowe praised the band. Back at home, Rolling Stone and Spin drew attention to the Postelles classic aesthetic. They played with the likes of The Kills, The Wombats, and Jack Penate as well as at major US festivals including Lollapalooza and Bonnaroo. Even as the media turned its attention to The Postelles, the band remained committed to their original fans, playing college shows and parties up and down the east coast in between more high profile gigs.

When it came time to record their debut, The Postelles headed back into the studio with Albert where he produced five tracks that now appear on the album. Then they decamped to Manhattan's Quad Studios and finished the album on their own. The band's primary aim was to capture the energy and enthusiasm of their live show. With this in mind, the album was recorded live-to-track wherever possible. Signature songs like "123 Stop," "White Night" and "Stella" appear on the album alongside tracks like "Hey Little Sister," a bouncy, soulful tune in reminiscent of classic Elvis Costello or the Kinks, that also features David on lead vocals for the first time. "I had a dream about a song and in my dream he was singing it," Daniel remembers. "So when I woke up I went right up to David and was like, 'you've got to sing this song.'" Another new standout on the album is "Hold On." "We really challenged ourselves with that song, to be patient and have the confidence to let it slowly build," David remembers. "Nothing is better than a good harmony." And "Boys Best Friend" is a breakup track for a progressive world. "One of the band's favorite books is Hemmingway's The Garden of Eden," David explains. "It tells the story of a man and his wife who go to the French Riviera on vacation. The wife ends up falling in love with another woman. Dan and Billy related to this story in particular. After they both broke up with a mutual high school crush, it turned out she also liked women."

After wrapping up the record the band has gone back to work on the road, receiving ample praise at CMJ, Iceland Airwaves, All Points West, and another stint at Bonnaroo. They’ve been playing their own shows, including a sold out show at NYC’s The Bowery Ballroom, and touring most recently with Vampire Weekend, Kings of Leon, Interpol, Fun, and Free Energy.

As The Postelles look forward to release of their debut album on +1 Records, they're focused on inspiring the same sensation in their fans that their favorite bands have inspired in them. "You know that feeling when you're out and everybody is talking and that one song comes on that brings you to another place?" Daniel asks. "That's the feeling I get when I'm in a bar or at a house party and a great song comes on. I stop, just listen, and think, 'damn this is so good'. I hope our music will have that effect on people."
Venue Information:
Randall's Island
Randall's Island
New York, NY, 10035
http://www.nycgovparks.org/parks/randallsislandpark