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

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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

Dave Matthews Band (Full Set Every Night)
Dave Matthews Band (Full Set Every Night)
“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.”
He’s not kidding. When Dispatch called it quits in 2004, their farewell show at the Hatch Shell in
Boston drew 110,000 fans from around the world, making it one of the largest independent music events
in history. Not bad for a band that formed in college and only put out three albums (Silent Steeples in
1996, Bang Bang in 1998, and Four-Day Trials in 1999), and never managed to get any significant radio
Nine years later, Brad Corrigan, Chad Stokes, and Pete Francis briefly reunited, performing at New
York City’s Madison Square Garden to raise funds for Zimbabwean humanitarian efforts. When the
show sold out, marking Dispatch as the first independent band to sell out the storied venue, they
announced two more shows—both of which also sold out immediately, raising even more for relief
efforts. In 2009, the band would go on to perform an all-acoustic show, held at the Kennedy Center in
Washington, D.C., at the request of Zimbabwe's Prime Minister, Morgan Tsvangirai.
In June 2011, Dispatch officially regrouped for a sold-out U.S. tour that included three shows at the TD
Garden Arena in Boston, three shows at Red Rocks Amphitheatre in Colorado, and the first-ever concert
at New Jersey’s Red Bull Arena. Their passion for social responsibility still a major driving force, they
introduced their ‘Amplifying Education’ campaign during the tour, donating one dollar per ticket sale to
local school systems. They also offered several Dispatch-sponsored volunteer events throughout the
tour. “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 wanting to do more than just come to the show.”
The band also continued to release new material, including a six-song EP and their first full-length
studio album since 2000, 2012’s Circles Around the Sun. The album features cinematic, expansive
production by Peter Katis (Interpol, Jonsi, The National), ultimately creating an eclectic all-American
rock and roll record that delivers the gutsy storytelling, radiant harmonies, and good-time grooves. In
2013, the band released a double-disc live recording, entitled Ain’t No Trip To Cleveland: Vol. 1, which
includes both classic and new material. Currently, the band has been spending time in the studio
working on writing the next record.
For the band, all the whirlwind begins and ends with the fans. “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.”
On July 11, 2015, Dispatch’s musical and social awareness history will come full circle as the band
takes the stage for a second time at Madison Square Garden. With one in six people struggling to put enough food on their table, the smallest big band in the world is looking forward to doing their part.
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
“Everyone needs to be risking something,” says Seattle-based singer-songwriter Brandi Carlile. She’s discussing the M.O. behind The Firewatcher’s Daughter, her stunning new release – her first for artist-friendly indie label ATO. The 12-song collection marks a triumphant return after a three-year recording hiatus, and her strongest, most rock & roll album to date.

“Rock & roll music as a genre always has a sense of erratic recklessness to it,” she says. “It can’t really be rehearsed – in fact, rehearsal can kill it. On this album, each song has its honest rock & roll moment, even the ballads; it’s between the point where you’ve learned the song enough to get through it, but you don’t have any control over it yet.”

Since her heralded, genre-defying 2005 Columbia debut, Carlile and her indispensable collaborators, Tim and Phil Hanseroth, aka The Twins, have always offered listeners both control and abandon, often within a single song. The most well-known Brandi Carlile tunes, 2007’s “The Story” and 2012’s “That Wasn’t Me,” are dynamic journeys in themselves, encompassing myriad emotions and varied stylistic touches; “The Story” morphs from understated balladry to epic stadium rock, while “That Wasn’t Me” effortlessly straddles country soul and pop gospel. Infused with Carlile’s clarion voice, The Twins’ tight sibling harmonies, and stellar musicianship from everyone, it all simply sounds like Brandi Carlile.

Yet, over four acclaimed Columbia albums, countless sold-out tours, and fruitful relationships with top producers Rick Rubin and T Bone Burnett, something was missing: Carlile and The Twins hadn’t yet captured the distinctive spark of old friends working up new tunes, a slippery magic born of years touring together, and often caught only on raw demos made at the behest of the label. The Firewatcher’s Daughter, by contrast, is a full-on Carlile/Twins co-production, cut live in Seattle’s Bear Creek Studio, with complete artistic control granted by ATO. With this new freedom, Carlile and The Twins, intent on capturing the elusive essence of a song’s spirit, tracked the album live, with little or no rehearsal.

Ironically, during this time of liberation, Carlile and The Twins all transitioned to married life; the Hanseroths became dads, and Carlile’s wife, Catherine Shepherd, was pregnant during the making of The Firewatcher’s Daughter. So when the engineer hit RECORD, the stakes were higher than usual: Carlile and the Twins producing, kids underfoot or on the way, and three years since an album. But true to form, they wrangled it all into song, catching many, many lightning-in-a-bottle moments; the crackling Lucinda Williams-meets-Fleetwood Mac of “Wherever Is Your Heart,” the CSN-meets-Bonnie Raitt of “The Eye,” to the dark folk-punk of “The Stranger at My Door,” the Elton John-meets-McCartney of “Beginning to Feel the Years,” and more – all executed without a net.

“Everything is completely live,” Carlile says. “That’s the only way to make the moment happen. It’s way too easy to say, ‘Hey guys, you get your part down and I’ll spend the rest of the evening by myself in a fucking booth not taking any risks, and trying to nail down my contribution while I drink a bottle of Jameson.’ A lot of the songs are in about the highest key I can sing them in. The vocals were very emotional for me. I was right on the edge – I’d been off the road for a long time, I was on the precipice of becoming a mother, and there was a lot that needed to come out before that could happen.”

The title, The Firewatcher’s Daughter, comes from a line in “The Stranger at My Door,” written after Carlile stared into a bonfire for a long, long time. “I wrote it standing next to one of my frequent bonfires up in the horse pasture on our land. I have a bonfire compulsion. I tend to stand there and stare into them close to every day, and I’m able to tap into something beyond my day-to-day consciousness. I often write lyrics, solve problems, run for President – the usual stuff. Catherine was pregnant and I was contemplating the juxtaposition between religious rigidity and beauty, and its effects on families and society.”

Carlile says she and The Twins always insert a through-line in her albums: “An instrument keeps appearing, a theme keeps getting touched on, or we try to use the same microphone. But of all my albums, I felt the least amount of control over this one. Catherine was nine months pregnant, The Twins’ kids were there, the tension was there, but the love was also there, so the continuity is felt.”

Part of that continuity is the concept of “chains,” which recurs over the course of The Firewatcher’s Daughter, from the lullaby “Wilder (We’re Chained)” to the chorus of the gorgeous “The Eye”: “I wrapped your love around me like a chain / But I never was afraid that it would die / You can dance in a hurricane / But only if you’re standing in the eye.” Carlile lays this chain fascination at the feet of Fleetwood Mac, a band she and The Twins listened to a lot in the run-up to The Firewatcher’s Daughter, and whose classic love song “The Chain” is bittersweet reality. “The twins and I were inspired by that band’s connection and their turbulence,” she says. “I find it fascinating how culturally some things can get cast in a negative light, like a chain. But a chain can bind and connect, like a fire can refine and renew. We would definitely describe ourselves as chained in the best possible way.”

After stepping back from this fine new work and assessing it, Carlile knows exactly what she wants from The Firewatcher’s Daughter: “My goal,” she says, “is to connect on a soul level with our longtime fans and friends, and to reach new people with the honesty of this music. Also, I would like my daughter, Evangeline, to grow up and think I’m cool.”

Rub-ble-buck-et [ru-bul-buck-it] Noun 1. A vessel in which workers collect waste materials on a construction site; We need a rubblebucket for all this rubble. 2. A wild art-pop band from Brooklyn, NY; I'm jonesing for the new Rubblebucket album ‘Survival Sounds’. 3. The condition of having hard nipples, or riding a mean yes wave; He has great Rubblebucket. Verb 4. The act of uncrossing one’s arms and letting loose, while strange, new feelings and sounds flood mind and body, leading to uncontrollable dancing, possible injury and definite sweat; Man, we really put the rubble in the bucket last night.

My experience with Rubblebucket goes way back – to the summer of 1987, when I was born and first met lead singer and baritone saxist Kalmia Traver, then four. Kalmia was already well on her way to being a multi-instrument prodigy (penny whistle, recorder, alphabet burping), and I was already drowning in the ginormous shadow that she cast just by breathing. When she put our brother in a dress, blonde wig and heels, let me put on his lipstick, then forced his elastic micro-limbs into a diva pose, I knew she was a natural performer.

Kalmia met Alex Toth (band leader, trumpeter, guy, brother-from-another-mother, Jersey) in a latin jazz combo in Burlington, VT. I’m assuming she also dressed him in drag, because he liked her and they became friends, painting the town with their loud horn playing. In 2006, they moved to Boston, where they did respectable things for money. Kalmia nude modeled for art classes, and Alex was hustling marching band gigs at $50 a pop, for which he was required to wear a black shirt and march around for six hours at a time OR NO PAY NO WATER NO DINNER. It was like that scene in Oliver Twist. Naturally, out of this hot, tarry, magical, broke-ass time, Rubblebucket emerged like a huge, slippery, post-afrobeat baby. Alex had met trombonist Adam Dotson at one of these marching gigs, and the three began composing and playing the first songs in Rubblebucket’s repertoire. Soon, they were joined by three more friends – guitarist Ian Hersey, drummer Dave Cole, and 15-seater van Puppy – and started taking the Rubblebucket show on the road.

The first time I heard Rubblebucket perform live, two things happened: I realized this was the coolest thing on earth, like the lovechild of a unicorn and the Tom Tom Club, and I asked them if I could sell their merchandise at shows. You know what they say – those who can't do, sell merch. Night after night, standing behind that table of CDs, thongs and beer cozies, while Rubblebucket transformed the crowd from a skeptical wall of people into one big, happy, silly, jiving, open-hearted mass was an unforgettable experience. Their music does that – it just does. You can’t know it until you see it. And everyone who sees it, knows it. Like Paste, who said it best: “music that will make anyone with a pulse dance.” (I’ll annotate this by extending it to you pulse-less readers. You, zombie. I know you’re out there.) The Rubblebucket condition has spread, melting cares in its way. It barges in like an escaped rhino and triggers everyone, everywhere, to let loose and feel. Arm-crossing be damned!

I’ve been to many Rubblebucket shows. But it wasn’t until I was mid-crowd in NYC’s Bowery Ballroom and heard a guy in front of me say to his friend “the singer looks so hot tonight” (but? Gross? That’s my sister?) that I knew Rubblebucket had made it. The experts will tell you that, actually, this was when they released their 2011 album Omega La La, with its headlining tracks “Came Out of Lady” and “Silly Fathers,” and reached a whole new, larger audience. Or, when they flew out to LA to play on Jimmy Kimmel Live, and got free pizza and Alex almost puked backstage. Or, when their song “Came out of a Lady” appeared in the movie Drinking Buddies, and I was suddenly one giant leap closer to meeting Anna Kendrick (that’s when I knew I had made it). Or, when their green rooms started stocking guacamole. Or, when their 2012 and 2013 EPs Oversaturated and Save Charlie introduced fans to the next and the next evolution of Rubblebucket, and more and more people fell in love. Now, much to my drool and dire impatience, the band is hovering on the knife’s edge of their next highly anticipated album release, Survival Sounds (Communion Records, Aug. 2014). Prepare yourself, universe.

Rubblebucket is many things and nothing at all; it’s a mindset, a legend, a feeling, a mystery; a mischievous, playful, boundary-smashing blast of sound that you can sit still and wonder at, or turn off your mind and move wildly to. Or both at the same time. As Kalmia said, when she handed me one of her now-famous peanut butter, cheddar cheese, cabbage, honey tacos, “This is the weirdest, most delicious thing you will ever taste.” And if you won’t take it on my authority, take it on the authority of a small, but reputable publication called Rolling Stone, reporting from Bonnaroo: “Rubblebucket revved up like an indie-rock Miami Sound Machine, dancers, horns and all.” And if you won’t take it on Rolling Stone’s authority, cleave to the words of guitarist Ian: “Our music is like being at a raging party, but in the center of it, there’s this beautiful painting that you’re staring at, trying to wrap your mind around.” Or the words of our dad, Tim Traver: “Kids these days.”

- Mollie Traver
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