Article Contributed by Jake Cudek
Published on October 27, 2025
The Gorge | August 31st, 2025 | photos by Jake Cudek
For anyone who follows the live music scene, The Gorge Amphitheatre is regarded as one of the most serene venues out there. One hundred fifty miles from Seattle and hanging on a cliff’s edge with the Columbia River gorge as the backdrop, the desert setting in central Washington boasts a natural beauty that leaves music adventurers changed once having made the trek. Although a number of bands play the site on the regular and many work to get their first shows at the legendary locale, one band stands as the most prominent in the venue’s legacy.
On August 31st, 2025, The Dave Matthews Band closed out yet another celebratory weekend in the middle of nowhere to twenty-seven thousand dedicated fans. Affectionately known as “Labor Dave Weekend,” this year’s event would mark the eighteenth consecutive Labor Day run since 2006 and continued the band’s reign as the group who has played there more than any other, with a tally of seventy-eight total gigs since 1996. If that weren’t enough, the band has sold out every show in this nearly thirty-year love affair.
The first two nights delivered on every expectation and gave the audience a handful of surprises, including rarities, sit-ins, and, for the first time ever, the performance of an album in its entirety—track for track and in order—with the legendary Béla Fleck sitting in just as he did on the original recording. Adding sprinkles to the sweetness, fiddle player Jake Simpson filled the violin role on a number of tunes for the weekend, and for those who miss the original violin dynamic in the band from years gone by, hearing that slot filled so well had many wishing Dave would just hire the guy full-time. As the live music experience often results in cross-cultural sound exposure, night three had the place buzzing with collaboration anticipation as the band-on-fire Goose was slotted as the opener.
Pulling into general parking in the early afternoon, temperatures were in the mid-nineties with the sun riding high over a mostly cloudless sky. By this time of day, the place was in full swing, everyone up and about for the closing festivities. Whether meandering about in social engagement or staking out a place in line for merch or the rail, many carried a smile that shone with an inviting warmth like the afternoon sun.
Starting off Sunday right, bandleader for The Late Show with Stephen Colbert Louis Cato set the tempo. Performing with a full band and mixing it up with everything from the blues to calypso, this opening slot welcomed everyone in and contributed to the laid-back feel often associated with the day of rest. As the tracks clicked by, the venue continued to fill and by setbreak, the pit was comfortably packed, many showing up early to take flight with Goose and be as close as possible for any of the anticipated sit-ins from DMB.
Following Cato’s set, Dave made an appearance to introduce the jamband gentlemen before their premier Gorge performance. Receiving the anticipated wave of recognition with any Dave sighting, the main man entered from stage left and as he hit the mic, the applause shifted from clapping and whistling to the elongated “Goooooooose” call that is now the standard welcome for the Connecticut-based quartet. As Dave stood there, looking out at the crowd as it bellowed, he finally realized that the band needed no introduction and simply stated, “I don’t need to say anything… like you said, ‘Goooooooose’.” Displaying his own love for the label and joining in on the “Goose call,” Dave made his eyes wide, smiled, and returned to the backstage area.
Dave annoucing Goooose to the stage the GorgeWhen it was finally time for Goose to get their Gorge on, the band walked onto a rousing welcome and the customary “Goose” call once again. Multi-instrumentalist Peter Anspach began the night with an appropriate “Holy Cow!” before thanking both the crowd and Dave Matthews for having them out, and with an audience ready to get an earful, the band hit hard with a “Drive” opener. The sound was clean and strong from the start and grabbed everyone’s attention. Keeping the place bouncing, the band slipped into slot two with a red-hot version of “Thatch,” showcasing more of guitarist Rick Mitarotonda’s shreddiness as Anspach worked the keys from start to finish, touching on piano sounds to organ churn. As the sun continued to dip toward the horizon and the sky hue shifted to orange and gold, track three carried the appropriate “Western Sun.” For this inspirational number, Anspach stuck to piano for the bones, eventually flipping on the Hammond for the middle as Mitarotonda drove the edge of the song, and Cotter Ellis and bassist Trevor Weekz pushed the shuffle and laid it on thick, respectively.
Apparently wanting to expose this audience to as much Goose as possible, the band kept the conversation to a minimum and moved the set like they were on a mission and continued to flex with a brief but healthy “Hungersite.” Whether one was there for Dave, for Goose, or for both, it was clear looking about the venue that everyone was enjoying themselves—dancing, smiling, and focused in the moment.
Now, regarding 2025, this has been quite the year in the story of Goose’s continuing tale. From personnel changes to not only playing Madison Square Garden for the first time but also selling it out, to releasing two albums four months apart, these guys are making the most of the gift they have been given. With that in mind, the set moved on with a track from their April release Everything Must Go in “Give It Time.” With Mitarotonda sharing the lyrics with conviction, this one reads like poetic rock and roll, hitting the heart in its message while finishing big and scorching the earth with purification. Cotter Ellis’ tom pound here shook the place in all the right ways. The next song would be the only tune pulled from the band’s August work Chain Yer Dragon, and the woeful tale of “Jed Stone” had the audience witnessing the soul of the band. Performed patiently, this one is touching and dynamic and closed out with a structure that certainly put a tear in more than a few eyes in its story of struggle and redemption.
Infusing some funk into the equation, the band shifted to “Hot Tea” to keep the people up and moving. This bubbly piece popped and crackled from the beginning, then slowed at the middle and eventually rose to an explosion of sound that had everyone getting down. Anspach’s work on the Clavinet and synths made this one particularly enjoyable, and being followed by Mitarotonda’s expert runs and fanning pushed the limits of anyone being able to contain themselves.
To close it all out, Anspach paused to thank the crowd once again and express their gratitude for the warm reception for their first time at The Gorge. Choosing one of their oldest tunes dating back to 2014, Anspach welcomed the horn power of DMB, inviting saxophonist Jeff Coffin and trumpeter Rashawn Ross for an extended take on “Arcadia.” Providing enough time for the brass to blow, this tune would be the longest of the set at nearly eleven minutes. The horn arrangement fit so perfectly and both Coffin and Ross were provided the opportunity to shine in the spotlight individually as the sun made for twilight.
With the exception of the closer, Goose’s slot read like a festival set, each tune averaging out at about seven minutes, and it seemed as though the intent was to share as much of their catalog as possible in the time allotted. From the response, it was mission accomplished as many cheered them on repeatedly throughout the hour-long set.
Under an auburn ceiling and a deep-blue venue, Sunday’s main event of Dave and his merry men began with a soulful version of “Drunken Soldier.” This warm tune had everyone catching that Sunday vibe and at its close the quiet fade-out left everyone with that nice warm fuzzy feeling. This version would be only the second time the song has served as a set opener.
With a wide-eyed look, a satisfied grin, and in his animated fashion that just reads Dave, the resident host addressed the crowd: “Thank you very much… We just start real slow and then we just, you know, we just going to fizzle… but we will do it together.” Frozen for a moment in time, arms stretched wide and eyebrows elevated, Dave took a moment to take in the laughter and applause before continuing his opening statement: “Thanks y’all and thank you for the weekend. I hope we had a good time together. I had a good time.”
Next up was a standard take on “Hunger for The Great Light,” and at the finish of this mini-rocker, Dave added to his comedy: “That was a little bit Friday. This is a little bit more Sunday.” With that introduction, the band moved into a tender take on “Loving Wings.” Up until this year, this warm number had been absent from any Dave project since 2020 and this delivery would mark only the third version on the tour. Between Rashawn’s muted brass breath and Coffin’s alto attitude, the horn section made the middle a bright delight. Tim Reynolds even chose to go acoustic for this one, adding to the laid-back vibe.
At the close of “Loving Wings,” Dave took a moment for some gratitude for the show openers: “You know it has been a lovely weekend. I wanted to thank Louis Cato for starting the show tonight and uh who else did I want to thank?”—pausing appropriately to let the crowd belt out yet another extended Goose call. Laughing and smiling, Dave added to the moment, “You all know I wish my name was Goose Matthews from the Goose Matthews Band,” sending everyone including himself and his bandmates into more visible joy. “Anyway, that was awesome. It was lovely to have them here with us. It was a great pleasure to share the stage with them all.”
Setting up track four, Dave continued his thoughts: “So this feels better and better to me because that’s how it goes. Sometimes, the first time you take a walk in the woods, it’s a little bit scary and you are not quite sure, but the more you go into the woods, you realize, ‘Shit, this is where I’m supposed to be!’” And with that, setlist staple “Walk Around The Moon” kept the show going. Coffin showed that his skill is not just remarkable on the vertical plane, but his talent is just as strong on the horizontal, finishing the piece with some soft select notes on the flute.
Getting down with some nice scat for the intro, Dave brought on a great version of “Minarets.” Strong and guttural, this one’s foundation is deep and anchoring. With its mystic flavor, it is no wonder why this one has been in the rotation for so long.
With a gracious invitation, Dave then introduced the moment that many had been waiting for—bringing Rick from Goose to the stage to add to the Daniel Lanois cover “The Maker.” Coming in at eight minutes, Rick was given the opportunity not only to add to the melody but also deliver his own soulful take on the lyrics of this spiritual piece. Rick’s playing was patient and full of intent and one could feel his appreciation of yet another moment in his musical journey. His inspired contribution was recognized by the rest of the band, garnering smiles and nods from his stage mates. At the end, Rick walked off to hugs from each band member as he exited stage left with a glow and smile that were certainly warranted.
Easing further into that relaxed Sunday spirit, Dave supported the mini-acoustic and delivered a great take on relative rarity “Shotgun.” Having only been performed ten times since 2022, it is surprising that this one doesn’t get more airplay, as Dave seems to really enjoy the piece. With its interesting timing and changes as well as the horn play toward the end, this elevating choice certainly had more than a few glowing at its close.
Certainly qualifying as one of the most played tunes in the catalog, an eleven-minute “Jimi Thing” got the treatment and had the expected sing-along from the start. Firing on all cylinders from the onset, Tim Reynolds got the first turn at shredding this fan favorite. His solo was followed by some great interplay between him and Buddy Strong on the classic piano sounds. Accentuated with a punch, Dave pulled the unit back and hit the higher registry of his vocal capabilities before pushing the throttle forward again. Eventually, Jeff Coffin took over on the tenor sax and blew like a funky hurricane, mixing it up and filling the offbeat with the soul that is this set of lungs. Rashawn followed suit and kept it silky smooth before the two turned horn time into a call-and-response session that had the rest of the band smiling and dancing in place. The final run had everyone at full speed racing for the end and a very excited finish.
In the wake of smoke and cinder, Dave moved the band into a follow-up in inspiration with “So Damn Lucky.” This one also had everyone reveling and following a blow-out finish driven by Buddy, the customary crowd-led chant of Sly and The Family Stone’s “Thank You” ensued. With a couple of rounds of the crowd going solo, Buddy jumped back in on the piano and the “Sly” lyrics, turning the chant spiritual and getting high on the moment both musically and vocally.
A beautiful and haunting “Lying in the Hands of God” followed and although Stefan Lessard’s bass experienced some technical difficulties, the rest of the band kept the flow and feeling delicate and light. The middle saw some great finger work from Buddy once again. From there, Buddy remained at the piano helm and continued the transition into the “American Baby Intro.” This piece off of the Stand Up album had some great climatic action with Dave screaming into the microphone until it returned to Earth and fizzled out.
For anyone who knows a dedicated Dave Matthews fan, you know that they hang on every setlist and know when they are amidst a rarity—and what followed next lit The Gorge from the inside out. As the band and audience paused in the silence from the “American Baby Intro,” most watching the stage patiently waited to see what tune would be called up next, and when the distinct and familiar beginning of the full “American Baby” started up under Buddy’s fingers, the place exploded. Although many couldn’t put their finger on the exact date the tune had last hit the setlist, most knew it had been years. Looking at the stage, Dave seemed as overjoyed as those who were watching, smiling from ear to ear and geeking out with his colleagues as the wave of celebration unfolded. As fate would have it, this would be the first version since 2014 and 559 shows, and for those who made the trek, seeing this one made the whole journey worth it in one song.
Following an extended ovation, Dave, still carrying that kid-like grin, turned to the mic and said, “Seemed like a nice time to be picking that one for you,” resulting in more crowd joy reciprocation. Continuing on, Dave shared more: “Thank you for taking such good care of us. You all remember to take care of each other, you know? That’s the only thing. Don’t let the people in charge break us apart, you know? ’Cause they just pretending anyway… F*#k ‘em!”
As they say the only thing better than one bust is two, and with Dave’s remark reflecting on the current political situation, the African-turned-Virginian moved the room into “Mercy.” This would mark the first version since 2021, with 243 shows in the rearview mirror between renditions.
At the finish, Dave paused to introduce one of his friends:
“Thank you very much everybody and happy Sunday and everything, you know. So um we got this uh… if you were here yesterday we made a new friend named Jake Simpson. I met him… I was in Montana. I was playing a little gig in Montana and my very good friend Lukas Nelson was there and he’s got a nasty band and Jake Simpson was in his nasty band. I said, ‘Hey man, Jake, what you doing this weekend?’ and he said, ‘I ain’t got no plans, brother,’ so I said, ‘Come on over to The Gorge.’”
With a fist-bump and matching smiles from Dave and Jake both, the band embraced “Grace Is Gone.” Simpson played this tune as though he had been performing with the band for years—not only nailing the composition but adding his special something that would draw the attention of the rest of the band, his compatriots turning to watch him intently and sharing their own looks of encouragement in his direction.
More than satisfied with the contribution, Dave turned to Simpson and started up the intro of “Warehouse.” The beginning of this one has a significant amount of interchange between the guitar and the violin, and from there the collaboration was just oh-so-good. It was clear that the fiddler knew the material and nailed the sections that have been absent for such a long time, including the string plucking that is a distinctive part of the original recording. Coming in at the eleven-minute mark, it was no wonder that at the closing, the crowd began chanting, “Hire him! Hire him! Hire him!” over and over again and eventually shifted to the pleading call, “Sign him up! Sign him up! Sign him up!” well past the point of being a standard chant. The performance was such that it also garnered drummer Carter Beauford’s attention, motivating him to stand and encourage the crowd to call out louder.
Looking out over the relentless crowd, Dave remarked, “I hear you all, yeah. You all loud when you all making noise together… but at first I thought you were saying ‘find her help, find her help’ and I was like ‘who?’ Jake is a bad mother f*cker, that’s what he is. You all need to be grateful for today!”
Wrapping the evening in their sweet embrace, the band moved into an enthusiastic version of “Typical Situation.” Following the fan favorite and band staple, Dave traded the acoustic for the Fender and stood center stage under a single spotlight and poured out more of his soul with a haunting rendition of “Kill the Preacher.” Swinging the spectrum and keeping the roller coaster turning, an energetic and gritty “Why I Am” helped push this musical engine toward the finish line of the set. Pausing for one more moment to thank the opening bands for all three nights and the crew for “spoiling us rotten,” Dave closed out the nearly two-and-a-half-hour set with one final experience of elation with a solid run down “Grey Street.”
Taking a few minutes to refresh, Dave returned solo under the same deep-blue light that started his nearly three-hour-long set. Expectedly, Dave turned to the microphone and thanked everyone for another great weekend before taking the opportunity to address the current political state:
“You know what’s confusing to me? That so often our leaders—and right now I point the finger at the people in the White House—but it feels like the people they’re telling us are our enemies, are the danger to us, are people who that don’t really have any power and people that are left out anyway, so it’s easy to point at a farmhand or to point at a child that is different or a child that’s from a different religion or a kid that’s, you know, just different. People that are in tiny percentages whether it’s trans people or gay people or people that are from… it just always seems like people that are already vulnerable and then we are supposed to believe that they’re somehow a danger to us? But the truth is that greed and cruelty are the number one enemy of all of us. Brutality and divisiveness, that’s the enemy. That’s just what I think ’cause I think love is the only answer and I think that taking care of the Earth is the only answer. As soon as we start believing people that don’t know shit about stuff that we have people that know it… we know the artists know how to make art, we know musicians can make music, we know scientists know about science, we know doctors know about medicine—what the f*#k do these people know?!?! Not a god damned thing and they’re telling us what to do! We got to do something about it, they are taking over the world. It’s a scary time. Anyway, I love you with all my heart and I’m grateful that you’re here and I am sorry if I said anything to offend you, but I’m not really.”
Agreeing with Dave’s delivery, the crowd cheered in unison, appreciating his frank statements. Moving from the call of the crowd to a quieter space, Dave introduced the first encore tune: “This is a little song called ‘Peace on Earth’.” Introduced in 2025 and one of the newest songs in the Dave Matthews arsenal, this acoustic number found Dave going at it solo under a single spotlight and crimson backdrop. The resounding lyrics “Everyone peace on earth, but we got to kill the monster first” never rang so true following Dave’s monologue. The chorus eventually shifts to the chilling read “Everyone wants peace on earth, what about the monsters?”, suggesting that the monsters are seeking anything but peace.
With the return of the rest of the band, Dave literally set out to finish what he started and threw in the cap of “Lie in Our Graves” that was left out on night one. Following the reprise that was barely a minute in length but brought closure to all those who noticed the missing piece, another great weekend under Captain Dave closed out with a joyous version of “Best of What’s Around.” Again, this longtime staple showed that the feel-good spirit that is embodied by the Dave Matthews Band—as well as those who follow them—is a timeless one that is centered on living in the moment and celebrating all that is positive in this life and doing what one can to lift the moment and cherish all that is good. With a great climax to finish out another great weekend in “The Evergreen State,” the band took to the front of the stage to exchange smiles and glances with the loving crowd as well as each other, eventually landing together for the classic band photo with a sea of smiles stretching out behind them. Taking one last moment to silently state his opinion, Dave returned to the barren, saying nary a word and held two signs high above his head that read “Stop The Genocide” and “Stop Killing Children.” Looking out into the crowd with confidence, Dave’s quiet statement roused the crowd one last time and left everyone saying goodnight and good year to their beloved band and frontman—this appearance being the last for 2025.
Much like any group that has a devout following, leaving the venue, conversations could be heard far and wide about how great a song was, or a set, or the night, or the weekend for that matter, and although the end carried some heavy connotations, the spirit was still light as travelers reflected with stranger and family alike how much love they had for the power of music—this music in particular. Seeing Dave and his henchmen deliver at the aptitude and endurance that they exude is always a spectacle, even on a Sunday night where the outlook was “to fizzle.” This band, along with their fans, give their all and in that, as Dave stated, the only answer that was found at the final meeting point of the journey for 2025 was love.
