The Dynamic of Dawes

To celebrate the debut of their 9th studio album, “Oh Brother,” Dawes is traveling across the states. The folk rock band made a stop at Solana Beach’s The Belly Up Tavern, just in time before the holiday break. The tavern’s white-bellied shark donned a Santa Claus hat and had elf feet peeking out of its open mouth. A festive feast for the shark and a humorous display for visitors. Glasses were passed, and conversations were thriving. The space buzzed with excitement, and soon, the lights dimmed to an intense blue. Dawes walked onstage and, without another word, kicked off the night with “Mr. Los Angeles.” The lyrics and musical arrangement matched the unrestricted nature of Hollywood, one that is chaotic yet entertaining.

The Goldsmith brothers, Taylor and Griffin, are the founding figures of Dawes. Taylor provides the lead vocals and switches out between playing the electric or acoustic guitar. Griffin, too, provides vocals and plays on the drum kit. The live band had six musicians, including guitarist Trevor Menear, percussionist Ian Bush, bassist Z Lynch, and keyboardist Frank LoCrasto. The close proximity between the band and the crowd made it easy to spot moments of mental preparation before the flawless execution of notes.

Instrumentation bled into “From A Window Seat,” a song about introspection while taking a flight back home. Those standing at the front of the stage jumped up and down, batting an open palm against their hearts. Next was “Didn’t Fix Me,” which started off with a provocative guitar solo performed by Taylor.

Taylor asked who out there had attended Dawes’ show from the previous night. Many raised their hands. “Crack the Case” was sadness stacked upon comfort, a beautiful song about differing perspectives, failures in communication, and a crumbling love. Taylor performed it with the aid of an acoustic guitar. But the energy returned with “Someone Else’s Cafe.” Like a scalding cup of coffee that burns the tongue with its richness, the song’s composition brewed with a potent intensity. “Time Spent in Los Angeles” followed afterwards. Conversations shared between Taylor and the audience were few yet meaningful.

“Now That It’s Too Late, Maria” illustrated the deep passion that everyone held for Dawes. By the song’s final notes, the band silenced themselves and gave the audience a chance to sing the lyrics aloud. It was a special moment, to realize that everyone within the tavern knew the words by heart. “Comes in Waves,” and “When My Time Comes” were each great contenders for someone’s favorite of Dawes’ collection.

The next set began with a song the band released last November, right on time for the season. “Christmas Tree in the Window,” according to Taylor, was written from the perspective of someone who never got their story told. Specifically, a burglar who intended to rob a family. But upon seeing the Christmas tree perched within their window, he couldn’t go through with it. The burglar returns to their vehicle and calls their parents for the first time in years, moved by the magic of the season and the love shared between a humble family. He sang it alone, acoustically, while standing under a spotlight that shone like a halo.

After “One of Us,” Taylor and Griffin shared a microphone, singing “Take Me out of the City.” The harmonic tones of their combined voices were magical, blending in with the subtlety of a tambourine. The band threw the crowd for a loop during “Front Row Seat,” making it sound as if it was on the verge of completion, when it was holding on to its last measure of greatness. They achieved the same thing with “Feed the Fire,” which wordlessly demanded people to dance. Its growing energy was parallel to pouring gas on growing flames, a musical phenomenon that snuffed out everything within hearing distance. The song’s magnitude persisted until the final note, which was achieved thanks to the drums and keyboard.

Taylor thanked the audience for making it there that night, assuring them that he knew how difficult it was to see a show held on a Monday. “This song is for people like you, who know how to live your lives,” he said, leading into “House Parties.” It was followed by “From the Right Angle,” which was about dating musicians. “Wouldn’t recommend it,” Taylor chuckled. Dawes had a talent for incorporating excellent hooks into each of their songs, clever wording that reeled the listener in like bait adrift in deep waters.

“May all your favorite bands stay together,” Taylor said, before singing “All Your Favorite Bands.” As his words suggested, it was about wishing the best for someone, for the prolongation of all things they hold dear. It would have been the perfect song to part with, but an encore was imminent. They concluded with “You Wreck Me” from Tom Petty and the Heartbreakers, and one more original titled “Hilarity Ensues.” Dawes’ “Oh Brother” tour will resume in March. Their first show of the new year will be taking place in Illinois at Thalia Hall. To learn more about their upcoming tour dates, visit https://dawestheband.com/.

Since the completion of this article, members of Dawes have tragically lost their homes due to the recent California fires. BackStage360 would like to send their prayers and condolences to those who have been affected by the disaster. Dawes has also announced that they will be performing at the FireAid LA benefit concert, which will be dedicated to helping Los Angeles communities rebuild. It is set to take place on Jan. 30th, and will feature a plethora of other beloved musicians. Learn more at https://fireaidla.org/.