Fantasy supergroup
Dave Matthews and the Undead Origami Artichoke
By Stephen Lin · June 27, 2026 · 6 views
Dave Matthews and the Undead Origami Artichoke are the year's most talked-about supergroup you didn't see coming. Fusing jam-band warmth with the boundary-shattering legacy of jazz titans Miles Davis and John Coltrane, the propulsive thunder of John Bonham, and the orchestral vision of Leonard Bernstein, the five-piece delivers a genre-defying live experience that's already generating buzz on the festival circuit.
The lineup5 members
Dave Matthews
member of Dave Matthews & Friends, Dave Matthews Band & J-Funk Express, formerly of Tribe of Heaven
- guitar
- lead vocals
Miles Davis
member of Miles Davis Quintet, Miles Davis Sextet & Miles Davis Quartet, formerly of Charlie Parker Septet
- trumpet
John Coltrane
member of John Coltrane Trio, John Coltrane Quintet & John Coltrane Quintet, formerly of Dexter Culbertson's U.S. Navy Band, Dizzy Gillespie and His Orchestra & Dizzy Gillespie Sextet
- saxophone
John Bonham
drummer of Band of Joy, Lord Sutch & Heavy Friends & The Senators, formerly of Led Zeppelin
- drums (drum set)
Leonard Bernstein
American conductor, composer, pianist
- piano
The sound
How the lineup's genres blend — each bar's width is that genre's share of the members' tags.
- classical2
- jazz2
- rock2
- cool jazz2
- hard bop2
- modal jazz2
- post-bop2
- hard rock1
- other (17)17
The DNA
The real bands behind the lineup — shared bands link the members. Hover to trace a connection.
The reviews
Three imagined takes on the debut album.
A lineage-collapsing statement: Matthews, Davis, Coltrane, Bonham, and Bernstein converge on a shared language of harmonic risk and groove. The result honors each architect while forging something genuinely new. ★★★★
The supergroup curse is real, but this one sidesteps it by refusing to play it safe—three minutes in, they're already arguing about which tradition to demolish next. You can feel them having more fun than is probably allowed.
Five vocabularies collide with occasional grace but frequent friction; the orchestral ambitions read as constraint rather than liberation. Technically commanding yet oddly airless in its refusal to choose a lane. 6.7
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