The music provides convolutions. Folk-pop, funk, metal, jazz, math-rock and pop from South Africa (where Mr. Matthews was born) all show up in the 14 tracks on “Come Tomorrow.” The band can converge on a riff or fan out in intricate counterpoint, and its agility makes odd, shifting meters and Mr. Matthews’s leaping vocal lines — baritone below, uncharted above — sound natural. The interplay of the core band — particularly Mr. Matthews’s acoustic guitar picking, Stefan Lessard’s springy bass lines and Carter Beauford’s pinpoint drumming — easily opens out to arena scale on the album, as electric guitars chime in and string and horn arrangements swell.

Image “Come Tomorrow” is the Dave Matthews Band’s ninth studio album. Credit...

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A six-year gap between studio albums hasn’t tempted the Dave Matthews Band to try to update (or obviously computerize) its sound. The instruments are still hand-played, and the grooves still sound like they were created through jamming, not programming. “That Girl Is You” unfolds from introduction to obsession over a four-chord syncopated guitar riff, with Mr. Matthews playing nearly every part in the studio, yet there’s an improvisational volatility to his voice — breathy and cagey, then rounded and courteous, then agitated and scratchy, then shrieking in wild-eyed falsetto. It works; he gets the girl.

The album was recorded gradually, in multiple studios with multiple producers. Two songs that have long been evolving in the band’s live sets, “Can’t Stop” and “Idea of You,” include alto saxophone from LeRoi Moore, a founding band member who died in 2008. “Idea of You” — a jammy song about a childhood crush lingering to become an adult romance — is also the only track on the album with the violinist Boyd Tinsley, who left the band in February after two decades, citing health reasons; he later faced allegations of sexual harassment. (Mr. Tinsley has denied what he called “false accusations.”)

One of Mr. Matthews’s strengths has been his lyrics’ passionate respect for women; it’s a major reason his concert audiences are far more gender mixed than most jam-band crowds. The women in his songs are compelling, beautiful, mystical and carnal all at once. “Come On Come On” — two stately, undulating chords fortified by a string section and addressed to a “beautiful, beautiful girl” — declares, “I just wanna make you” in a “great great love” but comes across as worshipful, not pushy. In “Again and Again,” modal riffing and a limber six-beat pulse drive promises of devotion and satisfaction: “I see everything in you tonight,” Mr. Matthews sings.