When Dispatch takes the stage in Richmond on Tuesday, June 10, it won’t just be another stop on tour—it’ll mark one of the very first concerts at the new Allianz Amphitheater at Riverfront. Nestled between the skyline and the James River, the venue offers a view and vibe fit for a band that’s spent over two decades walking the line between indie cred and festival headliner.
Ahead of the show, I spoke with frontman Chad Urmston about the band’s upcoming record, their activist roots, and what it means to stay hopeful—and loud—in a time like this.
Since their start in the mid-90s, Dispatch has been defined by its independence. They gained traction long before Spotify or social media, using dorm-room demos, Napster downloads, and grassroots word-of-mouth to build a massive following without a record label.
Their DIY path didn’t just earn them fans; it gave them freedom. On the new album, that openness takes shape through collaborations with artists like John Butler, G. Love, and Ani DiFranco.
“These ideas just come up,” Chad said casually. “Playing with John again felt natural. We hadn’t done it in a while. My wife actually heard the song ‘In the Street’ and said, ‘You need a woman’s voice on this.’ Ani [DiFranco] was at the top of our list, and thankfully, she said yes.”
That mix of spontaneity and intention is at the core of Dispatch’s creative process. It’s not about chasing trends—it’s about chasing what feels right.
June 10 will be only the third public show ever at Allianz Amphitheater, and Dispatch’s performance will help christen the space for Richmond’s live music future. It’s a full-circle moment for Chad, whose family roots run through the city.
“My dad’s grandparents were from Richmond,” he told me. “So when I’m there, I always try to see some of the old crew, reconnect a bit. It’s a special place.”
For fans, it’s also a special setting. One side of the amphitheater opens to the river; the other offers a panoramic view of the downtown skyline. It’s one of the most scenic new venues on the East Coast—and Dispatch, with their emphasis on connection and place, seems like a perfect fit.
Despite Dispatch’s reputation for singalong choruses and bright melodies, much of their catalog is protest music dressed in harmony. They tackle weighty issues—immigration, incarceration, racial injustice—without veering into hopelessness.
Chad’s not shy about his politics, either.
“I love protest music. I love it—I love being part of something bigger. So for me, it’s really important. I don’t think it has to be for every artist, but for us in the band, and the guys we run with, you know, we’ve all been on a Zoom together talking about how crazy things are in this country—the deportation of people just because they’ve written an op-ed. It’s a really scary time if you’re not from here, and I don’t feel like that’s what our country is supposed to be about. If we could hold onto anything, it’s that this is a country of opportunity, and that we welcome people. And Trump is just an insane narcissist. I can’t—everything he’s doing is just very, very scary for what this country could be. The potential of this country—I feel like he’s squashing it with his own power hungriness. It’s really frightening, especially if you don’t have white skin.”
That urgency extends beyond the songs. Dispatch often partners with local organizations in each city they visit—especially immigration justice groups—to hand out information and create space for dialogue before and during shows.
“We’ve been talking about setting up in the parking lot before the show,” Chad added. “Bring people together, give out pamphlets, talk about constitutional rights. Just be part of the resistance in whatever way we can.”
Even in the middle of touring, the social climate weighs heavily.
“We’re like that frog in the pot,” he said. “You don’t really know—you’re just in the pot. You don’t really realize how bad it’s getting until you’ve got to really open your eyes and go, ‘Holy shit.’ Because it’s easy to kind of go along with your day. We all have so much crazy stuff going on in our daily human existence. There’s a lot going on. Everyone’s busy. But I would just say, try to stay connected with some of these bigger goals, so that we can hopefully turn this around in the next election cycle.”
Still, Chad emphasizes that hope—actionable, grounded hope—is essential.
“I know we all have to kind of stand up for each other,” he said. “That could be in tiny ways, it could be in big ways. If we look out for each other, that’s going to be the only thing that gets us through this time. Sometimes it’s easy to sit back and think, ‘Oh, that’s somewhat removed from me.’ But if you keep sitting back, eventually it won’t be so far removed.
“A lot of what the Trump administration is doing—people know this, I’m sure they know it in Richmond—but it’s these bellwethers, these harbingers of fascism, autocracy, and dictatorship. It’s really wild, this kind of playbook that’s being played out right in front of us.”
I told him I’ve felt it too—how these once-shadowy movements are now operating in the open, almost daring people not to care.
“I’ve—personally—felt like a lot of these kinds of negative movements by the government have always been there, but more in the background. If you really dug deep, you knew they were happening, but they weren’t right on the surface. With this administration, though, it feels like it’s all hiding in plain sight. They’re almost daring us not to react—just expecting everyone to go along with these policies. And it’s not something I’m used to. I mean, I’m 58 years old, and I can’t remember a time when it’s been this pervasive and this out in the open.”
Chad agreed, but offered a sharp take.
“Well, in some ways, I’d rather see them—I’d rather know who they are, these people. It’s almost scarier to think of the basement meetings, hiding in the darkness, you know? So in that way, I think that’s the beauty of free speech. Let people get that shit out, so it doesn’t fester inside them. Let them exercise their free speech, whatever it is—as long as it stays within certain boundaries.
I mean, I remember on Twitter, there were people really advocating harm to others, and obviously there’s a line there. But I do think it’s somewhat helpful to know who the hate organizations are. It depends on how we frame it. I guess in some ways, yeah—Trump has emboldened these people. But in other ways, I’d rather have them out in the sunlight than hiding.”
That attitude—clear-eyed but still generous—filters through Dispatch’s music. Even when the message is heavy, the delivery is warm, melodic, and rooted in community.
“It’s kind of like a gateway,” Chad said. “You bring people in with the melody. Then they ask, ‘Wait—what is this song actually about?’”
Before we wrapped, I had to ask about gear. Dispatch has always had a layered, textured sound, and Chad’s guitar work is central to it.
“I’ve got this Jaguar-style guitar with P-90s that my friend Creston built—it’s kind of like a Les Paul Jr. on a Jaguar body,” he said. “That’s my main one on stage. At home, I’ve got a couple of cheap Yamahas from the ‘60s. They sound amazing.”
And then there’s one that’s showing its age in the best possible way.
“I’ve got this beat-up mini Martin I’ve been playing a lot. It’s starting to get down to the wood,” he said with a laugh.
I offered, “Like Willie Nelson’s Trigger?”
“Yeah, like Willie’s Trigger.”
Dispatch plays Allianz Amphitheater at Riverfront on Tuesday, June 10. Tickets are available HERE. Come for the view, stay for the protest music in disguise.
Interview by Scott Dickens
Article by R. Anthony Harris
Photo by Shervin Lainez
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