While I have never been much of a Tonic drinker or listener, I saw things a little differently after hearing the band's most recognizable hit in a live acoustic setting, and although that was the only song I caught in the set, I can say that the song itself and Hart's vocals have aged as a fine wine.
While I am at it, why not make a toast to the nineties and all of the talented bands and performers that either rose in prominence or formed in that decade. Yes, feel free to debate whether the following bands deserve the general description of great, but as performers, it would not be fair to understate.
While I have heard of the band, and only listened to a song or two, a full in-depth familiarity with their catalog was not necessary. It may have been Better Than Ezra's set, but they paid homage to many other artists that came before or around the same time. From the Sublime teaser encasing
"Santeria" and "What I Got" in a medley that also consisted of "Extra Ordinary/ I Can't Feel My face/ Sumertime" to the mic-drop worthy medley of "Juicy/Rapper's Delight/O.P.P." If neither of those struck your fancy they surrendered to the Jam band leanings and performed a fusion of Phish and Widespread Panic, even incorporating a Dave Matthews impression, warning us about the water; Matthews may not front what many may call a genuine Jam band, but they are an engaging artist. If that was not enough, they played another medley that initiated a Rush of serotonin, by the order of "Limelight/Free Will/ The Spirit of Radio." I'm not even a big fan of Rush or have acquainted myself with a lot of their music, but this was my favorite of tributes; it served as another example of their chops as musicians.
Not there was a competition brewing, but before their final cover, Kevin Griffin had mentioned that because they were playing with Sugar Ray, they wanted to raise the bar, to the point "where the odds were stacked against them" in jest; in all seriousness, it was a self fulfilling prophecy. I am not sure how his name is correctly spelled, but a pianist by the name of Ben Alleman traveled all the way from N'awlins to serve as Sir Elton on a performance of "Tiny Dancer," even after becoming a victim of food poisoning; the fever broke right before he tickled the first keys, playing from the tour bus.
Later, Mark McGrath from Sugar Ray had stated "There is no order. We know how great those guys are."
Now what about their originals? I wasn't exactly impressed with "King of New Orleans," but I hope that this commentary is not "Misunderstood." One of my favorites had to be their first hit, which is more than "Good," and left me "Desperately Wanting" more of that energy, which was sufficiently spread throughout the set. The latter was a tune I could never attribute to a certain artist before this; the same could be said of "A Lifetime." If you think of "Jumper" by Third Eye Blind, I would understaaand. While I haven't listened them long enough to declare that B.T.E. stands for "Better Than Ever," I can claim that the backronym could also stand for "Better Than Expected." so Thank you Kevin Griffin on lead vox, piano and guitar, James Arthur Payne Jr. on guitar, keys and back vox, and Tom Drummond on bass and back vox, and Michael Jerome on drums for the experience.
I had my expectations when it came to this band, a fan of their music since their name started to "Fly" to the top of the charts, and I had my set wishlist in place. I knew I could not expect all of them to be granted.
I could feel the anticipation rise as I awaited the band to set foot on the stage, and smile to myself as I recollect what had transpired that night. While a fan of the albums that had preceded it, I was hoping to hear a few more songs from their self titled record; "Words to Me" was the perfect way to start.
It is an accurate assessment to claim that when you think of Sugar Ray's music, you think of summer, especially some of their later and breezier fare, and this new tune takes you to a state of mind filled with sunshine and good vibes, courtesy of "Coconut Bay." It was one of the newer tunes that I took to right away. "Someday" I will appreciate some of the other new entries in their repertoire, but for now I will fade away, and coast back to nostalgia shore, or nostalgia cove, because the next tune rocks.
While the riff was a little muddled compared to the studio version, and to some of the other tunes in the set, I still had that inclination to do that mid air split, answering the phone call from "Will Tojump."
Before they jumped into their next hit, Mark McGrath mentioned that they almost found themselves on a One-Hit Wondercruise for a month, with the likes of Kajagoogoo and Chumbawamba, aiming to be the voice of reason and encouraging some of the other members to give it a chance. All it took was some divine inspiration, and they were able to escape the fate; while his version was more compelling, you get the gist. "Every Morning" was that hit that shook off those shackles.
With a new song introduced, many find themselves with a choice to hear it first, if it is not already on youtube, or take that bathroom break, and McGrath gave us a warning. With the reception from the first one well received, "Highest Tree," they decided to play their first single from the new album. These songs, in my opinion, may take a few more listens to decide where they stand.
I don't think I can continue this reollection without mentioning how grateful Mark McGrath was throughout the set, praising the sets of Better Than Ezra and Emerson Hart, and expressing his gratitude for the fans and their interaction and appreciation multiple times throughout the set.
He also went to thank one fan who has stuck with the band for a long time, giving MGrath and his cohorts daily encouragement, and "there has not been one time where it did not help" (paraphrased).
It's true, we may not know the effect our actions may have on others, or as artists, our particular art or media may have on another, but I imagine if I listen to this song after the breakup with my hypothetical girlfriend, that it would leave my heart lighter "When It's Over."
Speaking of relationships, Mark McGrath debuted a new song they were working on earlier that day before he had opened up about is family, and the "Perfect Mornings" they often have. It was the only time in the set where he donned that acoustic accessory for heartfelt expression, and proof "that I can still play guitar." It was another humbling reception to a song that meant nearly as much as his family.
Before they took us further 'into yesterday' they played their contribution to the Surf's Up soundtrack, of the same name, and while it was nice, it was not as fun as their first album. Around this point in the set, McGrath had addressed his appreciation for the only other founding member of the band, Rodney Sheppard, still a component after thirty years "...and to still be around after thirty years is something worthy of recognition" (paraphrased). They had then to speak of their debut, Lemonade and Brownies, which both founding members admit it was their album they had the most fun when it came to writing, and then queried "Do You remember the Ramones?" How can you not, when their "Blitzkrieg Bop" finds itself in all the right places? They went to mention that the song they were to play was inspired by the band. The terse conversation was the cog that set the "Mean Machine" in motion, and while the song itself was not my favorite in their catalog, it was one of my favorites in their set; it was the vanguard of vitality, that beckoned a "Hey Ho, Let's Go!"
While they did play some of their classic summer breeze hits, that could be heard on nostalgia shore, to much appreciation from the crowd and I, there was another cover that rivaled the appeal of those tunes, and the energy of their moshpit medley, and that was Violent Femmes' "Blister in the Sun." It was the song that began a trifecta of what makes the live experience so great: the energy, the interaction between band and fan, and the improvisation that may await you. It all started with the promise of a 24-minute blues epic, before those recognizable notes were "misplayed" and the scab remained from that blister, then a change of plans occurred. Oh those happy accidents.
While they had mentioned numerous times that "Fly" would not be found on this set, it was half of the final hybrid of the evening; along with "What I Got" by Sublime.
It would be remiss to not mention the talents of Dean Butterworth on Drums, and Kristian Attard, formerly a contestant on Australia's "The Voice," on bass and backing vocals.