REVIEW: Everclear rocks Oyster Bake on Saturday night Print E-mail
Monday, 21 April 2008

It’s rare when an opening act emerges for an encore performance. And it’s an even rarer occurrence when the fans treated to such an encore leave before watching the headlining act.

Such was the case on Saturday night at Fiesta Oyster Bake.

After watching Everclear – or at least what remains of it – tear through a 17-song, 75-minute set that featured (most of) the hits and a few new tracks from the band’s recently released covers album, The Vegas Years, droves of fans headed for the exits … or at least to the nearest beer stand.

Perhaps they had forgotten that Alter Bridge – aka Creed, minus that pompous ass Scott Stapp – was slated to headline the Oyster Bake festivities. Perhaps they simply didn’t care.

Either way, the night belonged to Everclear frontman Art Alexakis and his new quartet of bandmates (original members Greg Eklund and Craig Montoya left the band several years back). The band blasted through some of Everclear’s latter-day hits, such as "A.M. Radio," "Wonderful" and "Volvo Driving Soccer Mom," and took the thousands in attendance even further back with mid-to-late ’90s favorites "Everything To Everyone," "Sparkle and Fade" and "Father of Mine."

Of course, the highlight of the evening came when Everclear concluded the pre-encore festivities with its most well-known track, the smash single, "Santa Monica." After retreating backstage for a brief moment – with the crowd chanting the band’s name – the band emerged for a two-song encore, featuring "I Will Buy You a New Life" and a cover of "867-5309 (Jenny)," during which Alexakis invited several female Fiesta-goers to the stage for a little group action.

Earlier in the set, Everclear provided twists on Van Morrison’s "Brown-Eyed Girl" and Thin Lizzy’s "The Boys are Back in Town." The latter was significant in its wording, as Alexakis and the new Everclear seemed like a band poised for another brush with mainstream success.

Indeed, Everclear is back. And considering the less-than-stellar state of present-day mainstream rock music, we should all be thankful.

Clint Hale | 210SA contributor
 

 
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