SOUVENIR PROGRAM
CONTENTS JULY 28 • PEORIA RIVERFRONT
Official Artist Lineup...................... 5 SUGAR RAY................................6-7 EVERCLEAR...........................10-11 LIT.........................................14-15 SPONGE.................................16-17
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Y A R R A SUG BIO
A “
llow me to humblebrag for a moment,” says the one and only Mark McGrath, and well he might. After all, the Southern California-native practically invented the oh-so-contemporary art of wry, self-deprecating modesty, backed up of course by a lengthy resume of popular success and artistic accomplishment. As lead singer/songwriter for Sugar Ray, McGrath can lay claim to a stunning string of top 10 hits, multiple multi-platinum albums (including the RIAA 3x platinum certified “14:59”), and countless sold out tours. Where that would be enough for most artists, McGrath has also proven an effervescent and ever-present pop culture personality, with a host of TV, film, and other extracurricular endeavors.
into the spotlight, the multi-talented frontman is busier than ever before. Leading the charge is his much anticipated solo debut as well as his role as co-host and founder of “Under The Sun,” the annual summer festival tour showcasing the biggest and brightest stars of the halcyon Nineties. Now blissfully married and father to twins, McGrath’s admirably debauched rock star lifestyle has given way to a laser beam focus on his own past, present, and future. “I’m more lucid now,” he says. “I’m clearer. I’m not this maniac, going from city to city drinking twelve-packs of beer. I’m a father now, my craziness is behind me. The fog has cleared and I’m like, look what we did! It’s awesome!” “I don’t want to be linear as far as what Under The Sun can be,” McGrath says. “It doesn’t have to be just rock guitars. There are only so many bands from the Nineties that can
sustain that kind of tour. I want to see R&B on this tour, I want to see hip-hop. I want it to be all things Nineties.” No one knows better than McGrath how Nineties nostalgia still inspires ironic yuks among the Generation X slackers that lived through it. Nonetheless, the frontman is confident that an aesthetic reappraisal is inevitable. “Remember how ridiculous the Eighties were, looking back from ’96 or ’97,” McGrath says. “You need to put a little more distance between it. It’s going to take a new generation to rediscover the Nineties. A generation that wasn’t there, that doesn’t know how lame my highlights were.”
together. But fans need not be upset, because the Royal Machines have picked up where Camp Freddy left off. From Sugar Ray to “Under The Sun” and beyond, McGrath’s myriad efforts are bound now and forever by the man’s sheer wit, pop cultural smarts, songwriting sensibility, and unstoppable, infectious enthusiasm. Joke though he might – and almost certainly will – but Mark McGrath remains as full-on as ever before.
You’ve gotta love it, And I’ll always love it.
Mark had been a long-time member in good standing of an all-star Nineties act a la Dave Navarro and Billy Morrison’s superstar jam session, Camp Freddy, which is no longer
.COM Y A R R A G SU
More than two decades since first stepping
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R A E L C R EVE BIO
“Hard rock, punk rock, big guitars that swallow me whole – I will never get over that,” says Alexakis, without apology or equivocation. “And this is a very honest recording.
A
s familiar as the sound of a jet engine and as visceral as a ride on a speeding motorcycle, Everclear is heavier, darker and more balls-to-the-wall than ever before. And frontman Art Alexakis has never been happier. Bombastic, hard-driving, generationspanning rock n’ roll with instantly memorable, sharp-as-hell hooks propel Everclear’s new studio album, Black Is The New Black. Muscular but melodic, this is the sound of a band driven and united by singular, intense purpose. At an average of three-minutes each, the songs rip forward with palpable swagger, supercharged by a mix of autobiographical exorcism and narrative storytelling, from the gut and throat of Everclear’s singer, guitarist, cofounder and songwriter.
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No gimmicks. Not many bells and whistles. All the riffs on this record are things that really just resonated with me and the band, musically and lyrically - from the get-go.” Black Is The New Black is a diverse and timeless sounding collection, without ballads and without nostalgia. This is a heavy guitar record. It’s a throwback to the potent passion and urgent delivery of Everclear’s heralded indie debut (recorded for just $400 back in the day!) and subsequent major label classics, delivered through a modern lens. Across the album, the insistent kick of drummer Sean Winchester, athletic groove of bassist Freddy Herrera, and ridiculously
skilled guitar shred of Davey French join forces behind the storm of giant guitar riffs swinging mightily from song to song. A bit of tasteful keyboards from Josh Crawley add atmospheric punch to songs that could crush a tiny dive bar or destroy the cheap seats in the world’s biggest arena with equal force. “ I’m learning to balance those dark places,” Alexakis says thoughtfully. “I am learning to respect them, but also, to keep them in their place.” Everclear’s frontman is 25 years clean-and-sober, with a wealth of darkness to stare into, but a perspective earned through experience, a healthy home life and a kickass band. Alexakis would write riffs and entire songs alone, then kick them around with fellow California residents Herrera and Crawley. The trio recorded with Carson Slovak and Grant McFarland (who coproduced with Alexakis, who has produced every other Everclear album before) in a studio owned by the band LIVE, with Alexakis tracking the vast
majority of the guitars himself for the first time since 2003’s Slow Motion Daydream. French and Crawley came in from the Pacific Northwest to add their flavor to the album, too. “I will be 98 years old and pissing off my great grandkids,” he predicts, with a hearty laugh. “’Grandpa is playing that horrible, loud music again!’ I’ll probably be deaf as a doornail by then, too, so I’ll be playing it really loud. It’s a rock n’ roll thing.”
EV
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COM
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LIT
BIO
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major player throughout the postgrunge boom of the late ‘90s, Lit featured the combined talents of frontman A. Jay Popoff, his guitar-playing brother Jeremy, bassist Kevin Baldes, and drummer Allen Shellenberger. The group formed in 1990 in Orange County, California, where it initially performed metal-influenced music under the name Razzle. After changing their name, Lit began embracing a spunky brand of punk-pop that helped attract a local following in California. The group sold out local venues (including Club 369 in Fullerton) and issued two recordings: an EP, Five Smokin’ Tracks from Lit; and the full-length Tripping the Light Fantastic, which arrived during the spring of 1997 and became a college radio hit.
which released the follow-up effort A Place in the Sun two years later. This proved to be Lit’s breakthrough record, as the catchy rock riffs of “My Own Worst Enemy,” “ZipLock,” and “Miserable” all paved the way for platinum sales. With “My Own Worst Enemy” topping the U.S. Modern Rock Tracks chart, Lit toured the country alongside groups like the Offspring, No Doubt, and Garbage. Furthermore, they performed a set at Woodstock 1999 and earned a spot on the 2000 Vans Warped Tour. A third album, Atomic, was released in fall 2001, spawning several singles including “Lipstick and Bruises.” A self-titled album arrived in 2004, marking Lit’s fourth fulllength effort (as well as their first release on the Nitrus label). In 2008, drummer Shellenberger was diagnosed with a brain tumor. He died on August 13, 2009 at the age of 39. Nathan Walker was added as the band’s drummer and Lit began work on
new material. In 2012, Lit released their fifth studio album, the Butch Walker-produced The View from the Bottom. They dedicated the album to Shellenberger. Lit has been actively touring, writing, and recording since the latest release. They’ll soon embark on a 40 city tour-a big chunk of which will be with Sugar Ray, Everclear, and Sponge as part of Summerland Tour. Longtime songwriting partner and producer Ryan Gillmor joins the Lit lineup again this summer after taking a brieg hiatus from the road to work on a hit TV series. The band is also looking forward to bringing drummer Terry Stirling, Jr into the mix, as Nathan Walker steps aside to pursure other personal and professional endeavors. Since the last studio record, the band has immersed theemselves in Nashville’s Country music world with constant songwriting trips, continuing to further their friendships with some of the biggest names in country music. Lit recently
joined Dustin Lynch on stage at Stagecoach Festival to deliver “My Own Worst Enemy” to over 50,00 of Country’s most dedicated fans. The new sound of Lit shows a natural progression into a genre they’ve always been connected to. The band is one of the many examples of artists taking risks and crossing over lines that get blurrier by the day.
It could have happened to anybody, but you still have to be proud that you’re part of rock history in a WAY.
.COM LITBAND
Lit then landed a contract with RCA Records,
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SPONGE BIO
Craft,” “Chasing Amy,” “Mall Rats” and “Empire Records.” Sponge’s star continued to rise with network appearances on “The Late Show with David Letterman” and the “Conan O’Brien Show.”
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ponge has proven to be one of the Motor City’s heaviest hitters after gaining international notoriety with their debut album “Rotting Piñata” (Sony). Emerging from Detroit with hits like “Plowed” and “Molly (16 Candles)” Sponge received massive airplay on radio stations from coast to coast and were in heavy rotation on MTV. Both “Plowed” and “Molly” hit #5 on Billboard’s Modern Rock Charts, catapulting “Rotting Piñata” to Gold, and ultimately Platinum status.
Sponge’s follow up CD, the critically lauded “Wax Ecstatic” (Columbia) scored additional top ten Billboard hits including “Wax Ecstatic” and “Have You Seen Mary?” The band’s music was also featured in popular movies “The
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Sponge’s subsequent releases “New Pop Sunday,”“For All The Drugs in The World,”“The Man,” “Galore Galore,” and “Destroy the Boy,” showcased the band’s swirling sonic attack, rooted in 70’s glam and of course, the Motor City influences of The Stooges, The MC5 and Motown-but still sounding distinctly like no one else.
“Plowed” continues to be the band’s signature rock track, having been spotlighted on Guitar Hero’s “Warriors of Rock – 90’s Rock Track Pack” – and on the Paper Jamz Guitar
Series 2, in addition to the soundtrack for the Gerard Butler surf movie “Chasing Mavericks.”
Sponge is now touring in support of a brand new release – “Stop the Bleeding.” The fulllength disc incorporates the traditional “Sponge sound” in addition to exploring edgier, industrial grooves, most apparent on the band’s twisted cover of “Time in a Bottle.”
Now as part of the stellar Summerland Tour – hitting sheds and amphitheatres across the U.S. this summer, Sponge is poised to bring its potent brand of Detroit rock to the masses, once again proving that rock never stops.
Having shared stages the world over with Guns N’ Roses, Nickelback, Iggy Pop, Soundgarden, Alice in Chains, Kiss, to name just a few, Sponge continues to be one of rock’s most sought after live acts. Front man Vinnie Dombroski captivates audiences with his powerful voice, heart-on-his-sleeve lyrics and high-octane stage presence.
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