All the other crew, they know just to be quiet because this is his mode of whatever douchebaggery. He stood up with his helmet, and he started pacing the live room. I also said, “Hey, we’re way under market,” gave him all these reasons. And so I said, “Honestly, we’re sold out every day, and I really think there’s a disincentive to me to book six weeks for you because I’m going to push out my normal clients,” etc. He was doing like 101 intimidating negotiating tactics or whatever that he Googled the night before. Is Stephan Jenkins AC Slater? I think so.
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I didn’t realize people do that in real life. And he says, “Okay, what are we going to do about this rate? We’ve got to get this rate down.” ( Via) This was one of the golden moments of Tiny Telephone recording: He takes a folding chair and flips it around backward and then puts it uncomfortably close to me, considering we’re in a large room, and sits face-to-face with me, sitting backward in a chair. You would normally say, “Hey, how is everything going?” And he doesn’t say a word of, like, a normal greeting. So Stephan Jenkins walks in wearing motorcycle leather, and he’s holding his helmet. We heard a motorcycle pull up, and I was, like, “Okay, that’s got to be this dude who’s clearly late and clearly doesn’t care but whatever.” I wanted to ink the deal. “If we do take the studio, where can we plug in a fax machine?” Just normal stuff. So I went to the studio, and the band showed up, the manager showed up, and Carmer showed up. The context: Third Eye Blind booked Vanderslice’s studio, Tiny Telephone, in 2002 to record a new album.
#STEVEN JENKINS THIRD EYE BLIND SERIES#
So I greatly enjoyed singer/songwriter John Vanderslice’s story for the AV Club’s “Hate Song” series about his interaction with Jenkins. ?? a card-carrying member of the M atchbox Twenty fan club (note: contrary to popular belief, the cards do NOT read, “I must be lonely”), it is my obligation to hate all things Third Eye Blind, after lead singer Stephan Jenkins tiffed with Rob Thomas in the late 1990s over Thomas’s moderate weight gain. How’s it going to be? Really good times at last night. Overall, the renditions of the album’s star-studded tracklist, which features gems like “How’s it Going To Be,” “Jumper,” and “Graduate,” was gracefully short-lived, nostalgic, but most of all, after 20 years, still beautifully organic everyone in attendance got to live out a night of gorgeous, charming 1990’s nostalgia one last time.Ĭheck out the remaining 2017 Third Eye Blind tour dates. But it was true nonetheless, for circumstances like this each night of this tour has it’s own momentary beauty that calls back to fond memories held by everyone attending such a show, and to be using a sequencer or backing tracks for these songs would be cheating, too. It’s easy for bands that play conventional instruments to be demeaning towards electronic musicians nowadays. “We’re creating this for you… we don’t use backing tracks or sequencers,” he went on to say, “we’re a motherfucking guitar rock band.” Cliche? Sort of. Photo credit: ©BlueAmberPhotography for CLTure Photo credit: ©BlueAmberPhotography for CLTureĭue to the album being played in it’s original order, “Semi-Charmed Life,” arguably their biggest hit, was the song up next, right after “Narcolepsy.” Almost immediately, a sea of iPhones rose up to take pictures and shoot videos to document the moment, which led into Jenkins’ most thoughtful stage banter of the night: “You can try to capture this moment and put it on Instagram, but you can’t,” said Jenkins, “You’ll never be able to capture this moment on Instagram.” It was a short yet poignant lecture, touching on sentiments like experiencing intimate moments such as these for yourself, rather than cheating yourself out of it by taking videos of the whole thing for your Snapchat feed.
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Starting off their set with newer cuts like “Queen of Daydreams” and a partial rendition of “Weightless,” it wasn’t long afterwards that they began to tear through their iconic debut album in it’s own original sequence, beginning with “Losing a Whole Year.” Once guitarist Kryz Reid began the song’s definitive opening riff, the stage lights figuratively exploded, revealing an illuminated pathway for the band to get much closer to the audience, as well as their signature backdrop that reads “THIRD EYE BLIND” in brilliant lighting. It’s true though the next set of their tour supporting the 20th anniversary of their self-titled debut will feature the same songs, and the same light show as the night before, each night has it’s own special, ephemeral beauty that celebrates the nostalgia of the classic 1997 alt-rock album.
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“We’re here creating this moment, and once it’s gone, it’s gone,” said Third Eye Blind frontman Stephan Jenkins during their set at Uptown Amphitheatre on Friday night.