REVIEW: third eye blind at spac
Few records encapsulate an entire decade like Third Eye Blind’s 1997, self-titled debut. It’s a record that is so universally lauded and respected, you could ask ten millennials right now and nine would tell you they had a copy proudly contained within their Trapper Keeper-esque CD wallet.
“We’re gonna play songs that we don’t get to very often so settle in and welcome to our picnic.”
TJ FOSTER
Since then, the band (Stephan Jenkins, alongside a revolving door of band members) has not only maintained relevance, but defied expectations in a way very few from that era have. Most of their contemporaries either broke up years ago, or are circling the drain of legacy act status, phoning it in on the occasional money-grab festival appearance. Third Eye Blind’s performance in Saratoga Tuesday night was anything but.
Before the headliners took the stage, Florida-based pop-punk stalwarts Yellowcard began their supporting set in an impassioned way, performing hits like “Lights and Sounds” and “Only One” as the crowd was still filing in thanks, in part, to tornado-related delays that pushed back the gates’ opening by an hour and a half. It was an energetic start that took a hard left turn when the quintet filled the middle of their set with some relatively unrecognizable deeper cuts - momentum was all but lost when they dedicated a quarter of their set to back-to-back-to-back songs from 2014’s Lift a Sail, arguably the most polarizing (see also: underwhelming) moment in their catalog. To their credit, the band was keenly aware of the odd decision, with singer Ryan Key periodically thanking the crowd for “letting them have some fun with the set list” so they could play some “rock n’ roll for the ‘90s kids” over some of their more well-known pop-punk songs. It was a risk that I’m not sure paid off, but on the bright side, the band sounded incredibly tight, even in spite of Sean Mackin’s characteristic electric violin being nearly inaudible (c’mon, sound guys!). And of course, they left on a high note, playing “Ocean Avenue” to a roaring crowd.
After an unnecessarily long transition, Third Eye Blind took the stage one member at a time and launched into a surprising opener: “Motorcycle Drive-By” from the aforementioned, multi-platinum debut. Acoustic in focus with epic dynamics, it’s a song that most fans would consider the heartbeat of that record, even more so than any of the five hit singles it spawned. Without a doubt my favorite Third Eye Blind song, it was immediately apparent we were in for a treat.
From there, their set list choices did not disappoint, and the band segued into each one with virtually no chatter in between. Other self-titled highlights like “Narcolepsy” and “The Background” were intermingled with uptempo, later-career songs like “Faster” and “The Kids Are Coming”. They even threw in a snippet of The Cure’s “Just Like Heaven” for fun.
About halfway through the set, they transitioned into a short acoustic section, where the band sat side by side (except the drummer ironically, who stood) to give a few fan-favorites a campfire-style treatment. It was incredibly effective. The impromptu “Deep Inside Of You” from Blue was especially a treat, if for no other reason than the band rarely performs it live.
From there, the set became one giant nostalgic singalong - how could it not when you’ve got songs like “Semi-Charmed Life” and “How’s It Going To Be?” in your canon? The band even got the entire crowd singing the guitar solo to “Jumper” in unison, which is something you have to witness to understand just how cool it is.
I’ve seen Third Eye Blind a couple times over the last decade. From the set choices to the performances themselves, those shows were relatively unmemorable. This time was surprisingly different. The band was immaculate and tight. The setlist was undeniably strong. But the thing that set this show apart from others was Jenkins himself. With a reputation for being a bit of an arrogant prick, his stage presence typically reflects that. Tuesday night, he was spirited, having fun, and on the rare occasion when he would address the crowd, it would be to express gratitude and encourage joy amongst the company of strangers. Perhaps he’s getting softer with age. Or perhaps he’s finally found something to get him through his semi-charmed kind of life.