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Lights Up The Regent
September 26, 2024 Review by Shane Pase
The Regent Theater in Los Angeles was buzzing on September 19th as fans filed in for a night of ‘90s alt-rock nostalgia. While Everclear was the main draw, the opening acts proved they were far more than just warm-up acts.
I have to say, this was one of the only shows in recent memory that found the crowd singing along with the house music while waiting for the bands to take the stage. This crowd was in a great mood and ready to rock.
Jimmie’s Chicken Shack, a band that’s been around since the early ‘90s, kicked off the night with their unique blend of rock. Formed in Maryland, JCS has always been known for their eclectic sound and front-man Jimi HaHa’s stage presence.
True to form, HaHa started the set with a bit of playful misdirection, introducing the band as Marcy Playground. The crowd, many of whom were clearly familiar with both bands, erupted in laughter and cheers, setting a lighthearted tone for the evening.
JCS’s set was a reminder of why they’ve maintained a dedicated fanbase for three decades. They moved effortlessly from “Do Right” to the more melodic “Dropping Anchor,” showcasing the versatility that’s been a hallmark. The band’s energy was strong, and by the end of their set, even those who might not have been familiar with JCS were nodding along and tapping their feet.
The band’s energy was strong, and by the end of their set, even those who might not have been familiar with JCS were nodding along and tapping their feet.
As the crew prepared the stage for Marcy Playground, there was a palpable shift in the crowd’s energy. Formed in the mid-‘90s in New York, Marcy Playground shot to fame with their hit “Sex and Candy” in 1997. But as they proved on this night, they’re far from a one-hit wonder.
From the moment they started into “Poppies,” the opening track from their self-titled debut album, it was clear that Marcy Playground hadn’t lost a step. Front-man John Wozniak’s distinctive vocals cut through the mix, backed by the solid rhythms of drummer Shlomi Lavie and bassist Dylan Keefe.
Their 12-song set was a well-crafted journey through their catalog. Of course, “Sex and Candy” was a highlight, with the entire venue singing along to every word, even taking over vocals as Wozniak held the mic out over the crowd. It was one of those concert moments where the line between performer and audience blurs, and everyone shares a great moment.
Marcy Playground dropped in some deeper cuts like “Rebel Sodville” and “Wave Motion Gun” from 1999’s Shapeshifter showcased the band’s evolution over the years. These songs, while perhaps less familiar to casual fans, demonstrated the band’s continued songwriting chops and kept longtime followers engaged.
As they closed their set with “Star Baby,” another track from Leaving Wonderland… in a Fit of Rage, the crowd’s enthusiasm was high. Marcy Playground had done their job and then some, delivering a set that satisfied old fans and likely won them some new ones.
Everclear hit the stage to a thunderous cheer from the sold-out crowd, and it was awesome to hear. From the opening notes of “Song from an American Movie,” it was clear we were in for a great night of Everclear music. Third up, and one of my favorite Everclear songs, was “Everything to Everyone,” which was perfect and sounded like it was being played straight off the album.
Everclear front-man Art Alexakis has always had a knack for connecting with his audience, but that night he took it to another level. During “Heroin Girl,” Alexakis paused to share a story about a young fan named Addison who had approached him before the show, asking if she could play guitar on the track. “I don’t normally do this,” Alexakis admitted, a mischievous glint in his eye, “but what the hell.”
What followed was pure rock and roll magic. Addison took the stage, looking both terrified and exhilarated as Alexakis draped a Flying V guitar around her neck. He showed her the chord progression, and then… she was off. To say she killed it would be an understatement. This kid shredded, her fingers flying over the fretboard with the confidence of a seasoned pro. The crowd, already amped up, went crazy. It was one of those moments that remind you why live music is so damn special—you never know when you’re going to witness something truly extraordinary. Kudos to Alexakis and the band for doing this!
The rest of Everclear’s set was a perfect blend of hits and deep cuts. “I Will Buy You a New Life” had the whole place swaying and singing along. “Father of Mine” hit with all the emotional weight it’s carried for over two decades. And when they launched into their cover of Van Morrison’s “Brown Eyed Girl,” it felt less like a cover and more like Everclear had somehow always owned the song.
But it was “Santa Monica” that really brought the house down. Alexakis’ voice, a little older but no less powerful, carried all the longing and hope of the lyrics. When the chorus hit, it wasn’t just the band singing—it was every single person in that theater, singing and cheering.
As the show ended, young fans that had only discovered Everclear through their parents’ CD collections were trading grins with older folks who’d been following the band since their early days. It was a testament to the enduring power of great music, and to Everclear’s ability to not just recapture the magic of their heyday, but to create something new and vital in the present.
Walking out of the Regent, ears ringing, I had a big smile on my face. Everclear, Marcy Playground, and Jimmie’s Chicken Shack put on a hell of a show; they created a moment, a memory, a little slice of rock and roll that helped fans forget about the day’s bullshit even if for only a few hours.
If you get the chance to catch this tour, do yourself a favor and grab a ticket. Just be prepared—you might find yourself playing guitar on stage with your heroes. Stranger things have happened, after all. And isn’t that what rock and roll is all about?
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SID 240929 | TRACI TURNER | EDITOR
Editorial Technical Assistance | Dennis Woods – “FooCheese”
