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Behind Matchbox Twenty's Biggest Hits: How A Camel, Real-Life Stunts & Happy Accidents Influenced "3AM," "Unwell," "Push" & More

As Matchbox Twenty set out on their extensive U.S. summer tour and release their fifth studio album, Rob Thomas and Paul Doucette share their most prominent memories from beloved songs like "Bent" and "Bright Lights."

On May 26, Matchbox Twenty will release their first album in over a decade, Where the Light Goes . Although it's been 11 years since they've put out new music and six years since their last tour, the group is still headlining arenas and amphitheaters all around North America this summer — a testament to the power of their music.

Since their first hit, 1997's "Push," Matchbox Twenty have been a stalwart on alternative and pop radio. Whether you were tuned into those stations or not, you likely know the choruses of "3AM" or "Unwell"; if you're a fan, you can't wait to belt those songs out when they come through your city.

"Over the course of the last 30 years, these songs [have] become part of people's fabric of their day to day," frontman Rob Thomas tells GRAMMY.com. "I just hope there is something on this record that affects people in ways that songs in the past have done."

Where the Light Goes ' 12 tracks continue the easy-to-enjoy melodies and thoughtful songwriting that made Matchbox Twenty so beloved — proof that even nearly 30 years in, they haven't lost their touch. But even though the group is releasing new music, it's clear from sitting down with Thomas and his bandmate, Paul Doucette , that they revel in their old tunes as much as any longtime fan. 

Before Matchbox Twenty kicked off their tour on May 16, Thomas and Doucette reminisced on the band's biggest hits — from the song that saved them to the music videos that could've killed them.

"Push," Yourself or Someone Like You , 1996

Thomas: "Push" is the song that saved us. We released our record in '96, and the day that it came out was the same day that Lava, our record label, folded, and a bunch of bands got dropped. We were possibly on the list because we put out a song called "Long Day" and it didn't react the way we wanted.

While Atlantic was having a conversation about dropping us, there was a guy named Dave Rossi, who was a program director in Birmingham, Alabama, who started to play "Push" on his own, because you could do that back then. And it just started to react in Birmingham — in a crazy way, it was, like, the No. 1 song immediately. So Atlantic was like, "Well, let's give this one more chance." So then they put some money behind "Push" and put it out to radio, and that was the saving grace for us.

Doucette: When the record came out, we were just on the road all the time playing to nobody — to like, the bar staff. 

Thomas: I remember once we played, for some reason, a punk club in Arizona, and like three bands played, then when we got on stage, everybody's like "This is a f—ing pop band!" and they left for our set, and then as soon as our set was over, they filed back in.

Doucette: But when we got to Birmingham, it was different. We saw it immediately. There were people there, and there were a lot of people there. That had never happened to us before, so that was sort of the big jolt of competence that we needed. 

Thomas: That was a tangible shift from that moment on. There was a "before" and "after" "Push."

"3AM," Yourself or Someone Like You, 1996

Thomas: When we were a local band, "Push" didn't exist yet. It was a whole 'nother group of songs, because we had a really bad falling out with other members of this band Tabitha's Secret. It got really litigious and contentious, and they had made me sign over copyrights. [So] we just went and wrote another record. The only thing we brought with us was "3AM," because in the local world, "3AM" was, like, the song.

Doucette: When I auditioned for Tabitha's Secret, the first song of Rob's I ever heard was "3AM." They had a demo of it, and they played it for me. And even then, you could hear it immediately. Just, like, This is a great song .

Thomas: Yeah, imagine the "3AM" you know, but just much s—tier.

Doucette: Oh, it was pretty s—ty, but you could hear the song. You know, you never know about how a song is going to do, but you do know, like, This song hits a mark . This is just a well-written song .

Thomas: I always think of "3AM" as the first song that I wrote that I liked. It was the first song that I wrote about something that I had been going through, and using songs as a certain kind of catharsis to tell the story. "3AM" was the first part of unlocking a puzzle for me — like, Oh, okay, this feels better than just trying to write love songs to pick up girls .

"Real World," Yourself or Someone Like You , 1996

Thomas: I think that was the first time that we ever had fun coming up with video stuff.

Doucette: We wanted to do something absurdist, but we hired a fashion photographer as the director. He's great, but he was the wrong director for that video. So it didn't turn out at all like we wanted it to, but now looking back on it, you're just like, but it is pretty weird . 

We had a camel. It was supposed to be an aardvark originally, but an aardvark couldn't walk on bowling alley [lanes].

I think it was a case of where [we went to] the animal trainer like, "We want an aardvark," and they were like, "Ah, I can't do that. I got a camel though." Now you're looking back and going, "Wait a minute, why are those the two things that you have?"

Thomas: And that camel was lovely, by the way. That camel had such a crush on me. She kept kissing me in between takes.

"Bent," Mad Season , 2000

Thomas: "Bent" was the first single off of our second record, but it was also our first No. 1 single [on the Billboard Hot 100]. That was a good feeling for us because we had had so many people explaining to us how after that first record did so well, the sophomore slump was inevitable, so we should just enjoy the success that we've had and be ready to move on.

I do a version of that song where I play it with an acoustic guitar, which was the way that song was written. And Paul was the one who heard it the way that it is now. I remember, I'll use the word hesitation — I think my actual feeling was, Dude, you're f—in' up my song!

[The opening guitar wail] was an accident. [Kyle] thought he was in another key, and so right when they're like, "Two, three," and it was just gonna be one note, but he was wrong, so he went [ imitates guitar wail ]. That was what we call a happy accident.

Doucette: That first record was massively successful for us. I mean, we sold like 20 million records or something. But in between that and "Bent," Rob did "Smooth" [with Carlos Santana]. 

And so, when "Bent" was coming out and it was No. 1, this happened on more than one occasion, where we'd do an interview and people would be like, "Well, how do you feel now that Rob has done 'Smooth' and now people know who you are?" We're like, "But we sold 20 million records before that!"

Thomas: I remember before I did "Smooth," Carlos' thing was like, I like this guy [on the demo], does he sing? [ Laughs ]

But you can imagine, there's no social media that existed back then. Like, there wasn't a narrative — we were like the most successful faceless band in the world. We had sold all these records, [but] the first time I was ever in Rolling Stone was a picture of me, fat at Glastonbury, and it said, "Rob Thomas has grown as a performer." And then it said, "Apparently, the road to success leads to the deli tray."

"If You're Gone," Mad Season , 2000

Thomas: In that video, there's a scene where I'm hanging, like 30 stories up in downtown L.A., over the edge of this building. And I actually was on that building, I was attached to a harness. And all I kept thinking was like, Don't have an earthquake, no tremors, no tremors, no tremors . I was legitimately scared. And even my wife, [who was] my girlfriend at the time, she had come out to check in on the video shoot, and came out to the top right during that scene, and said she felt like she was having a heart attack.

That was a song that was almost a second thought. We were like, "What do you wanna work on next?" And I was like, "Well, I've got this, I think it's just a little sweet ballad, so I'm not really sure if this is something we want to work on." And then I played it, and the guys were vibin' off it. I thought it was just this personal moment that I had written for Mati, my wife, so I didn't see it for what it was. Luckily the other guys did.

"Unwell," More Than You Think You Are , 2002

Thomas: At the time, the landscape was like Ludacris [having] the No. 1 record, and we're putting out this kind of semi-midtempo song with a banjo, like, "Here, try this!" But somehow [it] worked.

Doucette: That's sort of [our] most sustained song today. I think it has less streams on Spotify than "Push" or "3AM" does, but it's definitely the one that seems to have another little life, then another little life, then another.

Thomas: I just signed off on a new rapper that's gonna use "Unwell" in the chorus of their song. It seems to have that kind of thing. 

And also, I think a lot of people relate to it on a personal level, about mental health and well-being, and being okay to not be okay. There was a message in there that resonated with a lot of people at different points in their life.

And by the way, if it wasn't for Paul, that song was gonna [have] an upbeat vibe. It was like this [ sings uptempo version ] and Paul was like, "Oh, dude, you're high. It's a ballad."

Doucette: Or we could've listened to you, and that song could have gone to No. 1. Maybe I prevented it.

Thomas: You got that 1990s A&R mentality.

"Bright Lights," More Than You Think You Are , 2002

Thomas: One of the things about being fortunate enough to have success is that we really had a chance, by that third record, to feel like we knew who we were as a band. And "Bright Lights" kind of felt like who we were.</span

Your first record is, people are listening to us learn how to make a record and learn how to be a band, and then second record…we're a little better at it, and we shoot for the moon and spend a lot of money on 60-piece orchestras and producing the s— out of everything. And then by the third record, you find that zone, and "Bright Lights" was a really big part of that. 

I feel like it's one of the quintessential Matchbox Twenty live moments in every show. So much so that it was the only time that we did the video [as] an actual just live performance. 

Doucette: I can't see us ever not playing that song. Of all the songs that we've had — and we've been fortunate enough to have some really big songs — that song is kind of the defining one for us.

"How Far We've Come," Exile on Mainstream , 2007

Doucette: We had gotten together to do a couple of songs for the greatest hits [album]. And it was kind of the first time that we thought we would all write songs together. We were like, "Let's start from the beginning and let's just write stuff and see what happens."

We were in Rob's basement, and we just sat and watched Live Aid. We were so, so into the Boomtown Rats and their whole performance. We just all were so inspired by the feeling that we got from watching it, and then we did some deep dives and stuff. That so informed that writing session, which all of those [new] songs on that CD came from.

Thomas: We all stayed at my house for like three or four days, and it was nice because we'd all go out to dinner and really get to hang out as a band. And then we were coming back and being more creative and collaborative than we'd ever been at the time.

I had done a solo record, and we were coming back again, and coming out with something that's different for us — taking the chance on moving forward into a different direction, and hoping that fans would be generous enough and forgiving enough to come along on that journey with us. And we were really glad when they did. That's another, I think, really crucial part of a live show for us.

"She's So Mean," North , 2012

Thomas: We were really informed from our way that we started writing during Exile [on Mainstream] . That was in Kyle's studio, we're all standing in a circle and coming up with different parts of that song. I think Kyle's was [ sings ] "She'll make you take her to the club, but then she leaves with her friends."

And for the official record, that's not about anyone in particular. We have had toxic relationships, and we've been toxic to other people. We've run the gamut.

Doucette: When we were writing that song…it was more a metaphor — this thing that you were attracted to that is terrible for you, but you just keep doing it. That could be anything, it could be biting your nails. Like you can't stop doing this thing that is harming you.

Thomas: Oh, actually, by the way, Paul did physically set himself on fire in the video. That was real.

Doucette: And let me tell you — what you don't see is, on each side of me were two fire marshals, and they both had extinguishers. And I was wearing a flame retardant underneath my suit. But it had its moments where I was like, "Why am I doing this?"

There was one shot that they didn't get, like the flames had kind of died, and they really wanted to use it, so they enhanced that one shot and I was so bummed because it looks fake. And I was like, "People are gonna think this thing is fake, when I did it like four times."

The funny thing about that video is, everybody got hurt except me — except the man that was on fire.

Thomas: He had a little red necker for a little while after that though.

"Wild Dogs (Running In a Slow Dream)," Where the Light Goes , 2023

Doucette: So much of what you put out as the first single, there's a lot of voices in that conversation. We wanted it to be "Wild Dogs," because we liked the energy of it. We think it's a good song that does a couple things: It's a different song than people may be used to hearing from us, but we [also] think that it showcases an element of this record. So it was kind of important for us to come out and be like, "We're still Matchbox Twenty, but things have changed a bit."

Thomas: We were done with the record, we thought. We were packing it up and getting ready to start calling mixers, and Paul came in with a track that became "Wild Dogs" just right in the fourth quarter. It seemed really special, so we were like, "Let's give it a shot." 

Gregg Wattenberg, who produced this record, really kept it lean. There was a sense of a lot of this record of not spending too much time on something to keep that kind of vitality. There's this great thing when you first write a song, and you play it just enough where you've kind of got it on your fingers, but you haven't played it so much that you're trying to craft it — you still keep some of that vitality. And Gregg was really good about finding that point in those songs and getting out before we lost the vibrance.

"Don't Get Me Wrong," Where the Light Goes , 2023

Thomas: On other records, we've never had outside writers in, and there's a couple on this record. That song is one of those — I did it with Craig Wiseman and David Garcia .

As much as I love that song, and I would have been fine with it being a single, it felt better that the first single was a song that me and Paul and Gregg wrote — even though what Matchbox as a band did to that song is the reason why it sounds the way it sounds and it has the personality that it has. Because it doesn't sound like the demo that we did originally. That's just that sense of, as we get older, that idea of like, "We like that song, it doesn't really matter who wrote on it. It's a good song — let's make it our own."

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Rob Thomas And Carlos Santana

Photo: Vince Bucci/AFP via Getty Images

GRAMMY Rewind: Watch Santana & Rob Thomas Self-Assuredly Win Record Of The Year For "Smooth" In 2000

In the newest episode of GRAMMY Rewind, watch Santana and Rob Thomas win Record Of The Year at the 42nd GRAMMY Awards for "Smooth," the unlikely smash-hit pairing of the classic rock legend and Matchbox Twenty leader

By all accounts, Santana 's and Rob Thomas ' 1999 megahit "Smooth" almost didn't happen . In its embryonic stages, Carlos Santana was skeptical of the tune; the AM-radio effect on Thomas's voice alone engendered its own smattering of arguments.

But in a quintessential lesson about why you should never, ever give up, "Smooth" became the second-biggest single of all time , second only to Chubby Checker 's "The Twist." It also led to the 2000 GRAMMY Awards , where the unlikely pair won the GRAMMY for Record Of The Year .

In the newest episode of GRAMMY Rewind , revisit the moment 21 years ago when an unlikely gambit paid off in dividends, putting a feather in the cap of Matchbox Twenty 's leader and landing a classic rocker back on the airwaves.

Check out the throwback GRAMMY moment above and click here to enjoy more episodes of GRAMMY Rewind.

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Travis Scott

Photo: Scott Dudelson/Getty Images

Everyone's A VIP At Clive Davis' Pre-GRAMMY Gala: From Travis Scott To Jimmy Jam To Brandi Carlile

Pass through the velvet rope at the Beverly Hilton in Los Angeles for an exclusive look at the star-studded 2019 Pre-GRAMMY Salute To Industry Icons

On Feb. 9, on the eve of Music's Biggest Night, the 61st GRAMMY Awards , artists from across genres and decades gathered at the glitzy Beverly Hilton in Beverly Hills, Calif. for the 2019 Pre-GRAMMY Salute To Industry Icons.

Less than 24 hours before the big red carpet walk today, the likes of current GRAMMY nominees Ella Mai , Dua Lipa , Diplo , Shaggy , Alice Cooper and Weird Al Yankovich , and GRAMMY winners Melissa Etheridge and Quincy Jones , brought their vibrant energy and killer looks at the annual celebration hosted by the Recording Academy and Clive Davis . Onlookers tried to spy the glam looks on the red carpet as they peered into the hotel's glass—we'll let you past the velvet rope and walk it with us as at this exclusive music industry event.

Dua Lipa & Ellie Goulding | Photo: Steve Granitz/WireImage/Getty Images

This year's who's-who of music gala celebrated iconic industry veteran Clarence Avant , known as the Godfather Of Black Music, as the honoree of the evening. Like event host and fellow legend Davis, he helped launch the careers of many great artists, working with the likes of GRAMMY-winning greats Bill Withers , Kenneth "Babyface" Edmonds and Jimmy Jam and Terry Lewis of The Time.

The video celebrating Avant had countless heroes such as Former President Barack Obama, Jones, Diddy and JAY-Z sharing how much they love Avant, the powerful impact he's made on their lives and music, and how he always knows the right thing to say. Recording Academy President/CEO Neil Portnow introduced him with a fitting complement, and a huge one given the company they were in: "You're the ultimate music person." The Time properly brought the funk on stage to celebrate Avant with a performance of their '80s hits "The Bird" and "Jungle Love," dancing as if no time had passed.

Current GRAMMY nominee Travis Scott set the mood opening the evening's performances with "Goosebumps" and "Sicko Mode," while sisters and fellow nominees Chloe x Halle  brought home a rousing cover of the late GRAMMY-winning Queen Of Soul Aretha Franklin 's "Sisters Are Doing It For Themselves." Brandi Carlile , another current GRAMMY nominee, returned to the stage to join the duo, along with past nominee Valerie Simpson and Broadway star Keala Settle , ending the evening on quite the high note.

Chloe x Halle | Photo: Scott Dudelson/Getty Images

Other musical guests for the evening included current nominees Bebe Rexha , Florida Georgia Line and H.E.R. , along with past nominees Jazmine Sullivan and Ledisi , plus GRAMMY winner Rob Thomas . Sullivan and Thomas offered a powerful duet, belting out Aretha and George Michael's "I Knew You Were Waiting (For Me)."

As the evening rolled on, Davis made sure to highlight all the countless legends in the room, as the crowd continuously burst into applause and often up on their feet to celebrate the likes of music greats Barbara Streisand , George Clinton and Dionne Warwick , along with House Speaker Nancy Pelosi, Apple's Tim Cook and even former-L.A. Lakers star Kareem Abdul-Jabbar.

Don't forget to tune in to the 2019 GRAMMYs live from Staples Center today. Start with the  GRAMMY Awards Premiere Ceremony at 12:30 p.m. PST/3:30 ET, then follow us to the red carpet at 2:00 p.m. PST/5:00 p.m. ET—both will be live streamed right here on right here on  GRAMMY.com .

Then the moment you've all been waiting for, the 61st GRAMMY Awards, hosted by 15-time GRAMMY winner  Alicia Keys , will air live at 5:00 p.m. PST/8:00 p.m. ET / 7:00 p.m. CT on CBS .

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Photos: WireImage.com

Michael Jackson, Whitney Houston, Adele: Record Of The Year GRAMMY Rewind

Time travel through GRAMMY history and revisit the impressive lineage of Record Of The Year winners

Numerically speaking, it's the first category on the GRAMMY Awards nominations list. Conversely, it is typically one of the final categories announced on the annual GRAMMY telecast. And its winners have spanned jazz, pop, rock, R&B, and Latin, among other genres.

What's the category? It's Record Of The Year, which is an award that goes to a track's artist, producer, engineer, mixer, and mastering engineer.

The Record Of The Year category's 59-year history offers a unique aural tour through the annals popular music — one that certainly has the makings for one powerfully diverse playlist. Record Of The Year: Full List Of Winners And Nominees There's Bobby Darin's swingin' "Mack The Knife" (1959), Henry Mancini 's exquisite "Days Of Wine And Roses" (1963), Frank Sinatra 's velvety "Strangers In The Night" (1966),  Simon And Garfunkel's inspired "Bridge Over Troubled Water," Roberta Flack's radiant "Killing Me Softly With His Song" (1973), and Captain & Tennille's breezy "Love Will Keep Us Together" (1975).

In the '80s, radio-friendly hits such as Toto's "Rosanna" (1982), Michael Jackson 's "Beat It" (1983) and Tina Turner's "What's Love Got To Do With It" (1984) were among the winning recordings.

The '90s netted the likes of Eric Clapton 's moving "Tears In Heaven" (1992), Whitney Houston 's ubiquitous "I Will Always Love You" (1993) and Santana featuring Rob Thomas' infectious "Smooth" (1999).

The Record Of The Year lineage continued into the 2000s and beyond with unforgettable hits such as U2 's "Beautiful Day" (2000), Green Day 's "Boulevard Of Broken Dreams" (2005), Amy Winehouse 's "Rehab" (2007), Daft Punk featuring Pharrell Williams & Nile Rodgers' "Get Lucky" (2013), and most recently, Adele 's "Hello" (2016).

Which recording will become the 60th Record Of The Year GRAMMY winner? Tune in to the 60th GRAMMY Awards on Jan. 28 to find out. What's The Difference? GRAMMY Record Of The Year Vs. Song Of The Year

Photo: David Ramos/Getty Images

Concerts & Technology: The Future Is Now

From fan-friendly apps and RFID bracelets to virtual reality, augmented reality and holograms, technology is changing how we experience live concerts

During Matchbox Twenty 's A Brief History Of Everything tour this year, fans who couldn't physically get to a concert could still enjoy the show: The GRAMMY-nominated band made use of state-of-the-art 360-degree cameras to present a fully immersive, fan-controlled virtual reality experience of their Oct. 4 performance in Denver. Additionally, fans purchasing VIP tickets could employ cutting-edge technology to get even closer to the band by entering a virtual space as a hologram to sing alongside a hologram of frontman Rob Thomas. <iframe width="620" height="349" src="https://www.youtube.com/embed/cwTxNdH-6CI" frameborder="0" allowfullscreen></iframe>

VR is just one example of the wide range of technologies — from apps and RFID bracelets to augmented reality and holographic projection — that is having a profound impact on the way audiences experience live music. To forward-thinking artists like Thomas, the future for concerts and technology is now .

"I think we're at the moment where this stuff is really here," says Thomas. "There's skepticism, but I also remember when people were skeptical about whether the internet would take off. When Matchbox Twenty started, we connected with fans through bumper stickers and cassette tapes. Twenty years later, we're in virtual reality, which is pretty amazing. But with every jump forward in technology, it's still about connecting with fans."

In the near future, it's likely virtual reality concerts will shift from newsworthy to commonplace, but technology is also opening up some brave new possibilities for live shows themselves.

Metal fans looking ahead at this winter's concert schedule may be surprised to learn that Ronnie James Dio, who died in 2010, will be back on the road for a series of European shows starting in November. Attendees at the shows will indeed be hearing the estimable voice of Dio, but what they will see onstage will be members of his longtime band fronted by a hologram.

"Ronnie was always an innovator in music so why not an innovator in technology?" asks Wendy Dio, the singer's longtime manager. "There are plenty of fans of Ronnie's that would love to see him back up on the stage, and there a lot of people that never had a chance to see him — this is the only way that's possible now. I'm hoping I have Ronnie's blessing because I think this is the wave of the future and I think as more people experience it, they'll accept it.”

Eyellusion is the Los Angeles-based hologram company recreating Dio for the stage, and the company has also teamed with Frank Zappa 's estate to produce a new show centered on the iconoclastic artist. While the idea of bringing back deceased artists in virtual form has sparked debate, Eyellusion CEO Jeff Pezzuti points out that the technology can do much more.

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"Hologram technology might be the main part of a show, or just part of a live show, or a way of capturing something for posterity that's never been possible before," Pezzuti explains. "And the digital assets we create can move across platforms into all sorts of uses. We know a hologram is not the real thing, but it's close enough now to have you walk out of a show saying, 'Holy s***!' We want to create those 'holy s***' moments."

The Zappa concerts are planned for late 2018  and will include a variety of holographic elements sharing the stage with musicians who toured and recorded with Zappa.

"My father was a futurist and a visualist who wanted to do this kind of thing in his lifetime," says son Ahmet Zappa, a co-trustee of the Zappa estate and an executive with Eyellusion. "'Hologram' describes the way in which Frank can come back, but that's a limited way of thinking. Really, what we're doing is using technology to unleash a whole new way of witnessing the bizarre world of Frank Zappa. It won't be just watching a hologram play guitar. If the band's performing Frank's song " Stink-Foot ," maybe it's sung by an 800-pound snakeskin platform boot. That's a different approach than what you'd expect for Dio, but it fits Frank."

Some might be tempted to write off such new technology as a novelty rather than a game-changer. But, according to Matchbox Twenty manager Nick Lippman, that depends on how the technology is used.

"It's only a gimmick if you don't know what you're doing with it," explains Lippman. "If you just step into the technology without a clear intention of what you're doing as an artist, it's not going to feel authentic. Artists shouldn't fit themselves to new technology — the technology has to actually serve the artist and the artist's fans."

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Many industry insiders are embracing new technology as a boon to the concert business. Kevin Chernett, executive vice president of global partnerships & content distribution at Live Nation, oversees live streaming and virtual reality projects for the entertainment company, which this summer live-streamed Coldplay 's massive A Head Full Of Dreams concert in virtual reality.

"People are having their first VR experiences now and are surprised to find that the VR evokes the same emotions and thrills and energy that you'd feel when you're actually at a show — people stand up for the encore just like they would at the arena," says Chernett. "But we don't see any indication that people prefer their living room to the actual experience of a concert — all the technology actually helps to promote the live experience."

At those live experiences, concertgoers may not even be aware of the degree to which cutting-edge technology shapes what they're hearing and seeing.

"There have been quantum leaps forward in terms of the sound and lighting technology that's present in modern-day concerts compared to what it was a decade ago," says Gary Bongiovanni, editor of the concert trade publication Pollstar . "From the visual and audio perspective, we're producing a much higher-quality event all around and the technology is top notch — though it still takes talent onstage to make it all work."

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Roger Waters' current Us +Them tour features lighting controlled by infrared sensors, real-time video editing of giant screen images and stage technology so new it's considered to be a prototype. Waters collaborated closely with artistic director Sean Evans to create a high-tech spectacle that would be powerful but still serve to showcase the music.

"We didn't want the tail to wag the dog," says Evans. "'Oh, here's some cool technology, let's find a way to use it.' On a tech level, there are all these great crazy new toys, but on a creative level you still have to figure out how to use it all in a compelling way." <blockquote class="instagram-media" data-instgrm-captioned data-instgrm-version="7" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:8px;"> <div style=" background:#F8F8F8; line-height:0; margin-top:40px; padding:33.33333333333333% 0; text-align:center; width:100%;"> <div style=" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;"></div></div> <p style=" margin:8px 0 0 0; padding:0 4px;"> <a href="https://www.instagram.com/p/BZSTC5gAdyl/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">CLEVELAND TOMORROW NIGHT! : @kate.izor</a></p> <p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by Roger Waters (@rogerwaters) on <time style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;" datetime="2017-09-21T02:13:51+00:00">Sep 20, 2017 at 7:13pm PDT</time></p></div></blockquote><script async defer src="//platform.instagram.com/en_US/embeds.js"></script>

One effect in Waters' show — a laser-light representation of the prism from the album cover of Pink Floyd's 1973 album, Dark Side Of The Moon — was designed with a very specific purpose in mind.

"That image has been all over Instagram," says Evans. "And that was the idea — we wanted to make something iconic that people were going to put all over social media. It's a weird way to think about a show, but that's the environment now."

Technology is also extending the concert experience and upgrading audience amenities.

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Apps such as Pavemint help concertgoers find parking before the show while others help order food that can be delivered during the show. RFID bracelets enable festival attendees to go cashless, and USB bracelets let fans leave a venue with a download of the show they just witnessed. Live Nation recently launched a Facebook Messenger bot that lets the social experience of the concert begin during the ticket-buying process.

"I don't look at this kind of technology as a demographic thing — it's a psychographic thing," says Lisa Licht, chief marketing officer at Live Nation. "It's for people who really love concerts and are spending so much time on social media. Concerts have always been both a personal and a social experience, and now we're finding ways to bring those experiences together."

Over the next few years, today's extraordinary technology is likely to become ordinary, as financial barriers to entry drop, ease-of-use increases, and artists, fans and the industry embrace new tech-friendly horizons.

Thomas is looking forward to some added benefits of the virtual concert world.

"Fans want to jump onstage with us in VR, but I'm more excited to be out in the crowd watching us play — that's a point of view I've never really had before. And if we get to the point where I could just play the live show and then send my hologram to the after-party to do the mingling, that would be awesome."

( Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include  Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis, Elvis: My Best Man,  and  Running With The Champ: My Forty-Year Friendship With Muhammad Ali.)

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Matchbox Twenty

Matchbox Twenty have quietly woven their songs into the very fabric of American popular culture. No matter where you are, it’s impossible not to hum along (or even sing aloud) to generational anthems like “3AM,” “Push,” “Unwell,” “Bent,” “If You’re Gone,” or “She’s So Mean.” Earning hits in each of the last three decades, they’ve gone from perennially dominating radio airwaves and ruling MTV to piling up streams in the billions, speaking to the enduring appeal of their music. As such, they’ve sold over 40 million records worldwide, dominated charts, garnered multiple GRAMMY® Award nominations, and played to millions of fans in arenas, amphitheaters, and stadiums across continents. Their catalog encompasses the diamond-certified 12x-platinum classic Yourself or Someone Like You [1996], quadruple-platinum Mad Season [2000], double-platinum More Than You Think You Are [2002], and gold-certified North [2012], which marked their first #1 on the Billboard 200. Beyond dozens of syncs on film and television, their music has been either covered, interpolated, or sampled by everyone from Steve Aoki and Kiiara to RMR, while Billboard cited Matchbox Twenty as “one of the most consistent groups of the alternative boom of the 90’s back half.” For their first album in 11 years and fifth overall LP Where The Light Goes [Atlantic Records], the band— Rob Thomas, Brian Yale, Paul Doucette, and Kyle Cook —simply did what they do best and wrote another great batch of real, relevant, and relatable songs.

“We’re a band that makes songs about relationships, life, and how people deal with people,” notes Paul. “These songs are about everything from the acceptance of aging and recapturing youth to positivity, love, and hope.”

“When we get back together, we’re all much more secure and, yeah, a little older,” smiles Rob. “We’re not worried about fitting into a box.”

This album benefitted from the musicians’ respective solo journeys. Rob Thomas has proven one of the most highly decorated artists of recent years – releasing five solo albums and receiving three GRAMMY Awards, 11 BMI Awards, the first-ever Songwriters Hall of Fame Hal David Starlight Award, two Billboard “Songwriter of the Year” honors, and top 5 placement on Billboard’s Top 20 Hot 100 Songwriters (2000-2011). Meanwhile, Paul Doucette has scored and contributed original music to film and television series such as Utopia , For All Mankind , and more. As the Global Pandemic scrapped the group’s 2020 tour plans, they wrote and shared ideas from their respective home studios. At the end of 2021, they finally congregated as a band with GRAMMY® Award-nominated producer Gregg Wattenberg [Train, John Legend, Goo Goo Dolls].

“We were all doing so many things, and it was easy to bring these elements into Matchbox Twenty,” Rob goes on. “It’s nice because we go off and learn these fresh perspectives and transfer them to the band.”

“Then, we have all of these different ways of looking at music and abilities to now bring to the fold,” agrees Paul. “It’s almost like we’re a new band every single time.”

“This album was definitely informed by what was happening in our individual studios,” adds Kyle. “There was a little more freedom. An idea would be shared by one of us, and somebody else would take it another direction. We’ve never worked this way before. We explored our own creativity and used it to make an album that really embodies what we love about music.”

This energy surges through the upbeat first single “Wild Dogs (Running In A Slow Dream).” On the track, a propulsive rhythm, iridescent keys, and lush guitar charge towards the luminous refrain, “In a world of people, there’s only you and me—the wild dogs running in a slow dream .”

“It was the last song we wrote, and it had a freshness and vitality,” Rob reveals. “There’s a bit of an eighties vibe too. I grew up in the South as a weird little kid who didn’t know anything about sports or cars. When you find other weird little kids, it changes the game for you. To me, those childhood friends were the ‘Wild Dogs’ outside of my window at two in the morning. They were knocking and saying, ‘C’mon, let’s go!’ You finally find your missing piece, and you don’t feel alone.”

“It sounds like who we are now,” Paul goes on. “We were in our early twenties when we made Yourself or Someone Like You. Our lives are drastically different today, and you can hear it in the songs.”

“One of the best things about this job is how fortunate and lucky we are to still be here,” Rob leaves off. “These songs have been a part of people’s lives. They’ve been in weddings, they’ve become tattoos, and they’re the soundtrack to Saturday nights and Sunday mornings. My only real hope is for more people to let this album be part of their lives. To me, it’s the greatest compliment.”

“Honestly, when we play 3am on a Tuesday night in the Midwest at some outdoor amphitheater, it has its own meaning,” grins Kyle. “For as much as we’re playing the same set of chords, it connects to people in another way. I’m always taken aback by what this music means to the fans. I’m looking forward to it now more than ever though.”

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Rob Thomas  

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Robert Thomas is the recipient of three Grammy Awards, just for the triple-platinum hit single “Smooth” alone. He is a fifth of the band Matchbox Twenty, who have released hit singles consistently since 1995.

After being in the band Matchbox Twenty for ten years, he embarked on his own career, releasing a body of material written by himself. His debut album “…Something to Be” made it to number 1 on the Billboard 200 chart, whilst the debut single from the album entitled “Lonely No More” made it to number 6 on the US Billboard Hot 100 chart. Building on his chart success, he appeared at the Live 8 concert in Philadelphia, singing on his own, and also a duet of “Higher Ground” with Stevie Wonder. He made an appearance on the MTV Katrina Relief Concert, which aired on September 10th 2005. On his first solo tour entitled the Something to Be tour, he was joined by Jewel and Toby Lightman.

His single “Streetcorner Symphony” in fact came from featuring in promotion ads on the network, ABC of its Thursday night lineup. Thomas released the single “Little Wonders” which featured on the Disney film “Meet the Robinsons”. The single reached number 5 on the Mediabase Hot Adult Contemporary chart.

In 2007, Thomas returned to his band Matchbox Twenty to release a brand new album, “Exile on Mainstream”. From the album, they released the three singles “How Far We’ve Come”, “All Your Reasons” and “These Hard Times”.

“Her Diamonds” was the first release from his forth-coming sophomore album “Cradlesong”. He was fortunate enough to perform the track on The Ellen DeGeneres Show. “Cradlesong” was ultimately released on June 30th 2009. It debuted at number 3 on the Billboard 200.

Thomas was invited to be a guest performer on Daryl Hall’s concert series, “Live from Daryl’s House”, the pair performed the Matchbox Twenty hit singles “3 AM” and “Disease”, and then his solo songs “Someday” and “Ever the Same”. The rest of their set list consisted of the Hall and Oates hit singles “She’s Gone” Kiss on My List” and Marvin Gaye’s, “I Heard It Through The Grapevine”

Live reviews

I've been following Rob Thomas for almost 20 years with both matchbox twenty and solo tours, and this tour was just as exceptional of the other times I've seen Rob. He puts on a high energy performance everytime. He's very fan friendly and interacts with the crowd often.

Rob's opening act, Vinyl Station, were exceptional too. Hailing from Phoenix, these guys are super talented. I'd equate them of a cross between Radiohead and Coldplay. Their songs are heartfelt and Matthew has a beautiful voice. They are also very fan friendly, taking time both between sets and after to talk to the crowd, sign CDs, and take photos.

The Louisville Palace Theater is absolutely beautiful and coincidentally, the theater I saw matchbox twenty in during their North Winter Tour 2013.

The Set list:

Rob Thomas set list 10/27/15 - Louisville, KY

Fallin' to pieces

Lonely no more

Mockingbird

It's getting late with That's alright momma cover

Her diamonds

The great unknown

Let's dance

Little wonders

Ever the same

Hold on forever

Fire on the mountain

Streetcorner symphony

Rocket man with Vinyl Station

Heaven help me

I am an illusion

This is how a heart breaks

He also did Blue Moon of KY I think and some song called shine on but I can't remember when.

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Matchbox Twenty was a hugely successful 90s rock band and frontman Rob Thomas used that momentum to launch his successful solo career. But in all honesty, Matchbox Twenty was successful because of Thomas, and it wasn’t so much a solo career as an extension of what he was already doing. He had established himself so well by writing songs for the band, as well as for various other pop-stars like Tom Petty and, more recently, Taylor Hicks. The guy is so multi-talented, playing sold-out shows at huge venues to a crowd that absolutely goes mental when he sings.

I caught him at the Red Rocks Amphitheater’s summer performances, which is quite possible the most beautiful setting you could possibly ask for. The set-up for the show made them really small due to the massiveness of the stage, but the sound was perfect and I never had a moment where I couldn’t hear his distinctive voice. The added feature of having a live band really kicked his songs up a notch. He played an hour long set, in which “we’re going to cram as many songs as we possible can before they kick us off the stage,” resulting in the crowd going wild. Solid show from beginning to end!

Rob Thomas, best known as the primary vocalist and songwriter for Matchbox Twenty. He is an incredibly critically esteemed artist due to lending his songwriting to the likes of Tom Petty, Willie Nelson, Mick Jagger and Santana, the collaboration with the latter saw him win three Grammy awards.

So with an impressive solo discography, a successful band and a host of collaborators one may wonder exactly what Thomas would play during his live performance. This curiosity sees his shows continue to sell out globally and keeps the man onstage doing what he adores. The crowd cheers loudly as he steps into view and proudly takes the microphone for 'Mockingbird' and 'Sunday Morning, New York Blue'. The audience remains responsive to the artist and Rob enjoys interacting with them throughout his show, the biggest cheer of the night thus far is for 'Disease' by Matchbox Twenty which Rob has stripped back to a more acoustic shell.

This reinterpretation means the gig has a nice level of consistency and the crowd cheer, sing and applaud in equal measure for his own hits such as 'Lonely No More' as well as Matchbox Twenty's 'Bright Lights'.

With his backing band bringing the roof down behind him and the flashing strobe lights bouncing of all the walls, Rob Thomas’s concert was as spectacular as I had imagined it to be, if not more so. The whole stage was a spectacle of light, sound and colour that added to the crazy and electric atmosphere of the show, allowing the audience to really be thrust into Thomas’ music and his world. We were all there to see the man himself, and amongst all the craziness he stood out as only he knows how. Thomas is the recipient of an incredible three Grammy Awards after all, not to mention the lead singer of hit 90s band Matchbox Twenty, a band that achieved huge success and largely because of Thomas’ song writing and vocal skills. Thomas took to the stage like a dolphin in water, at ease in his natural habitat. He put his years of experience to good use and delighted the crowd all night, performing hit singles such as ‘Smooth’ and ‘Lonely No More’ which he knew would have us begging for more.

Although he was ill, had some sort of cold and he could barely talk, Rob Thomas killed it! He is absolutely amazing and a complete trooper. I love when a musician still performs a show, instead of cancelling which is what he was going to do, and it sticks in your mind forever.

Artists like Rob Thomas truly love what they do, and it shows. Poor guy was so sick! But he did NOT disappoint! He played extra songs just for us. The entire audience was on their feet for the majority of the show, didn't leave early or start packing up until he was done.

This was truly a concert I will never forget! And I will definitely see Rob Thomas (and Matchbox 20) again and again!

xo and thanks Rob!!!

Rob Thomas knows how to entertain a crowd. From his opening song off his new album CHIP TOOTH SMILE, I LOVE IT got the audience screaming to his end song, THIS IS HOW A HEART BREAKS, where the fans were bouncing in unison with this energetic man. His undulating moves throughout kept unending screams of adulation just proving how hypnotic and sexy this guy can be. Thank you Rob Thomas and your band for a concert to remember. The new addition to the band of the goo goo dolls saxophonist is a well worthy addition whatever the cost. A sax added into the mix was great. Again. Thank you Rob Thomas and your band, outstanding night in Salt Lake City!

What an amazing show! The venue was smaller than most which made it very intimate. Our seats were some of the best value for the distance. We could almost touch him if we wanted to!

The actual song choice was great. Thomas chose a lot of his hits from his early solo career along with his time in Matchbox. There was hardly a song where everyone wasn't dancing to or singing along.

On one of his songs, he jumped off stage and began running around the crowd and the audience went nuts!. Overall, an amazing intimate performance which made for a memorable experience. Would highly recommend!

Rob of course was amazing like usual ,I been to probably a dozen shows between Rob and matchbox 20 ,and last night was right up with the rest for a great time to forget what's going on in this crazy world.Rob really connected with the audience like he always does.his time singing away from the stage about halfway into crowd was for sure a highlight.( could reach out and touch him!! I just love his music he gives it his all . since the first time I seen Matchbox in 98 till now and sure beyond .He is my favorite singer/ song writer..can't wait till next time!!!

Wow not only a great songwriter and believe me i am very critical as i am also a songwriter, but also a uniquely genuine person who made me feel like i was the only person in the room during the performance i felt he noticed me there, even though i was in the back, his performance of his songs lacked nothing it may as well have been in Madison square garden. this was a birthday present to my lovely wife Lori, man she was stoked.

Thanks Rob and the whole crew from SongKick

we love you guys

peace Jeff Denny

Wow! I’ve seen many concerts in my time but this has to have been one of the best shows I’ve ever seen. Rob Thomas is an incredible performer and musician. He engages the audience, sounds amazing live, and performed more songs than any other act I’ve seen live.

I was pleased with both opening acts and am now tuned in to performers I may have never listened to otherwise. If you have an opportunity to see Rob Thomas live, do not pass it up. You will not be disappointed!

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Rob Thomas Tour Dates

Matchbox Twenty frontman Rob Thomas has announced a massive 45-city tour across America supporting his next solo album 'Chip Tooth Smile' . His Chip Tooth Tour kicks off March 29th in Santa Ynez and runs into September visiting major markets like Los Angeles, Atlanta, Washington DC, Philadelphia and New York. Joining the tour in support will be special guest Abby Anderson . The singer-songwriter hasn't launched a solo tour since 2015's The Great Unknown Tour which was joined by Plain White T's and Vinyl Station.

Thomas will be releasing his fourth solo album 'Chip Tooth Smile' on April 26th, 2019 via Atlantic Records. The new album follows up 2015's 'The Great Unknown' which reached #6 on the Billboard 200. Back in 2017, Matchbox Twenty launched their Twentieth Anniversary Tour before teaming up with Counting Crows for another version of their A Brief History Of Everything Tour across North America. Since 1998, the band has been nominated for 4 Grammy Awards and 5 American Music Awards.

Rob Thomas Concert Schedule

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Rob thomas on april 12, 2024.

Premier Theater at Foxwoods, Mashantucket, Connecticut

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Rob Thomas on how Matchbox 20 found that 'certain DNA' again on 1st new album in 11 years

By the time Rob Thomas hit the road in 2017 on a tour celebrating the 20th anniversary of Matchbox Twenty , he was feeling pretty comfortable with the idea that they’d never make another album.

It had been five years since “North” and he was getting used to the idea of just touring on the hits.

“In 2012, our plan was that we weren't gonna make records anymore,” he says. “We were gonna just every few years tour and maybe put out a song or two. That was kind of the business model.”

Thomas had his solo work to keep him busy . Drummer Paul Doucette was scoring films. Guitarist Kyle Cook was a year out from releasing his first solo album.

No one needed Matchbox Twenty in their lives as a creative outlet.

“That just seemed like where we were in our career,” Thomas says with an audible shrug.

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How COVID-19 put Matchbox 20 in the studio for their 1st album in 11 years

Then COVID-19 happened, causing them to postpone all their Matchbox Twenty touring plans for 2020 and again in 2021 and 2022.

“ In 2022, people went out again, but we weren't ready ,” Thomas says.

“We had some people with some health issues, and we didn't feel safe enough yet. That’s when we decided we have all these fans, we're fortunate that they've been holding onto tickets, they're still waiting. Maybe when we come out, it shouldn't just be a nostalgia tour.”

That’s why they're releasing “Where the Light Goes,” their first album in 11 years, to give the fans “something to listen to.”

The decision to step away from the creative process was based on the feeling that they weren’t invested enough in making Matchbox Twenty records anymore.

“And we didn't want to do something that we weren't 1,000% invested in,” Thomas recalls.

“But I think we just misjudged the bandwidth that we had to give to this situation. And once we did get back together and realized how much we enjoy working together and how much it was something we all wanted, it was an easy decision.”

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'There's a genuine love that we have for each other,' Rob Thomas says

Working on this album was a positive experience for everyone in Matchbox Twenty, with absence having made the heart grow fonder.

“There's a genuine love that we have for each other,” Thomas says. “We're an easy laugh and we genuinely care about each other. I think that goes a long way.”

Thomas calls Doucette his “best friend in the world,” more than three decades into a friendship that started in Tabitha’s Secret , a band that also featured future Matchbox Twenty bassist Brian Yale. Doucette is Matchbox Twenty’s other primary songwriter, often collaborating with Thomas.

“We have probably only had, like, one personal fight that didn't involve scheduling or musical differences or something like that,” Thomas says of Doucette. “I mean, don't get me wrong. I think that fight lasted a year and a half. But then we patched it up.”

In addition to his solo records, Thomas found success outside of Matchbox Twenty as the songwriter behind Santana’s Grammy-winning, multiplatinum comeback single, “Smooth,” which spent 12 weeks at No. 1 and featured Thomas on lead vocals.

“It’s a credit to Paul that in 30 years, I've never recorded or sung other people's songs — other than doing a cover — except for Paul,” he says. “We always joke. I'm like, 'Dude, this song is so good. And you know what's great? Everybody's gonna think I wrote it.'”

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'There's just a certain DNA when we all get together'

For Thomas, the writing is constant and he never really thinks of it in terms of writing solo songs or Matchbox Twenty songs. They’re all just songs.

“If it's time for a Matchbox record, that just means I'll play some of the stuff that I've been writing that I think the guys might like, and if they like it, we do it,” Thomas says. “And if they don't, we don't.”

It’s what his bandmates add to what he writes that makes it sound like Matchbox Twenty. The title track to "Where the Light Goes," for instance.

“I gave it to Paul as just a little demo,” Thomas says. “So Paul redid it in a reimagined way, then sent it to Kyle, who put some guitars on it and reimagined it a little more his way. And when it got back to me, I was like, '(Expletive), this sounds like Matchbox Twenty now!' There's just a certain DNA when we all get together.”

How Rob Thomas has grown as a songwriter since '3AM' and 'Push'

Having more than one creative outlet for his songs has definitely had an impact on his writing.

“Everything you do — every experience you have — expands what a blank page could be, right?” Thomas says.

“When you start off, you've had limited experiences and you're kind of writing about love and loss, but it's mostly speculation because you're young and you haven't really loved or lost anything. Then you start to get older and you have things in your life that really matter to you and things you want to hold onto.”

It also helps, Thomas says, to have people you want to impress.

“That drives you to do a little better,” he says. “Like, when we get together with Matchbox, we want to do something that makes the other guys go, '(Expletive) yeah!' Wanting to impress your friends starts on the playground and just never goes away.”

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How Matchbox 20 arrived at the reflective tone of 'Where the Light Goes'

There’s a reflective tone to many of the more compelling songs on “Where the Light Goes,” which Thomas sees as a natural outgrowth of that aging process.

“When you're younger and you’re writing songs about aging, it's like a disease,” he says. “It's like the Stones saying, 'What a drag it is getting old,' right?

"Then, as you get older, you realize what a privilege it is to be able to get older. We've had friends that didn't get to have that. And we think about them all the time. So we write about aging with a reverence now, a feeling of accomplishment. I think that's a really big change between guys in their 20s and guys in their 50s writing music.”

As to whether they had any goals going into the session, Thomas says, “We go into every situation and tell ourselves 'You're in the greatest pop-rock band in the world,' right? So now go make that record.”

On writing hit songs: 'Thank God that's not our job anymore'

It’s easier now that they’re not swinging for Hot 100 fences

“There are certain expectations as far as success in this modern age that we don't have on ourselves, and no one has on us,” Thomas says.

“Like, there's a certain kind of hit we're never gonna make and we're never expected to make and it's not our job to make. It's a certain muscle of pop that we don't have and we don't have to worry about.”

That allowed them to focus on making the kind of record they would want the world’s greatest pop-rock band to make.

“We could just write music that really appealed to us while having the conversation we wanted to have and not feel like, 'Well, we've got to find those hits,’” Thomas says. “And I think there's a freedom in that feeling of, 'Thank God that's not our job anymore.'”

That used to be their job, of course, when they were launching their career with “Yourself or Someone Like You,” the 12-times platinum debut that hit the streets in 1996.

“That's where you get the currency to spend later in life if you're lucky enough to find that moment where what you're doing is culturally relevant in the national conversation, or the international conversation,” Thomas says.

“Then maybe one day what you're doing isn't a part of that conversation. But you've already amassed a diligent group of initiated people that want to see what you're doing.”

How it feels having early songs like 'Push' in the setlist on tour in 2023

He still likes singing breakthrough singles “Push” and “3AM."

“I'm OK if I never heard those songs ever again,” he says. “But I'm OK with playing them every night.

"Like, there's a living, breathing energy we're sharing with everybody through these songs that have just kind of been around in their life for 27 years. There's no other way for us to look at it other than it's like a member of your family. It doesn't matter whether you like their politics or their conversation at dinner, they're in the (expletive) family."

His bandmates are like family, too. They did grow older together, after all.

“I mean, we're not all a bunch of sloppy drunk messes now,” Thomas says. “That's pretty good. We're grown men. We have families out here.”

Each member travels on his own bus these days.

“But like right now, we're parked in some parking lot somewhere at a hotel with all our buses kind of lined up texting each other," Thomas says with a laugh. "'Hey, what are you guys doing? You guys want to get something to eat?' It's very civilized out here.’"

Matchbox Twenty

When:  7:30 p.m. Wednesday, May 31.

Where: Talking Stick Resort Amphitheatre, 2121 N. 83rd Ave., Phoenix.

Admission: $30 and up.

Details: 602-254-7200,  livenation.com .

Reach the reporter at  [email protected]  or 602-444-4495. Follow him on Twitter  @ EdMasley .

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