Fans fuel Toad the Wet Sprocket’s success

(Above: Toad the Wet Sprocket “Fly from Heaven.” The band lands at the Uptown Theater in Kansas City, Mo. on Thursday, Nov. 20.)

By Joel Francis
The Daily Record

The question never went away. Inevitably, someone would ask Glen Phillips when his old band, Toad the Wet Sprocket, was getting back together.

When that finally happened, the question changed: When are you making a new album? Sixteen years after their previous release, the answer arrived last summer with “New Constellations,” a Kickstarter-funded set of 15 new songs.

If that sounds like a long wait for a fan, think of it from Phillips point of view. Although happy to be back onstage with his friends, he was confined to singing material written during his early 20s.

“It was nice to be young, but I don’t want to live there forever,” said Phillips, now 43. “The new songs feel like us, but also feel relevant to what we do now. In addition, they have also brought our older material into new, broader context.”

1-toad2Toad the Wet Sprocket formed in the late ‘80s, and peaked in the early ‘90s. The quartet’s laid-back vibe provided an antidote to the angsty grunge dominating the radio at the time. In 1998, after two platinum albums, one gold record and a dozen Top 40 hits, the band called it a day.

“Enough years have passed and there is enough ease between us now that it was fun to come in and get to deal with Toad as a project,” Phillips said. “It used to be every song I wrote I brought to the band. If it didn’t work there, I had no other outlets.”

That depth was also helpful in selecting songs. “Finally Fading” originally appeared on Phillips’ 2005 album “Winter Pays for Summer.” “Bet On You” was built on “See You Again,” a song from fellow Toadster’s Todd Nichols and Dean Dinning’s Lapdog project.

“We did a lot of culling. Todd and Dean brought some songs in where I’d finish lyrics on them,” Phillips said. “When we reached the end it felt like there was a lot of up-tempo pop songs. We needed more slower, emotional material. That’s when I came up with ‘Enough.’”

With the amount of time between releases and amount of preparation that went into “New Constellations,” Phillips cautions this may be Toad’s final album before conceding even he doesn’t know the band’s future.

“What we may do in the future is do a single than a full ramp-up to an album,” Phillips said. “Making an album puts you on a long schedule. It is interesting to think about. We may look back and say ‘Why did we go through all of that?’

“Or maybe we will do another whole album. I don’t know.”

When Phillips and his bandmates last came to town, they were previewing “Constellations” material. Now, 15 months later, audiences have had time to learn the new songs and sing them back with the same passion as old favorites.

“We were never the cool kids,” Phillips said. “the people who stuck with us did because our music means a lot to them. That really benefited us (with the Kickstarter drive). We have been speaking to people’s hearts for a while and they decided to give back.”

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(Above: Toad the Wet Sprocket perform “I’ll Bet On You,” a new song that would fit comfortably on any best-of collection.)

By Joel Francis
The Kansas City Star

Toad the Wet Sprocket, the ’90s alternative to alternative music, seemed to be the victims of bad timing. Sure, the band scored two platinum albums and a handful of Top 40 singles, but it was too late (and soft) to be considered college rock and too early for indie rock.

The band’s break-up in 1998 didn’t create any waves. There was no critical re-evaluation of its catalog or new fans clamoring to the legend. Toad was just gone.

On Friday night at the Uptown Theater, 16 years after Toad’s last album, the band reminded fans what they had been missing and delivered hope of a promising future as well.

More than half of the 100-minute set drew from the “Fear” and “Dulcinea” albums, Toad’s best and best-selling releases. The sing-alongs came fast and furious, starting with “Good Intentions” and continuing through “All I Want,” “Nightingale Song,” “Brother” and “Fall Down.”

toadNestled among those chestnuts were five tracks from Toad’s upcoming new album. Singles like “New Constellation” and “Bet on Me” didn’t show any of the lapsed time between recording sessions and fit comfortably in the band’s sound. The fans may not have been singing along with these songs yet, but there’s a good bet they will the next time Toad rolls through town.

The old songs sound pretty much like they did two decades ago. Touring guitarist Johnny Hawthorne added nice texture to “Windmills” and “Walk on the Ocean” with his pedal steel. His mandolin was a nice touch on “Nightingale Song” and “Come Back Down.”

Lead guitarist Todd Nichols was given the mic for “Inside” and “Crazy Life.” During “Come Down,” one of the band’s biggest Kickstarter donors was invited onstage to play cowbell.

Singer Glen Phillips seemed as surprised as anyone at the band’s reception. The Kickstarter campaign to fund a new album raised more than a quarter of a million dollars in two months. While the Uptown wasn’t close to full — the balcony was open, but the sparse crowd upstairs could have easily fit among all the empty seats downstairs — Phillips commented on the audience reception several times. Without major publicity, he said, fans have been finding their own way back to the band.

The world may not have been asking for a Toad the Wet Sprocket reunion, but Friday’s show made a strong case for it being a good idea.

Setlist: The Moment; Woodburning; Good Intentions; Crowing; Windmills; New Constellation; Inside; All I Want; Whatever I Fear; Come Back Down; Nightingale Song; Something’s Always Wrong; The Eye; Crazy Life; Jam; California Wasted; Brother; Fall Down. Encore: Come Down; Bet on Me; Ziggy Stardust (David Bowie cover); Walk on the Ocean.
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