Combine the lush beauty of the Crest Theatre with pained lyrics, a unique, emotional voice, and some wonderful music, and you have the night I experienced recently. The recently-reunited and fantastic alternative rock band Toad the Wet Sprocket came to the Crest Theatre in Sacramento and put on a phenomenal show.

The Concert

The opening band (whose name I can’t remember) was quite different from Toad genre-wise: very modern and pop, with heavy bass drums, strong beats and overall danceable tunes. While I found myself tapping my toes to the music, it wasn’t my cup of tea. The band was from Santa Barbara, however, as Toad is, and the members seemed like genuinely nice guys.

Still, we came to see Toad, and they finally came out, starting out with “The Moment” off their most recent full album New Constellation. A few of the songs’ keys were lowered for Glen Phillips understandably, as everyone’s voice changes as he ages, but I was surprised how many songs’ keys weren’t changed. Phillips still sounds great—a bit raspy and nasally, honest and pained and capable of hitting some chilling notes. This was the first time I had ever been to a Toad concert, and hearing Phillips speak was telling: he has a soft, almost unsure voice, to match what seems to be his quiet and thoughtful personality. The man can certainly write some deep lyrics. (And some not so deep: see this article in which Phillips discusses writing “Walk on the Ocean,” one of the band’s most well-known songs). He has struggled with depression for years, and dedicated the song “California Wasted” to all those who get “inordinately sad,” (he wrote the song when he, too, was depressed). Thank you, Mr. Phillips, for your honesty and for a great song.

A substitute drummer was in for Randy Guss, as Guss had apparently broken his ribs; and touring member Jonathan Kingham was great on the keyboards, lap guitar, and mandolin.

Phillips joked that the band played a “mini Coil set” which was true, and timely, since the album came out twenty years ago (how is it possible that 1997 was that long ago???). However, Toad also played “Amnesty” from Phillips’ most recent solo album, as well as a few songs from Fear, several from Dulcinea of course, and even “Come Back Down” from their 1990 album Pale.

While Coil and Dulcinea are tied for my favorite Toad albums, my favorite Toad song is, I think, “All Things in Time.” I wished Toad would play this song, but they have so many good songs I figured the odds weren’t likely. They did play it, however, and it was so good. How do I describe it? Toad’s songs, and Phillips’ voice, are spiritual somehow. Deep, and emotional, and on some higher level than most artists’ lyrics and voices. The only person who can really sing lyrics the best, I believe, is the lyricist himself—and this is certainly true with Glen Phillips. He knows how to sing his lyrics; knows how to put just the right amount, and kind, of emotions into them; what to emphasize and what to back off on.

The other fantastic element of the concert was the crowd—everyone was into it. Everyone. And there were just as many men (if not more!) than women, something I found interesting. It wasn’t a screaming-girl fest (thankfully), but a crowd of enthusiastic and respectful fans. A group of girls over on the left side stood the whole time and kind of danced; but two men next to me stared at the stage almost the whole time, only sometimes singing the lyrics or cheering when a good song started. They were two of the most serious concert-goers I’ve ever seen (though I haven’t been to many concerts).

Toad sung a song written for an upcoming animated film called Animal Crackers—thankfully it was written for a moment in the movie “when everything is going wrong,” said Phillips, though the song was, not surprising for Toad, ultimately optimistic. They also invited everyone to stand in the middle of the concert—sitting for long periods is not healthy, informed bassist Dean Dinning, as it can especially cause “deep vein throm-BO-sis” (he was pretty serious)—and we all stood and clapped to the fantastically catchy and unique “Nightingale Song.”

The band finished with “Fall Down,” but of course everyone kept cheering and clapping and the members finally came back out and played a few more songs—ending, as I thought they had to, with “Walk on the Ocean.”

Needless to say, I'm awfully grateful I know about this band and their music.

How I Found Toad

I first discovered Toad the Wet Sprocket from a Supernatural music video—no joke. I’m not even sure how I ran across the video, as I was only somewhat aware of Supernatural, but I’m assuming I was looking for videos about the Winchester brothers (and there are many). I've tried to find the video but unfortunately can't--at any rate, it was a good video and I was intrigued by the song. I liked its sound; it wasn’t heavy rock but it wasn’t entirely pop either, and it had a strangely not-modern sound to it I appreciated. (A sort of 90s sound, perhaps.) I looked up who sung the song, and then checked out some more Toad songs. I was hooked.

What drew me to Toad was the sort of 90s-sounding guitar (I mean that in the best way possible), melodic and crunchy but not heavy and not obsessed with impressive solos. Phillips’ lyrics, of course, caught me too: spiritual, thoughtful, and less focused on romance than on relationships in general and individual struggles. And Phillips’ voice too: the best way to describe it is honest and genuine. And his harmonies with Dean Dinning—beautiful—as well as with guitarist Todd Nichols. These guys just know how to make emotional, catchy, serious, honest music.

I played “Something’s Always Wrong” and “Inside” on repeat constantly, so I eventually bought Dulcinea. But then I bought Coil, and that was really good too. I played them both over and over going back and forth from my first college to home on Sunday and Friday afternoons, and they served as both comfort and motivation.

This year I discovered New Constellation from 2013. I haven’t bought it yet, but it, too, is a great album. (Fear and Pale are good too, but those aren’t my top favorites, maybe because I haven’t listened to them as much. I do like “Don’t Go Away” though—that’s a beautiful song.)

Toad’s most recent release is an EP, Architect of the Ruin, from 2015. I haven’t listened to it much, but it seems just as good as their other work (which means: really good). Also, as I mentioned, Glen Phillips has put out solo albums, which are more acoustic and less commercial than Toad’s work, but still deep (if not deeper, if that’s possible).

All this to say that Toad the Wet Sprocket is a pretty talented band, and if you don’t know their music I would highly recommend you check them out—all their stuff, from Bread & Circus and Pale to New Constellation. I only hope the band continues to put out quality music.

To the members themselves: Thanks for the great show and inspiration over the years. No pressure, but please don’t break up again. You’re too good to separate.