Portland Mercury

HANSON: WHO KNEW? When the trio of brothers emerged in 1997 with “MMMBop,” it was easy to hate them. As three blond, floppy-haired teenagers, their nonsense hyper-pop seemed like a direct rebuke to the dark, insistently meaningful character of grunge that was then synonymous with authenticity. And one of them was named Zac. Zac!

But as we all got some critical distance, we maybe started to reconsider. After all, “MMMBop” was produced by the Dust Brothers, the same team behind Beck’s Odelay. And outside of that moment, it seemed like the only essential difference between Zac Hanson and Beck Hansen was an awareness of irony.

But their upcoming show at the Wonder Ballroom is not a reunion tour or a state-fair nostalgia act where they roll out their catalog. Hanson is a viable, ongoing concern. An independent band before “MMMBop” (they were discovered at SXSW!), they fought a battle with their record label for creative control (then made a documentary about it, just like Wilco!) and broke off to form their own indie label. The first record they released on that label in 2004, Underneath, did well enough that, against all expectations, it was clear they had retained a sizable fanbase.

So what do Hanson’s fans like about Hanson? Younger readers may be surprised at their continued appeal in the same way I’m baffled that people still like Counting Crows, and that’s not a bad comparison. Both bands work a similar sound of sensitive singer/songwriter rock indebted to California acts from the 1970s; both bands overcame pop hits to cultivate a sense of authenticity; and both have cultivated fans through steady road work. Hanson is touring off a new album called Shout it Out that’s pretty good listening. Mock Zac’s ’90s cornrows all you like: Their moody, thoughtful rock is traditional but undeniably pleasing. At the same time, it’s not like they’ve got a lot of tweens at their concerts. Hanson fans seem to be people who were lured in by “MMMBop” to devour Middle of Nowhere and follow the band down the trad-rock rabbit hole, so they tend to be somewhere in their mid-20s or beyond.

A better question to ask, then, may be what it means that Hanson still exists. I’d argue they resonate with their fans as the last of the rock stars, a species that still exists but has been deprived of breeding stock. The music industry is dead, reduced to niches, pop stars, and a long tail. But where music once delivered the fantasy that our lives are dramatic, now acts like Hanson deliver the fantasy that music still matters. It’s one we desperately want to believe—see, for instance, The Devil Wears Prada author Lauren Weisberger’s new book Last Night at Chateau Marmont, about an unknown musician achieving instant stardom through, apparently, magic—and Hanson, a group of hard-working musicians with hundreds of thousands of fans and a firm grip on their own legend, can put on a show that makes it seem like you’re seeing Bread or Thin Lizzy. And we like that. Hanson have made, and continue to make, some great music. But maybe they’re beloved because they represent something we feel slipping slowly away.

the Weekender

The Sherman Theater (524 Main St., Stroudsburg) announced Friday that Hanson will perform at the venue on Friday, Nov. 19. Tickets ($28, reserved seating) go on sale to the public on Friday, Sept. 24. There is a fan club pre-sale, which begins Wednesday, Sept. 22. For more info, visit shermantheater.com or call 570.420.2808.

Hanson’s latest album, “Shout It Out,” debuted at No. 2 on the Billboard independent album chart.

Opening the show will be Jarrod Goerbel, formerly of The Honorary Title.

SodaHead

Back in 1997, when ‘N Sync was just getting started and Justin Bieber was still a toddler, Hanson was all the craze. Three young brothers with long blonde hair and an absurdly catchy Grammy-nominated song, what teenage girl could resist?

These days, Hanson is not exactly a household name. Like most teen sensations, when their fanbase reached high school they faded into relative obscurity, leaving behind a single nonsensical chorus: “Mmmbop, baduba dop ba du bop.”

Believe it or not, they never stopped making music. In fact the three brothers, now all happily married with children, formed their own record label in 2003 to escape the domineering control of the rising music industry.

Their fifth album, “Shout It Out,” was released this June with very little attention, despite mostly positive reviews. But that’s not getting them down.

Isaac Hanson, the oldest brother at 29, told the LA Times, “[I] realized on this record how similar our sound is to when we first started. Our songs all carry the same way.”

He then added, “Well, with different keys. Taylor’s no longer a soprano.”

They’ve accepted the fact that they no longer hold the popular appeal they once did, but continue to pursue their musical careers and show no signs of slowing. Zac, the youngest at 24, said, “I guess you decide at some point in your career whether you’re going to run from it or embrace it, and we’ve embraced it.”

The Orange County Register

Orange County Hanson fans came out of hiding Thursday night for a two-hour performance that spanned the group’s career at House of Blues Anaheim.

True, the Oklahoma sibling trio isn’t the sort of band people go around advertising their love for. But if the only thing you remember about them is their ubiquitous 1997 single “MMMBop,” you owe it to yourself to take a second look.

With five albums and more than a decade of touring to their credit, the Hanson brothers now command the stage like the veterans they are. And although their boyish good looks remain, Taylor (27, above), Isaac (29) and Zac (24) are all married with children; the boys have grown into men, yet their music retains the easy optimism and youthful spirit that helped make “MMMBop” such a big hit. It seems that only the screaming fan girls haven’t changed over the years.

Power pop melodies with plenty of harmony remain the band’s chief strength. The guys’ voices blend together effortlessly, like they’ve been singing together their entire lives — which, of course, they have. Hanson songs are still characterized by big choruses, and tracks from the band’s latest release, Shout It Out, are no exception. The crowd was only too eager to join in, chanting the album’s title as a refrain for the opening cut, “Waiting for This.”

Indeed, mostly female and generally young, many fans in the nearly-full House of Blues sang along to every word Thursday night as the band pulled from both old and new material. “Crazy Beautiful,” from 2004, is a charming love song that would be right at home on the soundtrack to a romantic comedy, while “Get Up and Go” showed the band’s more rocking side. On first listen, the boys may seem like pure pop purveyors, but a closer look reveals Southern rock influences with a little bit of soul and R&B thrown in for good measure. Despite the group’s continued youthful energy, its influences mostly date to before these Hansons were born.

Taylor channels no one so much as Billy Joel when he’s in top form on the piano, singing and playing with genuine passion, especially on the ballad “Me, Myself and I.” The band also covered snippets of several classics, including the Jackson 5’s “I Want You Back” and Marvin Gaye’s immortal slow jam “Let’s Get It On.” Don’t worry, moms and dads: Hanson is still more than family-friendly. That song’s not-so-subtle yet mainstream-approved nods to intimacy were as raunchy as this show got.

The strongest remake of the night, however, was of the Beatles’ “Oh! Darling,” a song that rocks as much as soars along a great pop hook. Hanson pumped up its rock ’n’ roll heart, showing that underneath the trio’s radio-friendly melodies are some genuine musical chops. Frankly, Hanson should show off like that more often: “Carry You There,” one of the highlights of this set, was also one of few times during the show when the band really let loose.

Watching Hanson now, it’s easy to see how it has influenced one of today’s biggest draws for preteen girls, Jonas Brothers. Note the skinny tie and vest that Isaac wore (right) or the wholesomeness of the music itself: the JoBros are deeply indebted to these forebear brothers for paving the road a decade earlier, both in substance and style.

But Hanson refuses to live in the past. Thursday’s show was heavy on new tracks, including “Thinking ‘Bout Somethin’,” a dance-your-blues-away answer to rejected love, anchored by Zac’s cowbell. Radio programmers who fell in love with “MMMBop” should give that track a listen; it’s at least as good.

Of course, most bands that last have songs they just have to play every night, and “MMMBop” is that for Hanson. Yet, while the song is as fun and catchy as ever, it was also clear that this crowd didn’t come just to hear the Big Hit. Full audience participation throughout the performance, from handclaps to singalongs, revealed this group has a bigger following than its admirers let on.

Hanson fans, it’s time to come clean and — dare I say — Shout It Out: there’s absolutely no shame in liking what is arguably one of the strongest pop-rock bands of the past decade.

Hanson performs again, with A Rocket to the Moon and Sparrow, tonight at House of Blues Sunset Strip (8490 Sunset Blvd., in West Hollywood) and Saturday at House of Blues San Diego (1055 5th Ave.). Tickets are $45.60 for Sunset, $42-$55.30 for S.D.

Photo by Kelly A. Swift, for The Orange County Register.

The Columbian

Trio of siblings have built credibility since breaking in as teens

When Hanson became one of the hottest acts on the planet in 1997, they had to fight the perception that they were a trio of child puppets with some Svengali pulling the strings. But the sandy-haired siblings proved themselves every time they “MMMbopped” onstage, convincing even jaded critics that they did, indeed, have chops — and a pop sensibility that was pretty darned irresistible.

Thirteen years later, Isaac, Taylor and Zac Hanson are now 29, 27 and 24, and all three are married fathers (with darker hair). They’ve also been through the major-label wringer, which they left behind to form 3CG Records in 2003. They’re hardly the flavor of the moment anymore, but they still have chops — sharpened further by time — and an unerring sense of what makes a great pop hook. But perhaps most importantly, they’ve managed to maintain some cred instead of descending into unintentional self-parody, bad rock-star behavior or “where are they now and why should we care” irrelevance.

Need evidence? Just listen to “Thinking ‘Bout Somethin’,” the first single from their new release, “Shout It Out.” Or better yet, watch the YouTube video, in which they lovingly re-create a dance scene from “The Blues Brothers” movie, a sendup of the beloved early-era soul music that provides the foundation for their sound.

Or listen to the danceable pop-funk of “Waiting For This” and “Give A Little,” the soulful “Kiss Me When You Come Home” or the gospel-infused “Carry You There.” Hooks abound, and lyrics, too. And according to Isaac, they’re still attracting screaming fans, though perhaps not at the pitch that earned them the dubious distinction of having the loudest concert audiences in history. (We’re not sure if they officially beat the Beatles, but the claim has been made.)

“The intensity level of the crowd is surprisingly fervent,” said Isaac Hanson, speaking from Tulsa, Okla., where he lives not far from his brothers. “There’s a lot of long-term devotion to the music that we make, for which we are profoundly honored.”

The teeny-boppers who fell in love with Hanson 13 years ago apparently have grown up with them — but not outgrown them. This is another testament to their staying power, even though they’re not headlining arena shows these days. And frankly, they’re fine with that. They like being able to go out in public without causing a scene.

“That’s also part of why we stayed in Tulsa. We found a lot of peace and sanity here,” Isaac Hanson said. Though they have a recording studio there, they laid tracks for “Shout It Out” in El Paso, Texas.

“We didn’t want to do it here in Oklahoma with all the distractions,” Hanson said. “We had to separate ourselves physically.”

They spent two weeks in Texas, then overdubbed vocals and horns—the latter arranged by Jerry Hey, whose credits include work with Michael Jackson and Quincy Jones. The band also invited Bob Babbitt, one of Motown’s Funk Brothers, to contribute bass.

“When we made this record, it was a lot like making our earliest records. It felt really natural and free of all the mess,” Isaac Hanson said. “We’d gone through a lot of stuff when we were making, particularly, our third record (‘Underneath’), which is what led us to go independent with that album, and then ‘The Walk’ had all these ties to humanitarian efforts.

“We just felt like it was time to say, ‘You know what, we can do good in the world, we can encourage others to give of themselves to people who are in need, but we can also have fun in the process,’” he said. “With this record, we had had a lot of heavy experiences, and it was time to, shall we say, celebrate life as opposed to contemplate life.”

One experience he’s referencing is the group’s split from Island Records, which had absorbed Hanson’s contract after Mercury Records folded. The group had no support and faced multiple rejections of material before deciding to leave (a saga documented in the film, “Strong Enough to Break”).

Another was his bouts with potentially deadly pulmonary embolisms and surgery to remove a rib that was pinching his arteries against a tendon, causing clots in his arm that traveled to his lungs.

Of course, that scare caused some reassessments of priorities. The album did, too. Hanson said it brought the group full circle, back to the early, pre-label days when it was “just the three of us in a room.”

They produced it themselves, with just a couple of engineers on hand.

“I think it captures a spontaneity and it captures us at our most honest space in a lot of years,” he said. “It’s a very upbeat record.

“We try very hard to make songs that we feel are worth singing. Or remembering,” Hanson said.

Anyone who’s ever hummed “MMMBop” knows they’ve already accomplished that. “Shout It Out” just proves that even though they’re all grown up, they can still write hooks with the youthful exuberance it takes to make them soar.