It’s a Friday afternoon in November and Rogers Stevens is in the wrong city. A few hours ago he was in Ballard Spahr’s Philadelphia office on Market Street and all was well, but now he’s in a car at the airport, rushing to change out of his suit because he’s got a plane to catch and a show to play and that show is in Calgary. He’s not even in the right country.
He’ll play the show the next night, in front of 600-odd fans, some of whom paid an extra $20 just to be in the first 10 rows and really be in on the action, right up in front with their favorite mid-’90s alternative rockers, singing along and having a Saturday night. And the next night he’ll be returning east to be back in a suit and back in the office Monday morning, because playing guitar in Blind Melon is just a side gig for Stevens these days. The research and the writing—the grinding life of a first-year associate—this is Stevens’ focus now, even if it does make for some exhausting weekends.
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