NOW That’s What We Call the 90s!
On May 16, 2025, a sensational highlight of the Gay Men’s Chorus of Tampa Bay’s concert, “Tyler’s Suite / I Love the 90s”, was an electrifying, crowd-pleasing performance of a custom-created pop medley titled “NOW That’s What We Call the 90s!”. Performed by featured vocalists John Shirley, Oliver Anson, Kevin Beckett, Brooke Bryington, Fabián Gonzalez, Hayden Greer, Mark Hamilton, Vic Omila, Michael Sugarman, and PJ Yarosh, the number was an exuberant homage to some of the most iconic songs of the 1990s. The performance took place at Allendale United Methodist Church in St. Petersburg, Florida, a space that proved itself once again to be as much a concert hall as a sanctuary for self-expression and queer joy.
This medley wasn’t just a performance—it was a full-on musical time machine, transporting the audience through the soundscape of a decade that defined the MTV era, dance-floor bangers, pop rebellion, and the golden age of boy bands and girl power. Seamlessly blending 22 unforgettable hits, the medley celebrated the cultural tapestry of the ’90s while showcasing the vocal versatility and theatrical spirit of the chorus’s featured performers.
With “…Baby One More Time” by Britney Spears, the group opened with a burst of youthful drama and iconic pop power, instantly setting the tone. From there, the energy surged with “Gonna Make You Sweat (Everybody Dance Now)” by C+C Music Factory, “The Power” by Snap!, and the sensual swagger of “Pony” by Ginuwine—each performer bringing their own flair and attitude to the stage. The genre-bending journey continued with rock-infused hits like “Give It Away” by Red Hot Chili Peppers and the cheeky choreography of “Jump On It” by Sir Mix-a-Lot, keeping the audience clapping, laughing, and dancing in their seats.
The performance highlighted not only nostalgia but also the rich diversity of ’90s music—from the empowering anthem “Whatta Man” by Salt-N-Pepa, to the cheeky pop explosion of “Wannabe” by the Spice Girls, to the soulful, soaring chorus of “Fly Away” by Lenny Kravitz. There were moments of gleeful absurdity with “Barbie Girl” by Aqua and “MMMBop” by Hanson, matched by deeper emotional beats with “Waterfalls” by TLC, “Don’t Look Back In Anger” by Oasis, and “One Of Us” by Joan Osborne—songs that have left lasting cultural footprints.
The medley also brought in quirky fun with “All Star” by Smash Mouth, the introspective pop of “The Sign” by Ace of Base, the alt-pop shimmer of “There She Goes” by The La’s, and the Latin pop explosion of “Livin’ La Vida Loca” by Ricky Martin, which capped off the set in high-voltage fashion. Along the way, songs like “Smooth” by Santana, “All I Wanna Do” by Sheryl Crow, and the beloved TV theme “I’ll Be There for You” by The Rembrandts added layers of surprise and warm familiarity.
The featured singers shone individually and collectively, each bringing standout moments, distinctive characterizations, and unstoppable charisma. The harmonies were tight, the choreography cheeky and confident, and the spirit infectious. Every phrase, beat, and iconic lyric was delivered with knowing winks to the audience—who responded with roars of laughter, applause, and joyful recognition. It was camp, it was catharsis, it was community.
In the second half of a concert that began with the emotional gravity of Tyler’s Suite—honoring the life of Tyler Clementiand the struggles of LGBTQ+ youth—this medley served as a powerful reminder of joy, resilience, and cultural celebration. It was not just about nostalgia; it was about reclaiming an era of music that helped so many LGBTQ+ individuals find self-expression, dance through hardship, and feel seen.
Performed in the heart of Allendale United Methodist Church, where queer voices are uplifted and celebrated, “NOW That’s What We Call the 90s!” was a victory lap of queer exuberance and musical memory. It left the audience buzzing, standing, and perhaps even moonwalking down the aisles—with the message loud and clear: the ’90s weren’t just a decade. They were a vibe.