If there was a nostalgia show on VH1 called "I Love the Late '90s," there is no doubt the two artists co-headlining the show at the Sprint Center on Monday night would get a few minutes each devoted to them.

Mult-platinum artists a decade ago, Matchbox Twenty and Alanis Morissette played to crowd of a little over 9,000 people, with a girl-to-guy ratio you would find in any given karaoke bar if they were allowed to bring their kids.

Alanis came out to kick things off with the minimalist-piano-to-crashing guitars of "Uninvited" and it was obvious that even if her record sales have dropped significantly, her trademark singing/yodeling hasn't wavered.

Unfortunately, what Alanis maintained in her voice she completely lacked in stage presence.

Her "moves" mainly consisted of her walking back and forth across the stage and, during one particular song, spinning around in circles like a kid on a playground tossing her hippie tresses about. She also played a total of three notes on the harmonica and wielded appropriately girly designed guitars that she sometimes played at rhythms that barely followed the songs that she was singing.

While she experimented with some newer material with electronic flourishes in the middle of her 45-minute set, most people were there to hear songs off of her smash album "Jagged Little Pill."

And Alanis did not disappoint her faithful, playing "Hand In My Pocket," a largely crowd assisted "Ironic" and the classic kiss-off "You Oughta Know," which was preceded playfully by her rendition of the Black Eyed Peas salute to curves "My Humps."

After her set, Alanis established that while she may still have the vocal chops, she definitely only qualified as a one album wonder.

During the set break, my friend that I came with me wondered how many people were here for Alanis and would leave before Matchbox Twenty came out.

The answer was zero.

This show was billed as a co-headliner, but the boys of Matchbox Twenty were the main attraction, and they proved it by cramming plenty of their hit singles into their two-hour set.

While Alanis' set had a simple painted backdrop, Matchbox had the help of four columns of hanging video screens that adjusted to various heights and depths throughout the show projecting a series of bright and somewhat random images.

After an intro provided by a recording of Johnny Cash's "God's Gonna Cut You Down," the band played their middle-of-the-road alt-rock and radio-ready pop that got them their multi-platinum status.

The band threw in several new tracks from their latest hits collection "Exile on Mainstream." But the majority of the set played just like a greatest hits collection with catchier-than-your-average ditties like "3 a.m.," "Bent," "Disease," and "Long Day."

Lead singer Rob Thomas has already proved he didn't need Matchbox Twenty to have success, and his band seemed to know it, too.

The "co-headling" tour quickly seemed like the Rob Thomas show, with the casually dressed rocker honing the mic, acoustic guitar and piano throughout the show (the exception being Kyle Cook's occasionally safe soloing and Paul Doucette's energetic rhythm guitar playing with axes that sometimes dwarfed his small frame). Thomas also seemed to really get a thrill out of the particularly receptive crowd; instructing the crowd to hold up their cell phones to make their own light show and loved how the words "Kansas City" rolled off his tongue.

The alterna-pop of Matchbox may have been hooky, but it got a bit repetitive. I admit, I didn't stay for the encore. I figured they would end with their biggest radio hit "Push" (they did) and that based on the crowd barely taking time to sit down or stop moving, most would stay for the whole show (they did).

Both artists on the bill didn't have to look back too far to recall their chart-topping heydays, but it was obvious after seeing their performances that only one of them had good enough reason to keep looking forward.