After getting so big so fast, being a big part of a fleeting moment in trendy media hype and having so much self-destructiveness around it, Pearl Jam probably should not even still be here.
The band battled addictions early on, like seemingly every group out of Seattle in the early 1990s. It bucked critics and music snobs, who initially dismissed the group as a more corporate, less altruistic answer to Nirvana. It combated Ticketmaster, too, which wasn't good for business at the time.
In more recent years, Pearl Jam has faced down maybe its biggest challenge of them all: staying relevant as a rock band even as its members aged into AARP eligibility.
"There aren't a lot of bands that have hung around as long and as well as them — especially bands from their era and their scene," said Twin Cities music scribe Steven Hyden, author of last year's book "Long Road: Pearl Jam and the Soundtrack of a Generation."

Not only is the quintet of "Alive" fame still very much around, it has some of the most in-demand tickets for any rock concert in town this year. And actually, it has two concerts in town.
Eddie Vedder and his mostly all-original bandmates — ex-Soundgarden drummer Matt Cameron is the lone latecomer, and he's been in tow since 1998 — kick off their first stretch of 2023 U.S. dates at Xcel Energy Center on Thursday. They're sticking around to play the arena again Saturday. (Chalk up the breather night in between to their aforementioned aging.)
In his sometimes personal tome, Hyden details how he went from being one of those who initially dismissed Pearl Jam to being a rabid devourer of the group's live "bootleg" recordings. Starting with its Binaural Tour in 2000, the band started selling CD recordings of all its live shows, then a new idea.
Those bootlegs, he said (and writes in his book), are just one of several signs of the famously flannel-clad band takings its cues from the kings of the tie-dye realm, the Grateful Dead.