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“You guys ready to have a good time or what?” Cherry Monroe singer Matt Toka asked at the beginning of the seventh annual Free Times Music Awards, which took place last Wednesday at the Beachland Ballroom. The invite-only crowd, populated by local band members, club owners, record-label promoters and other music industry types, didn’t exactly respond with a roar, but you couldn’t fault Toka for trying to get the party started.

While his band’s tendency to try to be everything to everyone has gotten its fair share of criticism, the grab-bag nature of its 30-minute opening set was an appropriate way to kick off the event. The concert and awards ceremony took place at the Beachland for the first time, substituting for the Music Awards’ former home, the Odeon, which is now closed. But the change in venue didn’t detract from the production values, as a large projection screen at stage right featured the names of nominees. The bands were loud, the crowd was unruly (but unlike last year, there were no arrests) and the host was obnoxious, all par for the course.

After playing the rowdy, Mötley Crüe-like “Bandages,” the lead-off track on last year’s The Good, the Bad and the Beautiful, Cherry Monroe segued into the Cure-inspired “If You Go,” covered Blondie’s New Wave anthem “Call Me” and then closed with its own regional hit “Satellites.” All the while, the guys pranced around the stage in tight shirts and even tighter pants. Yeah, it could have been a flashback to the glam rock of the late ’80s, but the guys also have emo and punk inclinations, too. When Toka asked the audience to “make some ***** noise,” it showed how little he cared about formalities of the event, which was just fine since the ceremony isn’t for anyone with a stick up their ass.

That much was apparent when host Maxwell welcomed everyone to the affair with the disclaimer, “Don’t expect some Carson Daly or Jon Stewart stuff.” It was a promise the WMMS-100.7 FM DJ delivered on, too. Over the course of the evening, he took time out to diss former Creed singer Scott Stapp (whom he said deserved the award for being “the biggest asshole in rock ’n’ roll,” and who was performing that same night at the House of Blues).

After Charlie Saber, host of the WRUW-91.1 FM show “Rock and Pop Souffle,” presented the Whiskeyhounds with the award for “Best Americana,” Fox 8 newscaster Kenny Crumpton handed out “Best Horn player” honors to Ernie Krivda. The dependably dapper Crumpton did his best Austin Powers imitation as he asked, “Do you make me horn-y, baby?” As the perennial winner Krivda accepted yet another award, the veteran sax man showed a certain humility as he said, “People always ask, ‘Aren’t you tired of this?’ The answer is no.” Hillbilly Idol won “Best Country Act” and took the opportunity to thank the venue, saying “This is the greatest club in town.” Disown also praised the city’s great local music scene as it won “Best Goth/Industrial Act.”

Then the Lords of the Highway showed why they’re one of the most popular rockabilly bands in the city. The group’s three-song set verged on the abrasive as the band sang dirty little tunes about beer and liquor while Sugar nearly humped her upright bass. It was sexy, fun and sensational.

Always up for a laugh, the Rock Hall’s Lisa Vinciquerra — known in some circles as Lisa V.I.P. for her ability to weasel her way into all the big concerts — read the names of nominees for “Best Bassist” and added fellow Rock Haller Steve Dobo to the list. Dobo, of course, didn’t win; the award went to Adbullah’s Ed Stephens, who accepted with said instrument strapped to his back.

Agora talent buyer Andrea Sweazy and a guy she called her “homie,” Free Times classified sales guy Jabari Holmes, presented the award to Jay Kool for “Best Rap/Hip-hop.” Acknowledging that he felt “unrelated” at the event, Kool promised he’d be back next year, saying “get used to the face.” Rock Hall Director of Sponsorship & Promotions Steve Dobo then handed out the “Best Keyboardist” award to Disown’s Jae Rohrer, and Wilbert’s owner Mike Miller gave Colin Dussault the “Best Blues” award. Roberto Ocasio’s Latin Jazz Project then cooled things off with a live set that had a nice chill vibe to it.

A frequent winner in the singer-songwriter category herself, Anne E. DeChant gave former Rosavelt singer Chris Allen the “Best Male Singer-Songwriter” award. Armed with a few good drummer jokes, Tommy Rich and the James Gang’s Jimmy Fox presented “Best Drummer” to Disengage’s Jonathan Morgan, and local artist and hardcore aficionado Derek Hess handed out “Best Punk/Hardcore” to Between Home and Serenity. When Hess read the nominees, he took the opportunity to improvise and add his own favorites to the list, a move that drew more cheers than jeers.

Maxwell introduced Telarc’s Dave Love by asking “You’re a big shot; why are you even in Cleveland?” And after joking about why he was wearing a suit but no tie (“C’mon, it’s ***** Cleveland”), Love honored Blue Lunch as “Best Jazz Act.”

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Even though he rapped over a DAT, Jay Kool’s set was terrific. He was accompanied by producer/rapper Eric Wilson as he delivered a high-energy performance that featured three tracks from his new album, Drunk, High and Sober. Beachland owner Mark Leddy then presented “Best Indie/Underground” to Machine Go Boom, veteran club promoters Arnold Hines and Jessica George awarded “Best DJ” to a surprised Pants Pantsley, Carlos Jones and the P.L.U.S. Band won “Best Ethnic/World” and Winchester owner Jim Mileti acknowledged the city’s vast talent as he presented “Best Female Singer-Songwriter” to Susan Weber.

Machine Go Boom then delivered an energized set of its own, featuring its distinctive blend of pop vocal harmonies and indie-rock guitars. Jimmy Maler presented Neil Zaza with “Best Guitarist” and Zaza remarked how it was “great to see so many musicians in one room.”

Abdullah simply said “Holy shit” as WJCU-88.7 FM longtime metal jock Bill Peters gave them “Best Metal,” and perennial winners Disengage won “Best Hard Rock.” David Spero then handed out “Best Rock Act” to Cherry Monroe, and the Whiskey Daredevils had the best line of the night as they accepted “Best Rockabilly/Garage” from guest presenter Peanuts, joking they’d retreat to the back room for “cocktails and fellatio.” For the record, they received neither.

Disown closed the show with a set of industrial rock that was a throwback to the mid-’80s, particularly when it indulged in a cover of Depeche Mode’s “Policy of Truth.” Given that the show had started with a nod to New Wave icons Blondie, that somehow seemed fitting, even if the Music Awards are designed to honor original music.

A few presenters were AWOL, Maxwell sometimes introduced folks who had just presented, and there was plenty of heckling. But we’re happy to report that, unlike years past, there were no skirmishes, despite the steadily flowing libations (we heard at one point the bar nearly ran out of Bud).