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Yacht Rock Revue
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Upcoming concerts (17) See all
White River Amphitheatre
Hayden Homes Amphitheater
RV Inn Style Resorts Amphitheater
Toyota Amphitheatre
Shoreline Amphitheater Grounds
North Island Credit Union Amphitheatre
Talking Stick Resort Amphitheatre
The Rooftop at Pier 17
The Stone Pony
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Live reviews
Best $20 I've spent on a show in years!! The band was absolutely phenomenal!! The closest I could ever get to seeing Led Zeppelin and The Who! The newly renovated Variety Playhouse is now perfection, there isn't a bad seat in the whole venue and the sound quality is perfect! This was the best father daughter concert!
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LOVE LOVE LOVE! We had the BEST time ever! Only wish we got to hear some Phil Collins, and Pina colada song! Prince was a huge bonus :) We will see you again!
Incredible show at the Gothic in Denver last night! Go see them if you can score a ticket!!! Don't forget to wear a captain's hat and be prepared to dance!
Posters (9)
Past concerts
Utah First Credit Union Amphitheatre
Fiddler's Green Amphitheatre
Dos Equis Pavilion
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Yacht Rock Revue tour dates and tickets 2024-2025 near you
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Yacht Rock Revue is not due to play near your location currently - but they are scheduled to play 17 concerts across 2 countries in 2024-2025. View all concerts.
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Confessions of a Cover Band: Yacht Rock Revue croons the hits you love to hate
"I never would've guessed I'd be doing what I'm doing now. The 23-year-old me would punch me in the face."
One night in 2012, a man in a Ronald Reagan mask paused beneath a stop sign in the Old Fourth Ward. Armed with a stencil and a can of white spray paint, he transformed the sign into a tribute to a 1978 hit by a mostly forgotten Canadian pop crooner named Gino Vannelli: “I just wanna STOP & tell you what I feel about you, babe.”
“I Just Wanna Stop” is the kind of song whose words most Americans over 40 know despite never consciously choosing to listen to it. After peaking at no. 4 on the Billboard Hot 100 in 1978, the tune never quite disappeared, becoming the aural equivalent of a recurring wart. The song found a second life—an endless one, as it turns out—in the musical nether region where the smooth, soft-rock hits of yesteryear remain in heavy rotation. Yes, that’s “Africa” you’re hearing in the dentist’s office. And “What a Fool Believes” in line at CVS. And that faint melody burrowing into your brain while on hold for the next available customer service agent? That’s “Steal Away.” Songs like these, disparaged by critics in their time then jokingly christened “yacht rock” by a comedy web series in 2005, are now the soundtrack to American tedium.
They’ve also become the source of a very good—if conflicted—living for the man who defaced the stop sign: Nick Niespodziani, the singer, guitarist, and de facto leader of the wildly popular cover band Yacht Rock Revue , which tours the country, headlines 1,000-plus capacity venues, and occasionally even plays with the original artists behind these hits.
At the time of the Vannelli vandalism, Yacht Rock Revue had begun to graduate from a local curiosity to a national one. Niespodziani’s sister videotaped the incident and posted it on YouTube. They then printed T-shirts of the sign and, when Vannelli performed at the Variety Playhouse, they got one to him.
On a gray Monday afternoon not long ago, Niespodziani was standing at this crossroads, looking at the sign, trying to explain the motivation behind the prank. “We had this idea, so we videotaped,” he said. “It was definitely guerrilla marketing.” Also, he was pretty drunk.
The episode seems to capture something ineffable about Yacht Rock Revue—part fandom, part joke, part self-promotion, each element infused with irony. When YRR takes the stage at Venkman’s, an Old Fourth Ward restaurant and nightclub co-owned by Niespodziani and bandmate Pete Olson, the band is fully in character, complete with gaudy shirts and sunglasses. They crack jokes about each other’s moms and theatrically highlight multi-instrumentalist Dave Freeman’s one-note triangle solo during America’s “You Can Do Magic.”
“This music isn’t easy to perform,” Olson says. Yacht rock songs tend to be filled with complicated chord changes. All seven band members are accomplished musicians, and Niespodziani, who trained for a spell as an opera singer, is a rangy vocalist, capable of gliding through the high notes in Hall & Oates’s “Rich Girl,” Michael McDonald’s gruff tenor in “I Keep Forgetting,” and Dolly Parton’s amiable twang in “Islands in the Stream,” without seeming to strain. He, Olson, and drummer Mark Cobb first played together in Y-O-U, a band they formed at Indiana University in the late ’90s. They found scant support for original music there, so they relocated to Atlanta in 2002.
Photograph by Mike Colletta
Y-O-U built a buzz in Atlanta, thanks to Niespodziani’s catchy, Beatles-esque songs and the group’s playful gimmicks. They performed, straight-faced, as Three Dog Stevens, a sad-sack trio playing what they called “sandal-rock” (a made-up, synth-heavy genre defined by its purveyors’ predilection for wearing sandals with socks); they covered Michael Jackson’s “Thriller” entirely on keyboards while dressed as the Royal Tenenbaums; they created a YouTube mockumentary series about a competitive jump-roping team. “Comedy has always been part of what we do,” Niespodziani said. “We were doing anything to get noticed because we felt we had good songs but just couldn’t break through with them.”
“I said, ‘That sounds like hell on Earth.’ He was like, ‘But you’re going to make a lot of money.’ So we did it.”
In 2008, Y-O-U was booked every Thursday at the 10 High club in Virginia-Highland. They’d stage “Rock Fights,” playing dueling sets of covers by artists like Bob Seger, John Mellencamp, and INXS, or rejigger Y-O-U songs as soul rave-ups with horns and backing singers, or do a standup comedy night. Yacht Rock Revue was just another of these goofs: Put on silly clothes, and play songs everybody knows but nobody really likes—or claims not to. It was Cobb and guitarist Mark Dannells who came up with the idea. Dannells thought about calling it “A.M. Gold” but Cobb had recently seen a viral web series called Yacht Rock and felt like the term would resonate. Niespodziani went along because his friends needed his vocals. Two band members wore wigs to that first show, and, at one point, Niespodziani stripped off his shirt. People loved it. The club’s booker invited them back the next Thursday. The gig sold out. He asked them to do it every Thursday.
“I said, ‘That sounds like hell on Earth,’” Niespodziani recalls. “He was like, ‘But you’re going to make a lot of money.’ So we did it.”
Most cover bands are awful. But because they play well-known songs, they often secure regular, paying gigs that bands playing original music can’t. Even for the good ones, there’s a ceiling. Few ever perform further than 20 miles from wherever they played their first gig. What’s more, performing other people’s music for a living carries a degree of shame. Cobb has heard the mutterings about Yacht Rock Revue: “Why are these guys playing covers? They could write their own songs. They don’t need to hide behind a gimmick.”
Most of the guys in Yacht Rock Revue—which also includes bassist/vocalist Greg Lee and keyboardist/vocalist Mark Bencuya—had already spent half a lifetime dragging gear into dank basement bars to play for a few bucks and even fewer people. They did this in an era when the music business was cratering. The rise of the internet taught a generation of consumers that music is free, devaluing the dream to which musicians dedicate their lives.
When Yacht Rock Revue started in 2008, Dannells was nearly 40. “It’s not like the world is beating down the door of 40-year-old rock stars,” he says. Today, Yacht Rock is a business, owing its success partially to the corners of the business that haven’t collapsed: live music and merchandising. Besides their public shows, Yacht Rock Revue plays a steady stream of well-paying corporate gigs. They also sell lots of captain’s hats, T-shirts, and other swag. The success of the franchise means it’s been more than five years since any of them had a day job. Niespodziani and Olson created a company, Please Rock , that provides the bandmembers and their families with health insurance, 401Ks, and all the other trappings of comfortable, upper-middle-class stability few musicians ever achieve. All this grants bandmembers some real creative freedoms. “I just released a whole record of orchestral music,” Dannells says. “I don’t care if it sells. I just do it for enjoyment.”
Niespodziani shuttered Y-O-U years ago but still writes elegant power-pop songs for his other band, Indianapolis Jones . But the difference between his two bands’ profiles is stark. Troy Bieser, who has been working on a documentary about Yacht Rock Revue, says he’s seen this in the juxtaposition of the footage he’s compiled. “I’ve seen Nick going through the journey of being thankful for the success but it also feeling ill-fitting,” Bieser says. “That existential dilemma has followed him.”
Niespodziani knows whenever Yacht Rock plays anywhere, that’s a slot a band like Indianapolis Jones can’t get. “We’re a big part of the problem,” he says. As a 39-year-old father of one, who’s worked hard to get what he has, he isn’t about to give it up, but he’s also honest about the compromises he’s made and doesn’t hide from the question that is a natural byproduct of his own success: When a joke becomes your life, how do you keep your life from becoming a joke?
“I never would’ve guessed I’d be doing what I’m doing now,” he says. “The 23-year-old me would punch me in the face and leave me for dead.”
Yacht rock was mostly made in the late ’70s and early ’80s, but the genre wasn’t named until 2005 when JD Ryznar, a writer and actor, created the Yacht Rock web series with a few friends. The video shorts imagined the origins of songs like the Doobie Brothers’ “What a Fool Believes,” Toto’s “Rosanna,” and Steely Dan’s “FM.” The music, Ryznar says, was well-crafted, like a yacht, and recurring nautical imagery in songs like Christopher Cross’s “Sailing” or on Loggins and Messina’s album Full Sail made the term fit. According to Ryznar, true yacht rock has jazz and R&B influences, is usually produced in California, and frequently involves a rotating group of interconnected studio musicians. The term was never intended to be a pejorative—“we never thought it was silly music,” Ryznar says—but the web series is most definitely comedy, and feelings about the music itself tend to be buried under layers of hipster irony, warm nostalgia, and veiled contempt. Yacht rock songs are finely constructed: They’ve got indelible pop hooks, but they’re decidedly professional, not ragged and cool like punk or early hip-hop, which were canonized among the music of that era.
For the first Yacht Rock Revue gig, much of the set list came from a compilation CD that Cobb had burned titled The Dentist’s Office Mix. It included songs like Player’s “Baby Come Back,” Ambrosia’s “The Biggest Part of Me,” and Rupert Holmes’s “Escape (The Piña Colada Song).” “I’d put it on at parties and just see what the reactions would be,” Cobb says. “It was a weird, guilty pleasure.”
Niespodziani’s initial feelings about the music were uncomplicated. “I wasn’t a fan,” he says. “I was really into music that made people feel something, that had some grit and humanity to it. The ethos I thought was important in rock ’n’ roll was rebellious fun crossed with a heart-on-your-sleeve kind of thing. Yacht rock doesn’t do any of that. It doesn’t rebel.” He found a lot of yacht rock to be technical, clinical, and sterile. “Sophisticated for the sake of being sophisticated.”
Onstage, Niespodziani is the picture of unapproachable retro cool. Tall, with shaggy hair and an angular face, he hides behind large, dark sunglasses and frequently surrenders a thin half-smile. In other words, he personifies the classic, arrogant, coked-up, late-’70s rock frontman. In person, he gives off nearly the opposite impression. Over coffee, he’s thoughtful, earnest, and self-deprecating. His sharp facial features are accentuated by wide-lensed prescription glasses, and, having traded the polyester shirts he favors onstage for a camouflage green hoodie, the vibe Niespodziani exudes is hardcore music geek. Olson, who has known Niespodziani since they were in fourth grade in Columbus, Indiana, says when they met, “Nick was the nerdy kid who was good at math and jump-roping.”
Photograph by Emily Butler
Yacht Rock Revue, for Niespodziani, is a part he plays: “I’m almost more an actor than a musician.” He and his bandmates spend hours prowling vintage stores looking for the retro leisure wear that they don onstage—and then a not inconsiderable amount of money getting those old clothes tailored to fit. “It’s a war of attrition,” he says. “You find something that might work, and then it’s itchy or it smells or holes develop because the shirt is older than I am. You have to be shopping at all times.” They once did a gig in street clothes, but it felt wrong. “Polyester,” he says, “is our armor.”
Sometimes that armor hasn’t been enough for Niespodziani. During the band’s first few years, they played weekly at the 10 High. “I would drink a lot and almost sabotage myself, sometimes onstage, and make fun of it,” he says. “People would ask me about the band, and I’d talk down about it and act like I was too cool. I didn’t lash out at people, but it was strange to get well-known for something that didn’t make me feel good about myself. I’d get drunk onstage to deal with it.”
His bandmates certainly noticed, but, for the most part, they let their friend work through it. “He’s been the moodiest about it,” Cobb says. “He just hates Rupert Holmes’s ‘Escape (The Piña Colada Song).’ Hates it. But he knows it goes over well.” So when Niespodziani’s got to play it, he’ll often deadpan an introduction comparing Holmes to da Vinci and Picasso. “By talking about how great it is, it helps me shed that song’s terribleness.”
Niespodziani believes the ironic distance he puts between the guy he is onstage and the guy drinking coffee at Ponce City Market is fundamental to the band’s success. “Because we thought—or at least I thought—I was too cool to be doing this, everything has keyed off what the audience reacts to, whether it’s the clothes we wear, the sidestep dance we do, whatever. The audience has been the head of the snake. We’ve just been following it.” It helps that with more than 500 songs in their repertoire, the band doesn ’ t burn out too badly on any tune. “The only song we have to play is ‘Africa.’” The 1982 hit by Toto, by a band made up of talented but largely anonymous studio musicians, has become something of an Internet meme itself, with multiple think pieces devoted to untangling its allure. “Part of it may be the audacity of the synthesizer sound,” Niespodziani says. “They’re just so cheesy. The chords are fairly complex and pretty unexpected. The way it goes to the minor key in the chorus is kind of a cognitive disconnect. And when you listen to the words, it’s not really about anything. Maybe that’s why it’s so quintessentially yacht rock. It’s not so much what the words are saying, it’s how they make you feel, this combination of pure joy crossed with reminiscing.”
Despite his ambivalence about the music, Niespodziani is first among equals within the band. He sings lead on more songs than anyone else, and it’s his judgment they trust when adding songs to their catalog. He has a system: “Generally, the more a song annoys me, the more likely it makes sorority girls want to eat each other’s brains. Also, almost every song would be an encore for the band we’re covering. So, those are the basics: Does it annoy me? Are girls going to like it? Would it be an encore for the band we’re covering?”
“I’m almost more an actor than a musician.”
Others in the band are more unabashed about the music. “I’ve always loved all this stuff,” says Lee, the bassist. “You have to love it before you can play with it in that comedy sense and do it right.” This ability to walk that line between having fun with the music and making fun of the music has won over many of the original artists. When the band first reached out to guys like Dupree, Gary Wright (“Dream Weaver”), and Player’s Peter Beckett, some artists disdained the term “yacht rock” and feared being treated as a joke. Dupree was an early convert and evangelized about the band to his peers, touting their musicianship and enthusiasm. He says those who eventually performed with Yacht Rock Revue were “staggered that they were playing in front of 4,000 people who knew every word to their songs.”
The genre’s rise as a cultural touchstone—Jimmy Fallon has been a big booster, inviting Dupree, Cross, McDonald, and others to perform on TV, and there’s now a SiriusXM station devoted to it—has benefited these artists. Their Spotify and YouTube streaming numbers have risen noticeably. “It’s made a big impact financially,” Dupree says. “Even the skeptics have seen the power of it.”
For a while, the band had a bit of a good-natured Twitter beef with the creators of the Yacht Rock web series. Ryznar admits he initially felt like the band had hijacked his idea, but now his only real gripe is Yacht Rock Revue’s liberal definition of yacht rock. “Half their set is incredible yacht rock,” Ryznar says. “The other half, they play way too much Eagles, America, and Fleetwood Mac. Those aren’t yacht rock bands.”
The band makes no apologies. As Niespodziani puts it, “Yacht rock is what we say it is now.” That’s not just bravado. Yacht Rock Revue trademarked the term “yacht rock” for live performances, so other acts can’t use it without permission. The maneuver helped snuff out competition from other cover bands but occasionally puts them in conflict with some of the genre’s originators. When Cross’s manager tried to assemble a “Yacht Rock” tour featuring Cross, Orleans, and Firefall, it ran afoul of the trademark.
“We said, ‘If you want to call it Yacht Rock, we’ve got to be the [backing] band,’” Olson says. That compromise collapsed when Cross’s manager “wanted a piece of the trademark and of all our earnings over three years.” Yacht Rock Revue sent a cease-and-desist letter instead.
The band’s set list is anchored in the classic late ’70s, early ’80s yacht-rock era but can stretch to include songs as old as the late ’60s or as recent as the early ’90s. Of course, there’s a balance to be struck: If they go too far afield, they risk becoming just another cover band, but there are other considerations to take into account, too. As Cobb explains, “Nothing about Whitney Houston is in the genre, but when we play ‘I Wanna Dance with Somebody,’ the chicks go crazy, everybody orders another round, the bar sells out of Tito’s and Red Bull, and they’re like, ‘When can you come back? You broke alcohol records.’”
The band’s audiences have evolved over time. The earliest shows were heavy on hipsters and fellow musicians. Then, those fans brought their parents. At a Buckhead Theatre gig in March, the crowd leaned toward balding guys in button-down shirts and platinum-blond women wearing expensive-looking jewelry. Niespodziani once called yacht rock “the music of the overprivileged,” which was a joke, but also not. Getting older, wealthier fans out to shows is an impressive accomplishment most artists would envy, but it has changed something fundamental about Yacht Rock’s appeal. “When we started, it was people elbowing each other, laughing at this music,” Niespodziani says. “Now, there’s no irony.”
On a night off during a Vegas stand in 2015, the entire band went to see Ringo Starr and his All-Starr Band perform at the Pearl Theater in the Palms Casino. Starr began doing these tours in 1989, fronting a band of aging rockers like Gary Wright, Steve Lukather (Toto), and Gregg Rolie (Santana, Journey), whose names and faces you might not recognize but whose songs you certainly would. Just past the midway point in the show at the Pearl, Lukather stepped to the mic, and Starr began beating out a familiar rhythm on the drums. As Lukather picked out the first few notes on the guitar and the synths pumped out the insistent melody, the song was instantly recognizable: “Africa.” In the theater balcony, Cobb recalls looking across at Niespodziani and seeing something change in his friend. “I just watched Nick’s face and, all of a sudden, it was as if this weight lifted off him.”
The Beatles had always been Niespodziani’s favorite band. “Now, I’m watching Ringo Starr, and he has to play fucking ‘Africa’ every night, too,” Niespodziani says. “He was in the Beatles! That was a life-changing moment for me.” Starr and his band were touching many of the same nerves in the audience at the Pearl Theater that Yacht Rock Revue touches all the time. “When we started Yacht Rock, I didn’t like the music we were playing. I didn’t like myself for being in a cover band. I had some dark times. It’s been a journey for me to get okay with it. That was a pretty key moment. Once you get to a certain point in the music business, everybody’s hustling. I’m not going to look down my nose at anybody for doing anything that makes it possible to feed their family by singing songs.”
Seeing Starr go yacht rock was a significant step that’s made enjoying Yacht Rock Revue’s triumphs a little easier. For years, Olson and Niespodziani waited for interest in yacht rock—and their band—to fade. Opening Venkman’s was a hedge against that. But Yacht Rock Revue’s stock continues to rise. Their touring business has grown 375 percent since 2014. “It’s not a fad,” Niespodziani says. “This is going to be our biggest year by far.” They play increasingly larger venues and have recently started booking dates overseas, including this summer in London.
The question is, where else can they take this, literally and figuratively? Back in 2013, the band quietly released a five-song EP: four original songs and a cover of—what else?—“Africa.” They used to occasionally drop an original tune into their shows, sometimes announcing it as a “Hall & Oates B-side.” The crowds were amenable, kind of. “It’s hard when they know every word to every song,” Niespodziani says. “They don’t come for discovery; they come for familiarity.” That’s a truism any band who has ever had a hit knows all too well. The essential appeal of Yacht Rock Revue—and yacht rock—is a combination of nostalgia and escape, a yearning for the simpler, easier time these songs evoke. Yet Niespodziani has been wondering lately if it’s possible to pivot fans to his own songs, either with Yacht Rock Revue or Indianapolis Jones.
“That’s still my dream,” he says, “to have one song that matters to somebody the way ‘Steal Away’ matters to people. No matter what else I do in life, if I don’t ever get over that bar, part of me will feel like I failed at the one thing I wanted. I don’t know if I can ever let go of that. I don’t know if I’m ready to face that darkness.”
In 2013, during a commencement speech at Syracuse University, the author George Saunders told graduates, “Success is like a mountain that keeps growing as you hike up it.” Niespodziani brought this quote up to me while we were having coffee. He knows his life is nothing to complain about. He lives a rarefied existence where he gets paid a lot of money to play music. But clearly, the mountain grows in front of him, and the hike up isn’t always easy. He’s still prone to self-deprecating asides about his band, he still kinda envies the Robbie Duprees of the world—but, hey, he doesn’t need to get drunk onstage anymore, and he doesn’t lose sleep wondering if he’s a force for good or evil in the world. That stop sign at the crossroads in the Old Fourth Ward isn’t an omen or a cautionary tale. It’s simply a funny story that makes people smile. He’s just working on becoming one of them.
“The way I really made peace with it is, it occurred to me that everywhere we went, everyone was so happy to see me,” he says. “These people, it’s the highlight of their week to come sing along with these tunes. If your job is making people happy, that’s a pretty good calling.” He leans back in his chair and smiles. “My job is to make it okay for everybody else to have fun. That’s kind of cool.” He gets quiet for a moment and shrugs.
This article appears in our July 2018 issue .
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Yacht Rock Revue explain why they're charting a new course with original music
Sarah Rodman is the Entertainment Editor, covering TV and music for EW.
After nearly a dozen years confidently steering the S.S. Nostalgia, playing the beloved soft rock hits of the ’70s and ’80s to packed crowds wearing captain’s hats, Yacht Rock Revue are charting a new course by releasing their first album of original material. Hot Dads in Tight Jeans won’t be released until Feb. 21, but EW is bringing you the first single, “Step,” right here.
“We wanted to hit a note that was both retro and could be right now,” says shades-sporting co-frontman Nick Niespodziani of the synthy-smooth jam. “We wanted it to be outside of time.”
That musical mood dovetails nicely with the vibe of a group that began on a lark in 2007 and has steadily grown into an act that crisscrosses the country to play for its own devoted fans. The Atlanta septet can draw thousands of people to sing along to spot-on renditions of hits by Hall & Oates, Toto, Kenny Loggins, Christopher Cross, and other artists whose names some in the audience have forgotten, or never knew, but whose hits have endured, such as “Brandy (You’re a Fine Girl),” by Looking Glass. While there may have been an element of irony for some attendees at the beginning, the shows tend to be unabashedly joyous affairs.
Niespodziani, drummer Mark Cobb, and co-frontman Peter Olson were all in a band called Y-O-U in the early 2000s that enjoyed some regional success but ended up petering out. “We were all splitting off to do other things,” says Niespodziani. “Peter was thinking about moving to Colorado and I had started law school and we were all kind of ready for what was happening after music. Because when you’re 27 and you haven’t made it yet, you’re an ancient guy. And in the midst of that we did this one Yacht Rock show and then all of a sudden it became what it is now. We’ve got an office, and a band, and a 401k.”
Soon they will have that album of original material as well as a documentary detailing their unlikely route to success as they rose from bar band to amphitheater band.
In addition to sharing “Step,” the group also curated the ultimate Yacht Rock Spotify playlist for EW, and we chatted with Niespodziani about the band’s step toward original songwriting and mixing up the smooth classics in their set.
ENTERTAINMENT WEEKLY: You’ve finally decided to make original music, again. How much anxiety do you have about fan reception since they’re used to you playing songs they love? NICK NIESPODZIANI: We played it for the first time at our big Atlanta show in August at Chastain Park Amphitheater in front of 7,000 people. I was pretty nervous because all these songs that we play, everybody knows every word. Like, every song we play would be the encore for whatever artist it is that we’re covering. So how do you put up a song that people have never heard before, at all, against those songs? I was originally super nervous about it, but our fans really surprised me. I expected everybody to leave for the bathroom or the bros to start booing. But they stayed and they got into it, and the reception everywhere we’ve been with it has been awesome. People are into it. So I’m much less nervous now than I was before.
The album itself is not a “yacht rock” record but is obviously in a similar wheelhouse and has a cheeky humor to it. Do you get the sense that you’ve built up enough goodwill from the fans since you’ve been playing for so long that they’re open to original songs? Yeah, and I’ve noticed, especially over the last three or four years, when we go places, whether it’s the people at the venue or the fans that we’ve talked to, they treat us like artists. In the beginning, I felt like a glorified stripper where people just wanted to pull my hair and see if it was real and it was more of a novelty thing. But now I feel like we’ve earned that respect from our fans and they’re open to it, or at least they have been so far. I’m hoping that that streak continues.
How did you decide that now was the time for you guys to try this? I was kind of going through my midlife crisis checklist, choices like “I could wreck a red sports car” or “I could have an affair with a busty nurse.” And I was like, “You know what I really should do is make an album with my ’70s soft rock band.” So we threw the idea around and were like, “Why not try it,” talking about that goodwill we built up with our fans. The cool thing for me especially is that I’ve made a lot of records over the years, little side projects that had no budget and no hope for people to hear them. And this experience has been the opposite of that. We were able to get an incredible producer and make a cool video all with the power of the Yacht Rock machine that we’ve built behind it. And it’s been really inspiring and fun.
Who produced it? Ben Allen, he’s from here in Atlanta. He produced Walk The Moon and Animal Collective’s big records and he just did the new Kaiser Chiefs record, which is [a hit] in the UK right now. He did Gnarls Barkley. He’s a close friend of mine and I was kind of nervous, even though we hang out and go to the gym together, to ask him about making a record with Yacht Rock because I thought there would be this stigma because he produces Deerhunter and all these super hipster bands. And he was immediately like, “Yeah, let’s do it. That sounds really fun.”
A song like “Step” could probably slip into your sets with relative ease since it has that blue-eyed soul falsetto thing happening that spans from disco, like a sliver of Giorgio Moroder, to a group like Hall & Oates to something like Beck’s song “Debra.” Yeah, we definitely leaned on more on that ’80s side of the coin, Hall & Oates and even some ’80s David Bowie and some of the synthier stuff like Giorgio Moroder. That just strikes closer to our personal taste and I think it’s easier to see how that fits in with modern music. Whereas if you make something that’s just like a Steely Dan rip, that’s really a very segmented thing off to the side.
We didn’t want to come out with something that could maybe be viewed as a novelty single for the first thing. When you’re a cover band coming out with original music, getting taken seriously is the first hurdle that you have to leap over. So “Step” felt like the right choice because it’s a mission statement for the whole album in a way. It’s about deciding who you want to be and making the space for that in your life.
I guess in my view everyone is putting on an act of some sort. We pretend to be these coked-up ’70 dudes, but we are who we are inside and I’m inspired by people like Lizzo and Pete Buttigieg and Puddles The Clown. It’s definitely an act that all of them are doing, but the heart of what they’re doing is true. The center of it emotionally is honest and unapologetic. And that’s what “Step” is about. And that’s what this whole album is about for us. Because we are a bunch of 40-year-old dads who are trying to make our first record that people listen to, why not just bear hug it instead of run away from it?
Do you ever think how wild it is that you all have built a career out of this, particularly since you’re not a straight tribute band of one group? All the time. It’s crazy. If you would’ve told me when we did the first show “that this is going to be your career,” I would have slapped you in the face. There’s just no way. I never imagined doing something like this. And it’s funny because I feel like in that early band, I thought music was all about what’s inside of you as an artist and that if I can find inside myself this great, soul-wrenching truth that will be the reason that I become famous and whatever. And I think over the years with Yacht Rock — grudgingly at first — I started to realize that music is actually about the shared experience and being there in the room together, having fun, and just escaping from life for a while. And I feel like it’s been this 11-year penance that I’ve gone through, and now I’ve come out on the other side and I have a completely different view of what music is and what it should be. That’s what inspired this record and it makes me so happy to do what I do now.
Which is funny on one level because probably for 90 percent of what you’re performing, the original artist is sick to death of playing that song. But you all have now performed some of these songs so many times that it is entirely possible that you are as sick of singing something like “Africa” as Toto is. And yet you always legitimately seem like you are having fun. It’s funny you mention “Africa.” That’s the only song we have to play at every show. And I think it kind of goes through waves. It’s like a Saturday Night Live joke where they keep repeating the same thing and it gets really monotonous and not funny. And then if you repeat it for long enough, it becomes funny again. It got to where it got old for a while and now it’s really fun to sing that song, even though I’ve probably sung it 2,000 times, literally. It’s not a problem.
Coldplay has to sing “Yellow” every night no matter what. There are five or six other songs they have to sing every night no matter what. We don’t have to do that. We have thousands of songs to choose from. So, in some ways, it’s been a blessing that we can stay fresher because we can always change out songs and add new songs.
Let’s talk about this playlist. You have a pretty wide range here, including yacht rock staples like Michael McDonald’s “I Keep Forgettin'” but also songs from Lake Street Dive and “Juice” by Lizzo. How do you all even define yacht rock now? For me, yacht rock is more of a vibe and an energy than necessarily “soft rock music made in Los Angeles between 1976 and 1984.” It’s more about when the song comes on, does it put a smile on your face in the first 10 seconds? If you use that as your first barrier to entry, then what can be considered yacht rock becomes a lot more wide. If you’re out cruising on your boat on Saturday afternoon, what’s going to feel good?
“Juice” is going to feel good. Yeah. And it feels like the transition from “I Keep Forgettin'” into “Juice” doesn’t feel like a hard left turn. It feels natural. I guess our perspective is that people are going to need yacht rock now and in the future, and what it can be is a lot wider than the strict dictionary definition. Lake Street Dive, they’re a genre-bender for me. I think that they have a lot of different influences. And again, it’s the positive energy behind it is what makes it yacht rock.
How did you pick the classic ones to intersperse in there? We wanted to make sure that anybody who hasn’t gotten familiar with the yacht rock yet — which I don’t know who that might be at this stage — got a good dose of the healthy vitamins of what real, 100-percent yacht rock is. So we picked the ones that felt right to us and then also had something in common with our record.
You’re in your forties now. Is this sustainable? Can you do this until you retire? That’s a great question. If “Bad Tequila” [from the upcoming album] ends up being like “Steal Away” was for Robbie Dupree, then I definitely can. That’s what this move is, just to see if we could have one song that makes people feel the same way that I felt when I danced with my wife to “Steal Away” at my wedding. And I’ve talked to Robbie about that. And he has this relationship with that song where he got tired of it and he loves it again. But for us, in the next 20 years, I don’t want to get morbid about it, but a lot of these bands that we love and the classic rock artists are going to age out of touring. And there’s going to be a void there and I hope that we will be positioned to help fill it. It’s weird to think about but it is true. It gives us a little bit of job security.
In the last few years, several other bands in this vein have popped up. How do you feel about that? I imagine it’s hard to be mad about other cover bands when you’re a cover band. It’s great that this music has become so popular and imitation is finest form of flattery, right? So when I see these bands doing our dance moves, or wearing the sailor outfits like we used to 10 years ago or adding the same songs to their setlists, that’s cool. Part of me wants to say, “Go get your own unoriginal idea.” But like you said, there’s no honor among thieves, really. So it’s fine. I got nothing but love for any of them. I think what we do stands on its own.
Yacht Rock Revue will hit the road for the Hot Dads in Tight Jeans tour Jan. 9 and will be pulling into ports across the country, from Boston to Los Angeles.
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White River Amphitheatre | Auburn, WA
Train & reo speedwagon - summer road trip 2024.
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Hayden Homes Amphitheater | Bend, OR
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RV Inn Style Resorts Amphitheater | Ridgefield, WA
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Toyota Amphitheatre | Wheatland, CA
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Kia Forum | Inglewood, CA
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North Island Credit Union Amphitheatre | Chula Vista, CA
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Talking Stick Resort Amphitheatre | Phoenix, AZ
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The Rooftop at Pier 17 | New York, NY
Stone pony summer stage | asbury park, nj, everwise amphitheater at white river state park | indianapolis, in.
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Cadence Bank Amphitheatre at Chastain Park | Atlanta, GA
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Yacht rock revue on august 29, 2024.
Utah First Credit Union Amphitheatre, West Valley City, Utah
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Yacht Rock Revue: 70s and 80s Hits, Live from New York
Saturday, Aug. 31, 2024 at 3:30 p.m. on KPBS TV / Stream now with KPBS Passport + Encores Sunday, Sept. 1 at Noon and Tuesday, Sept. 3 at 1 p.m. on KPBS TV
In a musical voyage like no other, “Yacht Rock Revue” sets sail on the shimmering seas for a nostalgic journey through the hits of the late '70s and early '80s, where soft rock and smooth grooves rule the waves. A talented group featuring exceptional musicianship and tight harmonies, the program pays homage to the golden era of yacht rock, delivering pitch-perfect renditions of iconic classics from artists like Hall & Oates , Steely Dan , Toto , Michael McDonald , and more.
“Yacht Rock Revue” takes audiences back in time with their lush instrumentation, soulful voices, and tight jeans. Their infectious enthusiasm and engaging stage presence create a feel-good atmosphere that encourages everyone to sing along and dance the night away. The music transports viewers to a bygone era of breezy melodies and yacht rock magic.
Yacht Rock Revue is on Facebook / Instagram
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Ridin’ The Storm Out: Train, REO Speedwagon, Yacht Rock Revue Play The Hits In Atlanta [Photos/Videos]
Train , REO Speedwagon , and Yacht Rock Revue brought their joint summer tour to Ameris Bank Amphitheatre in Alpharetta, GA earlier this month for a soft-rock celebration.
The show was a hometown tour stop for Yacht Rock Revue, which first formed in Atlanta in 2007, and the band used its home-field advantage to get the evening off to an electrifying start despite a weather delay. Even with the late start, each band was able to play a full set for the packed audience.
REO Speedwagon kept it classic with fan favorites like “Can’t Fight This Feeling”, “Roll with the Changes”, “Keep On Loving You”, “Take It on the Run”, “Don’t Let Him Go”, “Keep Pushing”, and the particularly appropriate “Ridin’ the Storm Out”.
In addition to original hits like “Calling All Angels”, “Hey, Soul Sister”, “Drops Of Jupiter (Tell Me)”, and “50 Ways to Say Goodbye”, Train incorporated covers of recent chart-toppers “Lose Control” by Teddy Swims and “Too Sweet” by Hozier , as well as “The Joker” by Steve Miller Band , and “Hey Jude” by The Beatles .
Check out fan-shot videos from Train, REO Speedwagon, and Yacht Rock Revue at Ameris Bank Amphitheatre in Alpharetta, GA, scroll down for the full setlists, and click below to view photo galleries courtesy of photographer Emily Butler .
The tour continues with shows in Denver, Salt Lake City, and down the West Coast before concluding in Phoenix on September 11th. For a full list of dates and to purchase tickets, visit Train , REO Speedwagon , or Yacht Rock Revue ‘s website.
Setlist : Train | Ameris Bank Amphitheatre | Alpharetta, GA | 8/17/24
Set: Calling All Angels, If It’s Love, Get to Me, Save Me, San Francisco, Meet Virginia / The Joker, Lose Control (Teddy Swims cover), AM Gold, Play That Song, Angel in Blue Jeans / Too Sweet, Long Yellow Dress, 50 Ways to Say Goodbye, Marry Me, Seven Bridges Road / Bruises, Hey Soul Sister, Drive By / Hey Jude, Drops Of Jupiter (Tell Me)
Setlist : REO Speedwagon | Ameris Bank Amphitheatre | Alpharetta, GA | 8/17/24
Set: Setlist: Don’t Let Him Go, Take It on the Run, Keep Pushin’, Live Every Moment, Tough Guys, I Wish You Were There, Music Man, Can’t Fight This Feeling, Son of a Poor Man, Time for Me to Fly, Ridin’ the Storm Out, Keep On Loving You, Roll With the Changes
Setlist : Yacht Rock Revue | Ameris Bank Amphitheatre | Alpharetta, GA | 8/17/24
Set: Sweet Freedom (Michael McDonald cover), Kiss You All Over (Exile cover), You Make Loving Fun (Fleetwood Mac cover), Heart to Heart (Kenny Loggins cover), Brandy (Looking Glass cover), Tropical Illusion, Africa (Toto cover), Baker Street (Gerry Rafferty cover), More Than a Feeling (Boston cover)
Train | Ameris Bank Amphitheatre | Alpharetta, GA | 8/17/24 | Photos: Emily Butler
Reo speedwagon | ameris bank amphitheatre | alpharetta, ga | 8/17/24 | photos: emily butler, yacht rock revue | ameris bank amphitheatre | alpharetta, ga | 8/17/24 | photos: emily butler.
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Yacht Rock Revue Setlist at Fiddler's Green Amphitheatre, Greenwood Village, CO, USA
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3 activities (last edit by stepbrad , 29 Aug 2024, 05:45 Etc/UTC )
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Fiddler's Green Amphitheatre
- Yacht Rock Revue This Setlist Start time: 6:30 PM 6:30 PM
- REO Speedwagon Start time: 7:45 PM 7:45 PM
- Train Start time: 9:25 PM 9:25 PM
Yacht Rock Revue Gig Timeline
- Aug 25 2024 Cynthia Woods Mitchell Pavilion The Woodlands, TX, USA Add time Add time
- Aug 26 2024 Dos Equis Pavilion Dallas, TX, USA Add time Add time
- Aug 28 2024 Fiddler's Green Amphitheatre This Setlist Greenwood Village, CO, USA Start time: 6:30 PM 6:30 PM
- Aug 29 2024 Utah First Credit Union Amphitheatre West Valley City, UT, USA Start time: 6:25 PM 6:25 PM
- Aug 31 2024 White River Amphitheatre Auburn, WA, USA Start time: 6:25 PM 6:25 PM
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Katie Puckrik’s A Yacht Rock Odyssey – reviewed
By david quantick.
By david quantick
According to the sleeve notes for this epically-detailed boxed set, “Yacht Rock is a neologism coined decades after the music’s heyday to corral like-minded mellowness into a petting zoo of smooth.” In other words, Yacht Rock doesn’t exist. Like “freakbeat” and other genres designed to make it easier to label music, Yacht Rock is a vague, newishly-minted label that enables people to find a link between apparently unconnected records.
That said, even people who hate labels have to admit that the criteria for what constitutes Yacht Rock are fairly clear: a vague sort of jazzy pop sound, a moderately catchy chorus that leaps out at the listener like a heavily-drugged salmon, a great deal of saxophone, the soft rain of tinkly keyboards, and Michael McDonald. It’s terrifying how often Michael McDonald turns up here: as a songwriter, as a backing vocalist, and as both a solo artist and member of the Doobie Brothers, McDonald is the Zelig of Yacht Rock. It’s tempting to imagine a timeline where Michael McDonald was assassinated by Lee Harvey Oswald and Yacht Rock never happened.
Not to set the catamaran among the pigeons, but Yacht Rock is one of the most divisive imaginary genres of all time David Quantick
Not to set the catamaran among the pigeons, but Yacht Rock is one of the most divisive imaginary genres of all time. When I mentioned to a few people that I was writing about a Yacht Rock compilation, their reactions were to say the least strong, and involved swearing. For many people, the sweet blandness of Yacht Rock and its associations (the 1970s, cocktails, swimwear, yachts) is infuriating, and the idea that this wafting, somehow heartless music is now being celebrated instead of, say, buried in the earth’s molten core for ever, is horrific to them. It is, as the older generation say, like punk never happened. Session musicians rule the day: instead of fiery passion and musical aggression, everything is the musical equivalent of a Harvey Wallbanger – overly sweet, brightly coloured, and liable to give you a terrible hangover. “Yacht” it may be, “rock” it isn’t. It’s not soul, either, or disco, and quite often it isn’t pop. The words are full of exhortations – ‘Move On’, ‘Hold On’, ‘Back Off’, ‘Turn Your Love Around’ – but the tunes send out the opposite message: stay still, give up, don’t move, leave your love in neutral.
Not every song is like that, of course. There are great songs here – Kool & The Gang’s ‘Too Hot’, Robert Palmer’s ‘Every Kind Of People’, Elkie Brooks’ ‘Fool If You Think It’s Over’ – but these are Yacht Rock in name only, and for many just bring to mind Albert Einstein’s famous line: if it’s good, it’s not Yacht Rock, and if it’s Yacht Rock, it’s not good. The musical range of this compilation is pretty consistent, but there are exceptions (one of which will be discussed imminently).
There’s also the faint reek of irony about Yacht Rock. Many remember the whole “ guilty pleasures ” trend of a few years back in which people celebrated “tacky” music from their youth in a half-genuine, half-raised-eyebrow kind of way. This was, they said, no way to consume music: if you love something, you should just love it without shame, and not be laughing at it at the same time as you are listening to it. And it’s hard not to be vexed by the legions of people with wry tears in their eyes punching the air to Leo Sayer : almost as hard, in fact, as a non-fan of this pseudo-genre to listen to an astonishing four CDs of yacht rock.
As a piece of archive, A Yacht Rock Odyssey is up there with the great 1960s garage band compilations, just substituting mellow sax for fuzz guitar David Quantick
But as that non-fan, I am paradoxically full of admiration for this project. It is compiler Katie Puckrik’s labour of love: presenter of a radio show devoted to Yacht Rock, Puckrik knows her stuff, as you might expect from someone who’s spent her entire life working in music, from dancing on a Pet Shop Boys tour to fronting the Lust For Life tribute band to DJing and presenting radio shows. Her research for this collection is mind-boggling: there are acts from all over the world, obscure and otherwise, representing funk, soft rock, jazz and “Japanese City Pop” (genres within genres). The sleeve-notes are fantastically informative, witty and sometimes surprising (apart from the fact that ace blandsman Christopher Cross wrote ‘Ride Like The Wind’ on acid, there’s also the little-known link between Yacht Rock and serial killers). This is far from being an ironic or silly collection: it’s put together with love and knowledge, and that’s all you can ask for. As a piece of archive, A Yacht Rock Odyssey is up there with the great 1960s garage band compilations, just substituting mellow sax for fuzz guitar: it’s a Pebbles for cokeheads. 76 tracks from the sublime – Carole Bayer Sager’ ‘It’s The Falling In Love’, Boz Scaggs’ ‘Lowdown’ – to the ridiculous…
Which brings us to the elephant in the room: well, not so much ‘elephant’ as ‘herd of freakishly large mutant space dino-mammoths” and not so “room” as “very small box.” The track that rises above the others like Olympus above the Serengeti. A song so big that it encompasses an entire continent.
‘Africa’, by Toto.
Calling ‘Africa’ a “Yacht Rock” song is like calling Bob Dylan’s ‘Like A Rolling Stone’ a folk song. It’s like calling The Beatles a Merseybeat group. It’s accurate, but also it doesn’t begin to even hint at the enormousness of the thing. ‘Africa’ isn’t Yacht Rock. If you played ‘Africa’ on an actual yacht, the yacht would explode, taking with it the entire Caribbean Sea and most of Florida. Next to some needle fluff like, say, Michael Sembello’s ‘Lay Back (Menage A Trois)’, ‘Africa’ is a mindless behemoth of a song, crushing everything in its path. Which is probably why it’s been placed, sensibly, at the end of CD1, where it both acts as a powerful finale and also is liable to cause the least amount of damage. Puckrik devotes a whole page of her sleeve-notes to ‘Africa’, detailing both its extraordinary renaissance in the 21st century and what she calls its lyrical “clunkiness.” She makes a great case for ‘Africa”s emotional resonance to a new generation, and points out that Toto thought it was “the weirdest song they ever did” (listening to Toto’s other, equally thrilling but marginally more unimaginative soupfests, you can see their point).
And so ‘Africa’ stands over its charges, like a lion king sworn to protect a lot of, I don’t know, cocktail monkeys and giraffes made of Doritos, safe in the knowledge that, like it or not, Yacht Rock has been anthologised, archived, and praised, definitively.
A Yacht Rock Odessey was reviewed by David Quantick. It’s released on Friday 30 August 2024, via Demon Music.
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A yacht rock odyssey - limited 4cd set with signed print.
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Yacht Rock Revue hosts an annual concert where they invite members of the original bands that they cover to join them on stage to play a few songs. [12] The first Yacht Rock Revival was held in 2011 in a parking lot at Andrews Entertainment Complex in Atlanta with about 1,000 attendees. [13] In 2018, the Revival was held at the State Bank Amphitheatre in Chastain Park to a sold-out crowd of ...
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But Yacht Rock Revue isn't just a tribute band; they are musical alchemists, seamlessly blending their own unique style with the iconic yacht rock vibe. ... Their first original record, titled Hot Dads In Tight Jeans, showcases the bands complete range of skills that simultaneously transports the listener to a more modern era. While "Step ...
Buy Yacht Rock Revue tickets from the official Ticketmaster.com site. Find Yacht Rock Revue tour schedule, concert details, reviews and photos. ... the hip bands that adapted Yacht for a younger audience. They brought the songs to a hot producer, Ben Allen, who's worked with Gnarls Barkley, Animal Collective, and Neon Indian. Allen gave the ...
About Yacht Rock Revue. Yacht Rock Revue originated as a one-time joke project by Atlanta indie-rock band Y-O-U for a theme night at their club residency: A show full of smooth 70s hits, performed ...
Yacht Rock Revue began in the least-yachtiest of states, 2,000 miles from breezy Marina del Rey. ... but were more modern - akin to Phoenix or Air, the hip bands that adapted Yacht for a younger audience. They brought the songs to a hot producer, Ben Allen, who's worked with Gnarls Barkley, Animal Collective, and Neon Indian. Allen gave the ...
Yacht Rock Revue is a polyester-clad tour de force built on the legacy of Toto and Lionel Richie. "Oh hey, I'm about to get on a cruise.". No surprise that when we call Yacht Rock Revue frontman Nick Niespondziani, he and his bandmates are literally lining up to get on a boat to perform some '70s and '80s soft rock classics.
Stream Full Concert with Passport: https://to.pbs.org/yachtrockA sneak peek of this nostalgic musical journey through the late 70s and early 80s, featuring h...
Yacht Rock Revue tour dates and tickets 2024-2025 near you. Yacht Rock Revue will be performing near you at Coastal Credit Union Music Park at Walnut Creek on Friday 09 August 2024 as part of their tour, and are scheduled to play 28 concerts across 2 countries in 2024-2025. View all concerts. Songkick is the first to know of new tour ...
Confessions of a Cover Band: Yacht Rock Revue croons the hits you love to hate ... some artists disdained the term "yacht rock" and feared being treated as a joke. Dupree was an early convert ...
October 29th 2023. Yacht Rock Review always puts on a great show. They are fun, engaging and sound impeccable. The house of blues, Las Vegas, venue is great. Experienced and fast staff. Las Vegas, NV. House of Blues Las Vegas. David. September 19th 2023.
My List. Set sail on the shimmering seas for a nostalgic musical journey through the late 70s and early 80s, where soft rock and smooth grooves rule the waves. This talented group with exceptional ...
Yacht Rock Revue confirmed their a 21-track concept album, Escape Artist, due out in full on November 29 with Sides A and B of the double LP arriving on October 4. The band shared the lead singles ...
The Yacht Rock Revue is everything the late '70s and early '80s should've been: massive sing-along soft rock hits, tight bell-bottom jeans, impeccable musicianship, polyester shirts ...
Get Yacht Rock Revue setlists - view them, share them, discuss them with other Yacht Rock Revue fans for free on setlist.fm! setlist.fm Add Setlist. Search Clear search text. follow ... View artists covered statistics. Last updated: 28 Aug 2024, 20:39 Etc/UTC. Gigs seen live by.
The following is a list of yacht rock bands and artists. Yacht rock. Airplay [1] [2] Alessi [1] Ambrosia [3] [4] America [5] Attitudes [1] Patti Austin [1] Average White Band [6] George Benson [7] [8] [9] Stephen Bishop [10] Jimmy Buffett [11] Bobby Caldwell [1] [12] Captain & Tennille [13] Larry Carlton [1]
After nearly a dozen years confidently steering the S.S. Nostalgia, playing the beloved soft rock hits of the '70s and '80s to packed crowds wearing captain's hats, Yacht Rock Revue are ...
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Yacht Rock Revue Gig Timeline. Jul 02 2023. The Windjammer Isle of Palms, SC, USA. 7:05 PM. Jul 06 2023. Leader Bank Pavilion Boston, MA, USA. 7:45 PM.
Get the Yacht Rock Revue Setlist of the concert at Hayden Homes Amphitheater, Bend, OR, USA on September 1, ... Artists > Y > Yacht Rock Revue > September 1, 2024 Setlist. Sep 1 2024. Yacht Rock Revue Setlist at Hayden Homes Amphitheater, Bend, OR, USA. Edit setlist Show all edit options.
Yacht Rock Revue. Find concert tickets for Yacht Rock Revue upcoming 2024 shows. Explore Yacht Rock Revue tour schedules, latest setlist, videos, and more on livenation.com.
Saturday, Aug. 31, 2024 at 3:30 p.m. on KPBS TV / Stream now with KPBS Passport + Encores Sunday, Sept. 1 at Noon and Tuesday, Sept. 3 at 1 p.m. on KPBS TV. Set sail on the shimmering seas for a ...
The songs that Yacht Rock Revue performs live vary, but here's the latest setlist that we have from the August 29, 2024 concert at Utah First Credit Union Amphitheatre in West Valley City, Utah, United States: Yacht Rock Revue tours & concert list along with photos, videos, and setlists of their live performances.
Train, REO Speedwagon, and Yacht Rock Revue brought their joint summer tour to Ameris Bank Amphitheatre in Alpharetta, GA earlier this month for a soft-rock celebration.. The show was a hometown ...
Inspired by the golden era of soft rock, Yacht Rock Revue has mastered the art of recreating the breezy and laid-back tunes that defined a generation. From the sun-kissed melodies of Steely Dan and Michael McDonald to the velvety harmonies of Hall & Oates, their repertoire spans an ocean of beloved hits that evoke memories of palm trees, ocean ...
Get the Yacht Rock Revue Setlist of the concert at Fiddler's Green Amphitheatre, Greenwood Village, CO, USA on August 28, 2024 and other Yacht Rock Revue Setlists for free on setlist.fm! ... Artists > Y > Yacht Rock Revue > August 28, 2024 Setlist. Aug 28 2024.
A Yacht Rock Odessey was reviewed by David Quantick. It's released on Friday 30 August 2024, via Demon Music. Compare prices and pre-order. ... A Yacht Rock Odessey Various Artists / 4CD set. CD1 LUXURY YACHT Some of the most beloved West Coast classics this side of Malibu. Christopher Cross / Ride Like The Wind [45 Version]