Photo Credit: Scott Ritchie / @scottfromscotland
When Christopher Cross and the on-fire L.A. session cats who formed Toto were racking up smash after smash in the late 70s/early 80s, they had no idea that decades later, they’d be still wildly popular, but as purveyors of a nostalgic genre called “Yacht Rock.” The term came into existence in 2005 by the makers of the online video series Yacht Rock, who connected the music with the distinctively SoCal activity of boating. In 2014, All Music identified the “key defining rules of the genre: keep it smooth, keep the emotions light, always keep it catchy.
On Labor Day Sunday at the Hollywood Bowl, the always delightful, candy voiced Cross totally checked those three boxes with a slightly jazzed up (thanks to inventive pianist Jerry Léonide) version of his silky as all get out, landmark Grammy winning “Sailing.” But when the current lineup of Toto – local boys making their long awaited Bowl debut - took the stage for their revved up opening number “Girl Goodbye” (from their self-titled 1978 debut), they blasted through the usual boundaries of “Yacht Rock” with all manner of high octane badassery, which held their adoring audience in a tight, exciting grip throughout the surprising twists and turns in their 90-minute set.
Toto’s ability to fit comfortably in the made-up genre yet transcend its general “smoothness” aesthetic lies in its artful blend of wildly catchy songwriting and blazing-cool musicianship, driven by founding member Steve Lukather’s intricate and fiery electric guitarisma. It was was on display frequently via close ups on the video screens every time he blew the audience’s minds with his effortless soloing genius.
Early on in the lengthy and often humorous band intro segment, Luke kind of said it all about Toto’s uneasy connection with the made-up genre. “All this yacht rock s***! Where is my f***in yacht?” He offered a mock apology, then continued praising his cadre of compadres that keeps Toto’s poppy and infectious, yet often innovative sound relevant decades after Toto IV (1982) with the original ensemble (featuring the great Porcaro brothers) made them superstars.
Toto’s enduring success as road warriors is in large part due to the well lived in, deeply intuitive “brother from another mother” relationship between Luke and Joseph Williams, Toto’s charismatic second lead vocalist who’s been a permanent touring fixture since 2010. Their seamless, simmering and always about ready to explode connection at the Bowl kept the train rollin, the artful fusion of edge and smooth harmonies flowing and the high ranges soaring skyward on familiar gems like “Hold The Line,” “Pamela,” “Georgy Porgy” and the ever-irrepressible classic pop lament/plea “Rosanna,” the latter whose legendary Jeff Porcaro originated shuffle came to life via drummer Shannon Forrest’s capable hands.
When Luke introduced keyboardist Greg Phillinganes, they reminisced about their monster session days with some riffs on “Beat It” and Michael McDonald’s “I Keep Forgettin’.” Toto 2024 also features familiar faces like Forrest (first run, 2014-2019), multi-instrumentalist Warren Ham (whose first stint was 1986-88), bassist John Pierce (2020-present) and youthful newcomer keyboardist and vocalist Dennis Atlas, whose ample high end vocal energy empowered the verses on “I’ll Supply The Love.” Though founding keyboardist/vocalist David Paich is no longer a permanent member, his presence was essential on this night on the later numbers in the set, most notably, singing the familiar verses on the exotic barn-burning singalong-ready closer “Africa,” Toto’s most enduring gift to the ages.
While shows like this are by necessity pretty much a cavalcade of familiar hits, it was great to see Luke taking the reigns of two polar opposite lesser knowns, singing lead on the moody, prog-rock ballad (and minor chart hit) “99” and the incendiary rock-fusion instrumental “Jake to the Bone,” from Toto’s 1992 album Kingdom of Desire, which turned out to be Jeff Porcaro’s swan song before his untimely death that year. Luke also delighted with a passion-crackle twist on Jimi Hendrix’s “Little Wing,” playing Jeff Beck’s white Stratocaster guitar. The kind of deep artistry he showcased on these tunes is exactly why Toto has always been so much more than a traditional of its time hitmaking band.
As for Christopher Cross, the man has such a beautiful vocal style and his soft rock hits and deep cuts from his first two albums are so hooky and smooth it’s easy to forget he’s also a damn solid guitarist as well. Though not one of his renowned smashes, it was great to hear his electric solo adding fire to the overall chill vibe of “The Light Is On,” which was given a sweet, jazzy vibe thanks to Andy Suzuki’s colorful EWI solo at the intro. Suzuki also shined earlier, bringing extra oomph to the Oscar winning classic “Arthur’s Theme” with his picture-perfect, high intensity sax solo.
Michael McDonald wasn’t on hand to provide backing vocals for his initial romp on the pop charts, the high adventure “Ride Like the Wind,” but Cross’ female backing trio sang the you know what out of the essential “ba da da da” elements. For good measure, and to remind fans that his discography extends up to 2018, he threw his exotic, socially conscious mid-tempo deep cut “Light the World” (from 2014’s Secret Ladder) into the set. Later the singer’s excellent band left the stage, leaving just him and Léonide to do a heartfelt vocal-piano duet on another of his most enduring gems, the beautiful elegy for a friend, “Think of Laura.”
