At 75 years old, one would think that Kenny Logginsâ voice would start to show signs of apparent decline. However, my ticket to his âThis Is Itâ farewell tour on August 3rd told me a very different story. Loggins is a man of many genres â folk rock, movie pop, soft rock, country, soul, R&B, and more. His musical career has culminated in one Emmy, two Grammys, and an illustrious legacy. All this hype begs the question: What does this old ass dude have to offer to a younger generation as he sets sail aboard the S.S. Retirement?
To answer this question, let us analyze the concert from its opening act. Although originally hesitant to indulge in the genre, Loggins has accepted his role as one of the forefathers of Yacht Rock music, which is most simply defined as smooth, simple tunes you could imagine sailing out to. It was therefore pleasant to see him embrace his opening act, the Yacht Rock Revue.
I may have already seen the majority-cover band in concert before, but they presented a more mature and widespread sound this time. They kept the more well-known classics in the setlist, such as Christopher Crossâ âSailingâ and TOTOâs âAfrica.â But unlike their previous tours, they didnât play it safe. By performing songs such as Barbara Streisandâs âGuiltyâ and The Pointer Sistersâ âHeâs So Shy,â they allowed me to view those tracks from a different perspective and understand why they could be considered Yacht Rock.
Lastly, I must give well-deserved credit to David Freeman, the bandâs saxophone player. His captivating performance on âBaker Streetâ ensured that the audience was fully focused on their anticipation for his sax solos. (I still think itâs the sexiest instrument out there).
Loggins has helped to bring a niche genre of music to a much bigger audience, both through his own work and by showcasing that of others. But what about his classics? Was he still able to cut Footloose? In short, yes.
But in the process, Kenny Loggins would tell a plethora of inspiring stories that demonstrated how he has become the man he is today. He spoke of his dadâs cardiovascular surgery, of Michael McDonald, of girls, and of his early life âjust looking to make it.â Every song seemed to have a story attached to it. I had no idea Loggins was 17 when he wrote âHouse at Pooh Corner,â which is amazing. His voice was on point with every song â he hit every falsetto, every low note, and everything in between. It was as if he turned the clock back a solid 25 years. As he âexitedâ the stage, fans roared in applause and cheered for his pop hits to be performed.Â
Loggins did just that â singing âIâm Alright,â âDanger Zone,â and âFootloose.â I felt good knowing that I had watched Footloose the night before the concert, but my friend still made fun of me for not watching Caddyshack yet. (Iâll get to it, Marco). He then exited again without talking to the crowd, and that shouldâve been my queue that he was going to do a second encore. Instead, I left my seat and found myself watching the in-house TV as Loggins emotionally performed âForeverâ off his 1985 album Vox Humana. Ultimately, itâs been a long and rough journey, but Loggins is saying that the songs donât stop when he stops. His career is mortal, but the music is eternal. That is what Kenny Loggins has to offer to a generation unbeknownst to him and his peers â an enduring legacy of music for any environment.
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