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Yacht Rock Revue sets steady course for musical…

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Yacht rock revue sets steady course for musical treasures.

You’d think that people would’ve had enough of silly love songs. I looked around the Leader Bank Pavilion and I saw it wasn’t so.

On Thursday night, on the huge Pavilion stage, Yacht Rock Revue sold nostalgia, escapism, the notion that musical chops matter, and a post-modernist take on popular music. But mostly, like Paul McCartney before them, the aviator-sporting middle aged guys in YRR sold silly love songs. Or at least re-sold them.

An Atlanta-born tribute to ’70s AM Gold and ’80s Top 40, YRR went mainstream on the back of years of touring – the band plays the Cape Cod Melody Tent Wednesday and Thursday before returning to the Pavilion on Friday. Too good to remain purely a cover band, YRR made an album of originals in 2020 – the LP, “Hot Dads in Tight Jeans,” is a tasty cocktail of soft rock, indie pop, sparkling disco and glitchy electronica. The Revue’s covers and originals both work because they take the music (if not themselves) seriously.

And yes, you can take Looking Glass’s “Brandy (You’re a Fine Girl)” seriously.

When the Beatles went from the heartfelt “Love Me Do” to the sardonic “Glass Onion,” they lost some people. Those people – alienated by the weirdness and self-indulgence of late ’60s and early ’70s – found a home in the old-school songcraft and sincerity of yacht rock’s love songs. Here’s where Yacht Rock Revue comes in.

Live, the band threads an almost impossible gap. The love songs are sweet, the rock songs are rocking, the cheek is packed with tongue, and yet the catalog is done reverently not ironically. Yacht rock is deemed a guilty pleasure, but it is enjoyed earnestly. (Can anything actually be enjoyed ironically? I doubt it.)

So Yacht Rock delivers earnest infatuation (Jackson Browne’s “Somebody’s Baby”), earnest romance (Rupert Holmes’ “Escape”), and earnest longing (the aforementioned Brandy). The songs connect because they are all little masterpieces of pop. And because the band is smoking hot.

The five of the members who took lead vocals are all great – Kourtney Jackson can do Sade with the required smooth gloss and YRR founder Nick Niespodziani’s talent for channeling so many (Kenny Loggins, Michael McDonald, even David Lee Roth) is endlessly impressive. Guitar ace and Berklee grad Mark Dannells can riff on Toto and rearrange Steely Dan leads. The whole band needs to be excellent because, beyond sincere lyrics, yacht rock depends on players having profound skills.

When YRR does Toto’s “Rosanna,” Niespodziani needs to sell the impassioned vocals, the “I didn’t know that a girl like you could make me feel so sad.” But equally importantly, the band needs to fill out an epic tune that dips into jazz, funk, blues, heavy metal and prog rock. YRR can do this, plus do the bass line in “Smooth Operator,” the harmonies of “Dancing Queen,” and complex chords of “Peg.”

YRR is a great time. It’s a time for dressing up in captain’s hats, booging to the Doobie Brothers, getting sloppy and silly, even when – especially when – the silliness extends to those cheesy-but-honest love songs.

For tickets and details, visit yachtrockrevue.com

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‘People Don’t Let Go of These Songs’: The Surprising Evolution of the Yacht Rock Revue

By Joseph Hudak

Joseph Hudak

“If you asked me five years ago to do a full original album with this band, I’d say, ‘Tear my heart out and leave it on the floor,'” Yacht Rock Revue singer Nick Niespodziani says.

It’s hard to tell if he’s being hyperbolic.

The 41-year-old frontman of the Atlanta-based tribute band has always been conflicted about his gum-chewing, polyester-wearing, hair-feathering throwback group. In his eyes, it was a way to make a living, not a serious creative outlet. Besides, he had other projects to flex that muscle, like the psychedelic and experimental rock of Indianapolis Jones. But as he slowly came to accept, nothing had the reach of Yacht Rock Revue.

Since forming in 2008, the seasoned party band has graduated into a national touring act, packing clubs, anchoring corporate events, and setting sail on themed cruises with their note-perfect re-creations of soft-rock’s smoothest jams, from “Brandy” by Looking Glass and “Lido Shuffle” by Boz Scaggs to Ace’s “How Long” and Toto’s irrepressible “Africa.” (Yacht Rock Revue cut it well before Weezer did .) Their crowds are far from passive too, buying tickets in advance and showing up in boat shoes, ascots, and aviators to recite aloud the sacred texts of saints Christopher Cross, Michael McDonald , and Robbie Dupree. Captain’s hats are ubiquitous.

It’s not an oldies fan base either. “Kids, young people, are the ones who have adopted this music, and they’re there to have a good time,” says Dupree, who often performs his 1980 hit “Steal Away” with the band at their all-star “Yacht Rock Revival” shows. “The audience looks like they used to [when these records first came out] — only you got older. But it’s more exciting now because these people know every single song in the show.”

Still, Niespodziani could never fully get on board the boat he helped build. When he and the band took a stab at releasing original material in 2012 with the on-the-nose “Can’t Wait for Summer,” they did so sheepishly. “Our hearts weren’t all the way in it,” he says now. “We were kind of apologetic about it.”

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As pop music evolved over the past eight years, however, so did Niespodziani’s perception of Yacht Rock Revue. The songs that make up the band’s set lists are now celebrated, “Yacht Rock” has transcended its gag tag to become a legitimate subgenre, and the icons of the scene are getting long-overdue recognition — in May, the Doobie Brothers will be inducted into the Rock & Roll Hall of Fame.

Most important, Niespodziani peered over his onstage shades and recognized the happiness that he and his group were bringing to their crowds.

“When we started out, I wasn’t super proud of being in a cover band,” he says, “but as we’ve done this, I’ve seen that joy in people, which changed my thinking and changed my heart about it, and made me open to the vulnerability of doing an original album.”

In February, the seven-piece band of fortysomething musicians — along with Niespodziani, there’s fellow vocalist and multi-instrumentalist Peter Olson, bassist Greg Lee, sax player Dave Freeman, guitarist Mark Dannells, drummer Mark Cobb, and keys man Mark Bencuya — released its first full-length album of original music, Hot Dads in Tight Jeans . Like their live show, which features a vintage boutique’s worth of loud shirts and the titular constricting denim, there’s an element of humor to the record. But the 10 tracks aren’t parodies or goofs.

Songs like “The Doobie Bounce” and “Step,” with their layered production and Niespodziani’s sky-high falsetto, transform the staid notion of yacht rock — or, more broadly, soft rock — into something immersive and, dare one say, hip and cool. These are tracks that could slide in comfortably next to anything off Tame Impala’s latest, The Slow Rush . The sounds and tones employed by Tame Impala mastermind Kevin Parker actually served as validation for Niespodziani.

“We finished recording this album and were mixing it in spring and summer, and that’s when Tame Impala started to leak tracks from their new album,” he says. “They were really similar to the sounds we had on our record, and that made me feel really encouraged, that the sound that we had was not going to be throwaway or irrelevant.”

Olson, Niespodziani’s onstage foil in choreography (they’re experts at re-creating Paul Simon and Chevy Chase’s “You Can Call Me Al” routine ), says the band aimed to expand the boundaries of what yacht rock is, or could be, while in the studio.

“We felt free to redefine the genre a little bit, as more of an attitude than a sound,” Olson, also 41, says. “We weren’t tied to just having Rhodes pianos and super-lush harmonies and sax solos, but there are elements of that. We weren’t afraid to sing about something meaningful and not just piña coladas. Although there is a song about tequila, so…”

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“Bad Tequila,” with its pithy, made-for-merch payoff line — “when life gives you bad tequila/make a good margarita” — is insanely catchy but modern, more in line with something by Portugal. The Man and Daft Punk than Seals and Croft or Loggins and Messina. Yes, it has a yachty sax breakdown, but the woodwind fits in just as naturally as one of Lizzo’s flute solos .

The band credits producer Ben Allen with helping them connect the dots between yesteryear’s soft rock and contemporary flourish. The track “Another Song About California” opens with a synth line that nods to Hall and Oates’ “She’s Gone” before spiraling off on its own psych-pop journey.

“Ben has been instrumental in finding the middle ground between staying true to what the band has always done in the yacht-rock vibe, but not being afraid to make a record that could fit in a playlist with Justin Timberlake or Lizzo,” says Niespodziani, who also challenged the way the band approaches its lyrics. He used yacht-rock buzzwords (think “sand,” “ocean,” “sun,” and “girl”) as a gateway to convey deeper thoughts and mindsets.

“I’d take little nuggets of the yacht-rock vibe or culture and look at it through my own lens,” he says, citing “The Doobie Bounce.” “That song sneaks in little nods to nihilism and things that have meaning to me.”

Currently on a U.S. tour with gigs scheduled at the Wiltern in L.A., Webster Hall in New York, and the House of Blues in Boston, Niespodziani, Olson and the band are hopeful that their core fans will embrace the “new” yacht rock. They’ve already been slotting “Step” and “Bad Tequila” alongside perennials like “Escape (The Piña Colada Song)” and “Baker Street.” Who knows — perhaps their own 21st-century yacht jams will one day become a part of the genre’s core canon.

After years spent wondering and worrying when the yacht-rock wave would crash, Niespodziani and Olson have come to just enjoy the ride.

“We always thought the fad would end. But people don’t let go of these songs. It’s evident in the way that doctors’ offices, Home Depots, and Bed Bath & Beyonds haven’t let go of these songs either,” says Olson. “These are the playlists of public areas.”

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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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