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Paramount+ To Launch ‘Sometimes When We Touch’ Documentary Exploring The History of “Yacht Rock”

Paramount+ has announced that SOMETIMES WHEN WE TOUCH , a three-part documentary series exploring the history of soft rock music , will premiere exclusively on the service in the U.S. and Canada on Tuesday, Jan. 3, 2023 and will also stream in the U.K., Latin America and Australia ( Wednesday, Jan. 4 ), Italy, Germany, Switzerland, Austria and France ( Tuesday, April 4 ).

SOMETIMES WHEN WE TOUCH is the untold story of soft rock, whose artists dominated pop music worldwide in the ‘70s, only to crash and burn in the ‘80s, eventually experiencing one of the most unlikely comebacks in music history. The series presents all-new interviews with some of soft rock’s biggest legends, like Air Supply (“All Out of Love”), Dan Hill (“Sometimes When We Touch”), Kenny Loggins (“This Is It”), Ray Parker Jr. (“A Woman Needs Love”), Rupert Holmes (“Escape: The Piña Colada Song”) and Toni Tennille (“Love Will Keep Us Together”). Through candid and poignant stories, these stars lead a celebration of the underappreciated music that continues to have a lasting impact on American culture.

The connective stories that propel the series are augmented by exclusive interviews with dozens of classic and contemporary musicians like Daryl “DMC” McDaniels, John Ondrasik, LA Reid, Richard Marx, Robert “Kool” Bell, Sheryl Crow, Stewart Copeland, Susanna Hoffs and Verdine White; rarely seen archival interview and performance footage; host commentary that embraces the impact of soft rock while acknowledging the cringey excesses that sometimes led it astray; and a review of its continuing power over a new generation found everywhere from hip hop samples and radio remakes to superhero soundtracks and TikTok posts.

The series is produced by MTV Entertainment Studios in partnership with Gunpowder & Sky. Produced by Van Toffler and executive produced by David Gale, Floris Bauer, Barry Barclay and Joanna Zwickel for Gunpowder & Sky, co-executive produced by Rick Krim, executive produced and written by Chuck Thompson and executive produced and directed by Lauren Lazin. Bruce Gillmer and Vanessa Whitewolf executive produce for MTV Entertainment Studios, with Jennifer Yandrisevits serving as Senior Director of Production.

Jason Price founded the mighty Icon Vs. Icon more than a decade ago. Along the way, he’s assembled an amazing group of like-minded individuals to spread the word on some of the most unique people and projects on the pop culture landscape.

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Yacht Rock Revue Brings Their Signature Sound To The Signal This Friday

by Pulse Staff

October 19, 2023

What is left for Yacht Rock Revue to prove? This top-notch group of musicians has already rocked onstage with John Oates, Eddie Money, and both versions of the band Player.

They’ve trademarked the term “yacht rock,” both metaphorically and literally (U.S. Registration Number 3834195). From humble beginnings in a basement, touring in partnership with Live Nation and Sirius XM, they now headline sold-out shows across the country, from Webster Hall in New York to the Wiltern in L.A.

In fact, you can catch them this Friday, October 20th, at The Signal at their new location in the Chattanooga Choo Choo Entertainment Complex. Get your tickets now via TicketWeb .

While rising from bars to amphitheaters, they’ve ticked every box on the Rock Star Accomplishments bingo card. Except for one: Writing and singing their own songs.

Yacht Rock Revue’s first original record is ten songs inspired by the smoooooth sounds of the Seventies and Eighties. They’ve brazenly titled it Hot Dads In Tight Jeans – forgive them for bragging, but that’s what they are – and it returns Yacht Rock Revue to their roots in original music.

“I had a midlife crisis. That’s why we made this album,” says Nick Niespodziani, the group’s singer, guitarist, and spiritual leader. “Everyone in the band is a dad now, so we needed to make this happen, before we become grandpas. I’ve sung ‘Escape’ by Rupert Holmes at least a thousand times, and if that isn’t paying your dues, I don’t know what is.”

It’s rare that musicians in their 40s chase their rock star dreams. You’d have to be crazy to try. YRR knew they were underdogs, but resolved to take one more shot at the Top 40, and maybe even become a Cinderella story of midlife fulfillment.

Yacht Rock Revue began in the least-yachtiest of states, 2,000 miles from breezy Marina del Rey. Niespodziani and Pete Olson met in the fourth grade in suburban Indiana, went on to Indiana University in the late Nineties, formed the band Y-O-U, then escaped – Rupert Holmes reference intended – to Atlanta. One night, Y-O-U tucked their tongues deep in their cheeks and played a show of Yacht Rock songs. The rowdy (a nice way of saying drunk), sold-out crowd loved it.

When the club owner asked them to do it again, Niespodziani didn’t want to. But the club owner had an ace up his sleeve: money.

Over the years, YRR (there’s also a Dave, a Greg, and literally three guys named Mark) have turned themselves into human wine spritzers, playing 120 to 150 shows a year, mastering Yacht Rock’s slick chords and mellow grooves, and partying like it’s 1979.

What began as a joke among friends soon put a ripple in the zeitgeist, starting a national trend through YRR’s concerts, lauded as “unabashedly joyous affairs” by Entertainment Weekly. They accumulated an extensive wardrobe of white belts and polyester shirts. Yacht Rock Revue were revered and well-compensated! Their life was a tenor sax solo! This is what every musician wants.

But even as YRR was sailing the smooth seas of tribute-band superstardom, and the band members all became dads, Niespodziani was still writing original songs. These new tunes had the spirit of Yacht Rock, 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 songsa lustrous shine, for both new audiences and their ever-loyal fans, the Nation of Smooth. Niespodziani and Olson even co-wrote a song, “Big Bang,” with Yacht Rock master Matthew Wilder, famous for his massive 1983 hit “Break My Stride.”

“Step,” the record’s first single, is a peppy number replete with falsetto and bumping bass, a cross between the Bee Gees and Steely Dan’s “Peg.” It’s also the mission statement for the album in a way, because it’s about deciding who you want to be, and making space for that in your life. The seven-piece band display tight chops, and the songs incorporate Yacht Rock Revue’s sense of humor, especially on the funky, pro-margarita “Bad Tequila,” the flute-fired “Another Song About California,” and opening track “The Doobie Bounce,” where Niespodziani brags, “I used to sleep on couches/Now I sleep on nicer couches.”

Hot Dads In Tight Jeans is as plush and shiny as Kenny Loggins’ beard. And YRR are already dropping these new songs into their sets, to great response from longtime fans who are thrilled to hear new smooth. While others in YRR’s position stick with the tried-and-true, Niespodziani hopes the album will let them welcome aboard new fans, too. To paraphrase a notable mariner… they’re gonna need a bigger yacht.

“Here’s how I see it,” Niespodziani concludes, sliding into a waiting limousine. “We have only one fewer hit than Player did, and Player is immortal. We built this Yacht Rock thing on the power of memories and good vibes. None of that is changing; we're just gonna make a few new memories as well."

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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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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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Yacht Rock Revue

• July 7, 2023 Setlist

Yacht Rock Revue Setlist at The Rooftop at Pier 17, New York, NY, USA

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• It Keeps You Runnin' ( The Doobie Brothers  cover) Play Video
• Escape (The Piña Colada Song) ( Rupert Holmes  cover) Play Video
• Somebody's Baby ( Jackson Browne  cover) Play Video
• Breezin' ( George Benson  cover) Play Video
• Guilty ( Bee Gees  cover) Play Video
• Sailing ( Christopher Cross  cover) Play Video
• Steal Away ( Robbie Dupree  cover) Play Video
• Bad Tequila Play Video
• Jump ( Van Halen  cover) Play Video
• Sister Golden Hair ( America  cover) Play Video
• Maneater ( Daryl Hall & John Oates  cover) Play Video
• Reelin' in the Years ( Steely Dan  cover) Play Video
• Your Smiling Face ( James Taylor  cover) Play Video
• Brandy ( Looking Glass  cover) Play Video
• Arthur's Theme (Best That You Can Do) ( Christopher Cross  cover) Play Video
• Africa ( Toto  cover) Play Video
• Dancing Queen ( ABBA  cover) Play Video
• Peg ( Steely Dan  cover) Play Video
• Step Play Video
• Rosanna ( Toto  cover) Play Video
• Smooth Operator ( Sade  cover) Play Video
• He's So Shy ( The Pointer Sisters  cover) Play Video
• Heart to Heart ( Kenny Loggins  cover) Play Video
• Lonesome Loser ( Little River Band  cover) Play Video
• Ride Like the Wind ( Christopher Cross  cover) Play Video
• Baker Street ( Gerry Rafferty  cover) Play Video
• Lido Shuffle ( Boz Scaggs  cover) Play Video
• She's Gone ( Daryl Hall & John Oates  cover) Play Video
• You Can Call Me Al ( Paul Simon  cover) Play Video
• More Than a Feeling ( Boston  cover) Play Video

Edits and Comments

5 activities (last edit by oddi , 5 Jan 2024, 22:07 Etc/UTC )

Songs on Albums

• Africa by Toto
• Arthur's Theme (Best That You Can Do) by Christopher Cross
• Baker Street by Gerry Rafferty
• Brandy by Looking Glass
• Breezin' by George Benson
• Dancing Queen by ABBA
• Escape (The Piña Colada Song) by Rupert Holmes
• Guilty by Bee Gees
• He's So Shy by The Pointer Sisters
• Heart to Heart by Kenny Loggins
• It Keeps You Runnin' by The Doobie Brothers
• Jump by Van Halen
• Lido Shuffle by Boz Scaggs
• Lonesome Loser by Little River Band
• Maneater by Daryl Hall & John Oates
• More Than a Feeling by Boston
• Peg by Steely Dan
• Reelin' in the Years by Steely Dan
• Ride Like the Wind by Christopher Cross
• Rosanna by Toto
• Sailing by Christopher Cross
• She's Gone by Daryl Hall & John Oates
• Sister Golden Hair by America
• Smooth Operator by Sade
• Somebody's Baby by Jackson Browne
• Steal Away by Robbie Dupree
• You Can Call Me Al by Paul Simon
• Your Smiling Face by James Taylor
• Bad Tequila

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Yacht Rock Revue Gig Timeline

• Jul 02 2023 The Windjammer Isle of Palms, SC, USA Start time: 7:05 PM 7:05 PM
• Jul 06 2023 Leader Bank Pavilion Boston, MA, USA Start time: 7:45 PM 7:45 PM
• Jul 07 2023 The Rooftop at Pier 17 This Setlist New York, NY, USA Start time: 7:40 PM 7:40 PM
• Jul 08 2023 The Stone Pony Summer Stage Asbury Park, NJ, USA Add time Add time
• Jul 12 2023 Cape Cod Melody Tent Hyannis, MA, USA Add time Add time

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Yacht Rock Revue’s ‘Bad Tequila’ Is Your Quarantined Cinco de Mayo State of Mind

By Joseph Hudak

Joseph Hudak

Life right now feels as if we were just served the nastiest shot of well tequila, without even a lime to chase it. But Yacht Rock Revue offer an optimistic solution in their new song “Bad Tequila”: “When life gives you bad tequila, make a good margarita.” It’s just the right state of mind — and soundtrack — for this quarantined Cinco de Mayo.

The Atlanta-based band, best known for their note-perfect live renditions of smooth Seventies jams like “Brandy,” “What a Fool Believes,” and “Rich Girl,” released their first full-length album of original material, Hot Dads in Tight Jeans , in February. With its pithy, made-for-merch chorus, “Bad Tequila” is an irresistible highlight and, musically, proves Yacht Rock Revue to be more than just a party band in cheesy costumes. The song’s sumptuous production and atmospheric vibe evokes modern-day acts like Portugal. the Man, Daft Punk and Tame Impala.

“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,” singer Nick Niespodziani told Rolling Stone . “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.”

Still, the bandmates can’t fully resist their comedy instincts. In the video for “Bad Tequila,” and in a just-released faux talk-show sketch , the group run headlong into the schlocky aesthetic of cable-access programs, embracing the green-screen backdrops that have once again become ubiquitous in the age of Zoom meetings and concerts.

Along with the “Bad Tequila” comedy shorts, Yacht Rock Revue have been hosting their own social-distancing livestreams . Last month, they teamed up with yacht-rock vet Robbie Dupree for a version of his “Hot Rod Hearts,” and on Tuesday at 5 p.m. ET, Niespodziani will host a Cinco de Mayo happy hour and Q&A to tee up YRR bassist Greg Lee’s livestream gig at 6 p.m. ET.

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Yacht Rock Revue      

• Wed Jan 24, 2024 at 7:30PM Wednesday, January 24, 2024 at 7:30PM Buy Now

What is left for YACHT ROCK REVUE to prove? This top-notch group of musicians has already rocked onstage with John Oates, Eddie Money (RIP), and both versions of the band Player. They’ve trademarked the term “yacht rock,” both metaphorically and literally (U.S. Registration Number 3834195). From humble beginnings in a basement, touring in partnership with Live Nation and Sirius XM, they now headline sold-out shows across the country, from Webster Hall in New York to the Wiltern in L.A. While rising from bars to amphitheaters, they’ve ticked every box on the Rock Star Accomplishments bingo card. Except for one: Writing and singing their own songs. Yacht Rock Revue’s first original record is ten songs inspired by the smoooooth sounds of the Seventies and Eighties. They’ve brazenly titled it Hot Dads In Tight Jeans – forgive them for bragging, but that’s what they are – and it returns Yacht Rock Revue to their roots in original music

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Accessible Services

For the hearing impaired.

The Van Wezel Performing Arts Hall is the first theater in Sarasota to install the revolutionary Hearing Loop System for those who suffer from hearing loss, thanks to financial support from Sertoma Sarasota. The hearing loop is the only system that transmits performers' voices from a microphone directly into a hearing aids or cochlear implants equipped with telecoils, allowing wearers to use hearing aids as wireless loudspeakers. This system complements the existing Sennheiser Infrared Listening System. Wireless headsets can be used at any seat in the auditorium and are available in both the Main and Bayside Lobbies. Sign language interpreters are available upon request through the box office.

Patrons in Wheelchairs or with Mobility Issues

Patrons in wheelchairs may enter through automatic doors in both Main and Bayside lobbies on ground level (no stairs). Accessible parking is available on the circle in front of the building and in the main parking lot. Cars must have necessary identification to qualify for these special arrangements. Patrons with mobility issues can be accommodated in restrooms off both lobbies. There is a wheelchair on the premises for emergency use, thanks to the generosity of Easter Seals.

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