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About Yacht Rock Revue™

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.

“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 songs a 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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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 not a fad but a phenomenon

Credit: RODNEY HO/[email protected]

In the fall of 2007, the Atlanta power pop trio Y-O-U was on life support. They never got their big break despite building a decent local following. The lead singer had entered law school. The bassist, a fitness instructor at an independent living facility, was pondering a move to Denver.

But the Y-O-U musicians weren’t ready to mothball their amps just yet. Inspired by a Time/Life CD infomercial, Y-O-U drummer Mark Cobb created a kitschy compilation CD he dubbed “The Dentist Office Mix” featuring 19 soft rock hits from the 1970s by the likes of Little River Band, Firefall and 10cc. He figured: why not turn that into a theme night?

Credit: MARK COBB

10 High Club, a lovably grungy venue downstairs from the Dark Horse Tavern in Virginia Highland, green lit the show called yacht rock after Cobb saw a YouTube web series by that name.

For the Y-O-U musicians, Yacht Rock night was meant as a fun diversion, a one-time jam to laugh about later. They met up at Cobb’s basement with other musician friends and rotating lead singers to learn each song. “Kiss You All Over” by Exile. “Baker Street” by Gerry Rafferty. “Still the One” by Orleans. “Love Will Keep Us Together” by Captain & Tennille. These were largely songs that had been left in the dustbin of rock history by that time, too soft and light for classic rock stations and too old for pop radio stations to play.

With tongue firmly in cheek, guitarist Mark “Monkeyboy” Dannells Photoshopped a promo poster with five of their heads superimposed on the heads of the band members for Orleans from its 1976 “Waking and Dreaming” LP. For the concert, Y-O-U lead singer Nicholas NIespodziani chose a floral shirt and plaid vest top. Monkeyboy opted for a beret, aviator sunglasses, bell bottoms and an “I’m With Stupid” T-shirt. Cobb wore his grandfather’s plaid leisure suit and a wig.

Credit: RODNEY HO

Something clicked that Friday evening at 10 High for the 150 inebriated, sweaty audience members and the band members on stage. Nicole Jurovics, a former 10 High talent booker, recalled feeling both bemused and oddly taken by the show. “I knew every word to every song, and I had no idea why because I never owned any of those records,” she said.

Glen Pridgen, who sang Rupert Holmes’ cheesy 1979 hit “Escape (”The Piña Colada Song)” that night, had a blast: “Even as an outsider, I sensed something special was happening, a chemistry among the band members.”

But nobody on stage had any idea this was the genesis of what would become Yacht Rock Revue, and that 14 years later, seven of the musicians from that 10 High gig (three of whom are named Mark) would play many of those same songs in front of 6,000 cheering fans at Cadence Bank Amphitheatre at Chastain Park.

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The rise of Yacht Rock Revue

In the summer of 2008, after a second yacht rock night packed 10 High, the venue’s booker Curtis Clark offered the core musicians, including former Y-O-U members and childhood friends Niespodziani and Peter Olson, a residency every Thursday night as long as they did yacht rock. They soon became proficient at songs by Boz Scaggs, Christopher Cross and Ambrosia, drawing a surprisingly wide swath of fans.

In those early days, they saw this as a side hustle that would soon die out. And Niespodziani was clearly conflicted about the band’s growing success.

After performing Elton John’s “Little Jeannie” while dressed in yacht-friendly outfits at the Dunwoody Beer Festival in 2009, the Atlanta Journal-Constitution reported that Niespodziani told the audience, “We appreciate your tepid response. Tepid is good. Too much reaction and you’ll rock the boat. And that’s bad.”

At the time, Niespodziani wasn’t a fan of a lot of the songs. The indie rock part of him felt “a little evil” making money off this type of music: “Sometimes I feel like I’m part of the problem, not the solution.

“I’m surprised how few people snicker at us,” he added in 2009. “If I weren’t in this band, I think I’d be a hater.”

For four years, Yacht Rock Revue kept the weekly 10 High gig, each member pocketing $100 a night, but their popularity led them to bigger venues, first Buckhead’s Andrews Upstairs, then the larger Park Tavern by Piedmont Park. People began asking them to perform at weddings, corporate events and private parties.

By 2011, they were all able to quit their day jobs and focus solely on Yacht Rock Revue.

Around that time, Andy Levine, founder of the Atlanta-based, music-themed cruise company Sixthman , placed the band on two of his Rock Boat cruise ships with Sister Hazel and multiple cruises with the group Train. They also jumped on cruises themed around KISS, Kid Rock and even “Star Trek.”

The exposure seeded their fan base nationwide, resulting in bookings to play shows in Denver, Boston and Indianapolis, Indiana.

Yacht Rock Revue also drew the attention of the acts they covered. Musicians from Looking Glass (”Brandy (You’re a Fine Girl”), Player (”Baby Come Back”), Orleans (”Dance With Me”) and Starbuck (”Moonlight Feels Right”) began joining them on stage for their annual Yacht Rock Revival all-star concerts at Park Tavern, the Tabernacle and Chastain.

Robbie Dupree, who had two yacht rock-friendly hits in 1980, “Steal Away” and “Hot Rod Hearts,” saw them play at the Canal Room in New York City and joined them on stage.

“They just have a great heart for the music,” said Dupree. “They dig the music. They are really responsible for making this a more legitimate category.”

Copycats have proliferated nationwide, with puns firmly attached. There’s. Yachty By Nature based in Orange County, California; New England’s Hall & Boats ; Nashville’s Monsters of Yacht ; the Los Angeles-based Yächtley Crew ; and a female-fronted group out of Chicago called Yacht Rock-ettes .

“I call them the yachtfathers,” said Carl Nelson, lead singer of Yachty By Nature who has seen Yacht Rock Revue twice. “They got there first and are totally cool bros.”

Even with the praise from peers and fans, Olson and Niespodziani, childhood friends going back to Indiana, sought diversification, awaiting for Yacht Rock Revue to start sinking. They opened the music venue Venkman’s in the Old Fourth Ward. They started a Beatles cover band called Please PleaseRock Me . They performed theme nights covering the “Thriller” album or Pink Floyd’s “Dark Side of the Moon” LP. For a time, they fronted a more traditional wedding band called The Tupperware Party.

But the fan base for Yacht Rock Revue kept growing, imbibing the polyester, the cutesy choreography, the entire vibe.

Greg Prato, the author of “The Yacht Rock Book” (Jawbone Press, 2018) , credits part of their success to pure musicianship, providing fans the opportunity to hear songs by artists who no longer perform or are no longer around. He specifically recalled the band’s rendition of “Baker Street,” noting that Dave Freeman’s “sax bit gives you the goosiest of goose bumps.”

In 2016, the band added two female singers, mother-daughter team Keisha and Kourtney Jackson, providing the band deeper vocal depth and the ability to do songs by the likes of Tina Turner and Captain & Tennille with more credibility. Over the years, they have played at least 600 different songs, and the setlist changes constantly.

To prove they weren’t just a pure cover band, Yacht Rock Revue recorded an original album in 2019 called “Hot Dads in Tight Jeans” and released it in early 2020. Rolling Stone magazine last year compared their new tunes to that of the respected psychedelic pop band Tame Impala .

The yacht kept on sailing ― until it hit the pandemic shoals.

The Pandemic and the Anchorheads

In 2017, Ella Leitner, a 48-year-old Manhattan marketing executive, entered the Wellmont Theatre in Montclair, New Jersey, to see Yacht Rock Revue for the first time. She was super cranky. The traffic had been awful. It was raining. She and her husband were late.

But her mood lifted as soon as she heard the band’s version of Toto’s “Africa.”

“They captured our hearts,” she said. “They captured the essence of yacht rock. It was about having a good time, feeling carefree and taking away whatever was bothering you that day.”

Seeking to recapture that joyful feeling, she saw the band every time they came into town and was looking forward to celebrating her 47th birthday with them at Webster Hall a few blocks from her home in March 2020.

But there would be no concert that day. Instead, for weeks, she only heard the sad sounds of wailing sirens and the daily clanging of pots and pans to honor essential workers treating COVID-19 patients. Individual members of Yacht Rock Revue began holding livestream concerts on Facebook from their basements and seeking donations from fans. Leitner would Venmo money to the band on occasion.

She also got to know the band members as they showed off their homes, their families and their quirky interests, interacting directly with fans. Keyboardist Mark Bencuya revealed his love for alt rock and punk. Cobb did an entire livestream about 1980s TV theme songs. Olson and his wife Alyssa played duets and brought in the kids for fun.

“I was pretty transparent emotionally” on the livestreams, Niespodziani said. Viewers “could tell when I was feeling bummed or stressed and they’d send me stuff in the mail. It was so sweet.”

He received bottles of whiskey, masks with the Yacht Rock album cover on it and earnest letters from people trying to convert him to Christianity.

Leitner began corresponding with other Yacht Rock Revue lovers, and they created a fan group called the Anchorheads with their own logos and T-shirts. The private Facebook page now has more than 1,200 members .

“We were all isolated in our homes,” Leitner said. “This was a shared experience, a way for us to build an active community. The anchor was the natural symbol. It’s in their logo. The symbolism works. We are now anchored to the band.”

For more than a year, PleaseRock , the corporate entity that oversees the band and provides health insurance and a 401(K), couldn’t pay its employee salaries when touring was not an option. But financial support from the Anchorheads enabled them to maintain health insurance for everybody until they got back on the road in April.

“It speaks to the heart of who they are,” Leitner said. “They treat their staff well. They aren’t a novelty act. They’re consummate professionals.”

To honor them, Leitner and many of her fellow Anchorheads nationwide flew to Peachtree City for two nights to see them play at Frederick Brown Jr. Amphitheatre in late April.

“It was like a family reunion,” Leitner said, “family you actually want to spend time with.”

Since then, despite the uncertainties regarding the virus, Yacht Rock Revue has been able to perform dozens of shows again including two at Chastain Park, selling more than 10,000 tickets combined in August and October. They also held two shows at Venkman’s, before and after Thanksgiving, celebrating the venue’s reopening after 20 months.

Credit: RODNEY HO/rh

Robin McCannon, a 51-year-old teacher from St. Simon’s Island, stood in the front during the Turkey Eve show with a look of rapt wonder on her face during the 27-song set that began with “Believe It or Not (Theme to ‘Greatest American Hero’)” and ended with “More Than a Feeling.”

“This matters,” she told Niespodziani after the show,” even more than just the music.”

“Spreading love and positive energy is what we’re about,” he said.

The seven original members are now in their 40s and 50s. Most have kids and own homes. They appreciate the steady paychecks, the ability to pursue creative side projects and the Anchorheads.

The week after the Venkman’s reopening, Niespodziani and other Yacht Rock Revue members spent a few days working with John Driskell Hopkins of the Zac Brown Band on a Christmas album for 2022. They are planning another original album next year.

And in February, the band will host its first four-day yacht rock “Steal Away” extravaganza at Runaway Bay in Jamaica with Robbie Dupree and the band Ambrosia and hundreds of fans. “The Anchorheads get to hang with us at the pool and hike with us to a waterfall,” Niespodziani said.

“We started out as a pure party cover band,” he mused, “and have become respected as artists.”

Every year for the past 14 years, he has asked the same questions: “How big are we going to get? How far is this going to go?”

He smiled and shrugged his shoulders: “We still can’t really tell.”

Credit: Akili-Casundria Ramsess

Origins of yacht rock

The Yacht Rock Revue did not invent yacht rock. In 2005, a group of friends taped a series of mockumentary video shorts for a monthly Los Angeles comedy festival called Channel 101. Scanning the liner notes of 1970s vinyl they had purchased for $1 apiece at Amoeba Music , they noticed many studio musicians in L.A. overlapped with acts such as Kenny Loggins, Toto, Steely Dan and the Doobie Brothers.

This observation led to them to create a fake “origin” story and sub-genre of music they dubbed “yacht rock.”

“We had no idea this would ever go beyond the 300 people who saw it in that room,” said “Hollywood” Steve Huey , a music critic and narrator of the series.

But the 12 short episodes were loaded onto YouTube, at the time a new video content service thirsty for content. Soon, it went viral.

Music historian Chris Molanphy, on a recent episode of his podcast “Hit Parade,” said the name stuck in part because prior attempts to categorize the music such as “Revlon rock” or “Jazz rock” had failed to stick.

“Yacht rock is just so evocative,” Molanphy said. “Smooth music, relaxing, ‘70s when yachts were hot. I get it!”

The kitschy wardrobe that goes along with it is easy and accessible as well. A captain’s hat is $10, he said, and you can dig a Hawaiian shirt out of your closet. “Very thrift store friendly,” he said.

Molanphy noted that people often get into the music with an ironic wink and nod but ultimately end up just enjoying it.

Greg Prato, author of the 2018 oral history “ The Yacht Rock Book,” said the genre’s enduring appeal is multi-faceted, noting the “Impeccable song craft, instrumentation and vocal harmonies that are spotlighted in most yacht rock songs. For most older music fans, it takes us back to a time that was seemingly more carefree and jolly, and it serves as the perfect soundtrack for a summertime backyard barbecue.”

Concert Preview

Yacht Rock Revue Holiday Spectacular. 8 p.m. Saturday, Dec. 18. $37.50-$203. Coca-Cola Roxy,

800 Battery Ave. SE, Atlanta. www.livenation.com

About the Author

Rodney Ho writes about entertainment for The Atlanta Journal-Constitution including TV, radio, film, comedy and all things in between. A native New Yorker, he has covered education at The Virginian-Pilot, small business for The Wall Street Journal and a host of beats at the AJC over 20-plus years. He loves tennis, pop culture & seeing live events.

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What makes a group of guys from Atlanta, Georgia come together and create a Yacht Rock band? The oh so smooth music! This incredible group is opening for Kenny Loggins on his final “This is it” tour. Watch Meredith dive right in to the vibe that is Yacht Rock Revue!

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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.

“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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The best golf clubs in moscow: luxury, exclusivity, and entertainment.

By Walter Raymond

February 24, 2015

• The Best Golf Clubs in…

In Russia, the western concept of building architecturally beautiful golf courses filled with modern and luxurious amenities has found fertile ground. What was considered a frivolous pastime during the time of the Soviets has become the latest trend for the stylish set. These days, there are countless options around Moscow to practice golf, polo, ski, yachting, and other sports alongside 5-star hotels, luxurious country houses, and magnificent villas.

The game of golf is a sport that requires passion and expertise. It is also part of a culture that considers this pastime a synonym of social prestige and exclusivity. In recent years, the new Russian elite has turned to golf as a vehicle of integration in the era of globalization. Golf courses are also meeting and socializing spaces where Muscovite tycoons can relax and also seal business deals.

Golf Courses in Russia

The Moscow Country Club, Pestovo Golf & Yacht Club, Tseleevo Golf & Polo Club, and Zavidovo Golf Club, PGA National Russia are some of the most exclusive and elegant golf courses in Russia. Some of them have made it to the list of Top 15 golf clubs in the world, a source of great prestige for the country.

Moscow Country Club Moscow Country Club

The first 18-hole golf course built in Russia, Moscow Country Club, hosts the exclusive PGA European Tour. Located just eight miles from the city center, this luxurious facility was created by architect Robert Trent Jones Jr . The design takes advantage of a typical Russian birch and spruce forest to provide a natural environment of extraordinary beauty.

Pestovo Golf & Yacht Club Pestovo Golf & Yacht Club

The Pestovo Golf & Yacht Club is 18 miles from the heart of Moscow, close to historical monuments from the 17th and 18th centuries. Designed by famed architects Paul and Dave Thomas , this 18-hole course is part of a complex that includes a yacht club, an equestrian center, and a health and wellness facility. Pestovo Golf & Yacht Club is Russia’s version of a classic country club with multiple attractions.

Tseleevo Golf & Polo Club Tseleevo Golf & Polo Club

This park is among the best in Eastern Europe and was awarded the 2014 World Golf Award as the best golf course in Russia. Located 25 miles from Moscow, it is part of a vast complex featuring an 18-hole golf course, designed by Jack Nicklaus , a polo club and a mountain ski club with four tracks. The design combines classic Scottish, Alpine, and English features in a dreamy landscape.

Zavidovo Golf Club, PGA National Russia Zavidovo Golf Club, PGA National Russia

Less than 60 miles from Moscow, this golf course with a definite Scottish design is the only one in Russia recognized as a PGA (Professional Golfers’ Association) from Britain and Ireland. Located in an ecologically pristine area on the banks of the Volga River, the Zavidovo Golf Club embodies the spirit and appearance of the legendary Scottish golf courses. Its many springs and streams, hills, forests, swamps and lakes justify its reputation as a very demanding circuit. Last year, it entered the exclusive club of the 15 best golf courses in the world.   ■

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