Article Contributed by Russell Levine
Published on 2026-11-12
Bruce Cockburn | Fort Lauderdale, FL | November 7th, 2026 - photos by Russell Levine
Livingston Taylor opened the evening at the Amaturo Theater, and it was a wonderful way to begin the night. There is something familiar about his voice, at times reminiscent of his brother James Taylor, but Livingston has his own personality, warmth, and way of connecting with an audience. His stories were as engaging as his songs, including a look ahead at his role voicing Winnie the Pooh in the upcoming animated series Hundred Acre Wood’s Winnie and Friends. He also shared that Danny Elfman wrote the series’ theme song, which Livingston performs.
He closed his set with Kenny Loggins’ “House at Pooh Corner.” It was a lovely performance, delivered with such warmth that it brought a tear to my eye. A beautiful ending to an opening set.
Then it was Bruce Cockburn’s turn.
Cockburn is one of those songwriters whose work belongs in the conversation with Leonard Cohen and Bob Dylan. Not because they sound alike, but because all three have a rare ability to put complicated thoughts, observations, and emotions into songs that stay with you. Cockburn has spent decades writing about the human condition, politics, faith, love, injustice, and the world around him. He has never been particularly interested in making those subjects easy or comfortable.
His voice has changed over the years. It is weathered now, carrying the sound of a life spent singing and traveling, but it remains strong and unmistakably his. More importantly, the songs have lost none of their weight.
For this tour, Cockburn was joined by Jeff Pevar and Inger Nova Jorgensen, and Pevar was nothing short of remarkable. A seasoned musician with an extraordinary musical résumé, he brought both leadership and a tremendous range of musicianship to the stage. Moving between instruments and musical textures, he helped shape the sound and flow of the entire performance. His playing was never about showing off; it was about knowing exactly what each song needed. He and Cockburn shared an easy musical connection, while Inger Nova added her own distinctive voice and presence. This was a trio in the truest sense, with Pevar providing much of the musical glue that held it together.
Jorgensen added another dimension to the performance, most memorably taking the lead on “Mama Just Wants to Barrelhouse All Night Long.” She made the song her own, carrying it with confidence and personality. It was one of the evening’s standout moments.
The set moved through several chapters of Cockburn’s catalog. “Last Night of the World,” “Night Train,” “On a Roll,” “Push Comes to Shove,” and “King of the Bolero” sat comfortably alongside familiar favorites such as “All the Diamonds in the World,” “The Whole Night Sky,” “Call It Democracy,” and “Lovers in a Dangerous Time.” He also brought in the covers “As Time Goes By” and Blind Willie Johnson’s “Soul of a Man,” offering a glimpse into some of the musical roots and influences that have informed his work.
And then there was “Wondering Where the Lions Are.” An audience favorite, it was one of those moments when everything seemed to come together. The song has always had a special place in Cockburn’s catalog, with its unmistakable melody and infectious spirit. Hearing it live was simply wonderful. The audience responded with the kind of enthusiasm that comes when a song means something to people, and Cockburn delivered it beautifully. It was a highlight of the night and a reminder of just how many remarkable songs he has given us.
There was no need for a lot of between-song conversation. Cockburn was somewhat reserved, though never unfriendly. He let the music do most of the talking, and the audience seemed perfectly happy to let him. When he did speak, there was a dry, understated quality to his remarks.
There was also a sense that this was a long-overdue homecoming for the area. At one point, someone in the audience called out, “Welcome back!” and mentioned that it had been something like 38 years since Cockburn had last played South Florida. The return had already been delayed once: a Fort Lauderdale date on his 2020 50th Anniversary tour was cancelled during the pandemic. For those who had been waiting to see him here, November 7 was a long time coming.
The timing of the concert added another interesting dimension. Just four days earlier, Democrats had scored a major election victory, and there was a little extra electricity in the room when Cockburn’s familiar left-leaning, socially conscious spirit surfaced. He didn’t turn the evening into a political speech, nor did he need to. There were a few subtle moments with that unmistakable 1960s-style political flavor, enough for this Palm Beach audience to recognize, smile, and appreciate. “Call It Democracy” felt particularly at home in that atmosphere. It brought to mind Bob Dylan’s “The Times They Are A-Changin’” and the tradition of songwriters who have never been afraid to let the world around them find its way into their music.
One of the most striking things about the evening was the audience itself. People were listening. There were no phones constantly lighting up the room, no restless chatter, no sense that anyone was waiting for a particular hit before paying attention. The applause after songs was warm and enthusiastic, with plenty of appreciative calls and clapping. It was a room full of people who understood they were there to hear the music, and who were giving the musicians their full attention.
That kind of audience makes a difference, and the connection was evident throughout the performance. By the end of the night, the appreciation was unmistakable, with the audience rising to its feet in a well-earned standing ovation.
Bruce Cockburn does not need to recreate the past or turn a concert into a trip through a greatest-hits checklist. His songs have their own life, and he continues to perform them with the conviction of someone who believes in what he has written. There is plenty of history in the music, but it does not feel like a retrospective. The songs still have something to say.
Livingston Taylor gave the evening a graceful and deeply personal beginning. Cockburn and his trio followed with a performance full of musicianship, thoughtful songwriting, and the kind of substance that stays with you after the lights come up.
It was a very good night of music at the Amaturo Theater.
Russell Levine is a photographer and writer covering live music for Grateful Web. He has been documenting the jam band world and its community for years, camera in hand and a few decades of Dead shows in his bones.
