Article Contributed by L. Paul Mann
Published on 2026-06-09
Christopher Cross | Santa Barbara, CA | June 4th, 2026 - photos by L. Paul Mann
There is a rare kind of time travel inside the Spanish-colonial walls of the Lobero Theatre. On June 4, the intimate venue hosted five-time Grammy winner and yacht-rock royalty Christopher Cross. For nearly two hours, the 75-year-old singer-songwriter transformed a brisk Santa Barbara evening into a sunshine-filled, ocean-breezy paradise, showing why his precisely crafted catalog has endured for more than four decades.
Cross took the stage under cool blue lights and launched into the moody, intricate “Minstrel Gigolo.” Instantly, he showcased a voice that remains remarkably intact. Though time deepens most vocalists’ lower registers, Cross still glides effortlessly into the sweet, trademark falsettos that helped define his early ’80s sound.
Cross’s name is on the marquee, but his touring ensemble elevates the show beyond nostalgia. This is a living, breathing jazz-pop band. Cross, an underrated guitarist, traded blistering, fast-picked solos on his custom Fender and gave his band plenty of room to shine.
The rhythmic spine of the evening came from bassist David Hughes and drummer Francis Arnaud. Hughes delivered a fluid, rolling low end, especially during a nod to Jaco Pastorius on the fusion-tinted deep cut “Roberta.”
Arnaud kept the pocket locked with precise, syncopated energy. Curtis Brengle played keyboards and acoustic piano, adding sophisticated jazz voicings and weaving introspective interludes through staples like “Never Be the Same.”
The night’s standout instrumental MVP was multi-instrumentalist Andy Suzuki. He alternated between keys, a soaring alto sax, and the space-age Electronic Wind Instrument. Suzuki frequently brought the crowd to its feet. His soprano saxophone solo during the celebratory performance of “All Right” was a masterstroke of melodic phrasing.
Cross paused mid-set to banter with the audience and play a few solo numbers. He shared memories of the decade he lived in nearby Montecito, “until I couldn’t afford it anymore,” he joked. That may explain his current tour, with more than 100 shows planned. He also shared some highlights from the European leg with the audience.
Background vocalist Véro Bossa lent emotional force to the arrangements. Her pristine harmonies helped reconstruct the complex vocal layers found on Cross’s studio records.
The back half of the evening showcased the timeless hits. When the iconic, cascading piano of “Sailing” began, a simultaneous sigh of recognition and relaxation swept the theater. Delivered with stunning restraint, it was the emotional high-water mark of the night.
Cross followed with the cinematic “Arthur’s Theme (Best That You Can Do)” and led a theater-wide sing-along. He then closed the main set with a powerful “Ride Like the Wind.” Stripped of studio gloss, the track became a muscular, guitar-driven rocker, giving Cross and Suzuki a final chance to trade blazing solos.
Christopher Cross at the Lobero was more than nostalgia; it was a showcase of flawless pop architecture. Backed by a world-class band, Cross proved that good songwriting, executed with genuine musicianship, never goes out of style. It just stays smooth.
