LIVE REVIEW: TOTO + CHRISTOPHER CROSS AT ICC SYDNEY, 19 APRIL 2025
by PAUL SOUTHWELL
TOTO first toured Australia in 1992 on the back of Kingdom of Desire, and those shows lifted the roofs off the clubs and beer barns of the day. They’ve since returned to Australia several times over the years, selling out venues, with their most recent tour being in 2019. So their latest venture to Australia as a touring entity was naturally met with an enthused response, selling out the venue that is almost doubled in size to their previous tour.
The ICC, as a seated venue, has a steep tiered set up which allows for a good view of the stage, and a quality audio experience, regardless of the location, and as a replacement of sorts for the old warhorse that was the Entertainment Centre, it is an impressive improvement.Â
Opening tonight was award winning guitar aficionado, Christopher Cross, whose set drew substantially from his self-titled album. To still be hitting the boards decades later, with a solid fanbase, hanging on every note is an impressive feat. Flanked by keyboardist Andy Suzuki and pianist Jerry Léonide, Cross’s band also featured backing singers Jewelee Peters, Lisbet Guldbaek and Julia Sarr, drummer Francis Arnaud and bassist Kevin Reveyrand.Â
“All Right” from 1983’s Another Page opened, enhanced by some oboe from Suzuki. His backing vocalists added chorus stylings, as did his pianist, with some excellent drumming prowess, deftly returning to the song rhythm figure without missing a beat. Some solid soling guitar playing, with tasteful tone, soon ensued from Cross on his Anderson Stratocaster styled guitar. The vocal driven track “Never Be the Same” followed, embellished with some of more Suzuki’s wind instrument skills that soon melded into a brief, succinct solo section, then moving effortlessly into a key change, and vocal harmonies between Cross and his backing vocalists.Â
His rapport with the audience between tracks was immediate, referring to his upcoming 74th birthday with self-deprecating wit. Re-arranged version of “I Really Don’t Know Anymore” had rhythm section drive, led by his bassist, and more backing vocals during the chorus push, against piano accented chords, then delving into some piano soloing, traded with fluid saxophone lines, and solid percussion.  Â
Referring to deep cuts, and devoted fans, Cross aired “Dreamers” from the 2011 Doctor Faith album, dedicating it to social justice. Using some acoustic chorus effects, Cross coaxed some interesting guitar tones, and utilised his backup vocalists, with some keyboard washes to fill out the track. Cross’ subtle yet melodic command of guitar was evident in his solo.
Léonide was spotlit for a chordal introduction, the first big hit of the evening arrived with debut album track “Sailing”, at which point all the phones in the audience arose. Cross’ guitar lines rang out as lighting patterns flashed across the stage, with his vocals soon introducing the melody line. “Think of Laura” from Another Page, the country tinged “You” and “Arthur’s Theme (Best That You Can Do)” – that originally included Toto as the rhythm section – went over beautifully, with spinning lighting arrays and the requisite saxophone solo.Â
Of course, the mega hit “Ride Like the Wind” finished proceedings. Red stage lighting, with backing vocalists adding some choreography to the lyrics, with clapping from the audience adding to the flawless delivery. Cross added some spicy guitar soloing with great blues guitar tones and techniques, with the completion of the set met with a standing ovation.
As their sword moniker backdrop appeared, and the stage set was configured, with guitarist Steve Lukather’s amplifier cabinets set back into the stage, nestled between the platforms of new keyboardist and vocalist Dennis Atlas, and percussion based multi-instrumentalist Warren Ham, it was a given this was a serious guitar show.
Lights soon dimmed for Toto to walk on, kicking off instrumental track “Child’s Anthem”, with Lukather slightly stage right, flanked to his right by legendary session keyboardist Greg Phillinganes. To Luke’s left was the enduring and superb vocalist Joseph Williams, bassist John Pierce, poached from Huey Lewis and the News, and drumming maestro Shannon Forrest.
“Carmen” from the fantastic 1984 album Isolation followed, with keys player Dennis Atlas adding backing vocals. Lukather’s guitar tone, perfect as always, reverberated throughout the venue, as he boisterously walked around the stage. The dual keyboards set up allowed for a combination of piano and keyboard tones, depending on the song requirements, but with clapping from the audience and Williams hamming his tambourine, it was evident many eyes were glued to Lukather, who was simply astonishing to watch peeling off solos, and rhythm parts with flawless ease.Â
Changing guitars was par for the course and soon started by the third track, with “Rosanna” from the incommensurate Toto IV being unleashed early on. Williams and Lukather’s vocals were harmonious, with the latter’s signature guitar solo, after Atlas’ keyboard solo, played note for note to the record, with all the jazzy passing notes. It’s a perfect song, with the chorus getting the first of many singalongs. Somehow, Toto managed to insert a snippet of “Saturday Night’s Alright for Fighting”, probably because they could. Then the outro solo, which started out as a jam, soon morphed into the two-tone bends and fiery set of licks that floored guitarists back in 1982 and still remains a definitive Lukather guitar solo.
Luke took on vocal duties for the poetic Hydra track “99”, which was followed swiftly with the underrated Mindfields title track, and the chant like “I Will Remember” from Tambu, as backing lighting changed colours and pulsed. The fiery guitar prowess kicked back in with the amusing Williams’ ‘anecdote’ introduced “Pamela” from The Seventh One, which also included trade off solos staring with Atlas and then Phillinganes. As Lukather soloed, Williams pointed to his guitar virtuoso mate, with Phillinganes and Lukather soon trading solo parts, as Lukather jumped between rhythm and lead sounds without missing a beat.
To introduce the heartfelt “I Won’t Hold You Back” from Toto IV, Phillinganes contributed a piano solo, being spotlit, after which Williams and Lukather traded vocal lines. A trip down memory lane was enhanced with Atlas’ falsetto vocals on the only other song heard from Isolation tonight, in “Angel Don’t Cry”, which has the proverbial hard rock guitar riff of the age. Crowd favourites continued with “Georgy Porgy”, a keyboard solo from Atlas that seemed to include aspects of Jordan Rudess’ track “Hoedown”. It was cool to get a live rendition of Hydra track “White Sister”, with Lukather soloing as per the era, with unrestrained relish, and plentiful wide bends.
The ballads “I’ll Be Over You” and live favourite “Stop Loving You” saw Lukather on vocal duties, then passing that baton to Williams, as Luke soloed with enigmatic charisma, as the venue was lit up with phone lights. The latter track saw Ham jump from his riser to join Phillinganes and Luke as he worked on his saxophone. Luke’s soloing then melded with a crowd singalong, as the song completed with dramatic chord hits by the keyboardists. An array of coloured lighting then ensued as Forrest hammered his drums.Â
“Don’t Chain My Heart” from the positively hard rock album Kingdom of Desire was delivered with powering sustained chords and expressive, loose bluesy, borderline fusion soloing. If you saw “Gypsy Train” live in 1992, this was a mere taste of how powering across genres Toto can be when they feel inclined. Changing guitars again, and with a jovial crowd interaction, the big hits were due. As each member was introduced by Lukather, with his usual sardonic wit, snippets of massive hits were played by all, from “Beat It”, “Carry on My Wayward Son”, to “The Power of Love”, The Blues Brothers and The Lion King. Williams then joked that Lukather had 87% alien DNA, as Elton John’s “I’m Still Standing” riff was referenced.
To kick off the final trifecta of songs, “I’ll Supply the Love” from Toto had the punch and power of the day, with all the band working together, pushing the funk groove. “Hold the Line” delivered the piano riff the audience had craved, with Lukather’s soloing typically mesmerising. Naturally, “Africa” found its way to top of the set list to close out the show. Seemingly, the song has found a way to sit well with Lukather and company, who probably had tired of the track at one point in time. But as professionals, there is no hint of not enjoying playing the track live. As various lighting effects pulsed and added to the stage set, Toto finished their victorious set with their classic chart-topping hit. Long may Toto grace our stages, play their hits and demonstrate to all ages what true musicianship entails. A flawless and sensational performance by both acts tonight, but with Toto unquestionably fantastic.
