Live Review: Toto, Christopher Cross @ John Cain Arena, Melbourne

It’s a gamble any legacy act faces: when one song becomes a cultural touchstone, how do you sustain an audience for an entire evening? Will the rest of the night rise to meet it, or will the crowd spend the show restlessly anticipating that singular, seismic moment?

For Toto, the answer lies in doubling down on what made them great to begin with—stellar musicianship, airtight arrangements, and emotional resonance.

Ahead of their much-anticipated slot at Bluesfest, Toto brought their long-running Dogz Of Oz World Tour to Melbourne’s John Cain Arena, marking the band’s first Australian performance in seven years. 

Formed in Los Angeles in 1977, Toto’s legacy is undeniable. The band has sold over 50 million records worldwide, released 14 studio albums, and won six Grammy Awards. The original lineup brought together a powerhouse pool of elite session players: Bobby Kimball, Steve Lukather, David Paich, Steve Porcaro, David Hungate, and Jeff Porcaro. Collectively, they have thousands of credits to their names, contributing to some of the most influential and best-selling recordings of the era. 

Decades later, their sound would help define a subgenre of music retroactively labelled as yacht rock — a style characterized by mellow grooves, lush arrangements, jazzy and R&B influences, and a kind of analog warmth that captured the silky, sentimental sound of the late ’70s and early ’80s. 

Joined by soft-rock luminary Christopher Cross, the tour makes a compelling case for the depth, durability, and resurgence of a genre too often dismissed as easy-listening background music, a genre that has transcended parody to become a cultural touchstone. 

There was something quietly profound about Cross’s return to the Melbourne stage last night. At 73, after battling a severe case of COVID-19 and subsequent paralysis from Guillain-Barré syndrome, simply seeing him walk out under the lights felt like a victory.

Cross catapulted to fame with his 1979 self-titled debut album, which earned him five Grammy Awards—including the prestigious “Big Four”: Album of the Year, Record of the Year, Song of the Year, and Best New Artist. That historic sweep wouldn’t be matched until Billie Eilish repeated the feat in 2020.

With over 12 million albums sold and multiple platinum certifications, Cross became a defining voice of late ’70s and early ’80s soft rock. And remarkably, that voice remains intact—smooth, steady, and instantly recognisable. On his first Australian tour since 2017, it was clear that his music still resonates deeply. Highlights included All Right, Never Be The Same, I Really Don’t Know Anymore, Light The World featuring choruses sung in Swahili, and, of course, the Oscar-winning Arthur’s Theme (Best That You Can Do). 

Cross’s music seems to exist in a half-remembered dream of distant horizons and endless motion. It occupies a nostalgic, liminal space, a soft echo from another time, comforting yet elusive, suspended between past and present. The ethereal Sailing had an almost weightless quality, drawing a hush over the crowd and eliciting goosebumps and faraway gazes.

In contrast, Ride Like the Wind brought the audience to their feet with a propulsive burst of energy. Though stylistically distinct, both songs tapped into the same longing for freedom and escape—always just within reach, never fully grasped. 

Cross was accompanied by pianist Jerry Léonide, multi-instrumentalist Andy Suzuki, bassist Kevin Reveyrand, drummer Francis Arnaud, and background vocalists Jewelee Peters, Lisbet Guldbaek, and Julia Sarr. 

When you think of the greatest guitarists from the '70s, Cross is often overlooked—and understandably so, in a decade dominated by heavyweights including Eric Clapton, David Gilmour, and Jimmy Page. But make no mistake, Cross can play. His immaculate tone and expressive phrasing took many in the crowd by surprise, proving he’s much more than just a soft rock icon but a stellar guitarist as well. 

All drama and flashing lights, Toto opened their set with the dynamic instrumental Child’s Anthem. From there, they shifted seamlessly between moods and eras, moving from the groovy 99 to the swinging Georgy Porgy, then slowing things down with the poignant I Will Remember and I Won’t Hold You Back.

A brief detour into hair metal followed, with Dennis Atlas stepping in on vocals for Angel Don’t Cry. The band kept the momentum going with fan favourites White Sister, I’ll Be Over You, and Stop Loving You, each one met with enthusiastic applause.

Over the years, Toto has seen many iterations, with the current touring lineup blending legacy and fresh energy. Founding guitarist Steve Lukather led the lineup featuring frontman Joseph Williams, the son of legendary film composer John Williams and the singing voice of adult Simba in The Lion King, along with “Swiss army knife” multi-instrumentalist Warren Ham.

The rhythm section was rock solid with bassist John Pierce and drummer Shannon Forrest, while Greg Phillinganes and 27-year-old Atlas handled keyboards with flair and finesse. Together, they played like a well-oiled machine, showcasing their breadth as session musicians with snippets of Michael Jackson’s Beat It, Michael McDonald’s I Keep Forgettin’, Huey Lewis & The News’ Power of Love, and even Hakuna Matata, left the crowd buzzing. 

Rosanna brought the crowd to their feet, powered by the legendary "Rosanna shuffle" and soaring key change. Mid-song, Phillinganes even got an on-stage massage from Williams. Not to be outdone, Hold The Line, Toto’s debut lead single, served as the second-to-last song, cranking up the energy with its iconic riff and pounding piano. 

And then, the moment everyone had been waiting for: Africa. The crowd erupted. Originally buried as the last track on the B-side of Toto IV, the song became a global phenomenon in 1983 and now amasses three million daily streams on Spotify alone. As the opening conga drums rolled in and that shimmering synth washed over the arena, the atmosphere shifted somewhere euphoric, as if the song tapped into some ancient and divine energy. 

Far from coasting on nostalgia alone, both Cross and Toto’s appeal lies not in spectacle but in sophistication. With their unmatched musicianship, their music transcends time, creating moments of profound connection that resonate deeply with their audience.