The pandemic of 2020 has thwarted and cancelled public performances, and the void has been filled in part by a variety of virtual concerts. Some of them, including this one, are fundraisers for specific venues or organizations. But really, we are the ones who benefit. We get to see talented musicians in the comfort of our own homes, for less than the cost of a live ticket. And more of us are able to "get in" than the venue actually holds. The performer gets publicity, and so does the site. This is a win-win situation, all around. (Except, of course, that a deadly virus is causing this phenomenon. This reality always lurks in the background.)

On June 28, veteran singer-songwriter Kenny Loggins appeared at the Lobero Theatre in Santa Barbara, California. Founded in 1873 and rebuilt in 1924, the Lobero is "California's oldest, continually operating theatre." Loggins has lived in Santa Barbara since 1973, and is a devoted "Barbarian." It makes sense, then, that he should perform as a benefit for both the Lobero and for the National Independent Venue Association. This group hopes to support small theatres throughout the country who have had to cancel their live events.

With California mission architecture, the Lobero is an elegant, old-style theatre that holds just 604 seats. Tonight, they were all empty. Up on stage were just three musicians, sitting on stools and distanced in a triangle from one another. Loggins sat with his guitar in the center, toward the back. To the left was guitarist Tarigh Akoni, and on the right was guitarist Rick Cowling. Together they provided an acoustic hour that celebrated both good songwriting and good guitar work.

I have seen Kenny Loggins in person three times, including lastly at a 2009 concert in Interlochen, Michigan. (Read my review here.) I frequently enjoy watching two of his concert videos, Live from the Grand Canyon (1992) and Outside: From the Redwoods (1993). I'm used to thinking of him as I remember seeing him myself, years ago, and as I see him in those 1990s performances. Now, suddenly, he's 72 years old. Surprise! How did this happen? The California sun-bleached tresses may have been replaced by shorter, darker hair and a finely trimmed and graying beard. Yet tonight we could hear the same voice and sense the same spirit that Loggins has illustrated for decades. The fun was here too, as we caught when he quipped in his introduction, "We're basically going to screw around for a while." Even though we knew darned well that this event was well rehearsed. He would have it no other way.

Loggins and his friends offered us just nine songs this evening: "Conviction of the Heart," "This Is It," "Whenever I Call You Friend," "The Real Thing," "I'm Alright," "Return to Pooh Corner" (his updated version of "House at Pooh Corner"), "Danny's Song," "Footloose" and "Celebrate Me Home." The instrumentation of the guitar trio was unique. Usually Loggins fills his stages with a variety of percussionists. This time, if a standard beat needed to be kept, we had to add it ourselves. The only variation to the guitar arrangements came with the last song, "Celebrate Me Home," when Rick Cowling moved to the piano to accompany Loggins' vocals.

The show was broadcast as if you were on the stage yourself. You were there. Some viewers later complained about issues with the sound, so the producers quickly remixed the program and offered it online for a few more days to subscribers. The most startling part of the performance, of course, was the absence of applause as each song ended. The musicians felt it, too. I wonder how many viewers clapped at home to fill in the gaps? I did. I even got out my guitar and played along with a few of the songs -- which I couldn't have done in person: at least, not without invitation.

Loggins always talks between songs during his concerts, and this time was no exception. Now he had the time to share some great background stories about how these songs came about. He spoke about his songwriting collaborations with Michael McDonald, Melissa Manchester, Stevie Nicks and David Fisher. He offered brief insights into the productions of the movies Caddyshack and Footloose, and about dealing with the Disney lawyers over the use of the Pooh characters. And he was candid about his own efforts at coming up with songs on demand.

Not knowing what to expect, I assumed that this concert would last at least 90 minutes. It didn't. It ended before the clock struck the hour. I was surprised and a bit disappointed. Yes, I got to see Kenny Loggins "live" and in a venue I never would have visited myself. And yes, the songs and the stories were great. I just wish there had been more of them.