By Joe Puccio

As seasoned live music aficionados are well aware, “farewell tours” are most often anything but what the moniker specifically implies. When hair metal heavyweights Mötley Crüe announced theirs in 2014, they actually went to the extreme measure of signing a “cessation of touring activity contract” – and still resumed the lucrative practice less than a decade later. When industrial rock influencers Nine Inch Nails exclaimed they were hanging up the military gear for good in 2009, it took only four years for Trent Reznor and company to hit the road once again. And when Elton John proclaimed that his 1977 London gig would be his last – during the performance itself – the legendary artist was back at his piano a mere two years later.  

Although there are exceptions (notable ones include Tina Turner and Alan Jackson), they are rare, and the reasons for the vast majority reneging run the gamut from boredom, drugs, age, and a simple change of heart. But in the interest of giving our favorite traveling titans the benefit of the doubt, their intentions likely at least start out noble enough.

Cue perennial rock and roll icon Rod Stewart, currently in the midst of his “One Last Time” trek, a jaunt that began in 2024 in Europe and Asia before landing in North America last year and isn’t scheduled to culminate until 2027. Sir Roderick (Stewart was knighted by Queen Elizabeth II in 2016 for his services to music and charity) hit the scenic Jones Beach Theater in Wantagh, New York on July 31 and it was clear from the familiar opening chords of “Infatuation” – originally played by late guitar god Jeff Beck, who got a tribute later – all the way to a riveting rendition of The O’Jays’ disco delight “Love Train,” which he covered in 2009 via his Motown/soul-centric Soulbook record, that Stewart was determined on closing out the month in style.

The British singer/songwriter’s repertoire consisted of a healthy mix of material from his prolific, blues-infused solo career in the 1970s, his softer pop-heavy 1980s MTV-era, and of course, his more recent interpretations of Great American Songbook standards.

During Stewart’s rendering of “Some Guys Have All the Luck,” he playfully frolicked with the trio of attractive female backup vocalists who accompanied him during the evening’s festivities, visibly enjoying all four minutes of the lighthearted ditty before seamlessly transitioning directly into “Hot Legs,” the blistering funk classic off of 1977’s Foot Loose & Fancy Free.

Ironically, the oldest tune rolled out and one that many would argue is Stewart’s signature song, “Maggie May” – released 55 years ago – was also possibly the most rousing number of the night due to a combination of its undeniable infectious vim and its sheer longevity. Not as venerable but equally as revered, the suggestive “Tonight’s the Night (Gonna Be Alright)” preceded it and was given both time and a humorous anecdote by Stewart on its controversial nature. A complete contrast in tone, the satiric disco spoof “Da Ya Think I’m Sexy?” was awarded the penultimate slot, a prime position for a track that is perhaps Stewart’s most fan favorite.

In addition to paying homage to Beck, the performer’s close friend Bonnie Tyler, who passed away last month, received extol during his poignant interpretation of the Welsh powerhouse’s “It’s a Heartache.” And speaking of acquaintances, Stewart welcomed a notable one to the stage in the form of Little Steven Van Zandt, Bruce Springsteen’s E Street Band guitarist. The popular axeman provided the perfect complement to Stewart’s massive band on a trifecta of Etta James’ “I’d Rather Go Blind,” funky old school Faces rocker “Stay with Me,” and Sam Cooke’s celebratory rhythm and blues tinged “Having a Party.”

Other highlights saw Stewart perform a beloved anthem that might have been a more appropriate name for the tour, “Forever Young,” as well as an atypical serious shift in mood by turning “Rhythm of My Heart” into an anti-war statement featuring imagery and support for Ukraine and Volodymyr Zelenskyy.       

With a catalogue as deep as Stewart’s, it’s inevitable that a number of gems will be omitted and the Long Island stop of these final gigs was no exception. Left out were a couple of jewels from Stewart’s early ‘80s period, the neo new wave banger “Young Turks,” and the synth-steeped “Baby Jane.” The exclusions were understandable, however, as a few strategically timed portions of the show were turned over to the plethora of talented musicians in his act. Holly Brewer, Joanne Harper, and Becca Kotte supplied the octogenarian with relief via a faithful version of Dolly Parton’s seminal “Jolene.” And the audience was also treated to brief musical interludes that included the requisite concert instruments like the bass and drums, but also featured the saxophone, violin, harp, bagpipes, and even Irish step dancing.

Although Stewart’s trademark raspy voice isn’t quite as prominent in 2026, his high energy, Las Vegas-style production is still well worth going out of your way to witness. While some would call it too reliant on smoke and mirrors, that group is clearly missing the bigger picture – and every picture tells a story, as Stewart enthusiasts know.  By its parts, the presentation may seem a bit disjointed. But as a whole, it’s a nearly two-hour celebration of one of popular music’s true treasures.

Concertgoers who either showed up to the recently renovated amphitheatre late or extended their pre-show tailgate party missed quite an appetizer courtesy of soft rock crooner Richard Marx. His succinct set was formulated almost entirely from his two most successful records, 1987’s finely crafted self-titled debut and its ambitious follow-up, Repeat Offender, which dropped in 1989.

Beginning with a fitting choice for the final night of July, “Endless Summer Nights” quickly quieted the chatter of the capacity crowd, while the power pop strains of “Satisfied” resulted in accomplishing just that for attendees. The lovely and underrated “Angelia” followed before Marx veered from his familiar tunes by singing “Magic Hour” from his latest album, After Hours, released this year. The song, co-written with wife of ten years Daisy Fuentes, had a distinctly different hue to it than the entertainer’s more well-known work and the modern composition impressively won over his loyal fan base.

The up-tempo “Should’ve Known Better” succeeded in bringing everybody to their feet before Marx conducted a virtual singalong of timeless ballad “Right Here Waiting,” his number one single that topped the charts exactly 37 years prior.

While it is true that nobody knows for certain if this really is the end of the “road” for Stewart – deep down he himself may truly not be sure – it would be wise to assume it is just that. This way, you would be more apt to snag yourself a ticket and witness a fantastic rock and roll show – and maybe even a historic one at that.

Check out Rod Stewart’s tour dates here.