Brian Wilson from the legendary group Beach Boys died June 11, 2025, at the age of 82. Cementing themselves as the official soundtrack to summer, Wilson’s artistry pushed beach and surf culture to the mainstream.
Most remembered will be Wilson’s later years, such as his touring at Jones Beach, or when he gauged the market for his second solo album, I Just Wasn’t Made for These Times. The album was a combination of early studio work modified with the vision of the ultimate poet of summer finding himself in a 1990s audience.
In search of “good vibrations” and an enthusiastic crowd to embrace his artistry—with monetary gains—Wilson became the center of the ultimate beach and yacht party in Point O’ Woods on Fire Island.
How did the Beach Boys catch this late-’80s second wave of commercial success, and why would Wilson be hesitant to ride this wave?
The mid-1980s would have been an unlikely time for the Beach Boys to reach another peak status, similar to their initial success 20 years prior. Struggling to leave behind the tragic death of drummer Dennis Wilson, combined with five years of no studio activity and Wilson’s turbulent mental health issues, an album of any commercial success was doubtful.
However, beating back the odds, the Jones Beach concert on July 18 and 19, 1985, was going to be the kickoff for their album release, It’s Gettin’ Late.
The Jones Beach concert was a success, with thousands of Baby Boomers attending to fulfill their nostalgia for an endless summer.
As for the album, critics cited that it was an “attempt to come to terms with a changing market” or “mediocre at best.”
The success of the tour created a desire for Wilson to rediscover his artistic voice. It was 1988, and he had been reflecting on the criticism of decades past. Many of his iconic contemporaries, such as Jimi Hendrix, wrote off the band as a so-called “psychedelic barbershop quartet.” In addition to his struggle with artistic identity, Wilson was fighting a resurgence of mental health issues.
However, while vibing for a voice, the remaining members of the Beach Boys created a new summer anthem titled Kokomo, with the help of longtime colleague and ‘60s music producing icon Terry Melcher.
During these years of battling demons and self-exploration, Wilson did not confine himself to large concerts; instead, he played smaller, private venues. During these intimate performances, audience members witnessed the self-discovery and musical evolution of his authentic self.
“As I understand it, some husbands pooled some money together at Point O’ Woods for their wives’ 50th birthdays to have Brian Wilson perform,” recalled Bay Shore resident Peter Zent. “My sister, who was on Fire Island at the time, told me they are setting up for Brian Wilson in front of the Yacht Club. Once I verified that Wilson was performing, I rode my bike from Bay Shore to Fire Island, heading down to Point O’ Woods, hoping the service gate would be open. Wilson was on the keyboard, and his backup singers sounded just like the other members of the band.”
Ocean Bay Park resident Peggy Horton recalled, “No tickets were sold, the show was commissioned by residents of the community, which included kegs of beer and a BBQ for all attendees.”
“In between songs, Wilson would say, ‘You are going to love the next one,’ as if we did not love all the other 12 songs he performed,” Horton said.
Details of the musical sets and modifications of the instrumental sounds have fallen victim to the Mandela effect for the dozens of spectators.
It would be 2012 when Wilson rejoined the remaining Beach Boys for the 50th Reunion Tour. Headlining Jones Beach on June 24, the band announced their album That’s Why God Made the Radio, in collaboration with Wilson and his vision. Rolling Stone magazine reviewed the album as “uneven-sounding” but emotionally “touching.”
However, despite the mixed reviews, the three reunion shows in New York, including those at Jones Beach, would sell out in under a day.
More than 60 years since their first hit Surfin’ U.S.A., the song and others have crossed generational boundaries to commemorate beach culture, which still markets Fire Island as a destination to catch a wave and feel the warmth of the sun.
