Rise to Success: Career Highlights of Brian Wilson
Discover the career path of Brian Wilson, from the first major opportunity to industry-changing achievements.
Brian Wilson is an American musician, singer, songwriter, and record producer, best known as the co-founder of the Beach Boys. He is celebrated for his innovative approach to pop composition, musical talent, and mastery of recording. Wilson's work is characterized by high production values, complex harmonies, layered vocals, and introspective themes. His vocal range and struggles with mental illness are also notable aspects of his life and career.
1955: Began Composing Original Music
In 1955, Brian Wilson began composing original music, at the age of 12.
1961: Professional Career Begins with the Beach Boys
In 1961, Brian Wilson began his professional career as a member of the Beach Boys, taking on roles as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader.
1961: Crafting "Surfer Girl"
In 1961, Brian Wilson crafted his first entirely original melody, "Surfer Girl", inspired by a Dion and the Belmonts rendition of "When You Wish Upon a Star".
1961: "Surfin'" Becomes a Hit
In 1961, produced by Hite and Dorinda Morgan on Candix Records, "Surfin'" became a hit in Los Angeles and reached 75 on the national Billboard sales charts. The group was renamed the Beach Boys.
1961: Formation of "the Pendletones"
In 1961, the three Wilson brothers, Mike Love, and Al Jardine debuted their first music group together, called "the Pendletones". Brian and Love co-wrote the group's first song, "Surfin'".
1962: Writing Songs With New Collaborators
By mid-1962, Brian Wilson was writing songs with DJ Roger Christian and guitarist Bob Norberg.
1962: Britz as Wilson's "right-hand man"
From 1962 to 1967, Chuck Britz acted as Wilson's "right-hand man".
1962: Signed with Capitol Records
In 1962, The Beach Boys signed with Capitol Records. Brian Wilson also became the first pop artist credited for writing, arranging, producing, and performing his own material.
March 1963: First use of the Wrecking Crew
Brian Wilson first used the Wrecking Crew for his productions with the Honeys in March 1963.
March 1963: First Top Ten Single
In March 1963, Capitol released the Beach Boys' first top-ten single, "Surfin' U.S.A.".
July 1963: Release and Success of Surfer Girl Album
Recorded in June and July 1963, Brian Wilson was for the first time officially credited as the Beach Boys' producer on the album Surfer Girl. This LP reached number seven on the national charts.
July 20, 1963: "Surf City" Reaches Top of Charts
On July 20, 1963, "Surf City", co-written by Brian Wilson with Jan Berry, became Wilson's first composition to reach the top of the US charts.
October 1963: Release of Little Deuce Coupe
In October 1963, Brian Wilson produced Little Deuce Coupe, released only three weeks after the Surfer Girl LP.
1963: Songs like 'Lonely Sea' and 'In My Room'
Although the Beach Boys were known for their surfing imagery, his songs typically avoided such topics when he wrote with collaborators outside of his band's circle, such as in the 1963 songs "Lonely Sea" and "In My Room".
1963: Producing The Honeys
Around 1963, Brian Wilson began producing a girl group called The Honeys and pitched them to Capitol Records.
1963: First Number One Hit with "Surf City"
In 1963, Brian Wilson co-wrote "Surf City", which became his first composition to reach the top of the U.S. charts.
1963: Double-Tracking Vocals
In 1963, Brian Wilson started double-tracking vocals on songs like "Surfin' U.S.A.", enhancing the sound by creating a deeper, more resonant effect.
1963: Wilson Writes "The Warmth of the Sun"
In 1963, Brian Wilson wrote "The Warmth of the Sun" as a tribute to John F. Kennedy following his assassination.
1963: Jan and Dean release 'Surf City' and 'Dead Man's Curve'
In 1963, Jan and Dean released "Surf City" (the first chart-topping surf song) and "Dead Man's Curve" (number 8), which Wilson co-wrote.
1963: Forming Record Production Companies
Towards the end of 1963, Brian Wilson formed Brian Wilson Productions and Ocean Music for songs he wrote for other artists.
1964: "I Get Around" Reaches Number One
In 1964, "I Get Around" became the Beach Boys' first U.S. number one hit.
1964: Tape Splicing Experiments
In 1964, Brian Wilson began experimenting with tape splicing on his recordings, using it to aid in difficult vocal sections.
1964: The Beach Boys release 'I Get Around'
In 1964, the Beach Boys released "I Get Around", which Wilson co-wrote. It became a number-one hit.
1964: Wilson's Psychological Breaking Point and Marriage to Marilyn Rovell
In 1964, the pressures of Brian Wilson's career and personal life led him to a psychological breaking point. He grew resentful of being identified with surf and car songs and expressed a desire to create music that explored broader themes of teenage life. On December 7, 1964, in an effort to find emotional stability, Wilson impulsively married Marilyn Rovell.
1964: Extensive Touring and Album Releases
Throughout 1964, Brian Wilson engaged in worldwide concert tours with the Beach Boys while continuing to write and produce for the group.
January 1965: Emotional Breakdown on Tour and Withdrawal from Touring
On December 23, 1964 Wilson experienced a breakdown on a flight to Houston, leading to his replacement by Glen Campbell for the rest of the tour. In January 1965, Wilson declared to his bandmates that he would be withdrawing from future tours, attributing his decision to jealousy towards Phil Spector and The Beatles.
December 1965: Partnership with Tony Asher for Pet Sounds
In December 1965, Brian Wilson partnered with Tony Asher to write songs for The Beach Boys' album, Pet Sounds. Asher was a jingle writer, and Wilson offered him to be his writing partner.
1965: Integration of the Wrecking Crew
By 1965, a typical Brian Wilson session would necessitate about 11 or more different players, which began during the sessions for Surfer Girl.
1965: First LSD Experience and Creation of "California Girls"
Early in 1965, shortly after moving to a new apartment, Wilson took LSD for the first time under supervision. The experience profoundly affected him and inspired the riff for "California Girls." However, for the remainder of 1965, he experienced paranoia attributed to his LSD consumption.
1965: Advanced Tape Splicing
In 1965, Brian Wilson's use of tape splicing became more ambitious, exemplified by the song "And Your Dream Comes True", which he edited together from separately recorded sections.
1965: Musical Advances and Touring Substitutions
In 1965, Wilson demonstrated musical growth with albums like 'The Beach Boys Today!' and 'Summer Days (And Summer Nights!!)'. Glen Campbell, who had replaced Wilson on tour in December of 1964, continued touring with the band until February. Following Campbell's departure in February, Bruce Johnston was recruited as Wilson's substitute on tour.
1965: The Beach Boys release 'Help Me, Rhonda'
In 1965, the Beach Boys released "Help Me, Rhonda", which Wilson co-wrote. It became a number-one hit.
1965: "Help Me, Rhonda" Hit Number One
In 1965, the song "Help Me, Rhonda" reached number one.
1965: A cappella in 'Salt Lake City'
Sudden breaks into a cappella segments, borrowed from the Four Freshmen, were employed in "Salt Lake City" (1965).
March 1966: Release of "Caroline, No" as Solo Artist
In March 1966, Brian Wilson released "Caroline, No" as his first solo record, which led to speculation about him leaving the band. Despite this, Wilson stated it was temporary, but it only reached number 32 in the charts.
April 1966: Production of Pet Sounds
From January to April 1966, Brian Wilson produced most of the Pet Sounds album at four Hollywood studios, using his bandmates for vocals and session musicians for the backing tracks.
May 1966: Release of Pet Sounds
In May 1966, Pet Sounds, which he collaborated with Tony Asher, was released to the public. It included tracks he called "the most satisfying piece of music" and an autobiographical song "about a guy who was crying because he thought he was too advanced".
November 1966: Worsening Mental Condition and Unraveling of Smile Project
Around November 1966, Brian Wilson's mental condition worsened, marked by the recording of "Mrs. O'Leary's Cow". This period is considered the beginning of the unraveling of the Smile project and the onset of his erratic behavior.
1966: Rising Influence and Recognition
By the end of 1964, Brian Wilson had become an influential musician in Los Angeles. However, it wasn't until 1966 that a broader public recognition of his talents was achieved.
1966: Exclusive reliance on the Wrecking Crew
In 1966 and 1967, Brian Wilson almost exclusively relied on the Wrecking Crew for the recording of the Beach Boys' backing tracks.
1966: "Good Vibrations" Hit Number One
In 1966, Brian Wilson co-wrote "Good Vibrations" which became a number one hit.
1966: Description of songwriting process
In 1966, Brian Wilson described his writing process, starting with finding a basic chord pattern and rhythm that he termed "feels".
1966: Wilson Believes Music Starts with Religion
In 1966, Brian Wilson expressed his belief that all music "starts with religion" and recognized a "higher being who is better than we are", while not being traditionally religious.
1966: Focus on "Good Vibrations" and Smile Album
In 1966, Brian Wilson focused on completing "Good Vibrations", which became a number-one hit in December, and new songs with Van Dyke Parks for the Smile album. The Smile album was intended to be a "teenage symphony to God", but Wilson involved more people in the process, leading to creative conflicts and challenges.
1966: Solo Release of "Caroline, No"
In 1966, Brian Wilson had his first credited solo release, the song "Caroline, No."
1966: Vocal Range
In 1966, Brian Wilson stated that the highest note he could sing was D5.
1966: The Beach Boys release 'Good Vibrations'
In 1966, the Beach Boys released "Good Vibrations", which Wilson co-wrote. It became a number-one hit.
1966: A cappella in 'Sloop John B'
Sudden breaks into a cappella segments, borrowed from the Four Freshmen, were employed in "Sloop John B" (1966).
September 1967: Home Recording Base and Shared Production Credits
In September 1967, starting with the album Smiley Smile, The Beach Boys made Brian Wilson's home their primary base of recording operations. The album was the first to credit production to the entire group instead of Wilson alone, due to his self-consciousness about his reputation.
1967: Britz as Wilson's "right-hand man"
From 1962 to 1967, Chuck Britz acted as Wilson's "right-hand man".
1967: Exclusive reliance on the Wrecking Crew
In 1966 and 1967, Brian Wilson almost exclusively relied on the Wrecking Crew for the recording of the Beach Boys' backing tracks.
1967: Documentary Filming at Wilson's Home
In 1966, Brian Wilson started working on the Smile album, which was never finished. In 1967, television producer David Oppenheim characterized Wilson's home as a "playpen of irresponsible people" while filming the documentary Inside Pop: The Rock Revolution.
1967: Unreleased rendition
In 1967, Wilson produced renditions of Burt Bacharach's "My Little Red Book" but left the recording unreleased.
1967: Bernstein Describes Wilson as Important Pop Musician
In 1967, the CBS documentary Inside Pop: The Rock Revolution, hosted by Leonard Bernstein, described Brian Wilson as "one of today's most important pop musicians."
June 1968: Recording of Friends During Emotional Recovery
The album Friends was recorded in June 1968 during a period of emotional recovery for Brian Wilson. He led the studio sessions and later referred to it as his second "solo album" and his favorite Beach Boys album.
1968: Abandonment of Smile Album and Psychological Decline
Brian Wilson had been trying to record the Smile album for six months, but in May 1967, it was announced that the album had been scrapped. In a 1968 interview, Brian Wilson said that he "was about ready to die" and "decided not to try anymore." The commercial response to "Heroes and Villains" led to his psychological decline.
1968: Unreleased rendition
In 1968, Wilson produced renditions of Burt Bacharach's "Walk On By" but left the recording unreleased.
1968: Influence of Bacharach's 'Walk on By'
Wilson used chord inversions, especially Bacharach's song "Walk On By" and "This Guy's in Love with You" (1968) to influence his own work.
February 1969: Release of 20/20
Sessions for 20/20 continued in Brian Wilson's absence in February 1969, as he was dealing with undisclosed issues.
August 1969: Rare Studio Presence
In August 1969, after co-writing "Break Away" with his father, Brian Wilson was rarely in the studio with the Beach Boys. His limited studio presence came after a period of active participation in writing material for the upcoming album.
1969: Chromatic bass descents in 'Our Prayer'
In 1969, Wilson's use of chromatic bass descents are most notably displayed in "Our Prayer".
1969: Cohn Recognizes Wilson as Pop Art Progenitor
In his 1969 book Awopbopaloobop Alopbamboom: The Golden Age of Rock, Nik Cohn recognizes Brian Wilson as a progenitor of authentic pop art, elevating high school-themed music "to completely new levels" and transforming it into a mythic narrative.
April 1972: Carl and the Passions Recording
During the recording of Carl and the Passions in April 1972, Blondie Chaplin stated that Brian Wilson rarely left his bedroom, but his contributions when he did were amazing.
1972: Dismantling of Home Studio
Brian Chidester coined "Bedroom Tapes" as a loose umbrella term for Brian Wilson's subsequent unreleased output until 1975, despite the fact that his home studio was dismantled in 1972.
1972: Inspiration for Mount Vernon and Fairway
In 1972, while living in Holland and listening to Randy Newman's album Sail Away, Brian Wilson was inspired to write a fairy tale titled Mount Vernon and Fairway, loosely based on his memories of listening to the radio at Mike Love's family home as a teenager.
1972: End of Home Recording Era
Starting with Smiley Smile in September 1967, the Beach Boys made Brian Wilson's home their primary base of recording operations until 1972.
October 1974: Endless Summer Success
In October 1974, The Beach Boys' greatest hits compilation Endless Summer reached number-one in the U.S., marking a resurgence in popularity for the band.
December 1974: "Child of Winter" Release
In December 1974, The Beach Boys released "Child of Winter (Christmas Song)", their first record since 1966 displaying the credit "Produced by Brian Wilson."
1975: Bedroom Tapes Era Ends
Brian Chidester coined "Bedroom Tapes" for Brian Wilson's unreleased output until 1975. However, Wilson's home studio was dismantled in 1972.
1975: Equinox Records Deal
In 1975, while still under contract with Warner Bros., Brian Wilson signed a short-lived sideline production deal with Bruce Johnston and Terry Melcher's Equinox Records, leading to the formation of California Music.
July 2, 1976: Return to Concert Appearances
On July 2, 1976, Brian Wilson began making regular concert appearances with the Beach Boys for the first time since December 1964, singing and playing bass guitar and piano.
October 1976: Love You Production
From October 1976 to January 1977, Brian Wilson produced a large collection of studio recordings, largely by himself. These sessions would result in The Beach Boys Love You.
1976: The Beach Boys release 'Rock and Roll Music'
In 1976, The Beach Boys released "Rock and Roll Music", which Wilson produced. It reached number 5.
1976: "Brian's Back!" Promotion
Throughout 1976, the tagline "Brian's Back!" was used to promote the Beach Boys' concert tours and their July release, 15 Big Ones. This album was the first since Pet Sounds to credit Wilson as the sole producer.
1977: Writing Mona
In 1977, Wilson wrote a 1950s style love song, "Mona", whose lyrics discuss some of his favorite songs by Spector, including "Da Doo Ron Ron" and "Be My Baby".
1977: Adult/Child Album Disputes
In early 1977, Brian Wilson produced Adult/Child, the intended follow-up to Love You; however, it remained unreleased due to artistic disputes.
1978: Leaf Identifies Wilson as Influence on Bands
Writing in 1978, David Leaf identified Brian Wilson's 1960s productions as a chief influence on bands such as Queen, Electric Light Orchestra (ELO), 10cc, and Crosby, Stills, Nash & Young, among others.
March 1979: Involvement with L.A. (Light Album)
In March 1979, after being discharged from detox, Brian Wilson rejoined his bandmates to record L.A. (Light Album). However, after producing some demos, he requested that Bruce Johnston take over the project.
March 1980: Bandmates Implore Him To Produce Next Album
In March 1980, Brian Wilson's bandmates implored him to produce their next album, Keepin' the Summer Alive, but he was unable or unwilling to do so.
1980: "Cocaine Sessions" Collaboration
In 1980, Brian Wilson engaged in clandestine recording sessions with his brother Dennis at Garby Leon's home studio, which were later dubbed the "cocaine sessions" or "hamburger sessions" due to Dennis's encouragement with McDonald's hamburgers and cocaine.
1981: "Cocaine Sessions" Collaboration
In 1981, Brian Wilson continued clandestine recording sessions with his brother Dennis at Garby Leon's home studio, which were later dubbed the "cocaine sessions" or "hamburger sessions" due to Dennis's encouragement with McDonald's hamburgers and cocaine.
June 1985: Release of The Beach Boys Album
In June 1985, Brian Wilson actively participated in recording The Beach Boys album, which was labelled as a "comeback" for him. Afterward, he focused on a solo career.
1986: Solo Album Demos with Gary Usher
Starting in 1986, Brian Wilson engaged Gary Usher in writing songs and recording demos for his prospective solo album, known as "the Wilson Project," at Usher's studio.
January 1987: Solo Contract with Sire Records
In January 1987, Brian Wilson signed a solo contract with Sire Records. Seymour Stein stipulated Andy Paley as co-producer, and Landy was given an "executive producer" role.
July 1988: Release of Brian Wilson Solo Album
In July 1988, Brian Wilson's self-titled solo album was released to favorable reviews and moderate sales. The album's release was overshadowed by the controversy surrounding Landy and the success of the Beach Boys' "Kokomo."
1988: Solo Album Brian Wilson
In 1988, Brian Wilson relaunched his solo career with the self-titled album Brian Wilson.
1988: Wilson Refers to 'A Toehold on Zen'
In 1988, Brian Wilson was asked if his music was religiously influenced, he referred to the 1962 book A Toehold on Zen, explaining that he believed that he possessed what is called a "toehold", meaning that having "a good grasp" on one aspect of life can translate to others.
May 1989: Recording "Daddy's Little Girl"
In May 1989, Brian Wilson recorded "Daddy's Little Girl" for the film She's Out of Control.
1989: Backing Vocals for Ronstadt
In 1989, Brian Wilson contributed backing vocals to Linda Ronstadt's single "Adios".
1990: Description of Song Arrangement
Brian Wilson wrote in 1990 about how he worked out "about a third" of the finished arrangement of a song as he was writing it, leaving the rest to studio experimentation.
1993: Offer to Record Album with Van Dyke Parks
In 1993, Brian Wilson accepted an offer to record an album of songs written by Van Dyke Parks. This project resulted in Orange Crate Art, released in October 1995.
1994: Recording choral version of Rhapsody in Blue
In 1994, Brian Wilson recorded a choral version of "Rhapsody in Blue" with Van Dyke Parks.
October 1995: Release of Orange Crate Art
In October 1995, Brian Wilson and Van Dyke Parks released Orange Crate Art, an album of songs written by Parks and credited to both of them.
1995: Wilson recalls 'Caroline, No' as best he's ever written
In 1995, Wilson reflects on the song Caroline, No as 'probably the best I've ever written'.
1996: Co-produced Beach Boys album Stars and Stripes Vol. 1
In 1996, Brian Wilson co-produced the Beach Boys album Stars and Stripes Vol. 1 with Joe Thomas.
1997: Appears on The Wilsons Project
In 1997, Brian Wilson and Asher rekindled their writing partnership and wrote some songs together. One of them, "Everything I Need", appeared on The Wilsons (1997), a project by his daughters Carnie and Wendy.
June 1998: Release of Imagination and Family Deaths
In June 1998, Brian Wilson's third album, Imagination, was released, receiving criticism for its sound. Shortly before the album's release, he suffered the loss of his brother Carl and their mother Audree.
July 1999: Solo Tour
From March to July 1999, Brian Wilson embarked on his first ever solo tour, playing about a dozen dates in the U.S. and Japan.
1999: Melinda Kae Ledbetter Becomes Manager
After 1999, Melinda Kae Ledbetter was Brian Wilson's manager.
1999: Regular Solo Touring Begins
In 1999, Brian Wilson began touring regularly as a solo artist.
2000: Reflections on Solo Tours
In 2000, Brian Wilson expressed his satisfaction with his solo tours, stating that he felt more comfortable on stage and had a better band than the Beach Boys.
2000: Live Album Release and Pet Sounds Performances
In 2000, Brian Wilson released his first live album, Live at the Roxy Theatre. He also began a U.S. concert tour, performing Pet Sounds live in its entirety for the first time, backed by a 55-piece orchestra.
March 2001: Tribute Show Appearance
In March 2001, Brian Wilson attended a tribute show in his honor at Radio City Music Hall in New York, where he sang "Heroes and Villains" before a public audience for the first time in decades.
June 2002: Release of Brian Wilson Presents Pet Sounds Live
In June 2002, Brian Wilson released his second live album, Brian Wilson Presents Pet Sounds Live, which featured recordings from his European tour.
2002: Creativity and Treatment
In 2002, Brian Wilson lamented that his successful treatment had inhibited his creativity and songwriting.
2003: Wilson reconfigured sound techniques.
The 2003 book Temples of Sound states that Wilson distinguished himself from Spector through the usage of certain instruments, such as banjo, and by possessing a "clean muscle" missing in Spector's work.
February 2004: Premiere of Brian Wilson Presents Smile
In February 2004, Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London. This was a live performance of the unfinished Smile album.
June 2004: Release of Gettin' In Over My Head
In June 2004, Brian Wilson released his fourth solo album, Gettin' In Over My Head, featuring guest appearances from various artists.
July 2005: Live 8 Performance
In July 2005, Brian Wilson performed a concert at Live 8 in Berlin, watched by a television audience of approximately three million.
September 2005: Charity Drive for Hurricane Katrina Victims
In September 2005, Brian Wilson arranged a charity drive to aid victims of Hurricane Katrina, offering a personal phone call from him to those who donated $100 or more.
October 2005: Release of What I Really Want for Christmas
In October 2005, Arista Records released Brian Wilson's album What I Really Want for Christmas, which featured two new original songs by Wilson.
November 2006: Pet Sounds 40th Anniversary Tour
In November 2006, Brian Wilson embarked on a brief tour to celebrate the 40th anniversary of Pet Sounds. Al Jardine accompanied him for the tour.
September 2008: Release of That Lucky Old Sun
In September 2008, Brian Wilson released his seventh solo album, That Lucky Old Sun, which was a studio-recorded version of a semi-autobiographical conceptual piece about California.
2009: Favorite chord and key signatures
In a 2009 interview, Brian Wilson stated that his favorite chord is E major seventh, and his favorite key signatures to play in are B, C♯, E, and E♭.
August 2010: Release of Brian Wilson Reimagines Gershwin
In August 2010, Brian Wilson Reimagines Gershwin was released, reaching number 26 on the Billboard 200 and topping Billboard's Jazz Albums chart. He subsequently embarked on a concert tour performing the album.
2010: Moorefield Acknowledges Wilson as a Brilliant Producer
Virgil Moorefield's 2010 book The Producer as Composer: Shaping the Sounds of Popular Music acknowledges Brian Wilson as a "brilliant producer" who significantly expanded the field of music production.
October 2011: Release of In the Key of Disney
In October 2011, In the Key of Disney was released, peaking at number 83 in the U.S.
June 2012: Release of That's Why God Made the Radio
In June 2012, That's Why God Made the Radio, a Beach Boys album, was released, with Brian Wilson listed as the producer.
September 2012: End of the Beach Boys Reunion Tour
The Beach Boys reunion tour, which Brian Wilson had initially hesitated to join but eventually agreed to, concluded in September 2012.
June 2013: Recording New Material
In June 2013, Brian Wilson's website announced that he was recording and self-producing new material with various artists, with potential for three albums.
October 2014: BBC "God Only Knows" Recording
In October 2014, Brian Wilson participated in a newly recorded version of "God Only Knows" with numerous other guest artists for BBC Music.
April 2015: Release of No Pier Pressure
In April 2015, No Pier Pressure, another collaboration between Brian Wilson and Joe Thomas, was released, featuring guest appearances from several artists.
2015: Doggett on Wilson and Pop Battles
In his 2015 book Electric Shock, Peter Doggett identifies Brian Wilson as the quintessential figure of an era marked by "some of the most notorious pop battles" between "idealistic musicians" and the executives funding their ambitious projects.
March 2016: Pet Sounds 50th Anniversary World Tour
In March 2016, Brian Wilson and Al Jardine embarked on the Pet Sounds 50th Anniversary World Tour, promoted as Wilson's final performances of the album.
2016: Lambert on Wilson's Harmonic Ingenuity
In 2016, musicologist Philip Lambert stated that Brian Wilson's harmonic approach demonstrated an exceptional mastery and significantly expanded upon the British-American pop idiom of the 1960s, leaving a lasting imprint on popular music since.
2016: Guriel Credits Pet Sounds with Inventing Modern Pop Album
Writing in 2016, The Atlantic's Jason Guriel credits Pet Sounds with inventing the modern pop album, stating that Brian Wilson "paved the way for auteurs [and] anticipated the rise of the producer [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art."
2019: Co-headlining Tour with The Zombies
In 2019, Brian Wilson embarked on a co-headlining tour with The Zombies, performing selections from Friends and Surf's Up.
August 2021: Resumption of Concert Touring
In August 2021, Brian Wilson resumed his concert touring after the COVID-19 pandemic.
2022: End of Solo Touring
In 2022, Brian Wilson ended his run of touring regularly as a solo artist.
January 2023: Speculation About Retirement
During a January 2023 appearance on a Beach Boys fan podcast, Brian Wilson's daughter Carnie reported that her father was "probably not going to tour anymore".
2024: Completion of Cows in the Pasture
In 2024, the unfinished album "Cows in the Pasture" that Brian Wilson produced for Fred Vail in 1970, will be completed by Vail. Wilson will be the executive producer and contribute new vocals to one of the tracks.
