If you’re not standing a minute into a Santana concert, you’re likely stuck somewhere in traffic. And you should be really upset. Carlos Santana launches the set with “Soul Sacrifice,” once a frequent set closer, serving as an introduction to driving blues-rock fused with Afro-Cuban rhythms. Dual congas, drums, and a syncopated bassline. And, of course, Santana’s signature guitar sound. It’s the kind of song that gets the crowd moving, and it doesn’t end there.
The band segues into “Jingo” and then into the trio of songs that have remained linked since their release in 1970 on Abraxas: “Black Magic Woman,” “Gypsy Queen” and “Oye Cómo Va.” There’s no avoiding that groove.
Santana’s “Oneness Tour” has been rolling for some years now, but a special treat during this version was a mid-set invitation for The Doobie Brothers to join them for “I Love Music” by The O’Jays and “Roadhouse Blues” by The Doors, with solos by Pat Simmons, Tom Johnston and Santana. It was clearly fun for everyone and perhaps the first time they covered that particular song together. It’s a reminder that band keeps the setlist fresh, swapping several songs nightly.
The set leaned heavily on Santana’s first three albums from 1969 through 1971 before eventually reaching Supernatural, whose singles still receive regular airplay more than 25 years later. That said, Santana’s cover of The Zombies “She’s Not There” remains my favorite of the band’s more commercial songs, an interpretation that surpasses an already outstanding original.
Musically, the band clicks, as expected. Singer Ray Greene is the “rookie” of the group, having been Santana for only ten years compared with bassist Benny Rietveld’s 26 years. Rietveld has also served as the band’s musical director for the past quarter century.
Santana, as a band, has always been known for solos by the band, not just Carlos himself. A segment simply labeled “Bass and Drum Solo” featured an engaging showcase from Rietveld before a terrific drum solo by Santana’s wife, Cindy Blackman Santana. And that’s part of Santana’s enduring appeal. It feels like family.
Santana is known for brief monologues about spirituality and positivity, and this night he reflected that a fulfilling life comes from keeping peace and joy in your heart while trusting in something greater than yourself. Fifty-seven years of performing, 25 studio albums, and Santana keeps coming back for more. Catch him live on tour through mid-September, followed by a residency at Mandalay Bay in Las Vegas.
Setlist:
Encore:
The Doobie Brothers opened an evening full of hits and fan favorites. Fans of a certain generation may have collected the Doobies records as they were released, but probably many more bought Best of the Doobies, Vol. 1, until that point including songs exactly as advertised. The lone exception for what the band covered live was “South City Midnight Lady.” You can’t have everything… but it would have been nice.
There was a time when the band was led by Tom Johnston, who led the band during the Vol. 1 era. He was followed by Michael McDonald as a lead writer and singer, left and Johnston returned. And McDonald remained involved from time to time. So, if you heard one or the other over their decades of concerts, you have the chance now to hear both, along with Pat Simmons who has remained throughout the years.
I’ve seen quite a number of bands who are beyond their most popular eras. None of them perform better live than The Doobies. They’ve got it all. Particular kudos to Simmons, who seems as fresh and thrilled to perform when I saw him decades ago, Marc Russo who adds a spirited sax, and to percussionist Marc Quiñones who has been playing with the band after a couple decades of the Allman Brothers Band and Gregg Allman band.
A particular highlight was the instrumental sax/keys take on “Amazing Grace” which has become a soulful prelude to “Takin’ It To the Streets.”
As good as they sounded, I’m left a little to wonder how my reaction would be changed at they been playing later at night. The stage was nondescript other than videos/images playing behind them that reflected some element of each song. That said, their visible energy would be so much better served with the stage lights that come later in evening or within an arena, as evidenced by the photos of Santana.
Still, I was happy that they still continue to take it to the streets, year by year, minute by minute. Highly recommended!
Setlist:
