EU welcomed an virtuoso guitarist, Latin jazz, blues rock music icon Carlos Santana’s Oneness tour at our Europe Jazz Blues Festival 2025 in Lanxess Arena, Cologne, Germany.
A handful of songs into Santana’s Oneness 2025 tour, Carlos literally suffered his way to the microphone to share his current plight, evidenced by the Latin-rock music icon performing while seated on stage.
It was something close to the following: “I saw my good friend Eric Clapton (implied: in a concert, some time ago), and I thought to myself, ‘What the fuck is he doing sitting down?’ Well, I’ll tell you. I’ve got back sciatica, and it fucking hurts! But I’m going to give you everything I’ve got!”
And so he would, along with his seven member band. The setlist was fairly close to a chronological presentation of his most appreciated songs, including his earlier 70’s work and a healthy dose of his 1999 smash, Supernatural.
Santana in concert at Lanxess Arena Cologne. Lest fans fear a seated Santana is a lesser version, have no fear. His sound, of course, remains unmistakable, but true to his word, he gives you his best.
Watching him play is a reminder that guitar genius comes from melody, tone and spirit melded into the needs of a song rather than how fast fingers can fly across a fretboard. And no one slides a barre chord up the neck like Santana to transition to the next section.
Starting the show with “Soul Sacrifice” – often a set closer – takes you right to root of his sound and band, a full assault of the capabilities of the band.
As typical, everyone in the band shone, and his two current singers, Andy Vargas and Ray Greene, are as good as his band has featured in a long time.
A highlight was the “pop” medley of “She’s Not There,” “Spill the Wine,” and “Papa Was a Rolling Stone,” with great transitions and a groovy interlude on keyboards.
If there was something missing during the evening, it certainly wasn’t Santana’s guitar playing. In shows I’ve seen over the decades, there’s always been a moment where Santana appeals to peace, love and harmony amongst his audience.
It was a reminder that he was a key part of the Woodstock festival and the generation that aspired to doing greater things socially.
This night, on the titular Oneness tour, he didn’t speak to that at all, at a time when any sense of charitable consideration to others’ ideas is lost in intolerance and worse.
Fortunately, it was only (on-and-off) light rain throughout the band’s generous 130-minute set. It was somewhat surprising that the first ten songs of the 22-song set focused on Santana’s first three albums. Some would contend their best albums. But I digress.
Kicking the show off with Soul Sacrifice from the band’s landmark 1969 debut album, the crowd of roughly 11,000 people (in my estimation, not an official number) were ready for a night of great music to kick off Easter weekend. Even though the music always does the talking at a Santana show, it was interesting to see them incorporate a few visuals here and there, as basic and perhaps commonplace as they are in today’s arena shows (i.e. referring to video backdrop and lasers).
Onstage, fan-favorite Jingo preceded Santana’s first-ever Billboard top-10 single Evil Ways to the delight of the multi-generational audience. I’m always surprised how many families attend their shows. When I say “families”, I mean families with their adult children in tow. Believe it or not, there was a brief period during the 80s when Santana wouldn’t play two of its biggest hits. Yes, I’m talking about their well-known versions of Black Magic Woman/Gypsy Queen and Oye Como Va in particular, from 1970’s Abraxas.
Long and short of it, lead guitarist Carlos Santana (at the time) didn’t want Santana to become “jukebox relics”. His words, not mine. Needless to say, that didn’t sit well with many longtime fans. However, the aforementioned songs have been “staples” of their tours now for the better part of three decades. Clearly, Mr. Santana saw the bigger picture over time. Or put another way, the audience goes into a frenzy when they’re played— without fail. Everybody’s Everything (from 1971’s Santana III) gets the crowd toward the front dancing and singing. It’s one that the band clearly enjoy playing all these years later.
Those of you who have seen any incarnation of Santana live over its 55-year career, you’re well aware that jamming is a big part of the Santana “experience”, if you will. In my opinion, I find “jamming” to be overbearing and redundant. Yes, I appreciate the musicianship behind it. However, it seemed like they did a little less of it on the Oneness tour. Or at least, compared to past Santana shows I’ve seen.
Surprisingly, they wanted to concentrate on the songs this time… thankfully. That’s a good thing my friends. Of course, it should be said that Santana can never leave out select songs from 1999’s mega-platinum album Supernatural. Songs like Put Your Lights On, Maria Maria and Smooth have never left the live set since they came out.
Just like jamming, I think solos are just as unnecessary. During the first encore Toussaint L’Overture, drummer Cindy Blackman-Santana took center stage to roaring approval. While her talent is certainly exceptional, if I never hear another drum, bass or guitar solo ever again, I’m completely fine with that. No matter how talented they are.
But, the beauty of a Santana concert is that you’re setting aside almost two hours to feel it his music, live.
By Olivia Peevas
