Sydney Entertainment Centre
Wednesday March 27, 2013 :
It was a last minute decision to make the trip down from the Central Coast to Sydney to catch Santana, and due to this I missed the bulk of support Steve Miller. In fact, I walked in as Miller began his closing song, ‘The Joker’. The crowd were on their feet singing along to this much loved song, giving Miller a standing ovation.
Following a short break, the lights dimmed and Santana with his 10 piece band launched into ‘Toussaint L’Overture’, a song that contains everything that Santana stands for – blistering guitar work, rhythmic percussion and vocal stabs. As the opening song came to its abrupt end, I felt a chill rush through me and my hopes for one very special night was with me.
‘Black Magic Woman / Gypsy Queen’ was delivered early in the set, as was ‘Oye Como Va’ sending the fans of Santana’s early material into bliss. Sure Santana went through a commercial resurgence in the late ’90s with the Supernatural album, but it is these ’70s classics that many here tonight were hoping to hear.
Santana on guitar can be mesmerising at time – controlled feedback and distortion, delicate and tender fretwork, and sustain that cuts the air within the largest of arenas. Backed by the most wonderful percussive band, Santana live can be mesmerising. Santana’s mother was fondly spoken of, and in fact it would have been her birthday on this very night. ‘Josefina’ was dedicated to her, flowing effortlessly into ‘Europa (Earth’s Cry, Heaven’s Smile)’, a track that highlights Santana’s mastery on the guitar.
At this point, about an hour into the set, it was everything I had hoped for, and considering I had missed the bulk of Steve Miller, his invite on stage to duet was more than welcome. Their choice of song though was totally unexpected, The Doors’ ‘Break On Through’. Delivered with very little of the Santana nuances, it was a straight up rock song that felt totally unrehearsed. Santana was coaching his band on the drumming rhythms and keyboard stabs, and Steve Miller looked all out of sorts. Moving straight into ‘Trinity’, the connection between Santana and Miller’s guitar work was nowhere to be seen, and this 20 minute duet lumbered along for 18 minutes too long. It was an absolute shambles and destroyed all the great work that had gone beforehand.
‘Corazon Espinado’ was thrown in plus a drum and bass solo, which did very little to pick up the show. ‘Jingo’ though was exactly what was needed – driving, rhythmic and trance inducing, it lifted the show from the burial plot that the Miller duet had dug. This is a Santana performance, this is Santana and his band that their best. The career resurging ‘Smooth’ was chosen to close the set, and did not deliver the high point that was needed. Few people were on their feet, and the song petered out with little fanfare.
With less than a few minutes break, the Woodstock footage was playing on the screens, and ‘Soul Sacrifice’ was upon us. The roaring signature tune was exactly what was needed to bring this baby home, but the poor choice of merging it with the sombre ‘Bridegroom’ meant that the climatic conclusion of the night was lost. What could have been a magical night with Santana was not to be. There were some truly special moments, and to be honest the bulk of the show could be called this. Unfortunately for a few dire decisions I was left with a bitter aftertaste.