For many of us the mere mention of Carlos Santana’s name brings up images of psychedelic fashions, long instrumental jams and that guitar tone of his, one of the iconic rock sounds of the ’70s. It’s not the ’70s any more, though, and this, the first UK show for Santana in several years, is in the cavernous OVO Hydro rather than the Glasgow Apollo.
Santana
The OVO Hydro, Glasgow – 18 June 2025
Words: Ian Sutherland
Photography: Razorrhead Productions
There is more grey hair around the hall than tie-dye shirts, but there is still an air of anticipation and then gasps of recognition as the footage from Woodstock displayed on the screen above the stage reveals that the opener will be the classic Soul Sacrifice.
The sound is full and well mixed from the off. What may surprise newbies to the live Santana experience is how percussion-focused it is. With more than half of the ten-piece band on stage contributing to the rhythms, the effect is, as they would have said back in ’69, groovy.
Carlos’ wife Cindy is the centrepiece of this on the drums, and not for the last time, tonight gives a stunning display of dexterity and power, rivalling the Woodstock performance of Michael Shrieve made famous by the film.
Mr Santana himself is looking a little more frail, as anyone still touring in their seventies has a right to. While he may take a seat to play when it suits him, his fingers still have that fluid energy, and those delightful flowing fretboard runs are still there.
After such an electrifying start, you might think they would bring the pace down, but no. Always known for long, intricate instrumental jams, Santana, on this tour, decide to let the first part of their set showcase what happens when they wrap that sound around a good song.
Jin-Go-Lo-Ba, Evil Ways, Black Magic Woman and more follow back to back. It is a Santana hit playlist made real, and the all-seated crowd soon features people popping up to dance, unable to resist the infectious grooves.
A little encouragement from singers Andy Vargas and Ray Greene and the samba rhythms of first set closer, Foo Foo, has everyone on their feet and getting their groove on.
The second set starts in a similar vein with the energetic Everybody’s Everything, but a lengthy bass solo takes the energy down a level and sets the stage for the beautiful Samba Pa Ti, the guitar style and sound of a legend showcased in achingly gentle fashion.
This second portion of the evening is a more mixed affair with some of the longer jamming-type sections the band is famous for interspersed with a few more sing with our kind of tunes.
However, everything had that infectious percussion-led invitation to dance behind it, and the crowd were hanging on every note the great man played.
She’s Not There took the roof off, Corazon Espinado convinced everyone they could sing in Spanish for a few minutes and Put Your Lights On was a nice wave your hands and phones the air moment.
An extended cover of Bob Marley’s Exodus was an irresistible samba reggae cross-cultural way to end the main show, and Toussaint L’Ouverture was more ’70s glory days revisited in fine style to start the encore.
A showcase drum solo from Mrs Santana followed, then big hit Smooth was the inevitable closer and a fitting way to end a fabulous night.
This was a glorious celebration of Carlos Santana and his legacy. The great man can let his terrific band of musicians set the energy levels, and his still beautifully smooth playing is the icing on top of a fabulous musical cake.
He has a unique place in rock’s history, and the cheers that rang out every time his name was mentioned on stage confirm the regard in which he is held.
Being legendary has never been done more smoothly.
What gig were you at, the sound around 20 rows from the front and in the middle was diabolical. No idea what the sound guys were hearing, the only time you heard the 2nd guitar was when he was the only one playing. What a waste of 3 great percussionists, Cindy’s toms were so boomy they were indistinguishable, couldn’t hear the hi hats only the snare. The Bass was awful so boomy, the drum an bass solo sounded like listening to a band through a brick wall. I know he’s getting old but he could’ve looked a wee bit interested, chewing gum on his seat like he just wanted to get out of there. Just as well it was only £220 for the privilege. That’s my 5th Santana gig and I’m so sad to say it was a shocker. I refuse to believe it was the bands fault, I’m laying the blame solely with the sound gadges, with the painted on ears.
I`m glad I found this comment. I saw them at the O2 in London last night, and completely agree. The bass drum absolutely smothered everything, and there was no hope of hearing the complex polyrhythms. The whole mix didn`t need to be so loud , and even Carlos`s guitar was loud to the point of distortion. I enjoyed the gig, but it could have been so much better.