Santana’s Montreux Return: A Mix of Nostalgia and Restraint
Guitar legend revisits Woodstock anthem, but plays a more subdued role
The legendary Carlos Santana, still riding the wave of his explosive Woodstock performance, recently returned to the Montreux Jazz Festival. Nine years after his last appearance by the lake, the Mexican guitarist’s set featured the iconic “Soul Sacrifice,” the very track that cemented his place in amplified music history.
A Familiar Sound, A Different Delivery
The concert kicked off with “Soul Sacrifice,” a powerful nod to **Santana**’s groundbreaking 1969 performance at Woodstock. This was followed by other crowd-pleasing hits like “Jingo-lore,” “Evil Ways,” “Black Magic Woman,” “Europa (Earth’s Cry Heaven’s Smile),” and “Maria Maria.” Despite the familiar repertoire, **Santana** adopted a notably more reserved stage presence.
He spent much of the performance seated on the edge of the stage, letting his eight accompanying musicians, including his wife **Cindy Blackman Santana** on drums, take center spotlight. **Santana** himself, obscured by sunglasses and a hat, appeared somewhat detached, seemingly more observer than active participant in his own show.
This less engaged demeanor contrasted sharply with his early career. In 1969, a young **Carlos Santana**, influenced by mescaline and his mariachi upbringing, delivered a fervent, acid-tinged performance at Woodstock. His band’s rendition of “Soul Sacrifice,” notably featuring a blistering drum solo by **Michael Shrieve**, became a defining moment of that era.
This year’s Montreux appearance comes as **Santana**’s music continues to resonate. As of early 2024, his hits remain popular on streaming platforms, with songs like “Smooth” still accumulating millions of streams monthly, demonstrating the enduring appeal of his blend of Latin rock and blues (Billboard).
Reflections on a Legendary Career
The festival’s penultimate evening saw **Santana** on stage, yet the energy felt different. The guitarist, who once described his Woodstock experience as a “hallucinogenic climb,” seemed to have lost some of the fiery spirit that characterized his early work. The performance was technically sound, showcasing his enduring musicality.
However, the visual of the usually dynamic guitarist sitting for much of the set, occasionally chewing gum and gazing downward, prompted questions about his connection to the performance. While the audience clearly enjoyed the familiar melodies, the performance lacked the electrifying urgency of his past appearances.
