It’s the same Los Lobos guys as it’s been for 50 years, save for drummer Alfredo Ortiz, who joined in 2021, and saxophonist/keyboardist/producer Steve Berlin, who has been on board since 1982. The one big difference on Sunday was the Dakota, capacity 350, was the smallest Twin Cities venue in which the veteran band has performed since that 1983 7th Street Entry gig. The Minnesota Zoo, First Avenue and the Ordway have been the group’s regular Twin Cities stops.
With Hidalgo and Rosas taking turns on lead vocals Sunday, it was the good ol’ Los Lobos, with a little more Grateful Dead flavoring (especially on the opening “One Time One Night”), more lead guitar from Louie Pérez than in the past and some jazzy touches from drummer Ortiz.
Per usual, Los Lobos played a variety of American and Latin music, proving that this versatile, underappreciated ensemble is one of America’s great live bands. Highlights included the killer blues “Bound to Lose My Mind”; the back-to-back-to-back rockers “Don’t Worry Baby, “I Got Loaded” and the Dead’s “Bertha,” and a medley of the Temptations’ “Papa Was a Rolling Stone” recast as intense urban blues with the Sonny Boy Williamson blues classic “One Way Out.”
The bespectacled sextet (save for the drummer) played with so much feeling for 95 minutes but no facial expressions. Hidalgo’s voice was not as smooth as usual but still spirited. And the music had bodies moving in the Dakota even if clubgoers were seated.
Los Lobos’ encored with Neil Young’s “Cinnamon Girl” (by request) and their inevitable hit remake of Ritchie Valens’ “La Bamba” mashed up with the Rascals’ “Good Lovin’.” Good times, indeed, as always.
For Tower of Power’s Holidays and Hits Tour Saturday at Mystic Lake Showroom in Prior Lake, the 57-year-old horn-driven band brought a brand-new singer. Jordan John, 38, proved to be TOP’s most exciting vocalist since heyday hitmaker Lenny Williams, who exited in 1975. John showcased an elastic tenor, with the sexy scream of Al Green and the guitar-scatting of George Benson. He hit his high notes with the ease and élan of a vintage doo-wop singer. However, John needs to work on his stagecraft a bit; he spent the night pacing back and forth and seldom faced the audience or danced.
