On the Road Again
Live Reviews:

Los Lobos
August 16, 1999
Lee's Palace, Toronto

They were so loud that it was more like Led Lobos tonight, but they're such passionate musicians, talented players and unpretentious guys that they remain, as ever, one of the best live acts in the world. They played way more meat-and-potatoes rock than ever — the traditional bajo sexto (an electric one, at that) made only a brief three-song appearance — but in doing so, Los Lobos once again proved that they can conquer any musical world that they choose.

Much of the two-hour set was devoted to fresh material from their excellent new album, This Time, with the three extremely electric guitars of David Hidalgo, Cesar Rosas and Louie Perez (when he wasn't playing drums) interlocking in loud-ass guit-architecture that veered from metallic to psychedelic to bludgeoning. But they applied that weight to a wide range of material: The bluesy "Everybody Loves A Train" and Chicano rock of "Mas Y Mas" from Colossal Head; the dark and moody title track of Kiko; the rootsy, Band-like changes of "When The Circus Comes To Town"; the bouncy, folk-rock feel of "One Night In America." Hell, they even played a polka (never seen 'em play a show without one, and I've seen 'em a lot), a killer traditional-style tune, "Yo Soy Mexicano Americano," and a cumbia de la raza.

The evening had a loose, jamming feel that only such seasoned pros can pull off without looking sloppy or foolish. "One Night In America" drifted off into a longish, three-guitar jam, but the second it threatened to approach wankery, Hidalgo pulled up the rhythm and twisted it up into a stellar "Evangeline." At one point, Hidalgo and Rosas were making quick suggestions to each other about where to go next, figuring out the right key, while bassist Conrad Lozano enjoyed a hearty laugh at their antics.

Los Lobos have spent enough time in Canada that they know the lay of the land here. They gave props to the Hip (with whom they've toured on Another Roadside Attraction), as Hidalgo dedicated a song to them, allowing that "Gord likes his weed. But so do I!" They introduced one of their many encores as a song "written by a guy from Winnipeg," then stormed through a cover of "Cinnamon Girl" that would have had Grandpa Neil beaming from ear to ear. And they gave props to Blue Rodeo (with whom they just did three dates on the Great Big Picnic) by saying "they're a kickass band" and inviting ace lap-steel guitar player Kim Deschamps to sit in with them for the latter half of the set and all of the encores. (He slipped right in, played brilliantly, and added even more to the three-guitar assault.)

The encores ranged from ecstatic (Doug Sahm's "She's About A Mover") to, er, less so (The Grateful Dead's "Bertha," ugh!, but they played it brilliantly) to inspiring, sometimes sounding like The Allman Brothers with steroid-pumped fuzztone and feedback.

The crowd — packed into Lee's like sardines into a tin — loved it, and Los Lobos thanked them repeatedly for coming out. Which just goes to show that the audience loves them enough, and they're strong enough musicians, that they're free to do a Led Lobos kind of show anytime they want. And more power to 'em for it.