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Santana + The Doobie Brothers
Live at Hollywood Bowl
August 24th, 2026 Review by Amaris Becker
When I first saw the announcement of Santana and the Doobie Brothers at the Hollywood Bowl, I knew this was a tour I could not miss. Two bands representing vastly different sounds of the ‘70s: the Doobie Brothers embodying the American country-rock spirit, and Santana blending blues, rock, and jazz with a Latin flair, redefining what a lead guitarist could be.
The Doobie Brothers were, by the strictest definitions, the openers, only because they went on first. But the Oneness Tour summarizes something deeper. This wasn’t your classic tour format of an opener warming up the crowd followed by a headliner. Instead, it was one event in two acts: the Doobie Brothers and Santana.
As I walked through the Hollywood Bowl gates that August evening, I was struck by the crowd. These bands represent different genres, and the audience reflected it beautifully. People wore everything from cowboy hats to vintage t-shirts to ironed button-downs.
The weather was perfect for an outdoor show, and the sun was just beginning its descent into dusk. My parents grew up on the music of these incredible artists and decided to attend as well. My mother had a lovely picnic packed, and The Doobie Brothers took the stage. They came out swinging with immediate energy and chemistry that felt both lived and earned.
No introduction was needed as they opened with “Rockin’ Down the Highway,” followed by “Take Me in Your Arms (Rock Me a Little While),” then “Little Darling (I Need You),” flowing into “I Keep Forgettin’ (Every Time You’re Near),” and Walk This Road.”
Two of the founding members performed: Tom Johnston, who played guitars and sang vocals with ease, and Patrick Simmons, who came out with a bright pink Fender guitar that set a nice contrast with the rest of his outfit, a wide gambler’s hat and long hair. If I knew nothing of The Doobie Brothers and had to pick a member out of a lineup based on vibes alone, he’s who I’d choose.
“It Keeps You Runnin’” was one of my personal favorites of the night. Michael McDonald, who wrote the song, and his husky voice cut through the evening air and seemed to touch my soul. There’s also something about a great saxophone solo that takes a moment from great to unforgettable and Marc Russo, one of the musicians joining them on tour, delivered that magic
From there they went into “Minute by Minute,” “Without You,” “Jesus Is Just Alright,” “What a Fool Believes,” and “Long Train Runnin.’” John McFee was center stage with his guitar and fiddle. He may not technically qualify as a founding member, but he may as well be, as he’s been with the band for about 40 years collectively.
Joining them as the touring lineup were John Cowan on bass, Marc Russo on saxophones, Ed Toth anchoring with the drums, and Marc Quiñones on percussion and backup vocals. This collection of talent, many with notable careers themselves, created a cohesive unit that felt more like a family than hired musicians.
“China Grove” was next, but when they played “Black Water,” the crowd belted back every lyric. I was out of my seat – this is how I found the band.
One of their concert classics, “Amazing Grace,” played next, then “Takin’ It to the Streets.” They ended with “Listen to the Music,” which made everyone jump out of their seats and we truly listened to the music.
When Santana took the stage, the energy shifted entirely. They got the band order right. The Doobie Brothers are a daytime band, all sunshine and singalongs. The night belongs to Santana.
The members of Santana began taking the stage and the atmosphere transformed. Where the Doobie Brothers traded in storytelling, country-rock grooves, and harmonies, Santana brought movement and groove, so that when you listen to them you can’t help but dance.
Carlos Santana strode out and took his seat, but do not let the chair fool you. He was the center of everything that followed. Santana is not about the lyrics, it is about Santana himself, the way his guitar seems to speak a language only he could translate.
The band opened with “Soul Sacrifice,” and from the first note the crowd was on its feet. The entire front section stood and practically never sat back down.
Andy Vargas handled lead vocals, and he was electric onstage. Beside him, Ray Greene doubled on vocals and trombone with real stage presence, while the rhythm section did the heavy lifting that makes Santana, well, Santana.
Karl Perazzo and Paoli Mejías traded percussion, David K. Mathews colored everything from the keys, and Tommy Anthony added guitar and vocals. Behind an enormous drum kit sat Cindy Blackman Santana, Carlos’ wife, attacking each hit like the whole show depended on it.
They rolled through the classics, “Black Magic Woman,” “Oye Como Va,” “Maria Maria,” each one making it harder and harder to stay still. Even a cover of “She’s Not There,” by The Zombies, was unexpected but somehow blended perfectly in the set.
The visuals matched the sound, trippy and dreamlike. African dancers swayed across the screens, and the trees of the Hollywood Bowl became the backdrop for a laser show that swept over the crowd like water. They projected videos of themselves playing as younger men, connecting across generations as different eras of the same band shared one stage.
This concert was amazing in many ways. I got to watch the show not just through my own eyes, but through my parents. Being with my mother as she sat in awe at the Hollywood Bowl and my father, who could not stay in his seat once Santana started playing, I understood why they also did not want to miss this show.
Some music does not age, it just waits for the next generation to catch up.
SHOW PHOTO GALLERY
by Randall Michelson / LN-HS
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SID 260824 | TRACI TURNER | EDITOR
