Article Contributed by L. Paul Mann
Published on February 10, 2026
The Lobero Theatre is one of those rare rooms where history and intimacy coexist, making it the perfect sanctuary for Poncho Sanchez’s conga-driven soul. On the evening of January 31, 2025, the Grammy-winning conguero didn’t simply perform a set — he threw a full-on block party for the spirit. Sanchez’s relationship with Santa Barbara and the Lobero runs deep, with decades of appearances that have helped shape the venue’s living jazz legacy.
From the moment the house lights dimmed, there was an unmistakable charge in the historic room. Presented as part of the Brubeck Circle series, the crowd reflected the night’s dual purpose: seasoned jazz devotees seated shoulder-to-shoulder with folks who clearly came ready to move. At 74, Sanchez took his place behind the congas with the relaxed authority of a musician who has been “keeping the beat” for more than four decades — an elder statesman whose presence still crackles with vitality.
Beyond his formidable musicianship, Sanchez remains a master storyteller. Between songs, he shared warm, often hilarious reflections, including a story from his teenage years touring with a high school band in Santa Barbara, when a bandmate bit into a burrito and discovered a metal cleaning brush baked right inside — a tale that landed somewhere between absurdist comedy and road-warrior folklore, and drew knowing laughter from the crowd.
Musically, the set was a masterclass in the unmistakable “Poncho Sound,” where gritty Afro-Cuban rhythms meet West Coast jazz elegance. Sanchez’s handwork on the congas remains thunderous and precise; during the modal “Night Dream,” the percussion wasn’t merely heard — it resonated through the room, pulsing in the chest like a living heartbeat.
The horn section, anchored by longtime collaborators Francisco Torres on trombone and Ron Blake on trumpet, cut through the rhythms with a brilliance that felt both muscular and refined — bolder and brighter than a classic Buick’s grille. Their interplay on “Guajira” provided a sharp, brassy counterpoint to the constantly percolating rhythm section beneath them.
One of the night’s most joyous moments came when the band leaned fully into its soulful roots. As the opening groove of “Watermelon Man” took hold, the Lobero’s long-standing “no dancing in the aisles” policy suddenly felt more like a gentle suggestion than a rule. The room swayed, seats vibrated, and the collective restraint of a seated audience nearly gave way.
The performance also spotlighted material from Sanchez’s recent release Live at The Belly Up Tavern, giving the evening a celebratory, retrospective feel. “Soul Sauce,” a fluttery, flute-led tribute to Cal Tjader, transported the audience straight into a smoky 1960s jazz club. On “Quieres Volver,” Sanchez set aside the congas in favor of guiro and cowbell, revealing his understated crooner sensibilities within a lush bolero framework. A high-octane Willie Bobo medley followed, showcasing the band’s razor-sharp synchronization as timbales and bongos locked in with exhilarating precision.
By night’s end, Sanchez once again affirmed his role as the modern torchbearer of the traditions forged by Mongo Santamaría and Tito Puente. At the Lobero Theatre, he proved that while the hair may be grayer, the simmer burns hotter than ever. It was a night of pure, unfiltered Latin jazz — the kind that leaves a city humming long after the final cymbal crash fades into memory.
