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    RodeoHouston 2019

    Carlos Santana masterfully works his black magic at stellar RodeoHouston debut

    Johnston Farrow
    Johnston Farrow
    Mar 14, 2019 | 12:00 am
    Santana RodeoHouston 2019
    He was especially smooth on hits like "Smooth."
    Photo by Jacob Power

    It's hard to say what makes a man a legend — until you see him at work.

    Santana proved why he has been lauded as one of the best performers of the last half-century, drawing on old and new hits to give the 74,161 in attendance a reason to dance in the aisles in what was hands-down one of the best performances at RodeoHouston 2019.

    Carlos Santana made his name as the ringleader of a group of talented players that emphasized psychedelic rock meshed seamlessly with broad strokes of Latin and African rhythms, American blues, and jazz. He gained fame during the turbulent late '60s and early '70s as an artist that could bring together fans of all backgrounds, appearing at the most famous and infamous festivals in the history of modern music. That includes landmark sets at the original Woodstock (where he apparently dropped acid before getting on stage) and at the Altamont Speedway Free Festival.

    But his second act came in the late '90s and early aughts when he successfully brought his eclectic vision to new audiences by teaming up with the most notable pop stars of the day, producing his biggest hits in his career, albeit in more diluted versions of his high energy, early heyday.

    So would the 71-year-old performer rely on the songs more familiar to modern audiences or would he bring back the groove of earlier tunes beloved by Santana die-hards? Thankfully, the answer proved to be both.

    Getting a late start after 9 pm, Santana emerged on stage with a nine-piece backing band and leaned into his back catalogue, a video of that Woodstock '69 show playing overhead as he kicked into the three-song mini-suite from his self-titled debut: the hard-charging "Soul Sacrifice," followed by the African rhythms of "Jingo," and the timeless "Evil Ways," which segued into "A Love Supreme" from 1973 album Love Devotion Surrender.

    The crowd gave their biggest approval of the early evening for Santana's most recognizable pre-1999 hit, "Black Magic Woman/Gypsy Queen" from the 1970 masterpiece Abraxas, a breathtaking display of guitar heroics. The just as great "Oy Como Va" from the same album followed suit, it's contagious bongo-led Latin shuffle reaching the press box on the eighth story of NRG.

    Santana's band kept the energy high, with two vocalists, two guitarists, a bass player, keyboard player, and three percussionists, highlighted by his wife and Lenny Kravitz drummer Cindi Blackman Santana, the heat rising in NRG thanks to the extreme tightness of the group as a unit. Of course, the band leader had plenty of time in the spotlight, and Santana displayed a tremendous touch on his PRS guitar, a virtuosity that moved millions of albums and took home countless awards.

    The night then shifted toward the pop hits of later years, nearly all of them Grammy winners. These included the easy listening Michelle Branch duet "Game of Love" from 2001's Shaman, the Wyclef Jean-produced "Maria Maria" and "Corazon Espinado" from mega-selling, award-winning 1999 LP Supernatural. The set then shifted back in time to 1971's “Toussaint L’Overture,” Santana showcasing the best guitar chops of the evening, including an amazing segment of the classic Beatles tune "While My Guitar Gently Weeps."

    His work with the Isley Brothers on 2017's Power of Peace also got two songs on the setlist, bringing some welcome funk to the proceedings with "Are You Ready" and set closer, "Love, Peace, Happiness." It would be a mistake not to mention the inescapable behemoth pop hit, "Smooth," which was named the second biggest song of the 20th century by Billboard magazine, cementing Santana's legacy as one of the best living performers. No doubt, the legend was nothing but smooth and radiated it throughout the show.

    Cheekily ending the show with a "Deep in the Heart of Texas" riff, Santana and his band humbly walked off-stage to a huge ovation, slowly making their way through the dirt into the inner bowels of NRG Stadium, no SUV needed.

    RodeoHouston 2019 may have the most diverse lineup of any previous edition, but only one show can rightfully claim it brought as many diverse sounds together as wonderfully as Santana did. The NRG stage had the perfect performer to grace its star-shaped stature on Wednesday night.

    Setlist
    “Soul Sacrifice”
    “Jingo”
    “Evil Ways"/"A Love Supreme”
    “Black Magic Woman"/"Gypsy Queen”
    “Oye Como Va”
    “Game of Love”
    “Do You Remember Me (Mona Lisa)”
    “Maria Maria”
    “Foo Foo”
    “Corazon Espinado”
    “Toussaint L’Overture”
    “Are You Ready People”
    “Smooth"
    “Love, Peace, Happiness”

    The 71-year-old Santana brought his groove to NRG for his rodeo debut.

    Santana RodeoHouston 2019
    Photo by Jacob Power
    The 71-year-old Santana brought his groove to NRG for his rodeo debut.
    concertsrodeoreviewsmusic
    news/entertainment

    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

    news/entertainment

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