7th March 2009 Los Van Van @The Roundhouse, London

When I heard that Los Van Van were coming to play again in the UK, I gritted my teeth in determination. The last time they were here was to promote "Chapeando" two years ago and although I'd already bought tickets, an urgent trip to the Far East conspired to make my first attempt an abortive one.

With a pair of tickets waiting in my hand for their Arrasando tour, the days in the weeks leading up to last Saturday felt like life lived beneath the Sword of Damocles. It was the strangest tincture of anticipation and dread. So as White Lights blazed onto stage searing away the echoing words "Los Van Van...", it felt as though something had finally been put right; an awkward picture-frame straightened.

Los Van Van opening with "Arrasando"

It was clear from the recording that the title track had been written 'to purpose' as an opening number; and true enough, they opened up with "Arrasando" with the vocalists last to take to stage. This incarnation of Los Van Van featured the four lead vocals; two keyboards; three on tromobones, two of whom also doubled up on midi keyboards; bass; violin; flute; güiro plus backing vocals; congas; and bandleader Samuel Formell on trapset plus timbales. It was essentially the same setup as that most artfully captured in the "Aquí el que baila gana - in concierto" DVD recorded at the Karl Marx Theatre sans the stellar guest appearances, and the disappointing omission of Juan Formell. Mind you, he wasn't here last time either and I can only infer that either he's not too keen on these shores, or that these shores aren't too keen on 'im.

They were on for a good two hours and blew through a good deal of their new album, though sadly not the tracks I was more partial to. I recall only their nod to the Manhattan Transfer "Timpop con Birdland", Yenisel's remarkably interpreted "Después de todo", a favourite "Anda, ven y quiéreme", and their single encore "Esto te pone la cabeza mala" as hailing from previous recordings.

I wanted so desperately to be blown away, and was as desperately disappointed. I wanted to believe that this supergroup, whose influence has defined the music of two generations, could do no wrong. I got something worse than wrong, I got lacklustre with snatches of brilliance. And I'm very sad for it.

Some were giving it their all - Samuel on drums was a demon possessed; and Mayito.., the incredible Mayito sang as if the very Heavens demanded it of him. The rest, well, gave only what they were willing to give. In an ironic sense, it was reassuring to me. As a performer I have always given a hundred percent to an audience and would expect no less of myself and my colleagues, getting a trifle mardy when they don't. That some elements of Los Van Van chose not to commit themselves fully, emotionally, showed that it could happen in even the best.

Van Van's incomplete emotional engagement was brought into sharp relief completely by chance through the dancing of one very talented man - Lázaro Lopez of http://www.afrocubano.co.uk/. Invited on stage as a guest, he gifted us all with a startling display of rumba columbia as the physical expression of Mayito's singing and Samuel's drumming. It was a moment of pure, synchronised, perfect intent which will forever be a treasured memory. That he did this in a swish gray suit, intentionally or otherwise, was a semiotic comment which set the sociologist in me chuckling.

That Los Van Van are amongst the hardest-practicing and best-drilled of bands ever to emerge from Cuba, is entirely believable. That events transpired to affect their performance such that many of them had to rely solely upon their consistency, is entirely plausible. After all, it could be that the acoustics of the Roundhouse affected their foldback, definitely it did the atmosphere and perhaps the charge from audience that every performer feeds off.

[I had with me two friends whom between them share more than five decades of professional experience in vibro-acoustics. Both of them independently remarked about the degree of sonic 'smearing' due to uncontrolled reflections in the venue.]

Yenisel told the audience that this is the band's fortieth year in existence; no mean feat in itself, let alone remembering that much of this time was spent at the top. But I sense that the band is wrestling with its state of transition: from the loss of its old guard like César Pedroso, Pedrito Calvo, Jose Luis Quintana; the transfer of leadership from father to son Formell; re-negotiating its identity; and struggling with its relevance to modern musical life.

With the latter, it seems as if the young turks of Maikel Blanco and Tirso Duarte have their finger closer to the pulse. With the former, Los Van Van's new generation are immensely talented, foremost of them Yenisel, Samuel and Mayito. But good though they are, it's difficult to see where the next spark of creative genius, with similar stature to that of Pupy, Changuito, and Juan Formell himself, will come from.

Samuel is now the beating heart of Los Van Van. Whereas his father led the band with his bass from the front, Samuel drives it from behind with his kit at the back. I'm not convinced that it is not without flaw. Juan was able to exercise leadership, engaging directly with the band to maximise emotional involvement, but I don't think Samuel can do that with: his kit as a barrier, limited lines of visual communication with much of the band, and playing everything that he currently plays. Giraldo Piloto of Klimax is the only other bandleader in my recent memory who's in a similar position.

Frankly, as a participant of songo myself, I understand how important the inclusion of the trapset is to timba. But I think now that the pendulum has swung too far and the trap-set under Samuel has fractured a former equilibrium; sidelining the conguero and sending the dedicated timbalero out into the wilderness.

Should Samuel decide to lead more on-stage, he might replace himself on trap-set and move to timbales plus kick-drum in the style of Changuito, and put himself towards the front like Tito Puente did. This would give himself less to play and more cognitive overhead to energise. But that's just conjecture on my part, so just give me a moment to kick myself for my presumptuousness... thud. Yeeouch!

However what I DO know objectively is that there are three main differences between the concert captured on DVD and this one at the Roundhouse: the presence of the old guard, the repertoire, and the sound quality. How the original timba supergroup navigate future waters, I'll study with close interest. Some clues can be had from the above, but it is in the subjective area of how they interact with each other and make good their commitment to their audience that will have me perched towards the edge of my seat.

Los Van Van's encore: "Esto te pone la cabeza mala"

I tell my masterclass attendees and drummers alike that, "artistic endeavour distinguishes itself from the mechanical through its ability, or more its necessity in evoking an emotional response."

Had they all unified in "unbearable purpose" (Eddie Palmieri) as I hear Los Van Van can, there might have burned a terrible joy. Instead I'm feeling a mild shade of blue.

There's nothing I wanted more to do here than to gush over their brilliance. They are, after all, Los Van Van.

Loo Yen Yeo