Last Monday, the few lucky ones present at the opening night of the 63rd edition of Jazz à Juan, 2024 vintage, had the immense privilege of witnessing what is arguably the best in melodic jazz-rock.
Indeed, the TOTO meteorite crashed at 10 PM local time on the now-mythical stage of Pinède Gould in Juan-les-Pins, consuming the audience, wholly committed to their cause, into ecstasy. It’s worth noting that the event was sold out, which is a testament to the excitement that had crystallized around this evening, entirely deserved, considering the exemplary career of this iconic band. Here’s a look back on a magical night that swept hearts away and got bodies moving. TOTO in Juan was grand!
A “Frenchy” and “Catchy” Prelude
Before the archangels of melodic rock made in L.A. stormed the stage, it was Manu Katché’s band that had the distinct honor of inaugurating this unforgettable evening. Not only a drummer but also a composer and an iconic judge on Nouvelle Star (for those who might not be as musically inclined), Manu Katché is a familiar name.
Let’s remind everyone briefly that the man has distinguished himself in multiple jazz/fusion/world projects, notably alongside renowned French musicians like Francis Cabrel, Veronique Sanson, Jean-Jacques Goldman, or Laurent Voulzy, as well as with world-renowned artists such as Marcus Miller, Al Di Meola, the Bee Gees, Dire Straits, Joe Satriani, Jeff Beck, and many others.
Being only familiar with a few tracks from these various projects, I admittedly had a slight bias, as what I had listened to pleased me without fully capturing my enthusiasm, coming from metal, progressive rock as well as classical music, sensitive to the epic and a certain form of transcendence, qualities one might struggle to find in urban music, no matter how virtuosic it may be.
Therefore, starting with little apprehension, I must admit that the fellow managed to captivate me from the very first notes, with well-executed, groovy tracks, perfect rhythmically, navigating through jazz and more, featuring moments of saturated guitars, a “funky” track reminiscent of Daft Punk’s “Get Lucky,” noteworthy for its intelligent use of auto-tune, a rarity worth mentioning—a perfectly executed show with musicians in absolute harmony.
It’s undeniable that boredom never reared its ugly head; rather, I enjoyed watching this ensemble perform. Mission accomplished for Manu and his band, as the audience was set under optimal conditions, ready to witness the Californian living legends perform.
10 PM, the great melodic service can finally begin
Here we are, just minutes away from witnessing one of the greatest bands of all time, the iconic TOTO and their prodigy leader, the incredible Steve Lukather. Just a few facts about the guy to give you a bit of dizziness: Steve Lukather has a career spanning 50 years, has been present on almost 1500 studio albums, from Paul McCartney to Michel Berger, passing by Lionel Richie, Cher, Elton John, Eric Clapton, Earth Wind and Fire, George Benson, and many others. Not to mention his incredible collaboration with the “King of Pop,” Sir Michael Jackson himself, for whom he recorded almost all the guitars for the album Thriller at not even 25 years old, and especially composed the mythical riff of “Beat it,” which he then entrusted to his friend Eddie Van Halen so that the latter could compose his iconic solo that would transcend all ages and styles.
If you wanted legendary, you’ve got it. TOTO also accounts for 40 million albums sold and about thirty Grammy Award nominations. That alone gives you a clearer idea of this group’s extraordinary status.
With this historical aside, let’s return to a performance that will forever remain in the annals of this festival, dear to the hearts of the locals present, as well as to all the “happy few” who came from afar to witness the recital of these living legends.
So, it’s finally time, the band arrives on stage to enthusiastic applause from a riled-up crowd, and lastly, out pops Steve Lukather with his wild white hair, visibly thrilled at the idea of performing in this promised land for musicians. Evidence of this is with the biblical “Hold the Line” delivered only in the second position on the setlist, enough to plunge headfirst into the cauldron of this rock, as melodic as it is incisive and tinged with jazz that we love so much.
It was then the turn of the mesmerizing “99” to take us by the waist, like a caress straight from the 80s; this song should be reimbursed by social security for how good it is for the soul: “99 I love you,” Toto we love you too! A little aside from grand Steve who jokes about the meaning of the song: “It’s a sexual position, you can go on the Dark Web if you want,” a Lukather who would continue to joke throughout the night, cool as well as talented, the class of Dal, oh no, sorry, of L.A.
A tidal wave of timeless hits followed, sung in unison by an electrified Jazz à Juan, like “Pamela,” “Stop Loving You,” and the stadium-worthy “House of the Brave,” proof of the incredible aura of this legendary band but also and especially of its absolute professionalism. Notably, the track “Jack to the Bone” from the album “Kingdom of Desire” dangerously flirts with progressive metal, demonstrating the group’s intrinsic virtuosity to the point where one might wonder if there is any musical style these guys can’t play? They seem to possess a level of mastery that’s downright astounding!
The vast majority of the musicians can sing lead, 5 out of 6 to be precise, and switch instruments, like Warren Ham, first on percussion, then on vocals, then on the flute, and finally on saxophone; extraordinary is an understatement. But what makes Toto strong, beyond the alien six-string compass that gathers them and points North, is the loyalty and friendship uniting its core members, friendships dating back to adolescence, like between Steve and singer Joseph Williams, respectively 17 and 14 years old at the time of their meeting.
TOTO is an adolescent dream come true, a unique music that succeeded in uniting all generations, all social classes, and transcending all music genres, which is hardly surprising when their group’s name means “Universal.”
A perfectly executed set, interspersed with highly inspired covers, such as Jimi Hendrix’s “Little Wing” (total feeling and virtuosity from the great Steve on this track) and the hit: “With a Little Help for my Friends” by The Beatles, covers habitual to the band but always having their effect on stage, with an added dash of the TOTO touch.
At this point in the evening, and with time advancing, we felt that the moment to say goodbye was unfortunately approaching fast; the inevitable “Rosanna” gently ushered in the close of this dazzling concert, allowing the assembly to prepare to sing at the top of their lungs the interplanetary hit, which I think is soon to be listed as a world heritage, unmistakably the mythical, dare I say, the mythological “Africa.” What an indescribable emotion to hear such a monument resonate in such a wonderful setting as the Pinède Gould, where nostalgia and a communion of souls intertwine; one can only feel incredibly fortunate to be there at that precise moment in space and time, this is the TOTO magic. “I bless the rains down in Africa” and all of Jazz à Juan erupted to bless and honor this luminous combo that came to perform for them tonight.
TOTO, a Unique Group
This Monday evening, TOTO, as usual, showcased their incredible talent, weaving their irresistible musical mythology smoothly. Powerful, virtuosic, and melodic, the Californians of TOTO, and especially their iconic leader, whom I must name Lord Steve Lukather, will remain forever a pinnacle for all lovers of beautiful music and above all for all musicians ready to serve their art beyond their simple ego.
When virtuosity serves melody, then eternity gazes upon you, and God knows if TOTO’s timeless masterpieces will remain forever, testaments to this extraordinary group’s universal genius, ad vitam aeternam. TOTO at Jazz à Juan, already TOTALLY cult!
Aurélien Maccarelli
