Living Colour @ C-Art Media 2026-02-24 review by @superunknon

Ladies, gentlemen, and why not Therians, here’s my review of the show by  Living Colour, who on their South American run played Montevideo and Mendoza, are heading to Rosario, and several cities in Brazil. Tonight: Buenos Aires!

Last night I went to C-Art Media. I didn’t know the venue and came away with a very pleasant impression. Everything well set up, air conditioning (maybe the “C” stands for AC—I’ll take a wild guess, knowing I’m probably wrong). A spacious place, good acoustics, small tables, a mini grandstand, and more capacity than Teatro de Flores, where they played in 2024 to a full house. They sold out here too. And that’s despite Chayanne playing just a few blocks away (just kiddin).

The members of Living Colour are over 60 and still rock like the first time I saw them—musically more mature and better, like fine wine. They walked onstage to the Imperial March, with a backdrop featuring variations of their logo in different colors, styles, and transformations throughout the show. The real pyrotechnics were onstage.

Good moment to talk about the setlist. They’re celebrating 40 years in music and delivered an exquisite selection from their first three albums—a massive trilogy that later dipped a bit, mainly because the bar had been set sky-high.

From Vivid, the album that brought them fame and a tour with The Rolling Stones, they played “Middle Man,” the Talking Heads cover “Memories Can’t Wait,” “Funny Vibe” (my personal favorite), “Open Letter (To a Landlord),” which started as usual with a gospel-style intro by Corey Glover, who opened with a snippet of Leonard Cohen’s “Hallelujah,” showing why he’s one of the most incredible voices of all time—plus “Glamour Boys” and “Cult of Personality.”

From Time’s Up came “This Is the Life,” “Pride,” “Love Rears Up Its Ugly Head,” “Type,” “Time’s Up,” and “Solace of You,” with a ten-minute intro alternating with the chant “Olé, olé, olé, cada día te quiero más.” In my opinion, they could have taken it up a notch if they had gotten the crowd fully locked into that rhythm—but maybe that was just me being too fired up.

Finally, from Stain they played “Leave It Alone,” “Ignorance Is Bliss,” “Go Away” (I love the live version at 2.5x the speed of the original), and “Bi” (with a Wimbish solo). In Mendoza they played “Nothingness”—that would have been amazing here.

To round out a twenty-song set (yes, 20), there was Doug Wimbish’s funk medley with “White Lines,” “Apache,” and “The Message,” plus Will Calhoun’s infernal drum solo with galactic percussion instruments that sounded like a full band, turning him into a one-man orchestra. The closing touch: “Should I Stay or Should I Go,” The Clash cover done Living Colour style.

Another show where I can’t help diving headfirst into the mosh pit. I experienced a mix of pleasure and pain; people kept stepping on my sneakers near the heels to the point I almost lost them. At one point I felt a pull in my side/back—not quite sure what it was. I held a bag with a T-shirt I bought in one hand the entire show, but kept my phone well protected (didn’t take it out once—the photos in this review are from my friend Diego).

Another peak moment: they lifted a guy in a wheelchair for crowd surfing—epic. Living Colour were fully into it; they didn’t want to leave the stage, and neither did the crowd.

I came in after a personally emotional day and managed to cathartically release it through almost every song—diving into circle pits, jumping like crazy, shouting choruses and lyrics until things finally settled down at the end.

Clearly a concert “Approved by Chayanne.” As I always say whenever they come “for the last time”: until next time.