Last weekend, John McLaughlin concluded his final North American tour, saying goodbye to the land that has contributed audiences and performers to the soundtrack he has produced for nearly fifty years. The tour ended with two stops in the Sunshine State, both selling out weeks before their respective performance dates. Tickets were at a premium in secondary markets, due to both the announcement of McLaughlin’s stateside retirement and the message that had been spreading like the wildfires of California that this was the tour of the fall to catch.

For many, being able to see both McLaughlin and Jimmy Herring share the same stage, let alone with the set of all-stars that the two had drafted, was a dream come true. From the start, fans throughout the country shared the enthusiasm of their experiences, egging friends and family to get out and witness the magic before it was gone. Outside The Warfield Theater on Friday night, hours before showtime, there was already a line of hopefuls, waiting for any last-minute tickets to be released. Others, more motivated, walked the street, fingers held high, audibly seeking out extras from anyone who seemed to be approaching the venue.

Inside, it was clear that the show was at capacity and that everyone who had purchased tickets had done so with purpose, as few seats, from floor to balcony, were unoccupied with still an hour to go. The audience demographic swung the spectrum, from the college-aged hippie kids in tie-dye to the well-dressed San Francisco elite. Even a few celebrities from the music world were spotted in the crowd, looking to catch a glimpse: Duane Betts, who had a gig at The Fillmore later in the evening; Dave Schools out supporting his bandmate; Reed Mathis who was bubbling over with that excitement he exudes; and later, Phil Lesh, sitting in the walkway, trying to go unnoticed, a testament to how sold-out this show was.

The lights finally dropped, and the crowd stood with applause, welcoming Jimmy Herring and The Invisible Whip to the stage. The band surveyed the venue with broad smiles, as if to connect with each patron before beginning the journey. As has been the standard on the tour, the band performed an eight-song set that was anything but run of the mill. The set opened with a one-two punch of “John McLaughlin”, penned by Miles Davis as an homage to its namesake, and The Allman Brothers Band’s “Les Brers in A Minor”, which received a short burst of recognition and appreciation from the audience, who were then quick to quiet, not wanting to miss a note.

Defining The Invisible Whip experience is no simple feat. Transcendental doesn’t come close, otherworldly glimpses the definition, and intergalactic starts to reveal the picture. Put all three together and the auditory vision of The Whip becomes clearer: otherworldly, intergalactic transcendentalism. Six songs later and a set clocking in at a little more than an hour, many admirers remained seated, readjusting to their surroundings, before getting up as the house lights came back up.

A quick intermission drove hurried patrons throughout the venue, making for beverages and facilities, eager to return to their seats for the main event, not wanting to miss a note. The lights dimmed for the second time of the evening and again the entering group was met with standing adoration. McLaughlin stepped to the mic center stage and dawned a wide, wiry grin as he looked out over the crowd, absorbing the tangible admiration. He complimented The Whip with genuine awe and warned the crowd that they would be back for the final set of Mahavishnu music, sending a frenetic response throughout the room.

Before starting his set with the 4th Dimension, it appeared that McLaughlin was genuinely taking his time to acclimate to the moment, breathing it all in, as he gazed into the audience, thanking those in attendance for all the years of support. With a long pause, the maestro of fusion finally stepped back into the shadows and went to work. Much like the initial set, this second band of brothers eluded time itself. Each component was given its right and display, reflecting why each of these performers was selected for the jobs they were given. No hands fell short on talent and each member contributed without duress or misstep. The 4th Dimension truly filled the room and manipulated the auditory constructs, adding elements that kept the astute listeners laughing while in constant awe, as they transformed six songs into almost two hours of time.

The final set of the evening saw the synthesis of The Invisible Whip and The 4th Dimension into mythical incarnate: Mahavishnu Orchestra. Comprised of two guitarists, two bassists, two drummers, two sets of keys, sometimes three, and a violin for good measure, this formation performed like a multi-armed Hindu god. To describe the prowess and capabilities of this group of men would result in an effort of futility to end all efforts of futility.

Themes were started by single players and finished by others, and at no point was there an obtuse moment. The performed structures emanating from these players could be equated to alternating sheets of hue and texture, dancing on forces from unknown directions, conjuring the resulting images of symmetry and sync amidst a background of chaos. The term fusion certainly categorizes what took place in San Francisco on this evening, but only as much as the limited term ‘sunset’ describes the end-of-day event. The term Mahavishnu is defined as “the Absolute which is beyond human comprehension and is beyond all attributes” and on this night, this gathering of men, bound together in one mind, characterized this meaning in the form of music.

Looking back, the show seemed over before anyone knew it, but it seemed to take an eternity to get to that end, reflecting the importance of the journey as much as the destination. As the crowd spilled out onto the downtown street, realizing tomorrow had become today, little was said between confidants. Instead, child-like grins and wide-eyed gazes dotted the sidewalk, as witnesses dissipated and made their way home for note-filled dreams, still bouncing with remnants from the ether of their altered consciousness.

In closing, John McLaughlin, we as a nation, want to thank you for all that you have done. Our doors and shores will be eternally open to you. We hope that the healing you have spread through music will ripple without end and inspire others to carry the torch into the future. Should your mind and body be swayed to return to our graces, nary a sneer about “retirement” shall be made, but instead open arms and hearts will greet you from those of us who Live For Live Music, those of us who love for live music.

Setlist: Jimmy Herring and The Invisible Whip | The Warfield Theater | San Francisco, CA | 12/8/2017

Set: John McLaughlin, Les Brers in A Minor, Jungle Book Overture, Matt’s Funk, 1911, Black Satin, Scapegoat Blues, Rainbow

Setlist: John McLaughlin and The 4th Dimension | The Warfield Theater | San Francisco, CA | 12/8/2017

Set: Here Come the Jiis, Lila’s Dance, New Blues Old Bruise, El Hombre Que Sabia, Light at the Edge of the World, Echoes From Then

Setlist: The Mahavishnu Orchestra | The Warfield Theater | San Francisco, CA | 12/8/2017

Set: Meeting of the Spirits, Birds of Fire, A Lotus on Irish Streams, The Dance of Maya, Trilogy, Earth Ship, Eternity’s Breath (Parts 1 & 2)

Encore: Be Happy