Two Cinco de Mayo parties with live salsa music!

Cinco de Mayo weekend 2025 was a milestone for me and my ongoing love affair with Latin music. It was a weekend that reminded me how far my Latin band, Sunset Salsa, has come in a year, and how rewarding it can be to both lead and participate in Latin music at all levels—from tightly arranged band sets to spontaneous jam-style gigs. It was also a weekend filled with surprises, gratitude, and plenty of rhythm.

We had two gigs back-to-back. The first was with Sunset Salsa on Sunday, May 4th (Quatro de Mayo, as we called it) at Prison City Brewing’s North Street location in Auburn, NY. The second was a more impromptu ensemble on actual Cinco de Mayo—Monday the 5th—at the historic Otesaga Hotel in Cooperstown, NY.

Each gig had its own character, but both had one thing in common: the irresistible joy of playing Latin music.

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Sunset Salsa at Prison City Brewing North

When I accepted the booking at Prison City Brewing’s North Street location, I imagined us performing outside—sun on our backs, people dancing in the beer garden, and our instruments soaking in the early May vibes. But Mother Nature had other plans. Rain, wind, and chilly temperatures threatened to derail the gig, so I sent out a group text to the band advising them to wear warm clothes and prepare for the worst.

I also made the decision to bring my “cheap” guitars. It wasn’t worth risking my prized instruments in unpredictable weather. Of course, as luck would have it, when we arrived we found out we’d be playing indoors. That meant I was stuck with my second-rate gear, but it worked out just fine. In fact, as our bassist wisely pointed out, “No one will be able to tell except you.” He was right. I later reviewed the footage and confirmed it—audiences respond to energy and groove far more than nuances in tone.

One of the biggest blessings of the gig was that all four members of Sunset Salsa were able to make it. Originally, we were going to perform as a trio due to a scheduling conflict, but our timbales player’s other gig was canceled last minute, so he jumped back in. That brought a depth and fire to the set that only a full rhythm section can provide.

Our setlist leaned heavily on the momentum we’ve built over the past year. We played 11 out of the 12 songs from our newly recorded debut album—something I’m incredibly proud of—and added 9 more tunes that, while not formally rehearsed, had been circulated among the band members in advance. I sent out recordings and lead sheets earlier in the week, and everyone showed up prepared. That’s the beauty of working with professionals who are invested.

Among the highlights were two new songs we added to the repertoire just for this performance. The first was DJ Bachata by Juan Luis Guerra, which had a slick, sultry feel that was perfect for setting the tone. The second was La Dueña del Swing, a high-energy merengue that lit up the room. Both songs had the crowd moving and gave us something fresh to dig into musically.

Another personal favorite moment came during our renditions of Santana classics like Oye Como Va and Black Magic Woman. As the sole harmonic and melodic instrument in the group—there’s no piano, no horns—I get to do it all: rhythm, melody, harmony, improvisation. It’s challenging, but it’s also incredibly rewarding. After one of those Santana numbers, a gentleman came up to me and said, “It’s amazing that you can play these songs without a singer, and I can still hear the melody in my head.” That meant a lot to me. That’s the magic of melodic phrasing and arranging with intention.

We were also lucky to have a great audience. The place was full despite the weather, and the vibe was warm and welcoming. I had the chance to meet Amy, one of the owners of Prison City Brewing, and she was incredibly kind and enthusiastic about what we do. It felt good to be appreciated, not just as a band, but as a contributor to the culture and energy of their event.

This was our second year playing there. Last year, we got the gig on a whim—another band canceled, and we filled in last-minute. It was outdoors, spontaneous, and tons of fun. This year, it was indoors, more organized, and just as rewarding. And it showed how much we’ve grown. Last year, I was just happy to pull it off with a trio and no horns or piano. This year, I stood onstage with a solid quartet, playing real salsa—not just Latin jazz with a backbeat. That progress is no accident. It’s the result of a year’s worth of work, rehearsals, chart-writing, listening, and mutual inspiration. I’m proud of the direction we’re headed.

Here is a short montage of our performance.

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The Otesaga Hotel – Latin Quartet

The next day, Cinco de Mayo itself, had a very different feel. The gig was in Cooperstown, at the beautiful and historic Otesaga Hotel. The booking had come through a colleague of mine who wasn’t able to attend, so I ended up leading the group in his absence. The ensemble wasn’t my regular band, but rather a mix of players I’d worked with in other contexts.

Our bassist from Sunset Salsa joined me again, and we were anchored by a drummer from Salsa Libre whom I’d played with before. The saxophonist was new to me, but he came prepared with a well-organized book of Latin tunes, which gave us a nice foundation.

It was more of a jazz gig with Latin flavor than a pure salsa event, and that was totally fine. We leaned into the jazzier side of Latin music, playing tunes like Dizzy Gillespie’s Tin Tin Deo and other standards with clave-infused rhythms. I called a few tunes from my own band’s repertoire, including Mambo Inn and Guantanamera, which added some familiarity and danceability to the set.

Even though it was a pick-up band, the musicianship was strong and the vibe was good. The Otesaga audience was appreciative, and the venue itself is a classy, elegant space that makes every gig feel special.

For me personally, this was a reaffirmation that I want to keep playing this music as much as possible. Whether it’s the high-octane energy of salsa, the earthy drive of merengue, the romantic sway of bachata, or the adventurous harmonies of Latin jazz, this music speaks to me on every level.

Here is a short excerpt of the performance.

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Looking Back, Moving Forward

Reflecting on the weekend, I feel nothing but gratitude. Gratitude that we had two solid gigs. Gratitude for the musicians who show up, do the work, and bring their full selves to the stage. Gratitude that I get to play music that inspires people to dance, smile, and feel alive.

But I’m also proud—proud of how far Sunset Salsa has come. A year ago, we were just getting by. Now, we’re a cohesive unit, recording albums, expanding our repertoire, and being invited back to venues that believe in us. And that’s just the beginning.

As for me, I want to do more. More Latin gigs, more collaborations, more studying, more growing. I want to keep learning about the genre from the inside out. I want to keep bringing this music to life—whether it’s a polished band performance, a jam with strangers, or a solo guitar arrangement that somehow carries the entire groove and melody on six strings.

This Cinco de Mayo weekend reminded me why I love doing this and gave me even more inspiration to keep going.

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