With up to 10 musicians on stage at any time (and as many as half playing one form of percussion at a time), this was a big, bold experiment of Cuban music in the 21st century.

For the most part content to let his musicians take centre stage while he sat behind the congas he is famous for, the audience was treated to a virtuoso combination of vocals, complex percussive patterns, trumpet, flute and occasional insertions by the on-stage DJ.

As good as all this was, and it was very good indeed, the show went to another plane with the demented Paganiniesque contribution of his guest star electric violinist Omar Puente.

As the last of the big shows from La Linea (at least the last at the Barbican), it was a fitting climax to an extraordinarily varied and inspiring season of concerts.

See more pictures from this gig at our sister site Flykr

Photo: Damian Rafferty