Eight years on from the release of the Buena Vista Social Club album, the musicians involved are still shaking up the Cuban music scene. The Club's best-known surviving stars, Ibrahim Ferrer and Omara Portuondo, continue to pack concert halls around the world (Ferrer started yet another British tour this week) and this wildly varied show was a reminder of the continuing achievements of two very different musicians who were also crucial to the project.

Eliades Ochoa was the Buena Vista outsider. He may have sung Chan Chan, the opening track on their album, but he was far younger than the other band members, and unlike the rest he had never stopped playing. Instead of reviving the golden age of big-band Cuban music, he is more concerned with packaging his exhilarating guitar style for the international market.

Chan Chan was his opening song at the Barbican, but he was now backed by a slick, attacking band that featured electric bass instead of his customary double-bass, along with keyboards, percussion and trumpets. Ochoa was dressed, as ever, like some veteran cowboy in his guajiro hat, a reminder of his roots in Cuban country music, and he spurred on his musicians with heavily amplified acoustic guitar work that constantly switched between driving, rapid-fire strumming and rousing melody lines. There were echoes of Mexico in his widescreen, epic style (thanks partly to the trumpets) along with an update of that Benny Moré dance classic Yiri Yiri Bon. It was a magnificent set.

Juan de Marcos Gonzalez, who opened with his 16-piece Afro Cuban All Stars, is the man who first thought of coaxing the Buena Vista stars out of retirement. Now he leads his own orchestra through his own compositions, which varied from cool boleros to more experimental improvised pieces featuring his impressive pianist David Alfaro Garcia, to a more predictable dance finale. Not all his singers were up to Buena Vista standards, but his arrangements were constantly varied and entertaining.