SAN FRANCISCO — Chicano rockers Los Lobos kicked off their Disconnected tour Friday night at the Fillmore. Playing hits, deep cuts and covers, the band performed a largely acoustic set that lasted more than two hours with material spanning its 50-year career.

“Happy new year,” said founding guitarist César Rosas, wearing sunglasses and a black baseball hat, before launching into the marathon set.

While the acoustic guitars provided a slightly different musical texture, the crowd responded immediately to the iconic intros of “Evangeline” and the title track to 1984 album How Will the Wolf Survive?

The nylon-stringed instruments didn’t stop Rosas and other founding members David Hidalgo and Louie Pérez from melting faces with the three players trading extended solos throughout the night on songs like “Teresa” and “Chuco’s Cumbia,” from 2006 album The Town and the City.

The decades of experience for the sextet, rounded out by bassist Conrad Lozano, multi-instrumentalist Steve Berlin and drummer Fredo Ortiz, were obvious as the musicians moved easily between tempos, styles and genres. The fast pace of the set slowed briefly as the drummer stepped away and Lozano swapped out his electric bass for a large acoustic one as the band played, “La pistola y el corazón,” from the 1988 soundtrack to Richie Valens biopic “La Bamba,” which propelled the band to stardom.

The drummer returned and Rosas took a moment to reflect on the band’s Los Angeles origins before dedicating “Saint Behind the Glass” from 1992 album Kiko to “anyone affected by the fires.” Rosas swapped his guitar for a pair of maracas as the band performed a dense and powerful version of “Maricela,” from 1996’s Colossal Head. Multi-instrumentalist Steve Berlin closed out the song with a ripping saxophone solo.

Berlin proved to be Los Lobos’ musical Swiss army knife, offering up tasty musical bits including both a saxophone AND a flute solo on “Dream in Blue,” where he matched Rosas’ riffing note for note. Berlin played soprano sax on “Arizona Skies” and baritone sax on a number of songs that closed out the set.

Dressed casually in black, Hidalgo and Rosas traded singing duties throughout the night, occasionally joining their voices together in powerful harmony, as on a cover of Santiago Jiménez’s “Ay te dejo en San Antonio,” during which Hidalgo played accordion. The crowd responded to the song’s rapid bass line and percussion by holding their cups of beer and phones aloft and singing along.

The band closed out its set with a pair of covers, The Crickets’ “Not Fade Away” and the Grateful Dead’s “Bertha,” before returning with an encore consisting of Joseíto Fernández’s “Guantanamera,” The Olympics’ “Good Loving” and “La Bamba.”

Earlier in the evening, Los Angeles Chicano soul band Los Yesterdays got things started playing a retro-tinged set of material from its new record, Frozen in Time, including the lushly nostalgic “I Want You to Stay” and the delicately soulful “Name on Me.” Singer Victor Benavides warmed up the crowd with passionate vocals that simmered over the solid groove of Gabriel Rowland’s solid drumming.