A full endorsement on ‘Judgement Day’ – fascinating rhythms from Mali: Fatoumata Diawara, review

These were songs to warm the soul on a chilly February evening.

Notwithstanding an element of hardcore fans, few could have expected to witness such a show. In no-nonsense fashion, the band members assembled and struck up the first track ‘Don Do’ to set the rhythm while the audience found their feet.

There was a wait for Fatoumata to appear, if slightly predictable, but the crowd cheered and...wow, what an entrance. She was dressed in a sparkling silver skirt, African jewellery and what should, I think, be described as a stunning, white headdress. If hats were rated academically, this one had just plummeted Jamiroquai down to Kindergarten.

The tempo was high and in-between the early songs Diawara deployed her charm adroitly. It’s not hard to see why she has achieved success in film as well as music; this is a truly gifted performer.

While the songs were sung in Bambara, the Malian dialect, Fatoumata turned obstacle into opportunity to educate us on the substance of her lyrics covering politics, education, or lack of, and gender equality. There was no shortage of ‘protest songs’ from this ‘protest singer’ (Edwin Collins take note) to which the audience gave a resounding endorsement.

As the concert unfolded you could appreciate that this was a thoughtfully constructed setlist consummately delivered. Her raspy and effortless voice turned to ‘Ou Y’an Ye ‘and then the dance infused ‘Kanou Dan Yen’ and what the venue lacked in layout and acoustics for live music, the crowd’s willingness to live the experience atoned for this comfortably.