Salif Keita has the finest, most distinctive male voice in Africa, but it has not always been used to the best advantage. He has constantly changed styles, making use of anything from traditional Malian instrumentation to electronics, and last year's album, Talé, was a low point, with its attempted foray into the dance music market. No surprise, then, that he should quickly retreat to the safety of his classic songs for what was billed as an "acoustic" show.

He came on stage wearing a white shirt and black hat, rather than traditional robes, and announced that he was "king". Pointing at his band, he added "and these are my griots". He was indeed backed by a distinguished lineup drawn from Mali's celebrated musical families, including a kora and n'goni (lute) player as well as electric guitar work from the great Ousmane Kouyate, who worked with Keita in Les Ambassadeurs in the late 70s. They began the set sitting down, as did the two female backing singers, and hurtled into a full-tilt treatment of old favourites that included the rousing M'Bemba, Yamore and the epic Mandjou.

Keita was in magnificent, powerful voice, spurred on by solos from kora and electric guitar; all that was lacking in his thrilling performance was variety. It was unfortunate that the kora player added programmed keyboard and percussion just when a genuinely acoustic song would have been welcome. Six years ago, on the African Soul Rebels tour, Keita played memorable acoustic guitar with n'goni backing. It's a shame he didn't repeat that here.

Seckou Keita, who opened the show, is a British-based kora player who recorded one of the finest albums of last year with the Welsh harpist Catrin Finch. Here playing solo, he sang well and provided the most delicate and hypnotic instrumental work of the night.