Baaba Maal first became an African hero in the late 80s, when Djam Leeli, his exquisite acoustic collaboration with Mansour Seck, brought him to an international audience. Since then, however, he has tended to perform with his amplified band, Daande Lenol. Tonight, perched on a stool, dressed in a magnificent robe, backing himself on acoustic guitar, marked a brave and intriguing return to basics, but with a contemporary twist.

The concert was billed as his first ever solo show, and Maal told the audience that it felt like “playing in my living room” in Senegal. But he was not entirely alone, being joined by the multi-instrumentalist Cheikh Ndoye, whose first task was to provide a wash of electronica for his new version of Yela.

The intimate set provided a reminder that Maal is still a remarkable singer, with a sometimes harsh-edged voice that can switch from delicate, soulful or stately songs to high, soaring passages and bursts of sudden power. His guitar work was equally impressive, matching rock-steady rhythm against flurries that at times echoed desert blues, as he switched from recent songs such as the easy-going Kalaajo, to a tribute to Habib Faye, Youssou N’Dour’s former bass player, who died last week. Then, of course, there was Baayo, Maal’s exquisite, pained lament for the loss of his mother.

Towards the end, Ndoye took a more prominent role, playing first the n’goni on a song that the young Maal had learned on his travels with Seck, and then switching to electric bass. For the encore, Maal stood for the furious percussion work-out he recorded for the soundtrack of the Marvel film Black Panther. By now the audience were on their feet, too.